billy chan陳焯華
theatre lighting design 劇場燈光設計
非常林奕華
EDWARD LAM DANCE THEATRE
紅樓夢
WHAT IS SEX?
《紅樓夢》懸浮的光條以垂直線排列，看來就像現代簡約的燈飾一樣。
它只出現了一幕，卻引申出戲中其他場景的光的線條，
像從狹陜縫中窺看大觀園一樣。
雖然佈景主體仍是一大片空間與高牆，但當在所有的窗戶都亮起來後，
這個看來像給人們過渡用的臨時空間彷彿變成有機生命體。
隨著不同人物的夢境、情緒，綻放出橙黃、靛青、艷紅、粉紫等各種色調，
仿佛為這個現代大觀園定下註腳。
台上重重疊疊的光的線條從四方八面射來，呈現的不只是純粹的光與影，
而是像夢的啟示一樣，引領我們以更寬容、更自覺的心來觀照自己。
在《紅樓夢》裡，我感受最深的一幕就是黛玉與寶玉的那場。
偌大的空間就只剩下二人，
光從紛亂漸變平靜，、抽離，再到那一抹紅色。就像是黛玉手中的玫瑰，嬌豔欲滴，
最後卻只有腥紅的印記留在寶玉心中。
The vertical light strips in What is Sex?, a re-work theatre piece inspired by Dreams of the Red Chamber,
resembled an interior lighting texture, which helped to define the space’s modernity.
It triggered a visual impact on the lighting language of the play;
those strips of light on the walls and floor gave an impression of peeking through cracks into the Grandview Garden.
The volume of this transitional space, which was composed of high walls and void,
came alive dramatically when all the windows and doors were lit.
The anxieties of different characters, confessed through the lights of orange, cyan, scarlet and lavender,
brought definitions to these chambers.
Like an enlightenment from a dream, the overlapping and entangling lighting onstage did not
only create lights and shadows but also led us to a more open, more self-aware discovery to reflect ourselves.
My heart ached every time I saw the scene of Lin Daiyu and Jia Baoyu. The two main characters were left alone in the enormous space. Like silence after chaos, the lights became still and solitary which detached them from the collapsing world outside. Sadly and gradually, only the blood red light remained, as the blossoming roses in Daiyu’s hands was only left as an imprint in Baoyu’s mind.
