啊，美好的一天
Happy Days
编剧：萨缪尔·贝克特
Playwright：
Samuel Beckett
导读：谷旻雯
Director: Gu Minwen
环境戏剧导演阐述：
在环境中的演出与在剧场表演完全不同。表演在白天的下午开始。
我以为贝克特在这个剧本里在讲述人类的终极孤独。
两个人，一男一女，女人土埋到脖子了还在絮絮叨叨，男人女人形同路人。剧本几乎在最后一刻才挑明这是对陌生人是结婚多年的夫妻。荒诞又绝望的处境。我对这对男女的关系着迷。女人呱噪语言后面的麻木与虚空。男人为什么不离开？他是活死人吗？他被什么拴住了？为什么没有了对话？没有了交流的欲望？
演出的环境是一个游泳池，我把男演员放到了水里，女演员则放到了岸上。起初打算把女人埋到一个大花盆里，实在是不便实现。于是把女人塞到了一个小型的单人帐篷里。在这位絮叨的女士的帐篷两侧配上两个巨型电风扇吹向游泳池，当作她的扩音器。那位冷漠的男士呢，则站在飘满各式盘子的泳池里，永远被背对着絮叨的女士。在游泳池里有一个巨大的画面，是一个男人的背影。冷漠的男人以同样的姿态站在泳池里，同样的用背对着女士，永远没有应答。当有风吹过时巨大的画面随着风旋转画的背面依然是一个男人的背影。这个背影正面反面随风旋转，不变的是永远的背影。
第二幕结束，男子推倒泳池里的画像收拾好所有的物件离开了泳池，在水池子里留下了一顶他的小圆帽。泳池子里什么都没有，土已埋到女人的脖子了，她还在絮叨，对着一片什么都没有的泳池继续说着话，手上的活儿一点也不闲着忙忙叨叨悉悉索索，她身边的两台电风扇轰轰徒劳地继续吹向水面。她不停的说直到再也说不出一个字来。
最后一场男人换了一身衣服从观众席里走出来身上背满了各种行李和包裹像一个经过的旅人。他环绕着泳池行走一圈在帐篷前放下行李，发觉水里有一顶帽子他试图去够到这顶帽子，帽子怎么也捞不上来，男人开始向水吹气，不停的吹气又像是在说话但是没有语言。只是徒劳。
有音乐慢起，是美国哥伦比亚号飞船飞回地球时与地面指挥中心的最后一次通话的录音，声音是呼叫哥伦比亚号，高频呼叫哥伦比亚号，再次呼叫哥伦比亚号。。。
Environmental Theatre Director’s Statement:
The performance in the environment is entirely different from the stage theater. The performance begins in the afternoon.
I thought Beckett in this script was addressing the ultimate loneliness of humankind. Two people, a man and a woman, with the woman buried up to her neck still chattering on, while the man and woman act like strangers. It’s only at the very last moment of the play that it is revealed they are a married couple. It’s an absurd and desperate situation.
I’m fascinated by the relationship between the man and woman. The woman's incessant chattering behind which lies numbness and emptiness. Why doesn’t the man leave? Is he a living dead? What is holding him there? Why is there no conversation anymore? No desire to communicate?
The performance was set in a swimming pool, and I placed the male actor in the water while the female actor was on the shore. Initially, I planned to bury the woman in a large flower pot, but it was impractical. Instead, I put the woman in a small single-person tent. On both sides of her chatterbox tent, I placed two giant electric fans blowing towards the pool as her amplifier. As for the indifferent man, he stood in the pool, surrounded by various plates, forever with his back to the talking woman. In the pool, there was a large portrait of a man's back. He stands in the same cold, indifferent posture, facing away from the woman, never responding. When the wind blows, the large portrait spins, and the back of the painting still shows the same man's back. This back, both front and back, spins with the wind, but what remains unchanged is the eternal back.
At the end of the second act, the man knocks over the portrait in the pool, packs up all the objects, and leaves the pool. In the pool, only his small round hat remains. There’s nothing else. The woman is buried up to her neck in dirt and continues her chatter, speaking to the empty pool. Her hands are never idle, busy with incessant tasks. The two fans beside her continue blowing futilely at the surface of the water. She keeps talking until she can no longer utter a word.
In the final scene, the man changes clothes and walks out from the audience, his body covered with various bags and packages like a traveler passing by. He circles the pool, sets down his luggage in front of the tent, and notices the hat in the water. He tries to reach for it, but no matter how hard he tries, he can’t grab it. The man begins to blow into the water, as though talking, but without any language—only futile attempts.
Slow music starts, playing a recording of the last communication between the U.S. Columbia spacecraft and the ground control during its return to Earth. The voice calls out repeatedly, "Calling Columbia, high-frequency call to Columbia, calling Columbia again..."
场景设计：谷旻雯
Production Designer: GU Minwen
服装设计：刘丹
Costume Designer: LIU Dan
图片由阿那亚戏剧节提供
Photo courtesy of Aranya Theater Festival
去年的树
Last Year's Tree
编剧，导演：谷旻雯
Playwright，Director ： Gu Minwen
《去年的树》在阿那亚演出阐释
《去年的树》 这出戏的剧本创作完全是基于在剧场里演出时的景象。阿那亚戏剧节邀请我在户外来朗读这个剧本实属意外。剧本台词极少，文本几乎全在描述人物的行动及剧场里发出的声音氛围。让两个演员在户外环境用朗读的方式来读这个剧本，其实是一个全新的课题，需要对这种非常规的剧本在自然环境下做全新的诠释或是实验。
全黑的剧场空间不存在了，户外环境无法完成剧场里的幻觉。在自然的场域如何重建造一个新的《去年的树》的秩序？从放入场景里的每一个物件开始。一块40cm见方的黑色冰压在一件白色的工作服上，这是第一个确定的形象也是全剧最核心的视觉形象。黑色的冰在时简中慢慢融化是等待也是对消失的某种映射。随着剧情的发展压在黑冰下皱皱巴巴被墨汁染黑的白色工作服又被挂在衣架上。演员像是升国旗似的把这件衣服升起来，又降下去，这会儿这件衣服就是工厂的大门。工作服的兜里有一个蓝牙音箱，闹铃一响就得干活。上上下下，来来去去，一个疲惫的中年人。这是关于场景的最初构想。
朗读如何表现剧本中丰富萦绕的心理空间呢？除了使用现场已有的音响系统之外，我设置了蓝牙音箱系统。蓝牙音箱放在演员的身上，是可以移动的音源，既可以表现声音的回响也可以表现来自身体内部，内心的不可言说的声音。在第三幕中，鸟在村庄里寻找火柴，每一户人家的表现方式用的是家庭相册，每翻开一页相册就是一个新的家庭，当相册打开 相应的声音就从翻相册的演员身体里发出来。由此来建造一种全新的幻觉。在第二幕的工厂大门一场，把蓝牙音箱放入工作服中，闹钟声响起来，衣服忽而变成了人。我们尝试着用声音拓展着一些新的语言。
演员的表演部分，通常由一人读，另一个表演但表演的内容不一定与朗读的内容重叠，有时是平行发生的。朗读的描述提供文本信息，另一位表演者则用身体表现高度凝炼的行动与行为。朗读的声音即是观众信息的基本来源也是一种节奏或氛围的铺垫。另一位演员作为行动者则需要在朗读的节奏中找到自己的表演节奏，好似自由的即兴布鲁斯。
事实上戏剧总是充满了变化，是实践的艺术。
到了演出现场，场地正好有一棵巨大的树，很美！怎么用呢？我们对好久不见的挚友，有什么样的祝福呢？对我来说，最最盼望的是这个老朋友去了一个好人家。有一个温暖，干净舒适的居所。
那我们就让老友的会面回到最温暖的日常里，我们在树下安排了白色的桌布，在洗碗，切菜声中，没有言语，一切都在温暖的阳光下轻轻摆动。
Staging Interpretation:
Last Year’s Tree at Aranya
The script of Last Year’s Tree was conceived entirely for the sensory landscape of an enclosed theater. The invitation from the Aranya Theatre Festival to present this work as an open-air script reading was unexpected. With minimal dialogue, the text predominantly describes characters’ actions and the auditory atmosphere of the theater. Having two actors read such an unconventional script in an outdoor setting posed a new challenge—demanding a complete reinterpretation or experimentation within the natural environment.
The pitch-black theater space was absent; the outdoor setting could not replicate theatrical illusions. How, then, to reconstruct the essence of Last Year’s Tree within nature? We began with each object placed in the space. The first and central visual motif was a 40cm² block of black ice pressed upon a white work uniform. The slow melting of the black ice became both an act of waiting and a metaphor for disappearance. As the narrative progressed, the ink-stained, crumpled uniform—once trapped beneath the ice—was hung on a clothes rack. An actor hoisted it up and down "like raising a national flag," transforming the garment into a factory gate. A Bluetooth speaker hidden in the uniform’s pocket emitted an alarm—a signal to work. The repetitive lifting and lowering embodied the exhaustion of middle age. This formed the core scenographic concept.
How could a script reading convey the rich, haunting psychological spaces within the text? Beyond the venue’s sound system, we integrated Bluetooth speakers carried by the actors. These mobile sound sources externalized echoes, internal bodily reverberations, and the ineffable voices of the mind. In Act III, as a bird searches the village for matches, each household was represented by a family photo album. Flipping a page revealed a new family, and the corresponding sounds emerged from the speaker carried by the actor handling the album—creating an entirely new layer of illusion. In Act II’s factory gate scene, the alarm ringing from the uniform’s speaker momentarily animated the garment into a human presence. We used sound to expand the language of the piece.
For performance, one actor read while the other executed physical actions—not always directly correlating to the text, but often unfolding in parallel. The narration delivered textual information, while the performer embodied distilled, abstract gestures. The reader’s voice provided both narrative foundation and rhythmic/mood scaffolding. The performing actor had to discover their own rhythm within this vocal landscape, akin to freeform blues improvisation.
Theatre, after all, thrives on adaptation—it is an art of practice.On site, we discovered a magnificent, towering tree. How to use it? What blessings might we offer a long-lost dear friend? For me, the deepest wish is for this old friend to find a warm, clean, and loving home.Thus, we returned the reunion to the warmth of the everyday: beneath the tree, we laid a white tablecloth. Amidst the clatter of dishwashing and vegetable chopping—without words—everything gently swayed in the warm sunlight.
服装设计：刘丹
Costume Designer: LIU Dan
演员：
Performers ：
赵晓璐
ZHAO Xiaolu
陈 瑾
CHEN Jin
图片由阿那亚戏剧节提供
Photo courtesy of Aranya Theater Festival
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