恨嫁家族  I Hate Therefore I Marry  2014.1.24-26

 

Design Statement for WSD 2017

 

Marry or not? I Hate Therefore I Marry is a story about four sisters, their mother, their men and their lacking. Only a pale grey platform onstage. It was a minimal and cruel ground for mourning and respect to the late set designer Ewing CHAN*. This emptiness, with lighting and moods, enhancing the lacking inside the characters even stronger. 

​

Teal reflects the ex-boyfriend’s jealousy.  Lavender embodies the innocent romance of the violist and the third sister.  The obsessions with the ex and the seducer  and their tangly struggles of love and hate sprays the space in bloody red. This red sneaks us into their minds.  The light tightens on the big sister like a curse as she is enraged by the ex’s revenge; moments later, she was running wild in the big pool of light to ease her anger, but seems getting lost into the void gradually. 

​

Lighting space isn’t merely physical space. It purifies and sublimates the emotions. The house was recreated by the geometric forms of shadows and lights, but also a metaphor to mentally imprison the characters. Lighting opens up aesthetics, dramatic, psychological and conceptual spaces, wandering around characters and times, and becoming another performing role. 

 

《恨嫁家族》是一道特別的風景。因著佈景設計的從缺*，淺灰色平台成了極簡約的殘酷之地，既是悼念，亦是尊重。場景的「空」，結合燈光與調度，讓人物心靈內無盡之「缺」，被呈現得更透徹、更有力。

 

深青，加強了前度男友的嫉妒心理；粉紫，體現了三姐與中提琴手的羞澀浪漫；血紅，把二姐與前度、大姐跟勾引者等各自的愛與恨、糾纏、掙扎及肢體上的對抗，灑滿一地。這片血紅，既展露了戲劇性，亦呈現了姊妹倆對愛存在着強烈的情緒。仿若緊箍咒般的聚光圈隨著大姐因前度的報復而對自身發怒，在她身上越收越窄；下一瞬間她卻義無反顧地狂奔在台上的巨型光罩裡，仿佛要把憤怒發洩掉，但人卻愈來愈渺小。

 

光的空間，從來不僅是光與影。台上重疊的光線重構著大屋房間，它從想像而來，呈現的卻不只是純粹的物理空間，還製造了牢籠，把所有人都困在裡面。舞台上的虛無，造就了燈光在舞台美學上的淨化與昇華。光同時開拓了戲劇、心理、意境的空間，在角色間徘徊，在時空裡遊走，成為另一個表演個體。

 

• 佈景設計師陳友榮於《恨嫁家族》製作期間突然因急病離世，劇組遂決定把舞台留白，作為對 Ewing 的悼念。