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票品名称:汉诺赫·列文话剧《孩子梦》



 汉诺赫·列文话剧《孩子梦》
 场馆名称: 上汽上海文化广场
 开始时间: 2019-11-08
 结束时间: 2019-11-09
 票    价: 480/580/680
 订票电话: 400-660-8799 021-63459356
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2019-11-08
星期五 19:30
580/680
2019-11-09
星期六 19:30
480/580/680


演出介绍



汉诺赫·列文 《孩子梦》



'The Child Dreams' by Hanoch Levin



关于汉诺赫·列文



“他的剧直击心灵,从内心深处给予我们所需要的一切。”- 《伦敦卫报》



大咖汉诺赫·列文是以色列最受尊崇的剧作家。他作品丰富,但颇有争议。他强大的洞察力和诗意令他的观众着迷同时让他们震撼。列文讲的故事既犀利又诙谐,富有诗意又扣人心弦。他以最明晰,最无情,最幽默,最全面又最深刻的方式来讨论人性的现状。



以色列一整代戏剧观众和艺术家都是看着列文的表演长大。列文一生共写了56部戏:政治讽刺剧,家庭邻里剧以及神话剧。1999年8月,列文去世,享年56岁。一直到生命的末了,在特拉维夫医院的病床上,他仍在为他最新的剧《发牢骚的人》试镜。



About Hanoch Levin -



"His plays open windows into our souls, to draw whatever we need from those deep chambers.



- London Guardian



An icon during his life, Hanoch Levin was Israel's most esteemed
playwright. Prolific and controversial, his work of great psychological
insight and poetry, have both shocked and entranced his audiences.A
gripping story teller, trenchant, witty and poetic, Levin talks about
the human condition in the most lucid, merciless, humorous,
comprehensive and profound way.



A whole generation of Israeli theatre audiences and artists has
grown up on Levin's performances with all their paradoxical
complexities.



In total, Levin wrote 56 plays: political satires, family and
neighbourhood plays, and mythical plays. Levin kept working until the
very end, holding auditions for his newest play, Whiners, from his
hospital bed in Tel Aviv. He died on August of 1999 at the age of 56.



关于《孩子梦》



《孩子梦》写于1986年,并于1993年在以色列国家剧院哈比马首演。它被许多人认为是以色列舞台上最具有诗意的作品之一。该剧初稿题命名为“圣路易斯-死亡之歌”。顾名思义,这是列文基于发生在圣路易斯的真实事件写的一篇历史作品:



1939年5月13日,水晶之夜过后,一艘载有937名德裔犹太难民的船只从汉堡启航到古巴,但他们在哈瓦那被拒绝入境。之后他们又试图在美国和加拿大其他的港口寻求避难,但同样都遭到了拒绝。船只航行回欧洲,他们在几个国家被接受入境,但最终许多人命丧于纳粹的集中营。



《孩子梦》试图从一部历史作品中脱离出来,变得更有诗意,更开放,更梦幻。它讲述了一位母亲和一个孩子因为父亲被部队杀害遭到驱逐,不得不离开故土寻求避难的故事。在浩瀚的海洋上,他们前途未卜。他们可以放弃一切,但他们渴望生命。最后在一座贫瘠的小岛上,他们等待着一切形式的救援。



About The Child Dreams -



Written in 1986 and premiered at Habima – Israel National Theater
on 1993 'The Child Dreams' consider by many to be one of the most
poetic text that had put on the Israeli stage.



The first drafts of the play were titled "The MS St. Louis –
Death Chants" and as the name suggest, Levin initially wrote an historic
text based on the true events of the St. Louis: a vessel that set sail
from Hamburg to Cuba, on May 13, 1939 - with 937 German-Jewish refugees,
following the violence of Kristallnacht. The refugees were denied entry
to Havana. They then attempted to find refuge in other ports but were
denied entry to the United States and Canada. Sailing back to Europe,
the refugees were accepted in several countries, yet ultimately, many
perished in the Nazi concentration camps of WWII.



The finished play drifted away from an attempt to write an historic piece and became much more poetic, open and dreamy text.



The play unfolds the journey of one mother and her child to find
asylum; after an army killed the Father and send them for exile, leaving
their home behind. To the big ocean of the unknown they go, bagging for
a safe shelter at a poor isolated island – willing to give up
everything but life itself. Waiting for redemption in whatever form or
shape it might appear in.



《孩子的梦》简介



该剧分成四个部分:父亲;母亲;孩子;弥赛亚



它多层次地讲述了一个孩子和他母亲逃往遥远又未知的路途的故事。从一开始,父母凝视着怀揣着梦想的孩子,到他们从家园离开,他们被迫沦为难民并不断地寻求避难和一切形式的救赎。



父亲在孩子眼前活生生地被杀之后,母亲和孩子逃离家园并坐上一艘走私船寻找避难所。他们到了一个偏僻贫瘠的岛屿,展示着他们的签证,但却无济于事。他们被拒绝入境并被要求离开港口。他们向岸上的岛长呐喊,为寻求避难做出最后的努力。然而岛长只接受孩子入境却不接受任何人甚至是孩子的母亲。在母亲几次尝试说服孩子留在岸上之后,孩子还是放弃了避难和生活的可能,回到了母亲所在的船上。



在剧本的末了,孩子死了。我们不知道孩子何时或者如何死的。母亲把他安置在亡童岛上。在最后的告别后,一堆亡童正在等待弥赛亚到来将他们复活。当他最终来到时,却完全不是传统的弥赛亚形象,倒像一个串巷的货郎
——一个瑞士手表的销售。看样子他和他的伴侣正在逃离部队和长官的追捕。在他试图用手表贿赂士兵失败后,长官朝他脑袋开了一枪。部队离开了,他们没有带走母亲。死去的孩子们仍坚持着救赎和复活的信念。



Synopsis -



The play is divided to 4 parts: THE FATHER; THE MOTHER; THE CHILD; and THE MESSAIH



And it tells a dream-like, multi-layer story of a small Child and
his Mother, and their escape journey to a distant land, to the unknown.
From the most solid state of a mother and a father gazing at their
dreaming child, they are melting away from their home and warm bed and
forced into the new status of refugees. Looking for shelter and for the
possibility of redemption.



After the father has been murdered in-front of the Child eyes by
the enigmatic character of - 'The Woman Born To Love' – the MOTHER and
the CHILD are fleeing their home and getting on a smuggling boat (only
after the MOTHER agree to have sex with the CAPITAN) on the search for
shelter. They arrive to a remote and poor island. All the passenger are
stretching their hands to show the entrance visas – but with no help.
There entrance is denied and they are asked to leave the port. With last
effort to sick shelter they shout out to the island GOVRANER, who
accept the entrance of the CHILD and no one else – not even the MOTHER.
After attempts of the MOTHER to convince the CHILD to stay in the
island, the CHILD fight his way back to the boat and his mother, and
giving up the possibility for shelter and life. At the last part of the
play, the CHILD is dead. We don’t know when or how. The MOTHER place him
in a metaphysic island of dead children; after their final Farewell and
separation the pile of dead children are waiting for the MESSAYAH to
come and wake them up to life again. When the MESSAYAH finally come he
appears as a kind of a peddler on the run – a swiss watch salesman who
are far from the traditional image of the MESSAYAH. It appears he was
running away from the army and the COMANDER with his chaperon THE WOMAN
BORN TO LOVE. After trying to bribe the soldiers with his watches, the
COMANDER shoot the MESAYAH in the head and kill him. The army leave –
not before they take the MOTHER with him to "balance out the warring
forces."



The dead children are left there still hold on to the belief of
redemption and the promise of resurrection, beside one child - Child Who
Crumbled to Dust – who ask the CHILD to simply, come down.



关于比托拉国家剧院



艺术剧目的创造跟随着家庭剧的发展而发展,然而它们有时候也回过头来参照经典戏剧和现代戏剧。自诞生起,经过74年的创作,比托拉国家剧院已经上演了超过550台演出,接待逾五百万观众。比托拉国家剧院及其在北马其顿共和国的文化建设中持久的杰出贡献有着无可置辩的重要性。在它的成长中,这个耀眼的剧院成功创造出了独特的剧场表达方式和具有无可反驳的审美价值的丰富剧目,为我们国家的剧场事业作出重大贡献。



一直以来,比托拉都是全球戏剧视野中的重要一环,重要的剧目在这里上演,精彩的演出在这里呈现,极富潜力的伟大艺术家在这里创造了许多剧目,获得了国内外的认可和众多奖项。



在过去几年中,比托拉国家剧院的身影出现在世界各地的艺术节和剧院中。其中包括:塞尔维亚、黑山共和国、克罗地亚、阿尔巴尼亚、保加利亚、希腊、斯洛文尼亚、波斯尼亚、黑塞哥维那、中国、亚美尼亚、罗马尼亚、瑞典、英国、美国、加拿大、俄罗斯、澳大利亚。



从剧院建立至今,超过一万两千台演出已在比托拉国家剧院的舞台上演,由多代演员和超过五百万观众参与。这个数字不仅是马其顿文明,也是欧洲文明中浓墨重彩的一笔。近年来,世界范围内的杰出导演在这座剧院留下了超过三十场首演。这些演出不仅代表着多元性和极富创造力的激情,也象征着一个概念——在舞台上复刻的每个瞬间都呼应着我们的生活。除了这些剧目外,剧院也由于年轻一代的剧作家和导演而大放异彩。在某种程度上,为了追寻欧洲乃至世界的当代艺术表现,许多剧目采用诗化的,时髦的,充满现代风格的手法表达极其契合时事的主题,同时采用含有高度艺术性的标准。这对戏剧艺术的发展起着明显的推动作用。



the National Theatre of Bitola -



The creativity of the artistic repertoire is created in such a
way to be followed the development of domestic drama, but very often
there were some come backs to the classic and modern drama. During all
these 74 years existence and work, National Theatre of Bitola has staged
over 550 performances and more than 5. 000. 000 visitors.



The national Theater of Bitola and its long-standing upsurge in
the cultural matrix of Republic of North Macedonia have indisputable
significance. During its growth, this prominent theater, has manage to
create unique theatre expression, rich and varied repertoire with
undeniable esthetic values contributing to the theatre life in our
country.



Bitola has always been an image of a global scene staging
important plays, place for presenting wonderful theatre, strong artistic
potential and majestic artists that have created numerous plays and
received many recognitions and awards in our country and abroad.



In past years National Theatre-Bitola has took place in festivals
and theaters all over the world. In countries such as Serbia,
Montenegro, Croatia, Albania, Bulgaria, Greece,Slovenia, Bosnia and
Herzegovina, China, Armenia, Romania, Germany, Sweden, UK, USA,Canada,
Russia, Australia.



Over twelve thousand plays, from its constitution till present,
have been staged at The National Theatre of Bitola, performed by several
different generations of actors and attend by over five million
spectators statistics that make eternal mark on the Macedonian as well
as European culture scene.



During the years, worldwide eminent directors imprinted their
creative share in over 30 premiers at this theatre. Plays that, apart
from the inspired diversity and creative enthusiasm, stand for the clear
notion that revives every moment on the scene thus corresponding with
our time of existence. Despite those plays, the theatre scene is marked
by the number of playwrights and directors from the young generation.



To
that extent, in the search for the European and world contemporary
expression, many plays follow, with extremely ongoing topics, poetic and
stylish goals, contemporarily engaged and methodical dramatic writing
with a contribution to the highly artistic standards of the dramatic art
that is still in progress and visible.

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