从三月中旬演到六月二日。我好想去看！上次去看 Arcadia，一天内坐大巴来回，把我给累得半死，发誓再也不干这种伤筋动骨的事了。不过 Phil Hoffman 真人上场，我又忍不住心动鸟 ... 或许可以在纽约住两天，看看戏，吃吃饭什么的。
话剧《推销员之死》重上百老汇
话剧《推销员之死》重上百老汇
Arthur Miller 的经典话剧 Death of a Salesman 最近在 Ethel Barrymore 剧院上演，由 Mike Nichols 导演，Philip Seymore Hoffman 主演。自从预演以来好评如潮，纽约客的评论甚至放出话来，“有生之年都不指望看见更好的版本。”
从三月中旬演到六月二日。我好想去看！上次去看 Arcadia，一天内坐大巴来回，把我给累得半死，发誓再也不干这种伤筋动骨的事了。不过 Phil Hoffman 真人上场，我又忍不住心动鸟 ... 或许可以在纽约住两天，看看戏，吃吃饭什么的。
从三月中旬演到六月二日。我好想去看！上次去看 Arcadia，一天内坐大巴来回，把我给累得半死，发誓再也不干这种伤筋动骨的事了。不过 Phil Hoffman 真人上场，我又忍不住心动鸟 ... 或许可以在纽约住两天，看看戏，吃吃饭什么的。
此喵已死，有事烧纸
Re: 话剧《推销员之死》重上百老汇
啊我也看的周六两点那场！我知道会很好看，但是没想到会那么好看！Intense and engaging all the way through! Not even one boring minute! 所有的演员表演都不错，舞台设计也好，时空转换很自然。跟我一起去的同事说，有生之年大约不会看到比这出剧更好的剧了。Jun wrote:今天看了下午场。很好。看完了恨不得回头再看一遍。我对 Phil Hoffman 完全没有抵抗力。
这个戏高中时候读过，也没觉得怎么样，如今才发现Arthur Miller的厉害之处--常见的题材，普通的人物，却发掘得如此深刻，表达的感情如此复杂。
不过还是有一点我觉得可以改进，Phillip Hoffman气势太强大了，在他和大儿子的对手戏中，有时候有点过于强大了。如果大儿子能再强一点或老爸能够弱一点（不一定达到一样的强弱），也许会更好一些。
Re: 话剧《推销员之死》重上百老汇
Phil Hoffman 还是年轻了一些，看上去就不象六十，虽然在肢体表演上尽量老化了。演大儿子 Biff 的 Andrew Garfield （新版 Spiderman）也比剧本中的设定年轻和瘦。Biff 是个美国 jock 青年。Garfield 的处理更象 James Dean 的路子。而 Hoffman 让我联想起 Marlon Brando 在教父1中老化的表演。
去年看 Tom Stoppard 的 Arcadia 也是在 Ethel Barrymore，感觉两出戏的 emotional tone 差别特别明显。Arcadia 是非常很有距离很 intellectual 很抽象的理论研讨，人物的思想感情什么的都属次要。而 Salesman 是典型的美国话剧，特别 psychological ，家庭感情冲突很强烈，跟O'Neill 和田纳西威廉斯是一路的。高潮的时候我忍不住想，这剧天天演出演员会不会精神崩溃？
去年看 Tom Stoppard 的 Arcadia 也是在 Ethel Barrymore，感觉两出戏的 emotional tone 差别特别明显。Arcadia 是非常很有距离很 intellectual 很抽象的理论研讨，人物的思想感情什么的都属次要。而 Salesman 是典型的美国话剧，特别 psychological ，家庭感情冲突很强烈，跟O'Neill 和田纳西威廉斯是一路的。高潮的时候我忍不住想，这剧天天演出演员会不会精神崩溃？
此喵已死，有事烧纸
Re: 话剧《推销员之死》重上百老汇
推销员之死获得多项Tony奖提名，包括导演 Mike Nichols, 演员 Phil Hoffman, Linda Emond, Andrew Garfield.
我的观后感贴一下：
Is it the great America tragedy or the great American satire? I consider it the latter, with scathing ironies on everything held up as the archetypical American Dream: a house paid off in 25 years, worship of youth and popularity ("being well liked"), a boastful masculinity, a delusional optimism, and, most of all, selling things. Sell, Sell, Sell! Everyone can see Willy Loman is pathetic, yet no one walks out thinking the play is really about the "Death of the American Dream."
But it is also a family tragedy in the tradition of great American family tragedies. What is wrong with the family? What a bizarre and fucked up relationship Willy and Biff have. In the best of times, they simultaneously idolize and be idolized by each other, and in the end crush each other under the weight of both men. Willy incessantly fawns over Biff's youth and popularity in high school, which feeds his own delusional self-image of being a "well liked" salesman up and down the Northeast. Biff basks in his father's adoration and idealization, swallowing Willy's myth line and hook to his own peril. Biff's idol shriveled and died when he happened upon Willy sleeping with a trashy woman on the road some years ago, and the death of his Father Myth laid waste to his subsequent life. The death of Willy's Son Myth comes much later and more reluctantly, concluding in Willy's suicide. In a way, Biff's self-destruction is a form of suicide. Father and son, what symmetry.
Why should it be so strange that one would look to his son for comfort and dependency and other kinds of safety and protection normally provided by one's parents? Oh, Willy's father was absent in his childhood. The substitute father, his brother Ben, abandoned him, too. Is it so incomprehensible that a weak, frightened, pathetic man would cling onto his first-born son as a shield against the constant assaults from the world on his ego ? It is fairly common, in fact, for parents to try to boost their own sense of worth through bloated expectations on their children's worth. And children under such desperate parental neediness eventually crumble, even without the revelation that their parents are but weak nobodies.
Parents and children are all desperately seeking a safe haven for their fragile and broken psyche. Delusions abound. Everyone in the play lives in a rosy delusion of the others, even Biff, whose rage is rooted in his inability to let go of his Father Myth. I suppose it is inevitable that most children cannot help but idolize their parents and believe them omnipotent. But then from whom do parents find such comfort if they have not found it in their own parents? I guess that is the universal appeal of religion.
******
看完 Salesman 之后的当晚做梦梦见了 Paul Giamatti。Philip Seymour Hoffman 和 Giamatti 对我的吸引力是一样的，我对他们有一种奇异的欲望，恨不得冲上去把他们扑倒兼上下其手一番，尤其是肚腩。
我的观后感贴一下：
Is it the great America tragedy or the great American satire? I consider it the latter, with scathing ironies on everything held up as the archetypical American Dream: a house paid off in 25 years, worship of youth and popularity ("being well liked"), a boastful masculinity, a delusional optimism, and, most of all, selling things. Sell, Sell, Sell! Everyone can see Willy Loman is pathetic, yet no one walks out thinking the play is really about the "Death of the American Dream."
But it is also a family tragedy in the tradition of great American family tragedies. What is wrong with the family? What a bizarre and fucked up relationship Willy and Biff have. In the best of times, they simultaneously idolize and be idolized by each other, and in the end crush each other under the weight of both men. Willy incessantly fawns over Biff's youth and popularity in high school, which feeds his own delusional self-image of being a "well liked" salesman up and down the Northeast. Biff basks in his father's adoration and idealization, swallowing Willy's myth line and hook to his own peril. Biff's idol shriveled and died when he happened upon Willy sleeping with a trashy woman on the road some years ago, and the death of his Father Myth laid waste to his subsequent life. The death of Willy's Son Myth comes much later and more reluctantly, concluding in Willy's suicide. In a way, Biff's self-destruction is a form of suicide. Father and son, what symmetry.
Why should it be so strange that one would look to his son for comfort and dependency and other kinds of safety and protection normally provided by one's parents? Oh, Willy's father was absent in his childhood. The substitute father, his brother Ben, abandoned him, too. Is it so incomprehensible that a weak, frightened, pathetic man would cling onto his first-born son as a shield against the constant assaults from the world on his ego ? It is fairly common, in fact, for parents to try to boost their own sense of worth through bloated expectations on their children's worth. And children under such desperate parental neediness eventually crumble, even without the revelation that their parents are but weak nobodies.
Parents and children are all desperately seeking a safe haven for their fragile and broken psyche. Delusions abound. Everyone in the play lives in a rosy delusion of the others, even Biff, whose rage is rooted in his inability to let go of his Father Myth. I suppose it is inevitable that most children cannot help but idolize their parents and believe them omnipotent. But then from whom do parents find such comfort if they have not found it in their own parents? I guess that is the universal appeal of religion.
******
看完 Salesman 之后的当晚做梦梦见了 Paul Giamatti。Philip Seymour Hoffman 和 Giamatti 对我的吸引力是一样的，我对他们有一种奇异的欲望，恨不得冲上去把他们扑倒兼上下其手一番，尤其是肚腩。
Last edited by Jun on 2012-05-04 20:50, edited 1 time in total.
此喵已死，有事烧纸
Re: 话剧《推销员之死》重上百老汇
Oh my, I didn't know you can be so graphic!Jun wrote:Philip Seymour Hoffman 和 Giamatti 对我的吸引力是一样的，我对他们有一种奇异的欲望，恨不得冲上去把他们扑倒兼上下其手一番，尤其是肚腩。
Violent delights.