柏林列寧廣場劇院
Schaubühne am Lehniner Platz Berlin
《娜拉》Nora
所有劇照 All production photographs © Arno Declair
原著
易卜生 Playwright Henrik Ibsen
導演
湯瑪士．奧斯特邁爾 Director Thomas Ostermeier
德文翻譯
欣里希．施密特 - 亨克爾 German Translation Hinrich Schmidt-Henkel
演出及創作 Credits
故事大綱 Synopsis
劇作家 Playwright
易卜生 Henrik Ibsen
特稿 Feature
湯瑪士．奧斯特邁爾談《娜拉》 Thomas Ostermeier on Nora
劇團介紹 Company Profile
演員介紹 Cast Biographies
創作人員介紹 Creative Team Biographies
3 - 4.3.2006
香港演藝學院歌劇院 Lyric Theatre
Hong Kong Academy for Performing Arts
德語演出，附中英文字幕 Performed in German with Chinese and English surtitles
演出長約2 小時，不設中場休息
Running time: approximately 2 hours with no interval
為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼 機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙 ，多謝合作。
To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.
托瓦爾．海爾默 約克．哈特曼
娜拉，他的妻子 安妮．蒂斯默
蘭克醫生 拉爾斯．埃丁杰
林特太太 珍妮．席利
尼爾．柯洛克斯泰
凱．巴扎洛梅烏斯．舒爾策
海爾默家的三個孩子 馬里厄斯．拉斯
賓．加比斯 萬達．弗里切
海爾默家的保母 安妮斯．拉姆金
信差
恩里科．斯托爾岑伯格
Torvald Helmer
Jörg Hartmann
Nora, his wife
Anne Tismer
Doctor Rank
Lars Eidinger
Mrs Linde
Jenny Schily
Nils Krogstad
Kay Bartholomäus Schulze
The Helmer’s three children
Marius Ruß
Ben Garbisch
Wanda Fritzsche
The Helmer’s au-pair
Agnes Lampkin
Messenger
Enrico Stolzenburg
創作人員
Creative Team
導演 湯瑪士．奧斯特邁爾
佈景設計 揚．帕佩爾巴姆
服裝設計 阿爾穆特．埃平杰
音樂 拉爾斯．埃丁杰
演出授權
漢堡羅沃霍爾特劇院出版社
中文字幕 黃燦然
英文字幕 艾力．博格曼
Thomas Ostermeier Director
Jan Pappelbaum Set Designer
Almut Eppinger Costume Designer
Lars Eidinger Music
Performing rights
Rowohlt Theater Verlag, Hamburg
Huang Canran Chinese surtitles
Erik Borgmann English surtitles
加料節目 Festival Plus
演後藝人談 Meet-the-Artist (Post-Performance) 3.3.2006 (五Fri)
歡迎觀眾演出後留步，與演員見面
If you would like to meet the cast, please stay behind in the auditorium after the performance
講座 Talk
《娜拉》的前世今生 The interpretation of Nora 16.2.2006（四） / 5.3.2006（Sun） 下午 2:30-3:45 pm
香港藝術中心，歌德學院歌德藝廊 Goethe-Gallery, Goethe-Institute, Hong Kong Arts Centre
托
瓦爾．海爾默工作非常忙，忙得 就快死了。為了籌錢讓他到南方 療養，他的妻子娜拉冒父親簽 名，偷偷借了一筆錢。這個秘密讓她感到 驕傲和快樂，她努力還債，為自己在一個 男人主導的社會况，建立作為女人的自 信。不過，她繼續扮演賢妻良母的角色， 並以建立一個安樂窩為人生目標。事情被 揭穿後，丈夫為維護自己的地位和尊嚴， 決定告發她。娜拉必須離開丈夫和孩子， 面對難測的未來。
這齣有關婦女解放的經典政治劇自首演至 今已有一百二十多年。湯瑪士．奧斯特邁 爾把我們今天的生活與十九世紀末中產階 級生活作一對比。在過去一百二十年來， 婦女運動帶來什麼改變？真的有改變過 嗎？在涉及個人幸福的理念上，我們是否 故步自封？大都會柏林的頂樓與「玩偶之 家」，到底相距有多遠？為了把易卜生的經 典作品搬到今時今日的處境，施密特- 亨克 爾帶來了一個全新的譯本。
Torvald Helmer has worked too much. So much in fact, that he could die. To raise money for a journey south that will save his life, his wife, Nora, secretly takes out a loan and forges her father’s signature. This secret is her pride and joy, and the fact that she has to pay back the loan builds up her selfconfidence as a woman in a maledominated society. Nonetheless, she continues to lead the life of a devoted mother and childlike, dependent wife whose main purpose in life is to create a cosy nest for her family. When her con is revealed, her husband betrays her and sticks to his bourgeois principles. Nora will have to leave him and her children, and face an uncertain future.
More than 120 years after the first performance of this prototype of a political play about women’s liberation, Thomas Ostermeier examines the parallels between how we live today and how the bourgeoisie of the late 19th century lived. What changes has the Women’s Movement brought about in the past 120 years? Has there been any change? How conservative are we when it comes to our ideas of personal happiness? How far is it from the lofts of cosmopolitan Berlin to ‘the doll’s house’? In order to transpose the Ibsen-classic to the present day, the play has been given a new translation by Hinrich Schmidt-Henkel.
易卜生 (1828-1906)
挪威劇作家易卜生被公認為現代散文劇的奠基者。他生於海濱城 市希恩，是富商之子，由於家道中落，未能完成學業，家庭的社 會地位亦受影響。1850 年，易卜生遷往首都克里斯丁亞那（現在的 奧斯陸），一邊寫劇本，一邊繼續學業，希望將來當個醫生。1851 年，他沒有考上大學，在卑爾根一家小劇院當「舞台詩人」， 1857 年重返克里斯丁亞那，出任新成立的挪威劇院的藝術總監。一年 後，他與蘇珊娜．托勒森結婚，而獨子西格爾於翌年出生。製作 多個演出後，劇院破產倒閉，易卜生於是轉投克里斯丁亞那劇 院。
1864 年，易卜生獲政府頒發一筆出國旅行的獎金，在往後的二十 七年中，他一直旅居國外，間中回挪威作短暫逗留。他好些著名 的作品就是在這段時間寫成的。這些作品在當時常被視為不道德 和驚世駭俗，其中《社會棟樑》（1877）描述一個富裕而偽善的商 人；《玩偶之家》（1879）是一齣關於婚姻問題的社會劇，劇中女主 角拒絕服從丈夫，終止一段表面上是完美的婚姻；《群鬼》（1881） 則觸及性病這個禁忌題材；《人民公敵》（1882）抨擊對輿論的順 從；《海達．加布勒》（1890）則探討社會階層、婚外性行為和自殺 等問題。
易卜生於1891 年返回挪威，在1900 年中風前，他寫作不斷。1898 年，易卜生七十歲生日時，世界各地都有人向他致敬，蕭伯納更 稱他是「當今最偉大的戲劇家」。很不幸，他的晚年被精神病所 纏， 1906 年 5 月 23 日在克里斯丁亞那逝世。
易卜生可以說是真真正正創造了現代舞台，他以批判的眼光和開 放的詰問，把當時的問題和爭議搬到舞台上。在易卜生之前，戲 劇基本上是道德劇，描述高貴的主角如何與黑暗勢力鬥爭。易卜 生的作品劇力萬鈞，描寫人類普遍關注的問題，劇中人物性格複 雜，他們掙扎求存，尋找生活的意義。易卜生的視野可謂超越古 今，時至今日，他的傑作劇力不減，一如以往震撼人心。
《娜拉》與中國
雖然易卜生的《玩偶之家》（又名《娜拉》），關注的是「人」，是人性的覺醒，是「人」的尊嚴能否得到 尊重的問題，但更多人，尤其是在中國，認為這部作品稱得上是一篇婦 女爭取自由解放的「獨立宣 言」。
《玩偶之家》不僅震撼了當時的歐美社會，甚至影響到中國的五四時期 當時，新文學界曾出現 過「易卜生熱」。很多作家模仿易卜生的《娜拉》寫「社會問題劇」，從胡適開始，大約有十幾部作品。
胡適不但與羅家倫翻譯了這部作品，還寫了《終身大事》的劇本，成為《玩偶之家》的中國版；並在 《新青年》刊載出《易卜生主義》。魯迅與郭沫若亦分別撰文：《娜拉走後怎樣》和《娜拉的答案》，使 易卜生與娜拉成了家喻戶曉的人物。曹禺名作《雷雨》亦受《娜拉》的影響，可見易卜生的影響深遠。
Henrik Johan Ibsen (1828-1906)
Norwegian playwright Henrik Ibsen is generally regarded as the founder of modern prose drama. Born in the coastal town of Skien, Ibsen was the son of a prosperous merchant, but a change in the family fortunes interrupted his education and affected the family’s social position. In 1850 Ibsen moved to Christiania (now Oslo) where he began writing plays while continuing his studies, hoping to become a physician. After failing his university entrance exams in 1851 he was appointed ‘stage poet’ of a small theatre in Bergen, before returning to Christiania in 1857 to become artistic director of the new Norwegian Theatre. A year later he married Suzannah Thoresen and their only child, Sigurd, was born the following year. When, after many productions, the theatre went bankrupt, Ibsen was appointed to the Christiania Theatre.
In 1864 Ibsen received an award for foreign travel from the government and travelled abroad for the next 27 years only returning to Norway for brief visits. During this period he wrote some of his most famous works, which were often considered immoral and outrageous, including Pillars of Society (1877), which dealt with a wealthy and hypocritical businessman; A Doll’s House (1879) a social drama on marriage in which a woman refuses to obey her husband and walks out on an apparently perfect marriage; Ghosts (1881) touched the forbidden subject of hereditary venereal disease; Enemy of the People (1882) attacked the conformity of public opinion; and Hedda Gabler (1890) tackled social class, extra marital sex and suicide.
Ibsen returned to Norway in 1891 and continued to write until 1900, when he suffered a stroke. In 1898 Ibsen received the world’s homage on the occasion of his 70th birthday and George Bernard Shaw called him “the greatest living dramatist”. Sadly, the last years of his life were clouded by mental illness and he died in Christiania on 23 May 1906.
In a very real way Ibsen created the modern stage, by introducing a critical eye and free inquiry, and by bringing the problems and issues of the day onto his stage. Prior to Ibsen, dramatic plays were largely moral dramas with noble protagonists pitted against darker forces. As the author of powerful dramas that portray universal human concerns, with complex characters who suffer and endure to make sense of their lives, Henrik Ibsen has transcended merely historical importance. He remains a writer whose best works can move us and provoke us as much as they did their original audiences.
湯瑪士．奧斯特邁爾談《娜拉》
Thomas Ostermeier on Nora
為什麼選擇重新演繹易卜生之經典 《玩偶之家》呢？
我想探討在一百多年的婦女解放運動 之後，婦女面對的有什麼不同。真的 有改變嗎？抑或只是表面的改變？一
個當今的婦女，怎麼會陷入跟一百多 年前的婦女同樣的境況？
Why did you choose to re-set Ibsen’s classic — A Doll’s House — in the present?
I wanted to explore what has changed for women after more than a hundred years of emancipation. Has anything really changed? Or are the changes merely on the surface? How can a woman today end up in the same situation as one living over 100 years ago?
以前我導演過不少戲劇，都涉及社會 邊緣人物，也即所謂的社會棄兒。這 一回，我想處理有權勢者，他們是有 影響力的社會棟樑。這齣戲的背景是 柏林的一個富人區，那也是我們劇院 的所在：我要導演這樣一齣戲，描述 一種女性，她每天在我們劇院馬路對 面一家餐館與朋友一塊享受昂貴的午 餐。
你有沒有受其他德語製作影響？ 我沒有受到該劇在德國的任何演出的 影響。最使我感興趣的，反倒是該劇 當年在哥本哈根的世界首演，以及當 時人們的反應。我們可以想像，當時 的演出是多麼與眾不同，而我們也許 可以在今日一次完全不同的演出中， 獲得與第一次相同的反應。
為什麼選擇易卜生？ 我對那些反映我們今日柏林和今日世 界的生活的戲劇感興趣。編劇馬克． 拉文希爾在九十年代末做到這點了， 而這一回我想藉易卜生探討今日柏林 的生活與婦女（至少是部份女性）在今 日的境況。
選擇電影《盜墓者羅拉》的裝束作為娜 拉的化裝舞會打扮，你的想法是︙︙
羅拉．克羅夫特（《盜墓者羅拉》女主 角）是男性的幻想。男人覺得堅強的女 性夠性感。但在現實中，很多男人並 不相信平等。當娜拉像羅拉．克羅夫 特那樣裝扮起來時，她只是滿足丈夫 的男性幻想而已。當她真正拿起武 器，像羅拉．克羅夫特在錄像遊戲中 那樣行事時，對男人來說就一點也不 好玩了。最終娜拉是強者抑或弱者， 那就要由觀眾去決定了。
Previously, I had done a lot of plays about people on the fringes of society, the outcasts. This time, I wanted to talk about the people in power, the affluent ones at the heart of society. The production is set in an affluent part of Berlin, which is where our theatre is located as well. I wanted to do a play about the kind of woman who has an expensive lunch with a friend in the restaurant across the road from our theatre every day.
Were you influenced by other German productions of this play?
I wasn’t influenced by any German productions. The production that interested me most was the Copenhagen one in which the play had its world premiere, and the reactions to it. And imagining how different the production was and maybe how one could achieve similar reactions with a completely different production.
Why did you choose Ibsen?
I’m interested in plays that reflect on the life that we’re living today, in Berlin, and in the world. (Mark) Ravenhill did that for me in the late 1990s, and this time I found an exploration of life today in Berlin and of, at least some, women today in Ibsen.
What was your thinking behind choosing the Lara Croft character for Nora’s fancy dress?
Lara Croft is a male fantasy. Men think it’s sexy to see strong women. But in reality many of them don’t believe in equality. Nora is initially fulfilling her husband’s male fantasy when she dresses up like Lara Croft. When she really does use a weapon and does what Lara Croft does in the videogames, it’s no longer funny for the men. Whether Nora is strong or weak in the end is for the audience to decide.
柏林列寧廣場劇院
柏林列寧廣場劇院的前身是 1962 年建成的哈勒辛烏弗劇院，是一座主要上演政治性和社 會性劇目的劇院。 1970 年，一群青年戲劇藝術家與彼得．史坦一同加入劇院，劇院目標 是推動德國官方劇院模式以外的一種合作社形式的劇院。所有劇場成員在選擇劇目和制訂 演出政策時都有發言權，而劇院重視的是長遠的戲劇觀念的發展。這使得劇場建立起德國 其中一支最優秀的演員隊伍，並讓日常生活及劇團工作更能發揮相互的影響。這種重視戲 劇細節處理和心理演繹的手法，被稱為「劇場風格」。
史坦任劇院的藝術總監直到 1985 年，而同寅導演克勞斯．邁可．格魯伯、盧克．邦迪及 羅伯特．威爾遜則繼續在劇院工作，直至上世紀九十年代末。
1981 年，劇院遷往位於市中心諸侯大街的一座大樓。這所由建築師艾里希． 曼德爾森在 上世紀二十年代設計的劇院，此後名為列寧廣場劇院。劇院有三個表演區，可獨立使用， 也可連起來使用。這使導演和佈景設計師可以構思出複雜的舞台，與觀眾打成一片，運用 各種變化，遠遠超越了傳統「第四面牆的舞台」原則。
1999 年秋以來，劇院由莎莎．華爾斯、湯瑪士．奧斯特邁爾、延斯．希爾杰 和約亨．桑 迪格擔任藝術指導。劇團自創辦以來所確立的形象，因其堅持不懈推廣當代節目而愈見新 銳，為劇團在國內外贏得了最重要德語劇院之一的美譽。
在 2004 年，劇院受邀演出四十場，其中三十五場是國外演出，使歷來國外演出 總場次達 一百五十六場，足跡遍及歐洲，包括倫敦、莫斯科、冰島的雷克雅維克 ，還有紐約和首 爾，是叱吒國際舞台的德語劇院。
自 2004 年起，奧斯特邁爾與希爾杰擔任劇院的聯合藝術總監。
The theatre was founded under the name Schaubühne am Halleschen Ufer in 1962, as a private theatre presenting a politically and socially committed programme.
In 1970 a group of young theatre artists together with Peter Stein, joined the Schaubühne with the aim of presenting an alternative to German state theatre by generating a new, cooperative form of theatre. All artistic members had the right to a say in the selection of plays and programme policy, and emphasis was placed on long-ter m conceptual dramaturgy. This made it possible to establish one of the most important German ensembles of actors and led to a remarkable interrelation between everyday life and focused theatre work. The detailed handling and psychological interpretation of dramatic works came to be viewed as the ‘Schaubühne style’.
Peter Stein remained Artistic Director until 1985. His collaborators, the directors Klaus Michael Grüber, Luc Bondy and Robert Wilson, continued on until the end of the 1990s.
In 1981 the Schaubühne moved into a building at the top of the Kurfürstendamm, built by the architect Erich Mendelsohn in the 1920s, and since then it has been known as the Schaubühne am Lehniner Platz (Theatre on Lehnin Square). The bu ilding has three performance areas, which can be used independently of, or in conjunction with, each other. This makes it possible for directors and set designers to develop complex stages that integrate the audience, with variations extending far beyond the classical ‘fourth wall stage’ principle.
From autumn 1999 the Schaubühne has been operating under the artistic direction of Sasha Waltz, Thomas Ostermeier, Jens Hillje and Jochen Sandig. Since its foundation the unmistakeable profile demonstrated by the Schaubühne has been honed due to the consistently contemporary programme, confirming the Schaubühne’s reputation as one of the leading German-language theatres at home and abroad.
During 2004 the company staged 40 guest performances (35 of these abroad) making a total of 156 appearances at venues throughout Europe as well as in London, Moscow, New York, Reykjavik and Seoul. No other German-speaking theatre has a comparable international presence.
Since 2004 Thomas Ostermeier and Jens Hillje have been joint Artistic Directors of the Schaubühne.
安妮．蒂斯默 Anne Tismer
娜拉 Nora Helmer
安妮．蒂斯默1963 年生於法國凡爾賽，1982 至1985 年在維也納馬 斯．萊恩哈特研習班受訓。蒂斯默曾先後在維也納、蘇黎世劇 院、德國費雷堡、史圖加國家劇院和波琴劇院工作，合作過的藝 術家包括埃爾尼．曼戈爾德、霍爾斯特．贊克爾、克里斯托弗． 馬塔勒、于爾根．克魯塞、迪特．吉辛格、法蘭克．卡斯托爾 夫、彼得．史坦、盧克．邦迪、馬蒂亞斯．哈特曼、依利亞斯． 佩里格和湯姆．屈內爾等。
安妮．蒂斯默於 2001 年加入列寧廣場劇院，並參演羅蘭．希梅爾 芬尼格的《一千零一夜》、揚．福塞的《秋夢》，以及跟法蘭克福TAT 聯合製作的布萊希特的《屠場况的聖貞德》。她還參與理查德．德 萊塞的《黃金時代》、弗朗克．克勞茨的《願望音樂會》、沃德斯特 拉的《毀滅天使》等劇的演出，全由奧斯特邁爾導演。她還參演布 萊希特劇作《城市叢林》的演出。
第四十屆柏林戲劇節就蒂斯默在《娜拉》中的演出給她頒發「3-sat 獎」以表彰她「在德語中開拓性的表演成就」，同時獲獎的還有蘇珊 娜．沃爾芙。此外，蒂斯默在2003 年榮膺《今日戲劇》雜誌的「年度 最佳女演員」。
Born 1963 in Versailles, Anne Tismer trained at the Max-Reinhardt Seminar in Vienna from 1982 to 1985. Tismer has worked in Vienna; at the Zurich City Theatre; in Freiburg; at the Stuttgart State Theatre; and at the Bochum City Theatre. She has worked with Erni Mangold, Horst Zankl, Christoph Marthaler, Jürgen Kruse, Dieter Giesing, Frank Castorf, Peter Stein, Luc Bondy, Matthias Hartmann, Elias Perrig and Tom Kühnel, among others.
In 2001 Anne Tismer joined the Schaubühne and appeared in Roland Schimmelpfennig’s The Arabian Night; Fosse’s Dream in Autumn; and Bertolt Brecht’s Saint Joan of the Stockyards, a coproduction with the TAT in Frankfurt. She has also appeared in Golden Times by Richard Dresser; The Wish Concert by Franz Xaver Kroetz; The Exterminating Angel by Karst Woudstra (all directed by Thomas Ostermeier), and The Jungle of Cities by Brecht.
At the 40th Berlin Theatre Festival she was awarded the ‘3sat-Prize’ for a ‘pioneering acting achievement in the German language’ together with Susanne Wolff — for her role in Nora. She was also selected as Actress of the Year by Theater heute magazine in 2003.
約克．哈特曼 Jörg Hartmann
托瓦爾．海爾默 Torvald Helmer
約克．哈特曼生於 1969 年，曾在史圖加音樂與表演藝術學院受 訓。 1994 至 1996 年，在邁寧根市立劇團演出， 1996 至 1999 年轉 到邁寧根國家劇院。於 1999 年加入列寧廣場劇院，曾在《港務 局》、《超級市場》、《嚴肅地》和莎劇《馬克白》中演出。
自2002/03 年劇季起，他就參演奧斯特邁爾的《娜拉》。最近的演出 包括布萊希特的《城市叢林》、卡斯爾特．沃德斯特拉的《毀滅天 使》和韋德坎德的《露露》。
Born in 1969, Jörg Hartmann trained at the Stuttgart Academy for Music and Performing Arts. From 1994 to 1996 he was at the Meiningen City Theatre and from 1996 to 1999 at the Mannheim National Theatre. Hartmann has been a company member of the Schaubühne since 1999, and appeared in Port Authority, Supermarket, Seriously and Shakespeare’s Macbeth
His recent appearances include performances in Bertolt Brecht’s The Jungle of Cities, The Exterminating Angel by Karst Woudstra and Lulu by Frank Wedekind.
拉爾斯．埃丁杰 Lars Eidinger
蘭克醫生 Doctor Rank
埃丁杰生於1976 年，曾在柏林表演藝術學院受訓。他於1999 年加 入列寧廣場劇院，並參與《俯臥撐 1-3》、《科爾佩特先生》、《來自 塞納河的陌生人》、《馬克白》和《黃金時代》等劇的演出。
自2003年3
月以來，他曾演出莎拉．凱恩的劇作《菲德拉的愛情》、 布克納的《胡錫傳》、沃德斯特拉的《毀滅天使》和法蘭克．韋德坎 德的《露露》、易卜生的《海倫．嘉柏拿》，全由奧斯特邁爾導演。 埃丁杰也是一位音樂家，在劇院的夜咖啡館組織「光子流廊」。埃 丁杰還負責《娜拉》的音樂。
Born in 1976, Lars Eidinger trained at the University of Theatre Arts ‘Ernst Busch’ in Berlin. He joined the Schaubühne in 1999, where he has appeared in Push Up 1-3, Herr Kolpert, The Stranger from the River Seine, Macbeth and Golden Times
Since March 2003 he has appeared in Phaedra’s Love by Sarah Kane, as well as Georg Büchner’s Woyzeck; Karst Woudstra’s The Exterminating Angel, Frank Wedekind’s Lulu and Ibsen’s Hedda Gabler, all Thomas Ostermeier productions.
Eidinger also works as a musician and organises the ‘photon_fluxlounge’ at the Schaubühne Nachtcafé. He is responsible for the music in Nora
珍妮．席利 Jenny Schily
林特太太 Mrs Linde
珍妮．席利生於 1967 年，在柏林表演藝術學院受訓。其後在巴赫 曼導演的布萊希特戲劇《巴爾》中首次亮相，接着參與德累斯頓國 家劇院《愛米麗雅．迦洛蒂》和法蘭克福劇院《浮士德第一、第二 部》及《培爾金特》的演出。席利曾是由湯姆．庫內爾和羅伯特．舒 斯特擔任藝術總監的法蘭克福 TAT 劇團的成員，參與演出過《尼貝 龍根的指環》、《教條／父親》和《自殺》。
席利於2003 年加入列寧廣場劇院，曾參與《配額》、《屠場况的聖貞 德》、沃德斯特拉《毀滅天使》和里克特《電子城（系統一）》的演出。
Born in 1967, Jenny Schily trained at the University of Theatre Arts ‘Ernst Busch’ in Berlin. She first appeared on stage in Stefan Bachmann’s production of Baal by Bertolt Brecht, followed by roles in Emilia Galotti at the Dresden State Theatre and in Faust I and II as well as Peer Gynt at the Frankfurt City Theatre. Schily was a member of the TAT Company in Frankfurt, under the artistic directorship of Tom Kühnel and Robert Schuster, and her work there included The Ring of the Nibelung, Dogma/The Father and The Suicide. Jenny Schily joined the Schaubühne in 2003 and has performed in The Quota, Saint Joan of the Stockyards, The Exterminating Angel and Electronic City (Das System 1) by Falk Richter.
凱．巴扎洛梅烏斯．舒爾策 Kay Bartholomäus Schulze
尼爾．柯洛克斯泰 Nils Krogstad
舒爾策生於 1966 年，曾在柏林表演藝術學院受訓。 1990 至 1999 年，他是柏林德意志劇院成員，並參與多部戲劇的演出，包括《鬼 魂奏鳴曲》、《西碼頭》、《維也納森林故事》、《塔索》、《伊薩卡》、 《奧塞羅》和《藍鳥》。
舒爾策於 1999 年加入列寧廣場劇院，曾參與演出里克特《和平》及 在《丹頓之死》中擔演主角。其他演出包括莎拉．凱恩的《4.48 精神 病》，該劇由列寧廣場劇院與蘇黎世劇院聯合製作，以及由奧斯特 邁爾導演的《胡錫傳》、《海倫．嘉柏拿》及《毀滅天使》。
Born in 1966 Kay Bartholomäus Schulze trained at the University of Theatre Arts ‘Ernst Busch’ in Berlin. From 1990 to 1999 he was a company member of the Deutsches Theatre, Berlin, and appeared in Ghost Sonata, Quai West, Stories from the Viennese Forest, Torquato Tasso, Ithaka, Othello and The Blue Bird. Schulze has been a member of the Schaubühne since 1999 and his work includes performances in Falk Richter’s Peace and the title role in Danton’s Death. Other productions include Sarah Kane’s 4.48 Psychosis, a co-production with the Zurich City Theatre, and Woyzeck, Hedda Gabler and The Exterminating Angel, all directed by Thomas Ostermeier.
安妮斯．拉姆金 Agnes Lampkin 海爾默家的保母 The Helmer’s au-pair
安妮斯．拉姆金生於 1973 年，曾在蘇黎世戲劇學院受訓。她參與 演出的戲劇有德國耶拿劇院赫爾茨導演的《狗仔隊》和《城市鏡 頭》、約．法比安導演的《進化戰術》、巴塞爾 33 地帶劇院烏爾西 納．格呂爾導演的《銀婚》。
拉姆金的其他演出包括埃森劇院蘇珊娜．恩克導演的《院子清理女 工》和科隆廢品劇院的《襲擊安娜》。最近，她在柏林索菲劇院演出 《特里斯坦和伊索爾德》。
Born in 1973, Agnes Lamkin trained at the Zurich Academy for Theatre. She has worked with directors Albrecht Hirche (Paparazzi and Urban Shots) and Jo Fabian (Tactics for Evolution) at the Jena Theatre, Ursina Greuel at the Raum 33 Basel (Silver Wedding) and the Rote Fabrik in Zurich.
Lampkin’s other work includes productions with Susanna Enk at the Essen Theatre (Yard Girl) and at the Trash Theatre in Cologne (Attacks on Anne) . Most recently, she performed at the Sophiensaele, Berlin, in Tristan and Isolde.
導演 Director
湯瑪士 ‧ 奧斯特邁爾
Thomas Ostermeier
奧
斯特邁爾 1968 年生於德國索爾
陶， 1992 至 1996 年在柏林表演
藝術學院主修導演。 1990 年，他 參與演出希里夫在柏林美術學院上演的《浮 士德》， 1993 年在魏瑪柏林劇團當曼弗里 德．卡爾杰的副導演和演員。
1995 年，他以邁耶霍爾德的生物機械學執 導了亞歷山大．勃洛克的《陌生人》， 1996 年在柏林 BAT 劇院導演《尋問浮士德／阿 圖》，並於 1996 至 1999 年出任德意志劇院 巴拉克分院藝術總監。他導演的作品包括 《穿裙子的胖男人》、《雉中刀》（應柏林藝術 節之邀）、《男人就是男人》、《鈴木》、《亦 買亦操》（應柏林藝術節之邀）、《腰帶下》和 《藍鳥》。他最近的作品是施品科的《鈴木第 二集》。 1998 年，巴拉克劇院被提名為年 度最佳劇院。於 1999 年加入列寧廣場劇院 之前，他在漢堡劇院導演《迪斯科豬》和《火 面》。
奧斯特邁爾自 1999 年 9 月起，擔任列寧廣 場劇院的藝術總監。他的製作包括諾倫的 《朋友圈3.1》、凱恩的《渴望》、馮邁延堡的 《寄生蟲》、福塞的《名字》、邱吉爾的《這是 一張椅子》、布克納的《丹頓之死》、斯爾布 揚諾夫維奇的《超級市場》、德萊塞的《好時 光》、易卜生的《玩偶之家／娜拉》（2003 年 應柏林藝術節之邀）、克勞茨的《願望音樂 會》、布克納的《胡錫傳》、沃德斯特拉的 《毀滅天使》、韋德坎德的《露露》和易卜生 的《海倫．嘉柏拿》。
2002 年，奧斯特邁爾在慕尼黑室內劇院導 演了弗萊塞的《強大枝幹》，以及在愛丁堡 國際藝術節導演了福塞的《沙發上的女 孩》。 2004 年，他在維也納城堡劇院導演 了易卜生的《建築大師》，並被委任為法國 阿維儂翁藝術節副藝術總監。
Born in Soltau in 1968, Thomas Ostermeier studied directing at the University of Theatre Arts ‘Ernst Busch’ in Berlin from 1992 to 1996. In 1990, he acted in the Faust project by Einar Schleef at the Berlin Academy of Fine Arts going on in 1993 to become assistant director and actor with Manfred Karge in Weimar and at the Berliner Ensemble.
In 1995 he directed The Stranger by Alexander Blok in accordance with Meyerhold’s system of biomechanics and in 1996 he directed Investigation Faust / Artaud at the BAT Studio Theatre in Berlin, before going on from 1996 to 1999 to become the artistic director of the Baracke at the Deutsches Theater, Berlin. His productions there included Fat Men in Skirts, Knives in Hens (invitation to the Berlin Theatre Festival), Man is Man, Suzuki, Shopping and Fucking (invitation to the Berlin Theatre Festival), Below the Belt, The Blue Bird and his final production Suzuki II by Alexej Schipenko. In 1998 the Baracke was nominated as Theatre of the Year. In
1999 he directed Disco Pigs and Fireface at the Hamburg City Theatre, before joining the Schaubühne.
Thomas Ostermeier has been the artistic director at the Schaubühne since September 1999, and his productions have included Norén´s Personenkreis 3.1, Kane´s Crave, von Mayenburg´s Parasites, Fosse´s The Name , Churchill´s This is a Chair , Büchner´s Danton’s Death , Srbljanovic’s Supermarket, Dresser’s Better Days, Ibsen’s A Doll’s House/Nora (invitation to the 2003 Berlin Theatre Festival), Kroetz’s Request Concert, Büchner’s Woyzeck, Woudstra’s The Exterminating Angel, Wedekind’s Lulu and Ibsen’s Hedda Gabler.
In 2002, Ostermeier directed Marieluise Fleisser’s The Strong Stem at the Munich Kammerspiele Theatre and Jon Fosse’s The Girl on the Sofa at the Edinburgh International Festival. In 2004 he directed Ibsen’s The Master Builder at the Vienna Burgtheater and was appointed Associate Artistic Director for the Festival d’Avignon.
揚．帕佩爾巴姆 Jan Pappelbaum
佈景設計 Set Designer
帕佩爾巴姆1966 年生於德累斯頓，曾在萊比錫青少年體育學院接受七年排球訓練，後來 成為石匠學徒，在魏瑪接受建築師訓練，並成為魏瑪建築學院學生劇團 的藝術總監。
1993 至 1996 年，他出任迪特．格拉斯的助手，格拉斯是曼弗里德．卡杰的佈景設計 師。
帕佩爾巴姆首次與奧斯特邁爾和庫內爾／舒斯特合作的劇目，是《熱．夏 76 ．春》，在 魏瑪藝術節上演。此後，為奧斯特邁爾做佈景設計的作品，包括《夜况鼓》、《陌生人》（兩 劇皆在 BAT 上演）、《男人就是男人》（巴拉克）和《藍鳥》（德意志劇院）；為庫內爾／舒斯 特做的佈景設計包括在柏林高爾基劇院的《伊凡諾夫斯一家的聖誕節》、《斯特拉》和 《龍》，在法蘭克福劇場的《等待果陀》、《培爾金特》、《愛麗斯夢遊仙境》、《血海殲仇記》 和《浮士德》第一、第二部。 1999/2000 年演出季度，他是法蘭克福 TAT 的首席佈景師和 列寧廣場劇院的佈景設計師。
由 2001 年起，他擔任列寧廣場劇院佈景設計部主管，作品包括《配額》、《朋友圈 3.1》、 《丹頓之死》、《一千零一夜》、《超級市場》、《屠場况的聖貞德 》（與法蘭克福 TAT 聯合製 作）和《黃金時代》。
Born 1966 in Dresden, Jan Pappelbaun spent seven years training in volleyball at the Leipzig Sport School for children and young people. He then became an apprentice to a stone mason, trained as an architect in Weimar and became the artistic director of the student theatre company at the School for Architecture in Weimar. From 1993 to 1996 he was assistant to Dieter Klaß, a set-designer for Manfred Karge. Pappelbaum’s first production with Thomas Ostermeier and Tom Kühnel/Robert Schuster was HOT. Sommer 76 Lenz, performed at the Weimar Art Festival. Since then other set designs for Thomas Ostermeier have included Drumming in the Night, The Stranger (both at the BAT Studio Theatre), Man is Man (Baracke Theatre) and The Blue Bird (Deutsches Theater). Set designs for Kühnel/Schuster, at the Maxim Gorki Theatre in Berlin have included Christmas at the Iwanows, Stella and The Dragon; and at the Frankfurt City Theatre Waiting for Godot, Peer Gynt, Alice in Wonderland, Titus Andronicus and Faust I and II. For the 1999/2000 season he was head of set design at the TAT in Frankfurt and set designer at the Schaubühne. Since 2001 he has been head of set design at the Schaubühne, and his productions have included The Quota, Personenkreis 3.1, Danton’s Death, The Arabian Night , Supermarket, Saint Joan of the Stockyards (a co-production with the TAT, Frankfurt) and Golden Times.
阿爾穆特．埃平杰 Almut Eppinger
服裝設計 Costume Designer
阿爾穆特．埃平杰生於 1966 年，曾是漢堡國家劇院和漢堡室內劇院的服裝助理，以及 羅伯特．威爾遜（塞尼亞劇院）的服裝助理，為不同藝穗製作的演出擔任服裝設計。1992 至1996 年，她在史圖加美術學院修讀佈景和服裝設計，然後擔任紐約伍斯特劇團的服裝 設計師，以及于爾根·羅塞的助理，接着擔任柏林西城鹿劇院和柏林德 意志劇院巴拉克 分院（《尼古拉．阿歷謝耶維奇》）的服裝設計師，以及在漢堡劇院為奧斯特邁爾當服裝設 計（《火面》）。
自1999 年起，埃平杰一直擔任列寧廣場劇院的服裝設計師，作品包括《名字》、《火面》、 《這是一張椅子》、《丹頓之死》、《超級市場》、《好時光》、《願望音樂會》、《副本》、《胡 錫傳》和《毀滅天使》。她還在愛丁堡國際藝術節為奧斯特邁爾導演的《沙發上的女孩》做 服裝設計。
Born in 1966, Almut Eppinger was the costume assistant at the Hamburg State Opera, the Hamburg Kammerspiele Theatre, and for Robert Wilson at the Thalia Theater as well as creating various costume designs for fringe theatre productions. From 1992 to 1996 she studied set and costume design at the Academy of Fine Arts in Stuttgart and then worked as costume designer for the Wooster Group in New York and as assistant to Jürgen Rose. She then designed costumes at the Westlicher Stadthirsch Theatre and the Baracke Theatre both in Berlin and at the Hamburg City Thea tre, for Thomas Ostermeier’s production of Fireface
Since 1999, Eppinger has been the costume designer at the Schaubühne for productions of The Name, Fireface, This is a Chair, Danton’s Death, Supermarket, Better Days, The Wish Concert, The Copies, Woyzeck and The Exterminating Angel. She also designed the costumes for Ostermeier’s production of Girl on the Sofa at the Edinburgh International Festival.
欣里希．施密特 – 亨克爾 Hinrich Schmidt-Henkel
翻譯 Translator
施密特 - 亨克爾 1959 年生於柏林， 1987 年開始從事法語、意大利語和挪威語的翻譯工 作。 1991 至 1993 年，他擔任漢堡文化參議員克里斯蒂娜．威斯的私人顧問和新聞官。 他曾翻譯揚．福塞、卡繆、埃爾韋．吉貝爾等人的戲劇，以及塞利納、 埃切諾茲、本 尼、唐德盧、漢森和福塞等人的小說。
Born 1959 in Berlin, Hinrich Schmidt-Henkel has worked as a translator in French, Italian and Norwegian since 1987. From 1991 to 1993 he was a personal consultant and press officer for the cultural senator in Hamburg, Christina Weiss. He has translated plays by Jon Fosse, Albert Camus, Hervé Guibert and others, as well as novels by Louis-Ferdinand Céline, Jean Echenoz, Stefano Benni, Pier Vittorio Tondellu, Erik Fosnes Hansen and Jon Fosse.