工作坊：印象派主義之於表演者的運用--角色塑造的多重面向
Impressionism for Actors – a multi-dimensional approach to characterization
簡介：
想詮釋安東‧契訶夫的劇本，表演方式得要有新意，要更真實生動，表現出互相矛盾之處，著重心理層面，但同時也呈現出荒謬性。托爾斯泰認為，契訶夫的劇本裡那些看起來隨性的點狀物（…）像是印象派的技法—如果你站在一段距離之外來看，它們「更栩栩如生」。有人則認為，契訶夫的刪節號「…」就像是點描派畫家在紙上的點點創作。
對於契訶夫的劇本，梅羅使用了音樂裡的迴旋曲式；他把演員視為畫家，把動作與情緒當作色彩來溝通角色特質，如同印象派技法般不留沉思的空間，除避免了契訶夫所厭惡的憂鬱氣息，也定義了四個表演區塊：演出、狀態、情緒、質地。這也開創了當代表演方式：引人注目、難以捉摸、活力十足，不是主觀就是客觀，沒有模糊地帶，不論在私底下、舞台或螢幕上看來，皆是如此。
工作坊目標：
-主要影像表演
-新自然主義表現
-角色塑造技巧
-劇本寫作技巧
Anton Chekhov’s plays required a new approach to acting that was at once more real, more vivid, contradictory, psychological and yet absurd. Tolstoy referred to his seeming arbitrary dots on his canvas as the technique of the impressionists – looked at from a distance it is “more lifelike”. Others have referred to his ellipses (‘ … ‘) as dotting the page like a pointillist.
Mellor’s method involves using the musical Rondo form; and thinking of the actor as a painter, and of actions and emotions as colours to be used in communicating character. An impressionistic technique avoids the ‘brown studies’ and the melancholy/autumnal washes that Chekhov so abhorred, and defines the four acting areas: ‘acting’, ‘states’, ‘emotions’, and ‘qualities’. The technique creates modern acting that is arresting, wayward, dynamic, alternatively objective and subjective, and equally at home on stage or screen.
Outcomes include:
- Vital screen acting
- Refreshed naturalism
- Characterization techniques
- Playwriting techniques
講師簡介：
奧伯瑞‧梅勒先生／澳洲傑出貢獻勳章得主
Mr. Aubrey Mellor OAM
卓越的劇場導演，曾擔任過澳洲四大重要劇場的藝術總監，並以其經典劇作（主要為莎士比亞、契訶夫、貝克特等人作品）與幾十年來協力製作、製作、導演、出版新的當代劇作，聞名於世。同時，他也是眾多澳洲得獎演員的表演老師，並與許多藝術學校有各種合作關係—包括擔任澳洲國立戲劇藝術學院院長（NIDA）、新加坡拉薩爾藝術學院之表演藝術學院校長。他先前曾任職墨爾本戲盒麥舍劇場藝術總監，致力於協助製作澳洲頂尖劇作的演出，並且是新澳洲寫作運動的主力推手。被馬戲團帶大的梅勒，受訓成為舞者、視覺藝術家與音樂家，他於1969年畢業於澳洲國立戲劇藝術學院，主修戲劇製作，曾執導過電影、音樂劇、歌劇，與上百齣戲劇，作品遍及全澳洲，同時製作協力澳洲與亞洲主要的藝術季。
Leading theatre director, Mellor has been the Artistic Director of four major theatre companies in Australia and is famous for his productions of Classics (mainly Shakespeare, Chekhov, Brecht) and of contemporary plays (commissioning, producing, directing and publishing new work over several decades). He is also acting teacher to generations of award-winning Australian actors and has worked with many theatre schools in different capacities – including being Director of the National Institute of Dramatic Art (NIDA) and Dean of Performing Arts at LASALLE. He was previously Artistic Director of Melbourne’s Playbox Malthouse commissioning and premiering plays by Australia’s leading playwrights - and is a leading proponent of new Australian writing. Brought up in Variety and Circus, trained as a dancer, visual artist and musician, graduated from NIDA Production Course in 1969, he has directed film, musicals, operas and in hundreds of productions in all states of Australia and produced work for most major Arts Festivals in Australia and Asia.
