Vesturport and Lyric Hammersmith Produc tion
格利哥．桑薩一覺醒 來，發現自己變成了 一只大爬蟲。他擔心
極了，因為他是家裏 的經濟支柱，這樣子 怎去上班？他知道再
耽誤便要遲到了，得 掙扎起床才成！這時 候，門鈴響起，他的 僱主竟已找上門來。
格利哥拒絕出來，只 說馬上便會返辦公 室；可惜連他的嗓音 都已變了，門外無 人聽得懂他的話，最 後無奈只得開門。他 的僱主和母親見到他 那模樣，嚇得往後猛 退，臉上現出嫌惡的 神情；父親則揮舞棒 子，把他趕回房裏。 弄得他遍體鱗傷。
格利哥被困房中，感 到孤獨極了。他的 妹妹本來有給他送 食物，但漸漸也對他冷淡了。由於大 家以為格利哥已經失去理解能力，因 此沒有人想到跟他說話。他靠在門上 偷聽外面的動靜，得知父親還有些積 蓄，而其他家人亦各自找到工作。
後來，家裏新添了三個房客。房客們 橫行霸道，格利哥的父母卻對他們必 恭必敬，還着妹妹拉小提琴給他們遣 悶。格利哥聽得入神，不禁慢慢爬了 出來。房客們見到他，連房租也不肯 付便立即搬走。
發生這事後，妹妹跟爸媽說：我們得 除去它。格利哥聽在耳裏，黯然爬回 房中，靜靜等待死亡降臨。他死後， 家人都覺得如釋重負。
Gregor Samsa wakes up to find that he has been transformed into a giant insect. He begins worrying about his job as he is the sole breadwinner. Realising he is late for work, Gregor attempts to get out of bed. Suddenly the doorbell rings; it is his employer. Gregor refuses to come out of his room and insists that he will soon return to work. Because of the changes in his voice, no one outside can understand. Finally, Gregor opens the door. Seeing Gregor, his employer and Gregor’s mother back away in revulsion. His father grabs a stick to drive Gregor back into his room, injuring him in the process.
Forced to remain in his room, he is starved for company. His sister initially brings some food but over time, Gregor is neglected. Assuming that Gregor can't understand anything, no one talks to him. Listening through doors, he learns that his father has money saved and that the other family members are also able to get jobs.
Three lodgers move into the apartment. The lodgers, domineering and given too much respect from Gregor's parents, ask Grete to play the violin. Gregor is drawn to the music and crawls out of his room to hear. The lodgers notice him and leave immediately, refusing to pay for any rent.
After this, Grete tells her parents that they must get rid of Gregor. Gregor hears and returns to his room to die after which Gregor's family feels relieved.
荒誕不經，妙想天開 Weird and Wonderful
文：大衛．法爾
弗蘭茲．卡夫卡是上世紀最有影響力 的作家之一，被譽為廿世紀疏離主義 掌門人。《變形記》這個極其滑稽可 笑的短篇故事，講述一個表面上普通 不過的家庭，在大家不知不覺間發生 了可怕的事情。我一直以來都想把 《變形記》搬到舞台上，我覺得這是 卡夫卡最有舞台感的作品，題材也絕 不過時。我很高興能跟西港劇團的吉 斯利．奧恩．嘉德森合作。我們的工 作方式有異但能互補互厲：我集中打 造意念和台詞，吉斯利則負責構想出 怪異而懾人的舞台影像。我們一起研 究怎樣融合戲劇文本與騰空特技，把 格利哥在舞台上變成一只大爬蟲。
《上街》雜誌讚賞西港劇團的演出風 格「影像凌厲，構思大膽」；今次西港 劇團跟利瑞克漢默史密斯劇院合作將 卡夫卡名著搬上舞台，便採用了一個 扭曲視覺邏輯的錯體空間作舞台設計 藍圖。之前西港演出《胡錫傳》時攜 手炮製音樂的尼克．凱夫及華倫．艾 利斯，為《變形記》創作了教人動容 的配樂，映照出故事可悲的題旨；加 上來自英國和冰島的出色演員，我們 試圖呈現卡夫卡那令人震慄不安、荒 誕可笑的世界。
Text: David Farr
One of the most influential writers of the last century, Franz Kafka has been billed as the poster boy for 20thcentury alienation. Metamorphosis is his painfully funny story about a seemingly ordinary family, where horrible things happen without anyone noticing. I’ve wanted to create a stage version of Metamorphosis for a long time, as for me, it is the most overtly theatrical of Kafka’s works, and is very relevant to modern day issues.
I’m excited to be collaborating with Gísli Örn Gardarsson. We have different, but complementary ways of working; I concentrate more on ideas and words, while Gísli dreams up the weird and wonderful visual images we create on stage. Together we explore how we transform Gregor into a giant insect, fuse text-based theatre and add thrilling aerial acrobatics.
Praised by Time Out for their trademark “visually vibrant and conceptually daring” performance style, Vesturport’s collaboration with the Lyric brings Kafka’s story to life on a perspective bending split-level set. Following their collaboration with Vesturport on Woyzeck, Nick Cave and Warren Ellis have created an evocative musical score that reflects the melancholy of the story. With a cast of British and Icelandic actors, we’ve tried to capture a sense of Kafka’s oddly disturbing but absurdly funny world.
© Eddi
嘉德森
像我跟大衛這樣合作其實有危險，但我們都有相同的意念，對作品的闡釋理念也 一致，這卻很難得。我倆能合作無間，相信是由於我們都能慷慨相待。我們常交換 意見，斟酌推敲，不贊成對方的觀點時也不怕坦白地說「不成，這可是爛透的主 意！」對方聽了亦不會介懷。
問 為何要對原著作出改動？
嘉德森 把一本著作搬上舞台其實有很多實際的問題要處理。譬如書中說到父親痛打格利 哥，之後突然跳到三個月後，一家人圍着飯桌吃晚飯。有時或出現空間轉移，某個 角色剛剛還在這兒，一瞬間卻已出現在另一個房間裏。然而，在舞台上不可能讓觀 眾眼睜睜看到這些突變。當你再三捧讀《變形記》，再加深了解，便會發現更多值 得轉化成戲劇的元素；這時候便應抓牢這些靈感，利用它們去表達你的意念。
An Interview with David Farr and Gísli Örn Gardarsson
DF: David Farr
GOG: Gísli Örn Gardarsson
Q: What attracted you to Kafka and Metamorphosis?
DF: I had wanted to re-investigate Metamorphosis for quite a long time. I think Kafka remains a highly significant modern writer. He writes about modern existential problems and conditions of alienation and loneliness. He also writes, quite subconsciously, about politics and about how we marginalize certain groups and individuals in order to survive. He attacks a fundamental principle of human beings: sometimes in order to survive, a society or group of people destroys an element within itself. It’s a very frightening idea, but he makes it also very funny and very theatrical.
GOG: I read the story for the first time 10 years ago, and have been interested since in doing it as a theatre play. I like to work in a physical way and the story of Gregor Samsa is ideal for that. I was busy doing other things until I met with David Farr to talk about doing some work together; he suggested Kafka’s Metamorphosis. I instantly thought the idea really exciting.
Q: There are a few echoes of Death of a Salesman here aren’t there?
DF: Death of a Salesman owes an enormous amount to Kafka, and Arthur Miller would completely admit that. The Jewish hero interests me because I have a Jewish family from Germany, a fragile position that the Jewish population had in that period of time, even before the rise of the Nazis. At the time Kafka wrote Metamorphosis, Prague was part of the Austrian-Hungarian empire; that is why Kafka wrote in German, and not in Czech. That’s why in our version, I chose to have a really strong emphasis on the empire. There is a feeling of formality a slightly fake grandeur about the whole place, which is soon to collapse. In the First World War it was destroyed and the Czech Republic gained its own identity. But I think the most important thing is the universal theme: it is very contemporary what society and work and family can do to you and how families work in society.
Q: You are co-writing and co-directing the production – how does that work?
DF: I contribute very much to the intellectual ideas and to the writing and Gísli is very much about the physical. Gísli is a hugely exciting physical director and performer and I really wanted to push what we could do with this creature on stage. I wanted to find a whole physical language. We had a week of research and development where we looked at the story, explored it, story-boarded it and made changes. Gísli creates through direction and through making images and pictures in his head. And I work more through words. It’s an interesting collaboration and I’m really enjoying it it’s a deliberate attempt to do something different. The way we are working together is part of the Lyric’s ongoing experiment in how to marry text and performance, spectacle and idea and how to create thrilling, visual and physical theatre that continues to have meaning and story.
Franz Kafka (1883-1924)
弗蘭茲．卡夫卡生於捷克布拉格一個 猶太區家庭。卡夫卡與父親的關係， 大概造成了他對權威的矛盾觀點：其 父常恣意批評他，辱罵他一無是處， 令卡夫卡陷入自我憎惡當中。普遍認 為卡夫卡患抑鬱症和社交焦慮症，因 而更加重了他自我厭惡的鬱結。其父 反對他寫作，他惟有拿個法律學位， 畢業後當個文員。
1912年，卡夫卡在摯友馬克司．布洛 德家中認識了菲莉斯．鮑威爾。隨後 五年，他倆經常互通書信，並且兩度 訂婚。他們終於在1917年分手，卡夫 卡亦於同年患上肺結核。1923年，卡 夫卡暫移居柏林，以求遠離家人，專 心寫作。他在那兒與一個正統猶太家 庭出身的女孩共賦同居，令他對猶太 教法典產生興趣。
卡夫卡在生時雖未有聲名大噪，但受 到一小撮閱讀德國文學的知識分子的 賞識。他三篇未完成的小說《美國》、 《審判》和《城堡》只留下雜亂無章 的遺稿，章節錯亂，標題散失——遺 稿粗疏不全的狀態卻令他慌亂不安的 風格更形突出。眾所周知，卡夫卡生 前以為他的作品終不會成大器，於是 請求摯友馬克司．布洛德在他死後， 燒毀其大部份手稿。本身也是著名作 家的布洛德，違背了卡夫卡的遺願， 反為好友整理出版了全集。到了今 天，卡夫卡已成為影響西方文壇最深 遠的文學家之一。
Franz Kafka was born in 1883 in the Jewish ghetto of Prague. Kafka's ambivalent take on authority seems to come mainly from his relationship with his father. His father never hesitated to point out to his son that he thought him a disappointment. As a result, Kafka never managed to escape his self-hatred; his selfloathing was compounded by the clinical depression and social anxiety from which most would agree he suffered. Kafka also faced his father's disapproval of his writing which led to him taking a law degree and becoming a clerk.
In 1912, at the home of his lifelong friend Max Brod, Kafka met Felice Bauer. Over the next five years they corresponded a great deal and twice were engaged to be married. Their relationship finally ended in 1917, the same year in which Kafka began to suffer from tuberculosis. In 1923, he briefly moved to Berlin in the hope of distancing himself from his family's influence to concentrate on his writing. There, he lived with a woman from an orthodox Jewish family who influenced Kafka's interest in the Talmud.
Never famous in his own lifetime, Kafka did have an audience of admirers within a small circle of Germanreading intellectuals. His three novels, Amerika, The Trial and The Castle, all unfinished, were left in disarray, with chapters out of order and titles missing; their rough unfinished quality adding to the nervous confusion of his style. Never believing that his writing amounted to anything, Kafka famously asked his longtime friend, Max Brod, to burn most of his manuscripts after his death. Brod, equally famously, ignored the request and set out to edit the collection. Today, Kafka is considered by some people to be among the most influential in Western literature.
演員簡歷 Cast Biographies
吉斯利．奧恩．嘉德森 Gísli Örn Gardarsson
導演／改編／演員（格利哥） Director, adaptor and actor (Gregor)
西港劇團2001年成立，吉斯利．奧恩．嘉德森乃聯合創辦人之一。
舞台演出： 嘉德森於冰島國家劇院及雷克雅未克城市劇院參演多個演出。在英 國，則有《生死攸關》（高及膝劇團／英國國家劇院），安琪拉．卡達斯的《馬 戲班之夜》（利瑞克漢默史密斯劇院），現正參演《現代唐璜》（皇家莎士比亞劇 團／高及膝劇團）。
電影及電視演出：
為西港劇團監製及演出《孩子》及《父母》，也參演了其他電視及電影製作。他 將演出西港劇團與色德電影公司合作的《海浪》(2009)，以及2010年5月開畫的廸士尼電影《波斯 王子》，擔演鉛哈薩尼。
導演／編劇／改編作品：首部導演作品《羅密歐與茱麗葉》(新域劇場／戲劇劇院／雷克雅未克城市劇 院)，兼演羅密歐。《胡錫傳》(改編／導演，西港劇團、倫敦巴比肯中心國際戲劇匯演、阿姆斯特 丹克斯音樂劇場、紐約布魯克林音樂學院及世界巡演)；《愛》音樂劇(合編／導演，利瑞克漢默史 密斯劇院／雷克雅未克城市劇院／南韓)；《在一起》舞台版（冰島／墨西哥） 嘉德森作品獲獎無數，他本人則獲2007年歐洲電影推廣網絡推選為「最佳新晉演員」。
Gísli Örn Gardarsson co-founded the Vesturport Theatre in 2001.
Acting: Gardarsson has performed various characters at the National Theatre and the Reykjavik City Theatre in Iceland. In England, Gardarsson performed for The National Theatre and Knee High Theatre in A Matter of Life and Death and in Angela Carters’s Nights at the Circus at Lyric Hammersmith. He is currently performing Don John with the Royal Shakespeare Company and Knee High Theatre.
He has produced and performed in Vesturport's feature films, Children and Parents as well as performing in various other films and television series. He will appear in a new feature produced by Vesturport and Zik Zak Films called Brim (Surf) and he plays the Lead Hassanein in the Disney film, Prince of Persia, produced by Jerry Bruckheimer which will open in May 2010.
Directing/Writing/Adapting: His directorial debut was Romeo and Juliet (where he also played Romeo) (Reykjavik City Theatre, the Young Vic Theatre and world tour). He directed and adapted Woyzeck for the Barbican Theatre in London (Vesturport, the Reykjavik City Theatre, Amsterdam Het Muziektheatre, world tour and BAM, New York). He co-wrote and directed Love the Musical (Reykjavik City Theatre, Lyric Hammersmith and South Korea) and he directed and adapted a stage version of the film Together (Iceland and Mexico).
Gardarsson was the Icelandic Shooting Star at the Berlin Film Festival in 2007 and his work have won numerous awards.
恩瓦爾．司古爾德森 Ingvar E Sigurdsson
演員（父親）
Actor (Father)
西港劇團：《羅密歐與茱麗葉》（西港劇團／新域劇場／戲劇劇院／雷克雅未克城市 劇院），《海浪》，《胡錫傳》 其他劇團：《培爾．金特》，《親愛的艾琳娜》，《羅密歐與茱麗葉》，《血婚》，《誘 心人》，《素娥怨》，《唐璜》，《獨立的人》，《三姊妹》，《皆大歡喜》，《道路》 （冰島國家劇院），《灰闌記》（冰島國家劇院／共謀劇團），《舞廳》（雷克雅未克城市劇院）
For vesturport: Romeo and Juliet (Vesturport, Young Vic, Playhouse and Reykjavik City Theatre); Surf and Woyzeck.
Other theatre includes: Peer Gynt, Dear Elena, Romeo and Juliet, Blood Wedding, Closer, Mourning Becomes Electra, Don Juan, Independent People, Three Sisters, As You Like It, Road (The National Theatre of Iceland); The Chalk Circle (The National Theatre of Iceland, Complicite); Cabaret (Reykjavik City Theatre).
Murder Ballads, one of their most commercially successful albums. In 2001, Cave re-grouped with The Bad Seeds for the piano-driven No More Shall We Part. The film The Proposition, for which Cave wrote the screenplay and, together with Warren Ellis, composed and recorded the soundtrack, premiered worldwide to critical acclaim in 2005. Cave and Ellis teamed up again in 2006 to compose scores for two productions by Icelandic theatre company Vesturport Theatre: Woyzeck and Metamorphosis.
華倫．艾利斯 Warren Ellis
作曲
Composer
九十年代初，華倫．艾利斯創立了澳洲器樂組合「骯髒三人組」，至今灌錄了七張大碟，並為約 翰．卡蘭的電影《生命中最痛》配樂。他也是「研磨者」樂團的創團人之一，樂團的處女作成為 2007年樂壇的熱門話題。
1995年，艾利斯獲邀與尼克．凱夫及「壞種子」樂隊合作，一拍即合下，「壞種子」過去的六張唱 片，均由他們合作灌錄。另外，他也跟凱夫合力創作了《關鍵協議》的電影配樂，以及西港劇團 《胡錫傳》和《變形記》的音樂。
艾利斯現繼續與「壞種子」樂隊、「研磨者」樂團及「骯髒三人組」創作及巡迴演出。他表演多種 樂器，但以小提琴為主。艾利斯現與妻子及兩子女居於巴黎。
In the early 1990s Warren Ellis formed the Australian instrumental group, The Dirty Three. They have since recorded seven albums and a soundtrack for the John Curran film Praise. In addition, he was a founding member of the band Grinderman, whose debut album was one of the most talked about records of 2007.
In 1995 Ellis was invited to record with Nick Cave and the Bad Seeds and has contributed to the Bad Seeds’ last six albums. Additionally, he has collaborated with Cave on soundtracks for The Proposition, and Vesturport Theatre’s Woyzeck and Metamorphosis.
Ellis continues to work and tour with the Bad Seeds, Grinderman and The Dirty Three playing a variety of instruments, predominantly violin. He lives in Paris with his wife and two children.
波古爾．莊遜 Börkur Jónsson
舞台設計
Set Designer
西港劇團：《羅密歐與茱麗葉》（新域劇場／戲劇劇院／雷克雅未克城市劇院），《胡錫傳》（新域劇 場／巴比肯中心國際戲劇匯演—2006年冰島MASK戲劇大獎），《海浪》，《愛》音樂劇。《變形記》 （2008）及《胡錫傳》（2006）獲冰島GRIMA戲劇大獎之最佳舞台設計獎。
其他劇團：
《血婚》（冰島戲劇學院，雷克雅未克城市劇院），《恐怖主義》及《慶典》（冰島國家劇 院），《卡尼，卡尼》（雷克雅未克城市劇院）。另為雷克雅未克藝術節擔任舞台設計。
For vesturport: Romeo and Juliet (Young Vic, Playhouse and Reykjavik City Theatre); Woyzeck (Young Vic, Barbican and BITE winner of Mask Award 2006); Surf; Love the Musical. Icelandic Theatre Award Grima for Best Stage Design for both Metamorphosis (2008) and Woyzeck (2006).
Other theatre: Blood Wedding (Icelandic Drama Academy, City Theatre Reykjavík); Terrorism, Celebration (National Theatre of Iceland); Canin Canin (Reykjavik City Theatre); stage design for the Reykjavik Arts Festival.
比約恩．赫爾加辛 Björn Helgason
燈光設計
Lighting Designer
比約恩．赫爾加辛乃冰島電影攝影師及燈光設計師，也是西港劇團創辦人之一。1995-99年間任冰 島洛夫卡史太連劇團燈光設計，亦曾隨西港劇團巡迴演出《羅密歐與茱麗葉》、《在一起》、《變形 記》。2000-07年，他於冰島電視第一頻道任職攝影師。
Björn Helgason is a working cinematographer and lighting designer in Iceland and is one of the founders of Vesturport theater. As a lighting designer he worked for Loftkastalinn Theater, Iceland from 1995-99 and has traveled with Vesturport to several festivals to show Romeo and Juliet, Together and Metamorphosis. From 2000-07, he worked as a cinematographer for Channel 1, Iceland TV (RÚV).
尼克．曼寧 Nick Manning
音響設計
Sound Designer
尼克．曼寧乃利瑞克漢默史密斯劇院音響總監。 劇場：利瑞克漢默史密斯劇院：《無心的英雄》，《初生之犢》，《羅摩傳》，《變形記》，《太近家》， 《奥德賽》，《有些女孩較年長》，《煙花匠的女兒》，《唐璜》，《孤雛淚》，《佩力克爾斯》，《卡蜜 兒》，《聖誕頌歌》，《漢堡王子》，《阿拉丁》，《僕人》，《木偶奇遇記》，《白魔鬼》 其他：《愛之小玩意》，《藉口》，《理智之外》（演員巡迴劇團）；《乖戾老太婆》（英國巡迴演出／ 澳洲巡迴演出／倫敦西區／阿瓦隆劇院）；《馬里布的達爾文》（漢普斯特劇院）；《大師與瑪格麗特》 （國家青年劇團）；《安迪．沃霍爾症候群》（2004愛丁堡藝穗節）；《暈機浪》（灌木叢劇院）；《兔 子》（狂亂組合劇團）；《孤星血淚》（布里斯托老域劇院）
Nick Manning is Head of Sound at the Lyric Hammersmith Theatre. Theatre: Accidental Heroes, Absolute Beginners, Ramayana, Metamorphosis, Too Close to Home, The Odyssey, Some Girls Are Bigger Than Others , The Firework Maker’s Daughter , Don Juan , Oliver Twist , Pericles , Camille, A Christmas Carol, The Prince of Homburg, Aladdin, The Servant, Pinocchio, The White Devil (The Lyric Hammersmith Theatre); Gizmo Love, Excuses and Out of Our Heads (Actor’s Touring Company); Grumpy Old Women (UK tour, Australian tour, West End and Avalon); Darwin in Malibu (Hampstead Theatre); The Master and Margarita (National Youth Theatre); The Andy Warhol Syndrome (Edinburgh Fringe 2004); Airsick (Bush Theatre); Rabbit (Frantic Assembly); Great Expectations (Bristol Old Vic).
場刊中譯：林笑桃
