WEEKLY

KALEIDOSCOPE OF DESIRE
慾無境止

慾望是與生俱來的東西。從嬰兒誕生的一刻,便開始渴求食物和安全感,而成年人更會受形形色色的慾望所纏繞。縱使想避而不談,慾望仍切實地植根於我們的思想中。今年8月24至29日,經典美國劇目《慾望街車》將於新光戲院大劇場載譽上演,葉童、陳志雲、王喜等著名演員會引領大家踏上一列慾望街車,體會現實的殘酷與無奈。

《慾望街車》的原劇作者為田納西.威廉斯,後來於1951年由伊力.卡山拍成電影,並勇奪多個奧斯卡獎項。它赤裸裸地刻畫了人性的慾望,把世俗的情態描繪得淋漓盡致,被譽為美國最優秀的劇作之一。故事講述一位女性白蘭菁生於貴族,卻因家道中落、丈夫自殺而要投奔妹妹史黛拉。白蘭菁穿着一身白衣,優雅地乘搭一列叫「慾望號」的街車,邁向充滿希望的北方。然而,她遇到無禮粗俗的妹夫史丹利。他非常討厭白蘭菁,於是開始追查她不為人知的過去,更告之準備與她結婚的米契。白蘭菁陷入絕望之際,悲劇繼續接二連三地發生,令她最終被送進瘋人院。

此劇滲透了大量西方哲學色彩,讓觀眾思考女性主義及存在主義等思想。劇中兩位女性皆以男性為生活的重心,即使受盡言語、肉身的欺凌,仍臣服於男性的掌權下,就像西蒙波娃提出的「第二性」,意指女人相對於男人而言是從屬的、被支配的。男性是自我(self),而女性則是他者(other)。白蘭菁窮其一生,保持純潔高雅的形象,避免強光的照射,與陌生男人發生關係,彷彿為了築起一個堡壘,隱藏真實的自我。存在主義先驅沙特提出「存在先於本質」,說明人的存在本屬自由,卻受某些規範而束縛了自己,因而造成「自欺」(bad faith)。白蘭菁為逃避現實,否認種種不幸,把自己困在幻想的世界裏。她用謊言粉飾謊言,又借助不同的行為來建構虛假的自己。由袁立勳執導的《慾望街車》又會如何呈現箇中的意涵?就讓我們翹首以待吧。

是次舞台劇的海報由棋人香港的創作總監Aramis設計,他特意選用交錯的車軌分隔五位演員,象徵一個個慾望之間的碰撞,最終會趨向滅亡。他更選擇了貼近路牌字型的字款,有助突出「慾望街車」的主題。此外,他亦採用深沉的顏色營造「災難性」的氣氛。一張精心設計的海報,足以帶出撲朔迷離的感覺,令人急不及待欣賞當晚的精彩演出。

撰文:王以珞
美術:王曉澄

Like a leopard can’t change its spots, we as human are all innately born with desires. Since we were babies, we have already started to seek for food and the feeling of security. And as we become adults, we are always bounded by different desires. Even if we want to evade this issue, the desires have been deeply rooted in our souls. “A Streetcar Named Desire”, a classic American play, will be performed in Sunbeam Theatre from 24th to 29th August, where Cecilia Yip, Stephen Chan, Wong He and other famous actors will lead us to a streetcar named “Desire” to feel the sad and cruel reality of society.

“A Streetcar Named Desire” was originally written by an American playwright called Tennessee William. In 1951, Elia Kazan made it into a film which won a number of Oscar awards. Bestowed one of the best American plays, it vividly portrayed the desires of human as well as the treachery and fickleness of human beings. The story was about a woman called Blanche, who arrived at her sister Stella's home because of the loss of her family's reputation and the suicide of her husband. Wearing a prim white suit, Blanche took a streetcar named “Desire” and moved towards the North, hoping for a brand new start. However, she met her brother-in-law, Stanley, who was very rude to her. Stanley hated Blanche so much that he disclosed all her secrets of the past to Mitch, a man who wanted to marry her. When Blanche became desperate, mishaps kept happening one after another, which led her to be sent to a mental institution.

This play is embedded with many philosophical concepts, allowing us to think about theories such as feminism and existentialism. In the play, both of the women put men as the center of their life even if they were bullied by men. As suggested by Simone de Beauvoir in her book “The Second Sex”, women are submissive and subordinate to men. Men are the “self” while women are the “other”. Blanche spent her lifetime to maintain a pure and elegant image. She avoided strong light, had sexual relationships with different men, just to hide her authentic self. Sartre, the pioneer of existentialism, suggests “existence precedes essence”, indicating that everyone has his or her free will. If people deceive themselves into the thinking that they do not have the freedom to make choices for fear of the potential consequences, it is called “bad faith”. Blanche escaped from the reality, denied all the bad lucks, and trapped herself in the fantasy world. She used lies to hide another lies, and remained in the cage of inauthentic self. How would the new version of “A Streetcar Named Desire” directed by Yuen Lup-fun display all these messages? Let us wait and see!

The poster of “A Streetcar Named Desire” was designed by Aramis Yeung, the creative director of Chessman HK. He used rail tracks to separate the five protagonists to symbolize the clash of desires, which would eventually lead to a destruction. He hand-picked a special typeface, which looks like the fonts on the road signs, to emphasize the essence of the play—streetcar. In addition, he chose a rather dark color as the main color of the poster to create a catastrophic atmosphere. This well-designed poster brings out a sense of mystery that makes us cannot afford to wait long for the play.

Text: Elok Wong
Art: Agnes Wong

ISSUE #198

KALEIDOSCOPE OF DESIRE

 

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