大家在台詞中都使用了國、英語，某一組還使用了台語、國語和英語，正是我們日常生活中多元語境的真實反映，效果也非常活潑。
以後大家在不同的劇中，亦可自然地加入原住民語、越南、泰國、印尼及菲律賓等語言，讓孩童對這些語言透過戲劇產生親切感、接受度和模仿力。
Both Chinese and English were used in dialogues; one group used Taiwanese as well. This was a true reflection of the multiple-context language environment and the effect was wonderful. In the future, we can also weave in Taiwan aboriginal, Vietnamese, Thai, Indonesian, and Filipino languages, so children can easily accept and learn these languages through theatre activities.
戲劇呈現 評語
甘特寓言核心教師工作坊 汪其楣教授
Comments and suggestions on theatre presentation
By Professor Wang Chi-Mei
各組戲劇呈現都很用心，並都設法把寓言和相關的意涵忠實的傳達，也有很多別出心裁的表現，令主講人、主持人及辛苦多時的工作人員都很欣喜，大家記得全場笑得多開心。
Each group worked very hard on the presentation, not only conveying the content and meaning of the fables truthfully, but also giving quite remarkable performances. Your efforts and sincerity made this workshop a very rewarding and exciting experience. Mr. Gunter Pauli – our speaker, Mr. Michael H.C. Tseng – our host, and all the hardworking members of the coordinating team were all very pleased. I am sure you remember how they laughed happily with us.
視覺的服裝道具方面，以常用的美術紙繪製、剪貼成各類花、鳥、魚、蟲、蘑菇、牛頭、蘋果樹等等。都很令人驚喜，而且為舞台畫面增加了趣味和效果。
Visually speaking, it was smart to use easy accessed materials to highlight characters in the book. Colorful paper flowers, fishes, insects, mushrooms, cow heads, apple trees, etc. all gave surprising effects and interesting stage pictures.
服裝也在有限的研習營時空中「恰如其分」的穿著來代表角色。（特別在此指出，孩子的演劇活動就該如此，不必另外花錢製作戲服及裝飾，但可把日常服裝加以利用和變化，節儉、環保也更具巧思。）
Under limited workshop time and conditions, costumes were also used properly from what’s available to represent the characters. I’d like to point out here that the theatre for and by children should be just like this: not to spend extra money on costumes and accessories but to make best use of what’s available at hand in the environment. This can be more ecological and more creative.
聲音和台詞方面，在短短二十四小時內完成排練和演出，使用了「雙簧」，或「旁白」，或「掌中小抄」，或「Chorus」（合唱隊或幫腔組）的方式，都是集體互相配合的聰明技巧。
In terms of dialogues, to complete the rehearsal and performance in about 24 hours, your teamwork techniques, such as “double act”, “voiceover narration”, “small note in hand”, and “chorus” made all performance flow smoothly.
我曾提醒各位，發聲體（說話人）常引起注視，故發聲體不要再做太多動作分散扮演人的焦點。而站在舞台中間的角色，最好在別人配音的時候，動嘴巴，有說話的表情和感覺，才讓觀眾能明確的看出是這個角色在說話（千萬不要閉著嘴，站在那兒晃來晃去）。
In situations like these, I’ve reminded you that since the “voice maker” (the narrator) attracts attentions, he or she should avoid too many movements that may distract audience from focusing on the actor (the pantomimist). Also, the actor should move lips and give gestures and facial expressions as if he or she is speaking. Standing on the stage with mouth shut, or moving around purposelessly is not advisable.
有時畫面較寬，舞台較窄的時候，旁白或配音者甚至可以面對著台上對嘴，背對觀眾講話，只要聲音可以讓觀眾聽得見（小場地傳音沒問題，大場地可用麥克風），觀眾的眼睛還是會去找台上那個動作明確「就像在說話」的人。
When your full picture is wide but the stage is narrow, the narrator can even make sounds with his back to the audience. As the audience wouldn’t see the face of the narrator but hear his voice only, they will focus on the person who “seem to talk” on the stage. (In classroom situation, that is very okay. For big space, you may use microphones.)
各位所編的台詞都來自生活，十分可取。但上了台之後的「即興」添加，插科打諢，最好不要太多；戲劇貴在整體效果，不要讓其他的人捏把冷汗，或配合困難，也不要自己開心，讓劇情或節奏失了準頭。
It’s great that your spoken words all came from life experiences, but free improvisation on stage should be limited. A play is a team work and the overall effect is the key. Don’t let your partners feel nervous or find it difficult to cope with you. Don’t just have fun and take away the pleasure from the audience, or even ruin the play.
有些段落因為熟悉，也討好（如：美容院），就要適加剪裁。點到為止，反而討俏，避免拖太久，忽略了主題。
Some paragraphs are easy to impress because they are familiar to the audience like the beauty salon scene. However, you should wrap up in proper length so that would not over-shine the theme.
每一組幾乎都使用音樂和歌聲，將熟悉的歌曲更改成寓言中關鍵詞句，很容易引起共鳴。未來有時間與學生共同編演戲劇，可在這方面做更多的嘗試，甚至可以創作新的曲調，讓歌曲和音樂強化共同的感受。
Almost all groups used music and songs in the performance. The shared emotion arose easily by incorporating familiar songs to major dialogues in the fable. When working with students in the future, you can make more attempts like these. Or you can even compose new songs together, to intensify the shared experience by music and songs.
但是，並不是所有的劇情都要歡樂喧鬧，有一組是很文靜，很柔和的開場，也很吸引人。同理，兒童劇的口白，不一定都要模仿小孩子講話（除非那個角色正好是小孩）。角色各有性格、年紀、意態、情緒，大家可盡量揣摩角色心情，態度和感受，真誠把話說出來，情緒的感染力更強，更能打動人。
However, it is not necessary for all plays to be loud or funny. One group had a quiet and gentle opening which was immediately attractive. Also, it is not always good to imitate kid’s tone in children’s theatre, unless the character is a kid. Characters have their own ages, attitudes and feelings. It is more impressive and touching if performers try the best to understand the thoughts of the characters and deliver the lines sincerely.
大家在台詞中都使用了國、英語，某一組還使用了台語、國語和英語，正是我們日常生活中多元語境的真實反映，效果也非常活潑。
以後大家在不同的劇中，亦可自然地加入原住民語、越南、泰國、印尼及菲律賓等語言，讓孩童對這些語言透過戲劇產生親切感、接受度和模仿力。
Both Chinese and English were used in dialogues; one group used Taiwanese as well. This was a true reflection of the multiple-context language environment and the effect was wonderful. In the future, we can also weave in Taiwan aboriginal, Vietnamese, Thai, Indonesian, and Filipino languages, so children can easily accept and learn these languages through theatre activities.
動作當然是吸引人的，但說話的手勢也未必要那麼多，更不要那麼制式（說到什麼比劃什麼，實無必要，肢體動作太多太亂，並無助於欣賞。）
Movements attract attention for sure, but it is not necessary to have so many gestures when we are talking. Most importantly, we should avoid locking gestures with the talking – giving certain gesture for certain words is not necessary at all. Too many body movements would interrupt audience from enjoying or understanding the play.
動作的細節若能別出心裁的表演出來，常令人十分難忘，如「吃腳趾上的……」、「清皮膚上的……」、「刷牙齒上的……」、「啃葉子……」等等，又如「大便舞」、「游來游去的魚」、「飛舞的風」、「飛上、落下的蘋果」、「款款擺動的海浪」，都值得細心傳達感染給觀眾。
But, if details of movement can be expressed with more design and creation, it could be extremely impressive. For examples,“ eating on the toe”, “ cleaning from the skin”, “brushing from the teeth”, “ chewing the leaves”, or “ poo-poo dance”, ”swimming fishes”, “dancing wind”, “apples dropping down and flying up”, “ sea waves”, are all worth more trying and acting.
而平素就熟知的電視等媒介，流行的搞笑手法已日日充斥在學生感官中，就是我建議各位老師不必再模仿的。師長不必用廉價的方式來討好學生。我們可以讓學生更懂得欣賞，更傾向於有智慧、有情感的「喜悅」。
I suggest that you should not copy jokes and skits from pop culture or TV shows, which are already too well known to students. Teachers don’t need to please students in cheaper ways. Instead, we should educate them to develop the capability to appreciate and enjoy art, and have pleasure with wisdom and emotions.
而這次呈現中有很多真誠的表演，如：發自肺腑的真誠笑聲，很是動人，也將激起學生們未來的倣效和感動。
觀劇與遊戲的幸福感，引起更多探索和好奇。真誠的扮演，完善的工作態度也引起聆聽的動機，也贏得尊重。因此，先演劇再做連接與說明性的交流，通常比先講解再表演為優。
Truthful communication was observed in your presentations. For example, someone gave a long hearted laughter, which moved us all. Quite often, a heart-felt performance would be praised and imitated by the young.
The happiness of theatre and plays will motivate more explorations and curiosity. Sincere performance and good working attitude will also attract more attention and win more respect. So usually it is better to have the play followed by discussion or further explanation than the other way round.
以空間運用，及與觀眾的相對位置關係方面，1/14星期五晚間工作坊時，各組選擇自己的空間，或不同的面向呈現每項成果。雖然在1/16星期天早上，大家為了減少麻煩，各組還是延用同一，也是單面向的方式呈現；這兩種經驗都有可取之處，在此提醒大家，請不要忘記。
Talking about the usage of space and locations relative to audience, you may still remember that every group chose their own spaces or direction to perform in the evening workshop of January 14th. However, for convenience’s sake, only one direction and same location was used in the morning performance of January 16th. I hope you can adopt both of these experiences for your future arrangement.
因曾憲政校長的用心和苦心，我受邀參與這個甘特寓言研習營，才有這個榮幸與各位核心教師一起工作，深深感謝。
Thanks to Professor Michael H.C. Tseng, I was invited to participate in this Gunter Fable Workshop and had the opportunity to work with you all. I am happy to be part of you, and honored.
這一切只是開始……
This is just a beginning
這部書結合人文、科學的各類知識，倫理、藝術和情感等各方專門而深入的學問，卻一一簡化為三分鐘寓言，讓未來的領袖──我們的學童、我們的子弟，感知生活中的一切，產生連接和視野，有能力創造未來生活的環境。
Gunter’s books connect the knowledge of humanity and science with ethics, art, and emotion etc. and transform them into 3-minute length fables. So, leaders of the future – our kids, our students, our brothers and sisters—would have the perception of life in the real world, making connections, developing visions and having the ability to create a better environment for the future.
希望我們不要又把簡單巧妙的寓言還原得太知識化、太有標準答案了，像以往幫助孩子準備考試一樣。
Hopefully, we won’t change these wise and simple fables back into “too knowledgeable”, “too wise answers” as Taiwanese teachers and parents often do.
再次感謝大家。
Thank you all.
汪其楣 Wang Chi-Mei
2011/02/28 Taipei
沒有留言:
張貼留言