第二届乌镇戏剧节剧目之女性独角特选——《人声》

11月8日- 9日乌镇大剧院多功能厅

荷兰语演出（附中文和英文字幕）

阿姆斯特丹剧团（荷兰）

编剧：让·谷多可

导演：伊凡·范·霍夫

独角演出⊙海琳娜·瑞吉

Nov. 8 – 9  Studio Theatre of the Grand Theatre

Performed in Dutch, with Chinese and English Surtitles

Toneelgroep Amsterdam (The Netherlands)

Playwright: Jean Cocteau

Director: Ivo van Hove

Solo performance by Halina Reijn

“伊凡·范·霍夫是一位剧场守旧派非常喜爱去恨的一个导演（之后又会爱他，然后又会气自己的行为）。

他在纽约这些年不断地把经典剧（《愤世人》、《海达高布乐》）身上的老油漆摧毁掉。但看到他在他的家乡，用他自己的演员，开演一部新戏，让我们看到我们有多么可以像荷兰人学习的地方。”（双关语：分账之意）

—— Time Out New York

“伊凡·范·霍夫的作品大大地启发了观众对经典文本和电影的理解。他的作品极为特殊、生野、令人惊讶、震惊，甚至狂笑——一切我们希望剧场能成为的样子——而他永远不会避讳丑陋或粗俗的事物。简而言之，大大地令人眼睛一亮。”

——凯特·布兰切特

“The director theatre purists love to hate (and then love, and then get steamed about again), Ivo van Hove has been blistering the paint off the classics (The Misanthrope, Hedda Gabler) in New York for years. But seeing him at work with his hometown company in the tour of Opening Night showed us just how much we have yet to gain from going Dutch.”

---Time Out New York

“Ivo van Hove's work has been groundbreaking in opening up audiences' understanding of classic texts and films. His work is unique, raw, shocking, surprising, hilarious – everything you want theatre to be – and he doesn't shy away from the ugly or the profane. In a word, stunning, with a capital ‘S’.'”

---Cate Blanchett

关于《人声》

欧洲最受瞩目的剧团之一所带来强力的女性独角戏是由荷兰两位最著名的剧场工作者所创作的。

一名女子最后一次拨通了前任男友的电话。就在前不久，她的前任男友结束了这段恋情。她试图保持通话，却只是徒劳。起初，她的情绪异常地激烈，无法接受这样的现实，随之而来的却是绝望和自我毁灭。随着剧情的展开，他们的过往以及这名女子已被抛弃的现实逐一展现在观众面前。

这部独角戏中的女人——“她”，由Halina Reijn（ 海琳娜·瑞吉）扮演。在导演伊凡·范·霍夫看来，海琳娜·瑞吉是该剧主演的不二人选，因为她能生动地演绎出这名女子多变而又复杂的情感。她正在追赶那些杰出的前辈们的脚步，如西蒙·西涅莱、英格丽·褒曼、丽芙·乌曼。

About La Voix Humaine

One of the Europe’s most acclaimed theatre groups brings to the Festival a powerful one woman play directed and performed by two of Holland's most prominent theatre makers.

A woman calls her ex-lover one last time. He ended the relationship not long ago. The woman tries in vain to keep him on the line – at first fiercely and in denial, but then more despairingly and self-destructively. As the play unfolds, a picture is created of their past relationship, and the audience realizes that the lover left her for someone else.

In Halina Reijn, director Ivo van Hove has found the ideal actress for bringing to life the complex emotions in this one-woman show. Reijn is an artist beyond compare, able to elegantly portray an intricate tapestry of ever-changing emotions. She follows in the footsteps of some distinguished predecessors, among them Simone Signoret, Ingrid Bergman, and Liv Ullmann.

编剧：让·谷多可

导演：伊凡·范·霍夫

主演：海琳娜·瑞吉

翻译：海琳娜·瑞吉、彼得·范·卡拉吉

舞台设计、灯光：Jan Versweyveld

戏剧指导：彼得·范·卡拉吉

Playwright: Jean Cocteau

Director: Ivo van Hove

Performer: Halina Reijn

Translation: Halina Reijn, Peter van Kraaij

Set and Lighting Design: Jan Versweyveld

Dramaturgy: Peter van Kraaij

关于阿姆斯特丹剧团

阿姆斯特丹剧团（Toneelgroep Amsterdam，简称TA）是荷兰首要戏剧团队，也是阿姆斯特丹市正式市立戏剧团队。该团平均每年演出五部新戏，超过350场的演出，十一万观众人数。该团曾被邀请到各个国际戏剧节，如鲁尔三年展、维也纳戏剧节、爱丁堡戏剧节、阿维尼翁戏剧节，也在美国、俄罗斯和澳大利亚做演出。TA是荷兰最大的现代剧团队，由伊凡·范·霍夫所带领。自从2001年，在他的指导之下，TA成为一个带着国际魅力的都市剧团。他创造了一系列的绚丽演出，并吸引有才华的导演从荷兰以及其他国家到剧团来导戏。现在剧团的核心团员有22位精彩的演员，也让过去所有演出的戏能够不断更新演出。

TA于1987年成立，是首都阿姆斯特丹两个剧团的合并，Gerardjan Rijnders是当时的艺术领导，决定把实验剧场从边缘带到中心来，把先锋戏剧放到荷兰国家最主要的剧场：阿姆斯特丹国家剧院。继承他的伊凡·范·霍夫持续在这一方面努力，跟着设计师Jan Versweyveld一起，他们打破大剧场的限制，需要的话也随时跳出镜框。他们认为，剧场是表演者和观众之间的距离，应当自然取消的地方，并且重新定义戏和真实之间的关系。

TA的制作包括经典剧场的重新诠释、新剧的演出以及跨领域的演出，包含与音乐家、设计师和舞蹈家的合作。TA经常和其他团队合作，比如NTGent和Toneelhuis，创造出丰盛的艺术交流。除了伊凡·范·霍夫的作品之外，TA经常邀请各国的导演前来客座，包括Thomas Ostermeier,，Grzegorz Jarzyna，Johan Simons， Luk Perceval，Krzysztof Warlikowski and Christoph Marthaler，这些享有国际盛名的导演们共同相信在一个社会之中，剧场是关键的，并且需要比以前更多元多种。他们共同关怀的是，在这不断变化的社会里，人的位置在哪里。

About Toneelgroep Amsterdam

Toneelgroep Amsterdam is Holland's prime theatre company and the official municipal theatre company of Amsterdam. With an annual average of five new plays and over 350 performances, the company plays to audiences of 110,000 each year. Toneelgroep Amsterdam has been invited by international festivals such as RuhrTriennale, Wiener Festwochen, the Edinburgh Festival and Festival d'Avignon, and performs in the United States, Russia and Australia. TA is the largest theatre company in the Netherlands and is led by director Ivo van Hove, who since 2001 has paved the way for an urban company with international allure by creating a series of sensational shows and by attracting different directors from the Netherlands, as well as from other countries. The core of the company consists of 22 quality actors, making it possible to keep shows in their repertoire.

TA was founded in 1987. It is a merger between two companies from the capital city; the Publiekstheater and Toneelgroep Centrum. Gerardjan Rijnders, who was the artistic leader at that time, was the first to remove experimental theatre from the margins and place avant-garde on the country's primary stage: Stadsschouwburg Amsterdam. His successor Ivo van Hove continues along this line. Together with designer Jan Versweyveld, he breaks through the restrictions of the large theatre, and steps out of the frame if the performance calls for it. The playhouse as a location where the natural distance between actor and audience is removed and the relationship between fiction and reality is defined in a new way.

TA produces reinterpretations of classic repertoire, new texts and crossovers with music, design and dance. By frequently teaming up with other companies, such as NTGent and Toneelhuis, artistic cross connections are created. Apart from Ivo van Hove, TA also works with prominent guest directors from various countries, such as Thomas Ostermeier, Grzegorz Jarzyna, Johan Simons, Luk Perceval, Krzysztof Warlikowski and Christoph Marthaler. What connects these new and internationally renowned directors is their belief that theatre is essential within a society that is more disparate and diverse than ever. They all share a concern about the place of man in this continually changing society.

伊凡·范·霍夫

剧场导演伊凡·范·霍夫（Ivo van Hove）在荷兰/比利时文化生活中具有重要的地位。从1990—2000年，他是Eindhoven剧场的总监，从2001年开始成为阿姆斯特丹剧团的总监。

他经常在纽约剧场工作坊客座导演。其他的客座演出包括在德国汉堡、柏林和慕尼黑。他也在博莱美歌剧院导过歌剧，包括完整的瓦格纳指环系列。在布鲁塞尔，他导演了莫扎特的Idomeneo，在阿姆斯特丹也做了Janaceck Macropulous Case 。2014年他在Teatro Real导演了《断背山》歌剧的世界首演。而他享誉国际的另一个理由之一，是因为从1997—2004年，他是荷兰艺术节的主要节目规划者。得奖作品众多，包括为TA导演的莎士比亚的《罗马剧》和《驯悍记》，《天使在美国》等。

伊凡·范·霍夫的导演作品有非常广泛的多元性。他选择当代作品，也选择经典文学作品。他重新诠释这些作品，透过自己时代的镜子，因此而成为解构剧场经典的专家。评论者永远无法批评他盲目的重新搬演这些文本，他反而会用文本的结构，来选择极度的场景，运用各种不同媒体，或者让演员大胆的开放自己。他寻找的是一种“赤裸灵魂”的表演方式，我们可以说他将每一部作品转化成为人类行为的实验室。选择要搬演的作品时，他总是会寻找充满冲突和计谋的场景，他特别热爱“执着到底”的角色。他专注在他们的伤痕和疮疤上：他希望要打到痛处。我们可以说，伊凡·范·霍夫是一位直觉性但有准确的数学家，研究着我们最深本能和表面态度及礼节之间的平衡。

Jan Versweyveld的舞美设计提供伊凡·范·霍夫所需的空间来探讨他角色的内在风景。这样的舞美正适合他所谓的超伦理的做法。伊凡·范·霍夫对他的角色不下评论，用同样细心的方式呈现他们善与恶的特质，这些特质都放大到最强盛的地步。同时，舞美布景准确的对于我们现代文明下评论。我们住在一个个人主义的、自恋而异态的社会，伊凡·范·霍夫和Jan Versweyveld让我们看到这个社会的机械化，但同时也让我们清楚，我们无法单独活着。我们必须寻找另外一种集体性，剧场中就是能够找到，能够实验这个东西，因为，根据伊凡·范·霍夫的看法，剧场是一个要庆祝非理性的地方，也是一个要问问题的地方。无恐惧，无拘束。

Ivo van Hove

Theatre director Ivo van Hove has held central positions in Dutch-Belgian cultural life, first as the head of Het Zuidelijk Toneel in Eindhoven from 1990 to 2000 and from 2001 as general director of the Toneelgroep Amsterdam.

Along with his frequent guest directing at the New York Theatre Workshop, Van Hove has directed companies from the Deutsches Schauspielhaus in Hamburg, the Schaubuehne in Berlin and the Münchner Kammerspiele. He also staged opera at the Flemish Opera ( Alban Berg’s Lulu and the complete Ring Cycle by Wagner). At La Monnaie in Brussels he directed Idomeneo by Mozart and in Amsterdam Janaceck’s Macropulous Case. In 2014 he staged the world premiere of the opera Brokeback Mountain at Teatro Real. One can track back his world-class reputation to his leadership of the annual Holland Festival, at which he programmed international theatre, music, opera and dance from 1997 to 2004.

Awarded repertoire of the Toneelgroep Amsterdam includes Shakespeare's Roman Tragedies and The Taming of the Shrew, Tony Kushner's Angels in America, Ingmar Bergman's Scenes from a Marriage and John Cassavetes' Husbands and Opening Night. Van Hove has received many accolades, including two Obie Awards for off-Broadway productions in New York (for More Stately Mansions and Hedda Gabler), the Flanders Oeuvre Prize (1995), the Theatre Festival Prize (1996) and the Archangel Award at the Edinburgh Festival (1999). He was made a knight of the Ordre des Arts et des Lettres in France in 2004. In 2007 he received the prize awarded by Dutch theatre critics. In 2008, he also received the Prosceniumprijs, the Dutch oeuvre prize, together with Jan Versweyveld, his stage designer for many years and in 2012 the Amsterdam Business Oeuvre Award. In 2014 Van Hove received an honorary doctorate for general merit of the University of Antwerp.

The repertoire of Van Hove is characterized by its great diversity. He chooses both contemporary and classic texts. Van Hove re-examines repertoire through the prism of our own time and by doing so became a specialist in dismantling theatre classics. He can never be accused of slavish reproduction. Rather he uses the structure of the text in order to either choose extreme sceneries - in which different media play an important role, or to make actors dare to take extraordinary liberties, in which he strives for a naked-soul acting. In fact you can say that he transforms every play into a laboratory of human behavior. While choosing his repertoire he looks for arenas chock-full of conflicts and strategies, and he loves characters that live their obsession to the end. He focuses on their wounds and scars: he wants to hit where it hurts. Van Hove is an intuitive and accurate mathematician, researching the everlasting balancing act between our basest instincts and our more superficial manners and attitudes.

The scenery of Jan Versweyveld offers Van Hove the space needed for exploring the interior landscapes of the characters and needed for -what you may call- his a-moral approach. Van Hove doesn’t judge his characters and presents their good and bad qualities with the same amount of attention; in their full potency. At the same time the scenery articulates a vision on our contemporary culture. We live in an individualistic, self- absorbed and liquid society. Van Hove and Versweyveld show the mechanisms of this society but also make clear that we can’t live in isolation. A different notion of collectivity has to be found and theatre is the ultimate place to experiment with this, since according to Van Hove, it is both a place to celebrate the irrational and a place to ask questions. Without fears and without restraint.

海琳娜·瑞吉Halina Reijn 

海琳娜·瑞吉生于1975年，从2003年就成为阿姆斯特丹剧团的成员。她曾参加过《海达·加布勒》、《太阳之子》、《安东尼奥尼计划》、《俄罗斯人！》、《驯悍记》、《悲悼》（2003年获Theo d’Or奖提名）和《丹顿之死》（约翰·西蒙斯导演）。

2014/2015年，瑞吉将主演伊凡·范·霍夫的玛丽·斯图亚特首演，以及他导演的《源头》和《诺拉》（Theo d’Or奖，2013）的重演。瑞吉同时也环游世界，展现她的个人表演《人声》，今年将第一次到中国演出。

在2003年之前，海琳娜·瑞吉是De Trust剧团的团员，演出许多作品，包括《哈姆雷特》和《购物与做爱》（1998年哥伦比纳奖）。她经常主演电影，如《晚饭俱乐部》、《伊莎贝尔》、《赢赢》、《黑皮书》、《女武神》，也主演电视电视剧《治疗中》。她在2010年出版了第二本著作：《海琳娜：装作我是别人》。目前，海琳娜·瑞吉还在撰写两部电影剧本：《小丰腴公主》（根据她的小说改编）及《玛拉》。

Halina Reijn

Halina Reijn (born 1975) has been a member of Toneelgroep Amsterdam since 2003. She appeared in Hedda Gabler, Children of the Sun, Antonioni Project, The Russians!, The Taming of the Shrew, Mourning becomes Electra (nomination Theo d’Or 2003) and Danton's Death (director Johan Simons).

In 2014/15 Halina Reijn will appear in the premier of Mary Stuart (director Ivo van Hove) and the revivals of and The Fountainhead (director Ivo van Hove) and Nora (Theo d’Or 2013). She travels around the world with her solo performance La voix humaine and will be playing it for the first time in China.

Until 2003, Reijn was a member of De Trust, where she performed in plays including Hamlet and Shopping and fucking (Colombina Award 1998). She regularly appears in films, such as De eetclub [The dinner club], Isabelle, Win/Win, Zwartboek [Black Book] and Valkyrie, and in the television series In therapie [In therapy]. In 2010 her second book was published: Halina: Doen alsof ik iemand anders ben [Halina: Acting like I am someone else]. Reijn is also working on two films scripts: Prinsesje Nooitgenoeg [Little Princess Plentiful] (after her novel) and Mara.