意大利戏剧大师皮普·德尔邦诺作品《喜悦》 2023上海·静安现代戏剧谷剧目展演时间、地点、门票价格
1、时间：2023.05.05-05.07
2、地点：云峰剧院
3、门票价格：100、200、300、400、500、600
意大利戏剧大师皮普·德尔邦诺作品《喜悦》 2023上海·静安现代戏剧谷剧目展演详情
意大利戏剧大师皮普·德尔邦诺作品《喜悦》 2023上海·静安现代戏剧谷剧目展演
【剧情简介】
皮普·德尔邦诺的这部作品是一场寻找“快乐”旅程——因为波波的离世，来自皮普·德尔邦诺剧团的杰出演员们将带着不同的心情继续演绎这一作品。自从1995年他们在阿弗尔萨（意大利那不勒斯）的精神病院相遇以来，波波一直是德尔邦诺忠实的舞台伙伴。二十多年来，在他们共同完成的所有戏剧、歌剧、电影作品中，他是德尔邦诺剧团的主要表演者，也是其艺术的诗意象征。在这场寻找 “欢乐”的旅程中，波波的存在与缺席在舞台内外依旧深刻影响着这部作品。
这部关于“快乐”戏剧意在寻找一种独特的环境；跨越极端情绪的河流——愤怒、幸福、痛苦、热情——并试图最后捕捉（见证）快乐爆发的瞬间。皮普·德尔邦诺和剧团演员们并没有局限于图像、声音或导演手法，而是凭借炙热的直觉，尝试令每晚的演出都试图靠近那种不受约束的兴奋。
那就请小丑、马戏团与他们的舞蹈都上台吧！一段萨满巫师的记忆：他在疯狂中解放灵魂。探戈的和弦忧郁深沉、房中的哭喊自地上出现，令人窒息；然后是相互追逐的影像，他们不断形成、变形、然后交替出现和消失；接着过百艘的小纸船航行、散落的彩色碎布就像电影《我们的海洋》中的波涛：「我们的海洋父亲，他们不在天堂里」，这是小说家艾里·德鲁卡的世俗祈祷；最后是皮普与花艺师帝埃雷·博添美联手打造的花艺设计，绚烂而盛放。
皮普·德尔邦诺的演员逐一走上舞台，牵着观众的手，他们成为彼此的旅伴，一同走上寻觅快乐的旅途。个人的故事、面具与伪装、滑稽与粗鲁、记忆与怀想……都是人们在追寻快乐过程中不断流动的画面。
每一个夜晚，准备好接受惊喜，跟着皮普·德尔邦诺剧团，走向永不停息的追求快乐的旅途吧。
This work by Pippo Delbono becomes a new journey towards “joy” which keeps on with his extraordinary group of performers with a renewed mood concerning the void left by Bobò passing by. Bobò has been Delbono’s faithful stage companion since they met in 1995 in the psychiatric hospital in Aversa (Naples, Italy). He has been Delbono’s main performer for over twenty years as well as the poetic icon of Delbono’s art in all the theatre, opera, film works they did together. Bobò will be still a strong presence/absence in and out of the stage in this journey toward a “joy’s hymn”.
To stage a piece on joy is a search for that singular circumstance, it’s crossing rivers of extreme sentiment -- angst, happiness, pain, enthusiasm -- to try and capture [witness] at last, in the instant, the explosion of joy. Rather than freezing into images, sounds, or stage directions, Pippo Delbono and the actors of his Company try to push one step further each night in the direction of that unbound exaltation, this scorching intuition.
So bring in the clowns, the circus and its dance. And here’s the memory of a shaman who through madness sets souls free. Here’s tango’s melancholy chords, and stifled cries from the floor of the house. Here’s a bounty of visions chasing one another, forming and morphing and fading one into the next: hundreds of little paper boats; colored rags, strewn as waves of that Mare Nostro,“Our Father Sea who art not in Heaven” of Erri De Luca’s secular prayer; up until the finale, the floral explosion that Pippo created with Thiérry Boutémy, the Norman “fleuriste” who lives in Bruxelles and works worldwide. Delbono’s actors go up on stage, one by one. Taking the audience by hand, each in his way, they make of each one a travel companion, a part of this endless search. Personal stories, masks, clowneries, memories, all fleeting images of people [humans] reaching for joy.
Each night, ready for surprise, to the rhythm of this company, on the path of this never-ending quest for joy.
【导演简介】
皮普•德尔邦诺，1959年生于瓦拉泽，意大利作家，演员和导演。他入行时接受传统戏剧的训练，后在丹麦经严格的肢体与声音的训练，学习东方戏剧理论。之后，他受皮娜•鲍什之邀去德国工作。1980年代初，他成立了皮普•德尔邦诺剧团，在那里创作了他绝大部分的作品，从1987年的《暗杀时节》到2018年的《喜悦》。他并不仅仅执导戏剧作品，而是与剧团成员一起进行各类创作。近年来，剧团成员的数量也在持续增长中。
Pippo Delbono, author, actor, and director, was born in Varazze in 1959. He begins training in traditional theatre, then, in Denmark, he studies the principles of oriental theatre, through a rigorous work on body and voice. Later, in Germany, he's invited by Pina Bausch to follow her work. At the beginning of the 80's he founds the Compagnia Pippo Delbono, creating most of his works with them, from Il Tempo degli Assassini (1987) to La Gioia (2018). He does not stage plays but, rather, total creations, devised with a stable group of actors whose number has grown through the years.
【导演的话】
我选择以“喜悦”作为剧作名称，因为“喜悦是一个让我害怕的词语。它让我联想到快乐的家庭照、快乐的小孩和令人快乐的景色......但他们都已经离去，他们都是假的。我曾被列夫·托尔斯泰的小说《伊凡·伊里奇之死》深深触动，主角是一个将死之人，在生命的最后几天，接纳了自己的存在，甚至包括生命中最痛苦的时刻。这是我创作的开始。但之后在探索快乐的过程中，我又走上了不同的道路。
《喜悦》是我与同行了二十多年的剧团的最后一个里程碑。剧团经过与演员和舞者的多次会面而诞生，但更重要的是因为与不同的人的会面而诞生。
在众人之中，我首先想到了波波，他在精神病院居住了长达四十四年，聋哑而文盲的他成为了我的创作、电影与歌剧的主演。2014年9月，我在巴黎安东尼·加尔伯特红屋举办的作品展“我的母亲及其他人”，正是献给波波的。他是一个真正彻底改变了戏剧语言的人，他与众不同，全然改变了我的戏剧作品，以及对待生活和戏剧的态度。
此剧的制作正是这个故事的核心。
剧中，波波的声音及他的回忆为马戏团注入灵魂和一种纯真。正如我在演出中提到，他带来了剧作深层的秘密。除了波波，还有患唐氏综合症，从少年起就开始与我共事二十多年的贾尼路卡。
其他一些剧团成员是我在世界各地的街头遇到的人：来自我的国家的演员、来自遥远国家的演员、无家可归者、难民。他们每个人都体现了一个个人的故事，通过他们的存在、他们的现场体验、他们的身体、他们的语言，与观众分享一种非常具体的表演艺术。
我把《喜悦》也称作“通向快乐的路途”，这场表演中我们走过了苦痛，勇往直前，为找寻快乐不断奋斗。
在我的剧场中，我常常向观众指引这条通向快乐的路。不仅通过语言，也通过身体动作和舞蹈指引他们寻找快乐。
“快乐并非结果、事实、物件或地点。快乐孕育时空，开解它，创造虚空。想保存快乐，你要的是契约，不是瓶子；你要宣布，快乐是你的人生路。”
在这部制作的创作过程中，我想要回归自己过去的美学设定。那时资金有限，因此剧场设计只有基本场景，更像一个空荡荡的空间。
这个空间一步步由简单的元素建构起来，让人犹如置身不同场景，如同季节变换一样。有一次，我告诉贾尼路卡：痛苦会过去的，悲伤会过去的，然后快乐会回来。
在这部作品中，你可以了解我们剧团的故事，我们相遇的过程，我可以说这是一个关于彼此相遇的故事。但反复出现的主题也可以是“疯狂”：我个人、以及我们这个时代的疯狂。黑暗、阴森的风景与黑洞构成了当今的疯狂，可即便在这样的处境中，我依然想要大喊：“给我光明！给我更多光明吧！”
I have chosen to give this title to my new theatre production “Joy” – a word which scares me, which reminds me of some joyful family pictures, of joyful children, of joyful landscapes. All of them are dead, all of them are fake. I was very impressed by “The death of Ivan Ilyich” by Leo Tolstoy: in this novella the main character, in the last days of his life, reconciles with his whole existence
including the saddest moments of his life with a new gaze full of peace and sweetness. But later the creative process of “Joy” moved towards different paths.
“Joy” is the last landmark of a path I have been going through for over twenty years with my theatre Company. This Company of mine was born through meetings with actors, with dancers but primarily with people. Coming from different places of life.
Above all I’m thinking of Bobò, recently passed away, who lived for over forty-four years in a psychiatric asylum. Deafmute, illiterate. He became the main actor of my theatre works, of my films of my opera productions. To him I dedicated a large retrospective of my work which was exhibited at Centre Pompidou in Paris in October 2018. I am talking about a man who has actually completely transformed the language of theatre. His being different has strongly changed my work and attitude towards theatre and life itself.
This theatre production is the heart of this story.
In this production Bobò brings the circus’ soul and that specific innocence. He brings, as I say in the performance, the deep secret of Theatre. And then, there are the other ones. There is Nelson, that I met in the streets of Naples. There is Gianluca, the Down syndrome boy who has been working two decades with me since when he was a boy.
Some other Company members are people I met in the streets of a lifelong journey around the world: actors from my country, actors from far away countries, homeless, refugees. Each of them embodying a personal story to tell, with a very specific performing art to share with the audience through their presence, their experience of live, their bodies, their words.
This “Joy” or, as I call it “A Path Towards Joy”, is a performance which walks through pain, proceeding and fighting in search of that jAs it always happens in my theatre productions, I tell the audience about this path.
Through words, but also through dance, through the body.
“Joy is no result, no fact, no thing, no place.
Joy engenders space, it loosens, it makes a void.
To preserve joy, you don’t need a jar, you need a pact.
You have to decide that joy is the path of your life.”
In the creative process of this latest production, I wanted to go back to a set aesthetic which is more similar to my previous theatre productions where the set was poor, more essential, more similar to an empty space.
This space is covered step by step with simple elements which lead us to different places, as if they were the season of a time passing by. It is so that, at one point, I tell Gianluca which embodies in that moment the circus’ poetic sign: pain will go by, sadness will go by and joy will come back again.
In this production you can find the whole story of my company. The meeting with them. I could say: it is about meeting each other.
But the prevalent topic could also be “going through madness”. My madness, our madness in our times. But, in today’s madness, made of darkness, black sceneries, black holes, I still want to shout: more light, give me more light.
【主创人员】
概念及导演：皮普·德尔邦诺
演员: 多莉·艾伯丁，贾尼路卡·白莱里，玛格丽特·克莱门特，皮普·德尔邦诺，伊拉利亚·迪斯坦特，马里奥·英楚丽奥，尼尔森·拉里西亚，贾尼·派伦特，比比·罗伯度，拉兹亚·斯贝尼拿，波波（声音出演）
花艺设计：帝埃雷·博添美
音乐：皮普·德尔邦诺，安东·巴塔利亚，妮可拉·托斯卡诺及其他艺术家
灯光设计：奥兰多·博洛尼斯
服装：艾琳娜·贾姆鲍里
灯光技术：奥兰多·博洛尼斯
音响：朱利奥·安托尼
布景及道具：恩里科·祖切利
制作及巡演经理：亚力山德娜·维兰特
创作统筹：西维亚·卡萨拿里
统筹：大卫·马提尼
巡演经理：里卡多·波菲多
技术经理：法比奥·莎捷兹
鸣谢：恩里克·巴尼奥利，让·米歇尔·里贝斯，阿莱西亚·吉多博尼（花艺设计帝埃雷·博添美助理），列日剧院提供服装
制作: 艾米利亚·罗马涅戏剧基金会
联合制作：比利时列日剧院，法国莫伯日演艺剧场
剧照：卢卡·德尔·皮亚
英文字幕：斯特凡诺·吉兹
Conceived and Directed by: Pippo Delbono
Performers: Dolly Albertin，Gianluca Ballarè，Margherita Clemente，Pippo Delbono，Ilaria Distante，Mario Intruglio，Nelson Lariccia，Gianni Parenti，Pepe Robledo，Grazia Spinella，Bobò 's Voice
Floreal composition: Thierry Boutemy
Music: Pippo Delbono, Antoine Bataille, Nicola Toscano and Various Artists
Light designer:Orlando Bolognesi
Costumes:Elena Giampaoli
Light technician:Orlando Bolognesi
Sound:Giulio Antognini
Set and Props: Enrico Zucchelli
Production and Touring Manager: Alessandra Vinanti
Organization during the creative process:Silvia Cassanelli
Organization:Davide Martini
Tour Manager:Riccardo Porfido
Technical Manager:Fabio Sajiz
Special thanks: Enrico Bagnoli, Jean Michel Ribes, Thierry Boutemy’s assistant Alessia Guidoboni, Théâtre de Liège for the costumes
Production:Emilia Romagna Teatro ERT – Teatro Nazionale (Italy)
Co-production:Théâtre de Liège, Le Manège Maubeuge – Scène Nationale
Photos:Luca Del Pia
English version:Stefano Guizzi
意大利戏剧大师皮普·德尔邦诺作品《喜悦》 2023上海·静安现代戏剧谷剧目展演观演指南
入场时间：请于演出前约30分钟入场
演出时长：最低时长：80分钟
场馆地址：上海市静安区北京西路1700号
