整套卡斯班底个个戏精，当代王尔德斯蒂芬·弗雷饰演骚断腿的老管家，有着浮世绘中女子般鬓发和白颈的红娘使女，一群歌艺俱佳的龙套……炫技式的噱头笑料提醒你伦家才是真正的国民编剧。爱情如来时，就连最英式的端庄典丽都会走光跑汽……套用在爱情片里跌打滚爬了一辈子的莎翁金句就是：Journeys end in lovers meeting（漂泊止于爱人相遇）。
科罗拉多大学有个著名的莎翁戏剧节（Colorado Shakespeare Festival），是世界最大型的莎翁艺术节之一，无锡老乡杨世彭（Daniel S. P. Yang）先生执导过莎翁戏剧节十余年。也是有所耳闻所以来听听看科罗拉多大学的这门Coursera课科普一下。第一次看Shakespeare’s Globe（2013）的《第十二夜》舞台剧，刚开始没get到笑点，后半场开始就发现非常有戏份~这门课是文艺评论研讨课，确实拎出了许多点是我第一遍看没有get到的（笑点），摘录一段我喜欢的鉴赏（见文末）。另一项收获是在读Act 3 Scene 2时的看到课程作业里介绍了一个很强大有用的网页批注工具：via.hypothes.is，可以粘贴任意网站如Wikipedia或斯坦福哲学百科或莎士比亚在线剧集，然后个性化点评，还能看到书友曾经的批注，宛如隐藏弹幕！一开始还嫌这作业真麻烦，用过就很享受social annotation的体验了。
摘录一段我挺喜欢的文艺鉴赏
摘自Coursera课程：William Shakespeare's Twelfth Night: Comedy, Conflict, and Community
In Twelfth Night, the clash of value systems leads the partiers to strike back against Malvolio’s attempt to discipline them. Their answer to Malvolio’s critique is a practical joke. What is a practical joke? If you think about it, practical jokes are complex phenomena. Pranks can produce many different kinds of effects. In the case of Maria, Sir Toby, Feste and Fabian’s practical joke on Malvolio, the point of the prank is to punish him through public humiliation.
The practical joke Maria designs is brilliant for its simplicity and for its ability to solicit Malvolio’s interest and interpretation. Knowing that Malvolio spends part of his day walking in the garden, practicing speeches and rehearsing behavior, Maria forges and drops in the garden path a love letter that appears to be from Olivia inviting an unnamed lover to demonstrate his affection. The letter includes just enough clues to open the door for Malvolio to interpret that he is in fact the object of her love. And in so doing it encourages his dreams of status advancement. The famous lines from the letter—“Some are born great, some achieve greatness, and some have greatness thrust upon ‘em” (2.5.136-38)—play into and reinforce Malvolio’s fantasies of becoming “Count Malvolio.”
Thus Malvolio is convinced to follow the commands outlined in the letter—to smile, to embrace his superiority to others in the household, and to wear his cross-gartered yellow stockings. The hilarious scene that follows (act three, scene four) shows Malvolio believing that he is achieving his dreams by acting in precisely the fashion described by the letter. Maria, Sir Toby and the rest see a “gull,” which is an archaic term that forms a source of the contemporary English word “gullible”; to call someone a gull is to identify them as easily tricked, as someone who could handily be made a fool. Olivia, by contrast sees her valued steward acting in alarming ways, someone who is ill and who needs to be nursed back to health.
In retrospect, asking Sir Toby to oversee the care of Malvolio, as Olivia does, doesn’t make a lot of sense. Why would Olivia believe that Sir Toby is capable of handling any responsibility at all? Perhaps it is a sign of her own distraction. Nevertheless, the choice provides an opportunity to keep the practical joke on Malvolio going, and to intensify its cruelty. When Malvolio confronts Sir Toby and his crew in act two, scene three, discussed in the faculty roundtable, he asks: “My masters, are you mad?” (2.3.81). As if responding to Malvolio’s question, Sir Toby treats Malvolio as someone suffering from madness, administering a regimen of sensory deprivation and confinement as a cure for mental disturbance. On the pretense of caring for the steward, Sir Toby tortures Malvolio by locking him in a dark room and restricting his access to anyone in the world who could help him.
Relevant to Toby’s “treatment” of Malvolio is a fact noted numerous times thus far, the status of Malvolio as “a kind of Puritan” (2.3.130). The description links Malvolio to growing religious controversy in the period and informs his punishment. In the following video, Dr. Rachael Simonetta provides insight into the religious contexts of this scene and into how religion figures prominently in the gulling of Malvolio.
一个晚上刷了两遍的《Twelfth Night》
Mark Rylance的反串加上Stephen Fry的“闷骚”管家，简直完美。
许多错乱巧合，“大团圆”式结局，这部莎翁的喜剧很值得回味！
不禁联想到15年David Suchet反串的《The Importance of Being Earnest》。
就剧本相似之处而言，王尔德也玩着“文字游戏”，台词里夹杂着对社会人生的种种感叹与嘲讽。同样的反串，两位老戏骨将自己的戏份发挥地淋漓尽致。Mark Rylance居然把少女陷入爱情的错乱害羞感演得比前几年的新版还要真实，David Suchet在王尔德的喜剧里，则把夫人的尊贵傲娇展现得头头是道。
看来男演员的反串不仅是带来了视觉上的新鲜感，演员如果把握到位的话，竟然还能更加突出角色性格，毕竟这反差感是强烈的。
最近的快乐源泉就是重温老戏骨们的舞台剧！
久闻莎士比亚戏剧盛名，可是由于我对戏剧一直没有什么兴趣，所以在看《第十二夜》之前，我看过唯一和莎士比亚沾边的作品是电影版的《罗密欧与朱丽叶》，但是现在留存记忆里的也只有少男少女清秀的脸庞和罗密欧冗长的独白。
在我心里，在历史书中占有一席之地的莎士比亚戏剧一直都是刻板难懂的大部头，和刻在泥板上的楔形文字一样沉闷，也许是充满了生活哲理和人生道理的，但绝无可能很有趣。所以当老师在课堂上播放《第十二夜》时，我并没有抱着太大的期望自己能喜欢上。可是当它一开演，其中跌宕起伏的剧情，峰回路转的情节就让我不由自主地陷入到了剧情中，感受到了莎士比亚艺术的魅力。
戏剧名字《第十二夜》是暗指基督教徒庆祝主显节前的那个夜晚，为传统狂欢的时候，由此可见它的名字就已经暗示了这是一部略带疯狂的色彩的喜剧。剧中剧情结构，戏剧冲突，角色身份的设置都十分巧妙，虽然故事显然是狗血爱情故事设定，但是莎士比亚的写作语言是如此优美，一个个桥段设置的是如此巧妙，让我不由自主就着剧本继续看了下去。
虽然《第十二夜》讲的是跨越性别与阶级的爱与巧合，然而其实剧中真正想要跨越阶级的人物结局都没有获得幸福。最后故事结局虽然是皆大欢喜的：几个主角解除了误会幸福快乐地生活在了一起，但归根结底其实是大家都回归到了正常的社会秩序：贵族和贵族结合，男人和女人结合。奥利维亚和塞巴斯蒂安结合，维奥拉和奥西诺结合。而罔顾规矩妄想跨越阶级的马孚里奥成了大家的笑料。剧中马孚里奥收到的伪造信里的那一句
像是机智的玛利亚写出了马孚里奥的内心独白，在讽刺他的白日做梦。
我很喜欢《第十二夜》中刻画的几位女性形象：奥利维亚，维奥拉和玛丽亚。她们三个人都显示出了出奇的勇气和机智，特别是维奥拉，她虽为女儿身却有胆有识，聪明机智，即使曾经是贵为上层社会小姐，但是在遭遇海难生还后为了生存还是毫不犹豫地女扮男装当了男仆，在去送口信被为难的时候也能应答如流，甚至赢得了奥利维亚的芳心。另外，维奥拉的演员虽然是男性，但是在处理维奥拉的身份伪装时非常自然，好像就是一个女扮男装的人，特别是在和奥西诺谈话的一分娇羞以及在被人骗去决斗的时候的害怕和瑟缩，让人拍手称快。而维奥拉虽然是贵族少女，却丝毫不畏惧地展示自己的爱恋，大胆热情地让我咂舌。而且剧中很多笑点其实都是维奥拉带来的，因为她总是出于热情似火的爱做出和她身份不相匹配的事情。比如为了让心上的“男子”意识到她的爱恋粗鲁地用口水润滑摘下戒指叫人送给他，为了让心上人不离开甚至甩落自己的鞋大喊大叫，看到有人要伤害心上人立刻扛起武器来保护他还莽撞地亲吻了他，她像是一只飞蛾，义无反顾地扑向爱的火光。至于玛丽亚，她在开场托比爵士调戏，侮辱她时，她总能机智地讽刺回去，而后面的那封伪造信更是直接证明了她的才智。她在说出计划时那种自信而张扬的魅力真是让人折服，难怪托比老爷在听到他的计策后忘情地吻了她。这三位女性角色都敢于冲破封建主义和等级观念，显示出了她们身上一定的人文主义思想，是文艺复兴的明显标志。
虽然我很敬佩莎翁的剧情安排和文笔，可是我还是对结尾的大团圆中奥利维亚那么快就接受了双胞胎的设定感到不合常理，毕竟她一直喜欢的都是优雅温柔有些阴柔的西萨里奥而不是有些莽撞但是充满男子气概的塞巴斯蒂安。她那么快接受事实难道是因为她喜欢的只是西萨里奥英俊的脸庞吗？查阅资料时我看到另一版演出，也就是英国皇家剧院版本中，奥利维亚听到真相的反应是无奈尴尬地点头，不知所措，在接受事实后，她依然没有丝毫喜悦地与塞巴斯蒂安坐在一旁[1]，我觉得这才是奥利维亚应该有的反应呀。
总而言之，《第十二夜》是一个结合了爱、困惑、错误的身份的大团圆爱情故事，有着“恋人总会在旅程的终点相遇”的美好结局，虽然有一点逻辑上的不合理但也无伤大雅。另外作为文艺复兴时期的作品，它充满了人文主义气息。私以为作为一部喜剧，能让观众们开怀大笑就是它最大的成功，而《第十二夜》毫无疑问做到了！
附上全剧最喜欢的一些台词：
Globe Theatre复古的剧场分明是个戏台子，水红色的大理石廊柱打光后秒变肉池酒林，加上莎士比亚时代老派的现场弹拨歌咏和全男班的演出形式，把这出喜剧的酒色财气烹煮得红油热火、地气冲天。
《敦刻尔克》中的老船长马克·里朗斯出演娇羞的奥利维亚，凭着一张面瘫白脸和自带滑轨、稳得像舰的步态，创造了一个很难被超越的喜剧经典角色。谁也看不出复排之初，里朗斯失去了女儿，为压抑生活中的悲剧影响到舞台上的表演险些让他情绪崩溃……
整套卡斯班底个个戏精，当代王尔德斯蒂芬·弗雷饰演骚断腿的老管家，有着浮世绘中女子般鬓发和白颈的红娘使女，一群歌艺俱佳的龙套……炫技式的噱头笑料提醒你伦家才是真正的国民编剧。爱情如来时，就连最英式的端庄典丽都会走光跑汽……套用在爱情片里跌打滚爬了一辈子的莎翁金句就是：Journeys end in lovers meeting（漂泊止于爱人相遇）。
Globe Theatre 的这种制作，总让我觉得清冷遥远，因为完全是为现场而设。没有 National Theatre那种舞台的技术支持和剧作本身的别致的设计，只有忧伤的文艺复兴音乐和传统舞台，对于不在现场而是看视频的人来说总是不够友好。如果能被触动，大概很大程度上依赖演员本身的魅力和观者的脑补。
上一次被打动，大概是As you like it。连细节都记不太清楚，但是那种心动的感觉仍然鲜活。
这次的Twelfth Night，完全超出预期。一场放映能够带来的兴奋莫过于此。
Mark Rylance 从体态、表情和语调都很细腻，除了出彩的喜剧效果以外，这个少女角色完美地令人信服。
有一处印象深刻的片段。Orsino和 Viola 一同听Feste 唱“Come away death”时候，一起坐在长凳上，Orsino 几次亲密的动作，虽然引人发笑，却又真实地在心里漾起涟漪。
外面风很大，剧场非常冷，中场排队买了杯非常寡淡的咖啡暖手，当下半场已经开始，我听到 fanfare 的召唤，给了我迟到的缓冲时间。再次感到这种演出属于现场，台上明确告诉观众“我们在表演”。
一部喜剧看到眼泪汪汪，在演员谢幕起舞时候心情不能平静，实在是值得记下，而这只是一场放映。
看完电影再配合课程食用一下~
科罗拉多大学有个著名的莎翁戏剧节（Colorado Shakespeare Festival），是世界最大型的莎翁艺术节之一，无锡老乡杨世彭（Daniel S. P. Yang）先生执导过莎翁戏剧节十余年。也是有所耳闻所以来听听看科罗拉多大学的这门Coursera课科普一下。第一次看Shakespeare’s Globe（2013）的《第十二夜》舞台剧，刚开始没get到笑点，后半场开始就发现非常有戏份~这门课是文艺评论研讨课，确实拎出了许多点是我第一遍看没有get到的（笑点），摘录一段我喜欢的鉴赏（见文末）。另一项收获是在读Act 3 Scene 2时的看到课程作业里介绍了一个很强大有用的网页批注工具：via.hypothes.is，可以粘贴任意网站如Wikipedia或斯坦福哲学百科或莎士比亚在线剧集，然后个性化点评，还能看到书友曾经的批注，宛如隐藏弹幕！一开始还嫌这作业真麻烦，用过就很享受social annotation的体验了。
摘录一段我挺喜欢的文艺鉴赏
摘自Coursera课程：William Shakespeare's Twelfth Night: Comedy, Conflict, and Community
by University of Colorado Boulder
https://www.coursera.org/learn/shakespeare-twelfth-night-comedy-community-applied/
Lecture 3.7 Notes:
In Twelfth Night, the clash of value systems leads the partiers to strike back against Malvolio’s attempt to discipline them. Their answer to Malvolio’s critique is a practical joke. What is a practical joke? If you think about it, practical jokes are complex phenomena. Pranks can produce many different kinds of effects. In the case of Maria, Sir Toby, Feste and Fabian’s practical joke on Malvolio, the point of the prank is to punish him through public humiliation.
The practical joke Maria designs is brilliant for its simplicity and for its ability to solicit Malvolio’s interest and interpretation. Knowing that Malvolio spends part of his day walking in the garden, practicing speeches and rehearsing behavior, Maria forges and drops in the garden path a love letter that appears to be from Olivia inviting an unnamed lover to demonstrate his affection. The letter includes just enough clues to open the door for Malvolio to interpret that he is in fact the object of her love. And in so doing it encourages his dreams of status advancement. The famous lines from the letter—“Some are born great, some achieve greatness, and some have greatness thrust upon ‘em” (2.5.136-38)—play into and reinforce Malvolio’s fantasies of becoming “Count Malvolio.”
Thus Malvolio is convinced to follow the commands outlined in the letter—to smile, to embrace his superiority to others in the household, and to wear his cross-gartered yellow stockings. The hilarious scene that follows (act three, scene four) shows Malvolio believing that he is achieving his dreams by acting in precisely the fashion described by the letter. Maria, Sir Toby and the rest see a “gull,” which is an archaic term that forms a source of the contemporary English word “gullible”; to call someone a gull is to identify them as easily tricked, as someone who could handily be made a fool. Olivia, by contrast sees her valued steward acting in alarming ways, someone who is ill and who needs to be nursed back to health.
In retrospect, asking Sir Toby to oversee the care of Malvolio, as Olivia does, doesn’t make a lot of sense. Why would Olivia believe that Sir Toby is capable of handling any responsibility at all? Perhaps it is a sign of her own distraction. Nevertheless, the choice provides an opportunity to keep the practical joke on Malvolio going, and to intensify its cruelty. When Malvolio confronts Sir Toby and his crew in act two, scene three, discussed in the faculty roundtable, he asks: “My masters, are you mad?” (2.3.81). As if responding to Malvolio’s question, Sir Toby treats Malvolio as someone suffering from madness, administering a regimen of sensory deprivation and confinement as a cure for mental disturbance. On the pretense of caring for the steward, Sir Toby tortures Malvolio by locking him in a dark room and restricting his access to anyone in the world who could help him.
Relevant to Toby’s “treatment” of Malvolio is a fact noted numerous times thus far, the status of Malvolio as “a kind of Puritan” (2.3.130). The description links Malvolio to growing religious controversy in the period and informs his punishment. In the following video, Dr. Rachael Simonetta provides insight into the religious contexts of this scene and into how religion figures prominently in the gulling of Malvolio.