YOURART藝游網:【這不是藝評‧是心得分享】《游泳池（沒水）》揭露人性深處的渴求與惡念尖銳探問藝術創作的道德界線:YOURART藝游網

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【這不是藝評‧是心得分享】《游泳池（沒水）》揭露人性深處的渴求與惡念尖銳探問藝術創作的道德界線

時間：2014/05/11

【這不是藝評‧是心得分享】《游泳池（沒水）》揭露人性深處的渴求與惡念尖銳探問藝術創作的道德界線

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這是一齣令人流連忘返，鼓掌叫好的戲，以敘述式的口白，人聲堆疊，肢體律動，簡練的舞台燈光，流暢的音樂節奏，創造出豐富的張力與層次，跳脫出一般劇場的框架，彷彿是極簡的行動藝術融合視覺聲光，解構出觀者靈活的無限想像...相當精彩!!

坐在台下的我，想著自己其實也藏著卑劣的人性，看著飛黃騰達的人們會產生忌妒心，望著承受苦厄的人們會滋生同情心，心底層的矛盾糾結是一種無法說出口的隱私，偽善似乎成了現實的生存之道，在這裡卻層層赤裸的被剝開，是痛楚、是震撼、是無奈、也是一種解脫，原來....大家都有這樣的心境呀，原來這就是"人性"...

游泳池（沒水）是英國劇作家馬克‧瑞文希爾(Mark Ravenhill)於2006年完成的「直面劇場」劇作，細膩的剖析人性偽善和醜惡的一面，講述一群原本彼此賴以維生的藝術創作家，在忌妒心的驅使下，逐步產生內心矛盾交錯的扭曲，漸漸崩壞的友情，探索人性深處的渴求與惡念，並尖銳地提問藝術創作的道德界線。

故事發生在一群從事藝術創作的朋友中，大家對藝術都有各自想望。某天，一位友人因為拍攝了另一位友人的死亡過程而成名、致富，大夥從學生時代累積起的感情瞬間崩裂，在權勢金錢與多年友誼之間，愧疚、嫉妒、自我質疑等情緒漸漸漫開，最終，所有人性最卑鄙黑暗的想法全被攤開，痛楚卻也得到終極解脫。

我相當佩服演員們(李劭婕、林曉函、呂名堯、劉哲維)的體力，八十分鐘無中場休息，全場以肢體的語彙舞動扭轉，倚賴人聲的頻率共振堆疊，巧妙的運用身體轉換場景，四位演員的爆發力與高度的契合，更為本劇增添嘆為觀止的光彩!!

台南人劇團《游泳池（沒水）》，由新銳導演廖若涵以冷冽爽快的手法呈現，全劇俐落地直指人心，犀利痛快地震撼視覺感官，絕對值得你走入劇場細細品味。

節目資訊：

2014春天戲水 – 游泳池(沒水)
時間：2014/05/09 - 2014/05/24
地點：水源劇場（台北市羅斯福路四段92號10樓）
http://www.yourart.asia/news/show/15094

《游泳池（沒水）》─ 台南人當代經典聯演
時間：2014/09/05 - 2014/09/13
地點：臺南市吳園藝文中心表演廳(台南市民權路2段30號)
http://www.yourart.asia/news/show/21103

關於本劇

《游泳池（沒水）》是一首成人的驚愕搖籃曲，一首變調的人生歡樂頌，一首令人背脊發毛-的友情輓歌，是劇作家Mark Ravenhill寫於2006年，尖銳探問藝術創作的道德界線與人性深處的渴求與惡-念，並記錄一段友情與藝術追求的變調流變，揭露信念的動搖與價值的崩毀，物質主義與主-流價值對人的壓迫與「改造」，精彩呈現一段誠實得令人驚駭的警世告白。

劇情簡介

一群大學時代的好友，共同懷抱投身藝術的夢想。曾經，他們不分彼此，對藝術充滿實踐的-渴望。如今，在他們步入壯年後，開始體會人生的倦怠。當他們依舊過著默默無聞的藝術人-生，一位失聯許久的老朋友，突然在聖誕前夕捎來一封問候訊息，透露她耀眼的成功與令人-眼紅的近況──她成為一位名利雙收的藝術家，還擁有一座私人豪華游泳池。昔日好友過份-閃耀的成功，刺痛著他們的自尊；她的噓寒問暖，彷彿在在提醒他們，如今一事無成的卑微-生活，竟都成了難以忍受的屈辱。

這群好朋友在一場葬禮上重逢，又在盛情難卻的誘人邀請下，跨越半個地球，來到這位昔日-好友的游泳池畔，在這個充滿棕櫚樹與陽光的豪奢新天堂再次聚首。一頓敘舊晚餐，開啟深-夜裡一場狂歡派對，卻也引發一場令人驚駭的意外。這場意外更觸發一連串令人發毛的「創-作計畫」。當人生翻盤的契機彷彿近在眼前，這群昔好友會繼續扮演彼此忠實的朋友，還是-會在人生急轉彎處選擇放手一搏？

演員/ 李劭婕林曉函呂名堯劉哲維
劇本/ Pool (No Water)
劇作家/ Mark Ravenhill
導演/ 廖若涵
舞台設計/ 李柏霖
燈光設計/ 魏立婷
服裝設計/ 李育昇
製作人/ 李維睦呂柏伸
藝術總監/ 呂柏伸蔡柏璋
舞台監督/ 簡琬玲
舞台技術總監/ 李維睦
音響技術/ 蔡以淳
製作經理/ 鍾翰
執行製作/ 林佳蒨
行銷宣傳/ 董玉婷
票務會計/ 紀美玲

春天戲水題字/ 陳宏勉
攝影/ 陳藝堂
平面設計/ 章小8

影片製作/ 梁晉維
配樂/ 楊川逸

延伸閱讀：

Mark Ravenhill

Ravenhill is the elder of two sons born to Ted and Angela Ravenhill. He grew up in West Sussex, England and cultivated an interest in theatre early in life, putting on plays with his brother when they were eight and seven, respectively. He studied English and Drama at Bristol University from 1984–1987, and held down jobs as a freelance director, workshop leader and drama teacher.[3]

In 1997, Ravenhill became the literary director of a new writing company, Paines Plough. In 2003, when Nicholas Hytner took over as artistic director of the National Theatre, Ravenhill was brought in as part of his advisory team. In the mid-nineties, Ravenhill was diagnosed as HIV+, his partner of the early 1990s having died from AIDS.[4]

Although he was at the heart of new British playwriting in the 1990s and 2000s, Ravenhill respects historical theatre. He has said that he would like to see directors focus more on the classics and stop producing new plays that don’t have as much substance or meaning.[5] In the same article, Ravenhill posits that directors have forced themselves into the “eternal present”, rather than expanding their reach to the many different cultures and genres of the past that they have to choose from. Ravenhill has a love of traditional pantomime; he presented a Radio 4 documentary about the form and wrote Dick Whittington for the Barbican Theatre in 2006.

Ravenhill's work has transformed and developed in the 2000s. While his work in the 1990s - Shopping and Fucking, Handbag, and Some Explicit Polaroids for example - may be characterised as trying to represent contemporary British society, his later work has become more formally experimental and abstract. His one-man show Product, which toured internationally after its premiere at the 2005 Edinburgh Festival Fringe, is both a satire on the post-9/11 attitudes to terrorism, and a minutely observed reflection on the limits of language and form to capture contemporary reality. His play, The Cut, opened in 2006 at the Donmar Warehouse starring Sir Ian McKellen; it divided critics with its portrait of a world dominated by the administering of a surgical procedure: the country, the year and the procedure are all unspecified.

His earlier short plays for young people, Totally Over You and Citizenship, both written for the National Theatre's National Theatre Connections Programme, continue to be produced.

In November 2007, he announced in the Guardian that for the moment, he would concentrate on writing about heterosexual characters.[6]

In 2008 the Royal Court, The Gate Theatre, the National Theatre, Out of Joint, and Paines Plough collectively presented the seventeen short plays Ravenhill wrote for the 2007 Edinburgh Festival Fringe under the title Ravenhill for Breakfast, retitled as Shoot/Get Treasure/Repeat.[7] They express his ambiguous and politically indirect later style.

In 2009 Mark Ravenhill presented a staged reading of A Life In Three Acts, transcripts of conversations with Bette Bourne, an actor, drag queen and equal rights activist, at the Traverse Theatre, Edinburgh. The following year, he presented readings of this work at St. Ann's Warehouse in Brooklyn, NY and the Soho Theatre in London. Bourne worked with Ravenhill previously on a short play, Ripper, playing Queen Victoria at the Union Theatre in London in 2007.

He is also working on a TV series.

Ravenhill is a regular contributor to the annual Terror Season at the Southwark Playhouse in London, England. His short play The Exclusion Zone premiered in October 2010.

Ravenhill was appointed Associate Director of London's Little Opera House at The King's Head Theatre in September 2010.[2] He played an active role in the venue's relaunch as London's third Opera House along with patron Sir Jonathan Miller, Robin Norton-Hale and Artistic Director Adam Spreadbury-Maher.[8]

In 2012, Mark Ravenhill is to become the Royal Shakespeare Company's Writer in Residence.[9] The same year, he was commissioned by the London Gay Men's Chorus for a piece to mark the choir's 21st anniversary. With composed by Conor Mitchell, the piece, entitled Shadow Time, explores the evolution of mentalities in respect of homosexuality in the lifetime of the Chorus. The piece will be premiered at the Royal Festival Hall, on 6 May 2012 during the Chorus' summer concert: A Band of Brothers.[10]

ITV1's sit-com Vicious is written by Gary Janetti and Mark Ravenhill and shown from April, 2013.

In 2014 Ravenhill wrote a Doctor Who story entitled Of Chaos Time The for Big Finish Productions.

http://en.wikipedia.org/wiki/Mark_Ravenhill

台南人劇團

台灣藝文媒體界譽為現代戲劇模範生的台南人劇團，於1987年成立，自1998年起，年年榮獲文建會「優秀扶植團隊」補助，且評鑑成績名列前茅，並數次奪得第一名的殊榮。

近年來在現任藝術總監呂柏伸的規劃下，積極推動「西方經典劇作台語翻譯演出」、「莎士比亞不插電」及「新劇展─尋找劇作家的台南人劇團」等演出計劃，不僅展現台灣在跨文化戲劇製作的高度創意與實踐精神，同時，也積極引介當代台灣年輕劇作家的作品。近期作品，如《Q &Ａ》、《閹雞》、《利西翠妲》、《馬克白》、《終局》等，大多為國家戲劇院所委託製作或是榮獲國家文化藝術基金會的專案補助。劇團作品的主要特色就是以創新實驗的手法，高度展現舞台表演的「劇場性」，從而開啟觀眾看戲時的想像力與創造力，著實為國內外觀眾提供新穎獨特的觀戲經驗。此外，近年來，本團透過新聘藝術總監蔡柏璋所編創的原創作品，如《K24》、《Q & A》、《木蘭少女》和《Re/turn》，除了大幅度提昇本團知名度外，同時也為本團拓展累績許多忠實觀眾。

除演出製作外，台南人更投注相當多心力進行戲劇教育的推廣工作，除了不定期為社區民眾舉辦戲劇體驗工作坊外，更於每年夏天開辦「演員夏日學校」，提供臺灣演員進修充電的管道。此外，自1999年起創辦的「青年劇場培訓計劃」，至今已開辦12屆，這項計劃已滿足南台灣不少青年學子想要接觸戲劇、學習表演的渴望和熱情。此外，本團亦發行國內第一本深度的劇場演出評論刊物「劇場事」，希冀能記錄此時此刻台灣劇場的發展軌跡，甚至是為台灣劇場的明日描繪可行的方向。

http://tainanerensemble.org/portal/