一齣讓人震撼又感動的戲！
王安祈、蔡欣欣、紀蔚然、卓明、萬芳、鴻鴻等名家讚賞推薦
聯合報評選2009年十大「錯過可惜」表演節目
兩代之間五款深情，大膽前衛卻又通俗動人；
顛鸞倒鳳、笑淚交織，無論你愛的是什麼性別，都要為之揪心動容！
語不驚人死不休的明末清初前衛怪才李漁，三百五十年前寫了部奇觀著作；
編導周慧玲巧編妙排，顛鸞倒鳳性別反串，延伸演繹這一段奇情真愛的十七世紀同志之戀。看似秀才追名士，也像才子戀佳人，母子是父子，姊弟偽夫妻。劇中人雖僅歷二十餘載歲月，周慧玲卻將時代場景跳格於民國元年「南風」盛行的閩中，及保守壓抑的五O年代台灣；在跨時代、跨地域的特殊氛圍中，陳述這跨越性別的戀人之愛、超越血緣的天倫之情。
劇情簡介
1912（民國元年）至1915，南風盛行的閩中
「南風」（男風）盛行的閩中地區，秀才名士許季芳育有一子，妻則因產澇亡故。季芳後與美少男尤瑞郎相戀，尤父要求重金下聘，以解家困。季芳於是變賣家產，聘娶瑞郎回家，並共盡孝道，奉養尤父終老。瑞郎感念季芳情義，自宮以表堅貞，兩人誓守終生。好景不常，正當許尤沈浸在愛情之際，季芳舊愛--同時也曾追求瑞郎的南風者陳大龍，因妒構陷季芳「私養閹童、擅立內監，圖謀不軌」。季芳被拘捕至法庭公審，法官忌南風，反欲酷刑罰瑞郎，眾南風者圍觀，爭睹瑞郎美色。季芳勇救瑞郎，卻經不起棒刑而死，臨終向瑞郎託孤，並囑遷走他鄉，遠離南風者。
1959至1964，保守壓抑的台灣
改名瑞娘的瑞郎，與喜著男裝的表姊肖江，如父如母合力撫養季芳遺孤承先長大成人。瑞娘為避免悲劇重演，極力防止承先與男性友人交往，甚至效法孟母三遷。但承先終究愛上昔日仇人陳大龍的侄子，幾番轉折，瑞娘終於接受這個事實，認可了這第二代的戀情，而承先也終於清楚了母親隱藏多年的身世。瑞娘亦母亦父，獨立扶養承先為人中龍鳳，經校長薦舉，瑞娘獲頒模範母親。
製作/演出：創作社劇團
製作人：李慧娜
編劇/導演：周慧玲
主演：徐堰鈴、徐華謙、李易修、吳維緯、劉守曜、竺定誼、楊一嶙
原著：清．李漁(笠翁)《無聲戲》之六〈男孟母教合三遷〉
題字：董陽孜
舞台設計：王孟超
燈光設計：黃諾行
音樂設計：陳建騏
服裝造型設計：謝介人
南管歌曲度曲/演唱：李易修
影片導演：李國豪
影片剪接：藍志明
關於創作社
【創作社】成立於1997年5月，是由一群包括台灣資深劇場編導、戲劇學者、藝術行政及媒體工作者所組成。有鑑於現代劇場與社會文化脈動息息相關，【創作社】強調劇場原創精神，致力原創劇本，探索新的劇場美學風格，嘗試不同的創作組合方式以激發創造力。
劇團作品精彩的體現了台灣現代劇場的多元美學創意。《夜夜夜麻》陳述四名成長於頹廢不安的七零年代中年男子的退化人生、《驚異派對－夜夜夜麻2》及《倒數計時-夜夜夜麻完結篇》犀利批判及深度呈現台灣近十年來社會現象、《Kiki漫遊世界》挑戰大小劇場美學藩籬、《天亮以前我要你》為探索性別與國族認同的先鋒之作、《無可奉告》將媒體世紀的空言泛語轉換為語言美學經典、《記憶相簿》創造疾病與身體記憶的後現代劇場美學、《瘋狂場景-莎士比亞悲劇簡餐》尖銳再現大師對人性的特殊癖好、《幾米「地下鐵」一個音樂的旅程》成功接合流行元素與詩文化、《Click，寶貝ㄦ》跨界舞台與影像以探索後媒體世紀的荒戀畸愛、《嬉戲》瘋狂玩弄後民主時代的台灣社會百態、《影癡謀殺》逼視好萊塢對人類想像力的全面殖民等、《不三不四到台灣》探觸生死，投射台灣社會凝滯的歷史低潮與文化迷途。《R.Z.》演譯法國當代劇作家戈爾德思（Bernard-Marie Koltes）經典劇作探究創新的劇場形式和美學。《少年金釵男孟母》演繹自古即存的同志議題，在顛鸞倒鳳的性別扮演中，交疊鋪陳一段超越性別和血緣的人世真情。《愛錯亂》則是一齣挑動愛慾錯亂、書寫都會人寂寞心靈的荒謬喜劇。
近年得獎與特別贊助包括：《嬉戲》於2005年獲第三屆台新藝術獎年度首獎；《驚異派對》被譽為2003年最好的戲劇演出，並於次年入選第二屆台新藝術獎年度十大作品，2006年應邀參加台北北京「兩岸城市藝術節」於北京演出。《倒數計時》、《影癡謀殺》和《驚異派對》則分別入選國家文藝基金會「表演藝術 追求卓越」及「精華再現」特別甄選專案；《幾米「地下鐵」》受邀於澳門、新加坡演出；《不三不四到台灣》參加北京「2007亞洲城市青年戲劇節」，及上海「2007亞洲當代戲劇季」演出。《R.Z.》獲邀於台北2008兩廳院國際劇場藝術節演出。
英文訊息
He is my Wife, He is my Mother
(Performed in Chinese with English subtitles)
Produced and Presented by: Creative Society Theatre Company
Producer: Huei-na Lee
Written and Directed by: Katherine Hui-ling Chou
Cast: Yen-ling Hsu Hua-chien Hsu Yi-hsiu Lee Wei-wei Wu Shou-yuo Liu
Ting-yi Chu Alan Yang
Original work: Li Yu (Liweng), Silent Operas, Chapter Six: “A Male Mencius’s Mother Educates His Son and Moves House Three Times,” Qing Dynasty.
Calligraphy: Tong Yang-Tze
Stage Design by: Austin Wang
Lighting Design by: Nuo-hsing Huang
Costume Design by: Jerry C.J. Hsieh
Original Music by : Chien-chi Chen.
Nanguan Vocal and Coordinator: Yi-hsiu Lee
Video Director: Kuo-hao Li
Video Editor: Ji-Ming Lan
The Story
Prologue
Part One: Fair Beauty, Fairy Bond
1.Nanfeng Tree, Fujian Love
2.Flamboyant Fairies, Enchanting Youth
3.Proposal, Betrothal, Consummation
4.Emasculation, Accusation, Reincarnation
Part Two: Male Mother, Genuine Love
1.House Moving, Home-Phobia
2.Virtuous Mother, Unremitting Love
The story begins with the romance between Xu Jifang and You Ruilang in middle Fujian where Nanfeng fashion (homosexual love affair) is commonly practiced; time: 1912, the first year of the Chinese Republic. Jifang, the last selected xiucai from Qing Dynasty has a son and wife, who died from birth giving. Jifang falls in love with the beautiful youth, Ruilang, and puts himself in poverty for the betrothal gifts demanded by Ruilang’s poor and needy father. Jifang also serves Ruilang’s father and mourns his death due to his deep affection for Ruilang. Determined to remain true and loyal to Jifang, Ruilang castrates himself in order to repay Jifang’s passion and favor.
Jifang and Ruilang’s sweet love is deprived at the height of their passion. Due to his jealousy, Chen Dalong, Jifang’s previous partner plots against him and has him arrested for interrogation. Dalong accuses Jifang of “performing castration in his own household, having eunuch serve him, and intending to plot revolt against the nation.” The judge punishes Ruilang instead due to his contempt against Nanfeng. As Ruilang undergoes the punishment of caning, people who are into the fashion surround him in order to examine his dainty flesh. In order to protect Ruilang, Jifang dies from the punishment. He leaves Ruilang with his dying words, urging Ruilang to take care of his only son, leave their hometown and stay away from Nanfeng.
The tension engendered by generation gap and personal/family history outlines the second part of the story. Situated in Taiwan from 1959 to 1964, Part Two is unfolded with Ruilang and Xiaojiang’s (Ruilang’s cousin who is always in men’s wear) unconventional relationship and their unconditional devotion to each other. Ruilang, who changes his name to Ruiniang raises Chengxian (Jifang’s only son) with Xiaojiang. In order to protect Chengxian from the disaster caused by Nanfeng, Ruiniang even follows the model of Mencius’s mother of house-moving , endeavoring to forbid Chengxian becoming intimate with male friends. Despite Ruiniang’s efforts, Chengxian still falls in love with Chen Dalong’s nephew, Chen Nianzu. Ruiniang finally accepts their relationship in the course of time. Ruiniang plays the roles of both father and mother; such virtue is further confirmed by Chengxian’s graduating at the top of his class. Ruiniang receives the Model Mother Award because of Principal Zheng’s (Zheng One) recommendation. |
