来源 ：天津热线 2019-12-14 09:16:54|黄大仙黑版救世图
SYDNEY, Australia — Even when you know little about a country’s internal politics, aspects of it can seem eerily familiar. “How to Rule the World,” a new play by Nakkiah Lui for Sydney Theater Company, is deeply rooted in Australia’s cultural landscape: Jokes about the former prime minister, Julia Gillard, or the state of Tasmania may well escape visiting foreigners. Yet much else in this smart comedy resonates across borders.
For starters, it reaffirms that in today’s interconnected world, the rise of populism and culture wars around diversity are global phenomena. Ms. Lui, a decorated writer and actor of Indigenous Australian descent, riffs on them with confidence in this sharp-witted tale, in which three highly educated millennials from minority backgrounds (Indigenous Australian, Asian and Pacific Islander) attempt to change the political scene from the inside.
In order to defeat the imaginary Sovereign Territory Bill, a hard-line law the government is about to pass, they find a stooge to run for the Australian Senate. As a song puts it in the play, they turn their candidate (named Lewis Lewis) into the “perfect successful white man” — one whose entire platform boils down to sound bites about trying hard and getting things done. In order to secure his election, however, the three puppet masters compromise their own values, and the puppet ends up escaping their grasp.
“How to Rule the World,” staged in the Drama Theater at the Sydney Opera House, has appealing vigor. The director, Paige Rattray, relies on a simple set — the hallway of the prime minister’s offices — but there is enough life in the performance to keep the action absorbing. The few songs are cleverly satirical, and Anthony Taufa (as the Tongan millennial, Chris) and Hamish Michael (who brings range and comic timing to the role of Lewis Lewis) stand out among the cast.
There has been much debate in Australia about white critics’ reception of works by Indigenous writers. Writing on Twitter, Ms. Lui said that her racial identity and gender have been “mentioned in every review” of her work, and that the critics’ own never are. It seems fair to record here, then, that I’m a white European woman. That said, a number of scenes in “How to Rule the World” lack the narrative finesse to flesh out the characters’ inner world.
A lot of the dialogue is exposition-heavy. The first 15 minutes involve a lightning-fast lecture about diversity, privilege and structural oppression — all of which is cogent, but fits uneasily in the context of a natural conversation between friends. It’s a shame, because in a monologue near the end, Ms. Lui, who also plays one of the characters, gives a more eloquent and personal account of Indigenous trauma. She is just 27, and already an emphatic voice. The Sydney Theater Company, which has commissioned four plays from her in the past three years, is clearly giving her space to hone it.
Elsewhere in the Sydney Opera House, the Playhouse stage has welcomed another comedy: Molière’s “The Miser,” in a new production by the Bell Shakespeare company. This 1668 play about a penny-pinching father, Harpagon, and his scheming children is a revered classic in France, and the translator Justin Fleming here attempts to find an English substitute for the formidable rhythm of Molière’s dialogue. He does so in the way many French translators tackle Shakespeare in the other direction: by smoothing out the text’s period feel and introducing contemporary references, such as the actor Peter O’Toole and cosmetic surgery.
The hearty laughs from the audience validate this approach. Mr. Fleming’s translation also pokes fun, at times, at the structure of Molière’s plays: One character mocks the idea of a deus ex machina ending precisely before “The Miser” introduces one.
The production’s most effective update, however, lies in the casting: Here, Harpagon’s daughter, Elise, is secretly in love with a woman, not a man (but under the same name, Valère). Such gender swaps are still rare on the French stage, and Jessica Tovey makes this one seem entirely natural; lines like “You can’t go judging me by the sorts of things men do” suddenly take on a new meaning.
The cast is led by a legend of Australian theater in the role of Harpagon: John Bell, who founded Bell Shakespeare in 1990. He stepped down from the position of artistic director in 2015, and his successor, Peter Evans, has directed him in “The Miser.” The production makes it clear that Harpagon’s obsession with thrift sets him apart: Where the other characters’ costumes are elaborate and brightly colored, he wears the plainest of pants with suspenders, oblivious to his children’s social affectations.
Mr. Bell takes to the role with deadpan gravitas and lands jokes with dexterity. Still, Mr. Evans’s production is occasionally too straightforwardly comedic for what is, at several points, a rather dark play: Harpagon’s self-imposed isolation sees him wind up alone with his gold at the end, a somber conclusion that this “Miser” doesn’t fully build to.
Duncan Macmillan and Jonny Donahoe’s “Every Brilliant Thing,” on the other hand, has that delicate balance between pathos and lightness down pat. This British solo play has turned into a runaway success since its premiere in 2013. Originally performed by Mr. Donahoe, it gets a gender swap of its own for the Australian premiere at the Belvoir Theater, with Kate Mulvany in the role of a child who makes a list of things that spark joy in her life as a gift for her mother, who has attempted suicide.
The child grows up, and the list grows, too. It’s a very personal subject for Ms. Mulvany, who lost her partner to suicide a decade ago, as she explains in a moving note in the playbill. On the stage of the Belvoir, transformed to offer seating in the round, she gives a performance of such sincerity and warmth that “Every Brilliant Thing” seems to have been written for her.
The play involves the audience at every turn, either to play characters in the story or to call out the brilliant things on the list: Items are written down on pieces of paper and handed to playgoers as they go in. When Ms. Mulvany shouts your number, there is a sense of exhilaration in yelling “the alphabet” (in my case) and, for a second, sharing a moment of wonder with the rest of the audience. Roller coasters, ice cream, “weeing in the ocean” and many more feature in this joyful roundup.
It’s a rare performance that manages to explore dark corners of the human psyche and gently shine light into them. It leaves the audience feeling vulnerable, yet elated. The house instantly rose to its feet for Ms. Mulvany on opening night, and then stayed on past the curtain calls to rummage excitedly through the boxes of additional list items she had left behind. Marvelous theater can make you feel at home anywhere: Sydney’s version of “Every Brilliant Thing” achieved just that.B:
黄大仙黑版救世图【有】【些】【人】【的】【人】【生】【就】【像】【一】【个】【蛋】【糕】，【有】【些】【人】【只】【能】【看】【到】【朋】【友】【圈】【的】【照】【片】，【有】【些】【人】【还】【可】【以】【分】【到】【蛋】【糕】，【可】【有】【些】【人】【却】【可】【以】【和】【主】【人】【一】【起】【参】【与】【切】【蛋】【糕】【的】【过】【程】。 【明】【明】【知】【道】【没】【有】【那】【么】【多】【的】【资】【格】【介】【入】，【可】【心】【却】【早】【已】【巴】【巴】【的】【红】【杏】【出】【了】【墙】。 【两】【情】【相】【悦】【的】【爱】【情】【太】【过】【稀】【少】，【少】【到】【让】【所】【有】【深】【陷】【感】【情】【苦】【楚】【的】【人】【都】【在】【盼】【望】【对】【的】【那】【一】【个】。 【小】【蓝】【很】【清】【楚】【婚】【姻】【和】
【不】【忍】【心】【再】【想】【下】【去】，【灵】【儿】【赶】【紧】【着】【手】【准】【备】【起】【各】【种】【伤】【药】【和】【治】【伤】【时】【需】【要】【用】【到】【的】【东】【西】。【依】【眼】【下】【的】【情】【况】【来】【看】，【这】【个】【客】【栈】【阳】【哥】【哥】【最】【好】【还】【是】【不】【要】【再】【回】【了】。【龙】【山】【村】【也】【不】【宜】【久】【留】。【等】【逸】【兴】【门】【的】【兄】【弟】【过】【来】，【他】【们】【立】【马】【就】【离】【开】。 【客】【栈】【外】【头】【还】【有】【些】【吵】【杂】。【那】【些】【官】【兵】【自】【然】【无】【法】【通】【过】【验】【伤】【找】【到】【他】【们】【口】【中】【的】【刺】【客】，【可】【他】【们】【又】【怎】【会】【舍】【得】【轻】【易】【放】【弃】？ 【灵】【儿】
“【撕】【拉】” 【一】【阵】【诡】【异】【的】【声】【音】【响】【起】，【让】【战】【场】【上】【如】【火】【如】【荼】【的】【战】【斗】【不】【由】【得】【停】【顿】【下】【来】，【就】【连】【场】【外】【观】【战】【的】【众】【人】【也】【都】【发】【现】【了】【这】【样】【的】【变】【化】，【他】【们】【急】【忙】【将】【目】【光】【聚】【集】【到】【了】【王】【虎】【的】【身】【上】。 “【喝】！” 【王】【虎】【眼】【中】【精】【光】【闪】【闪】，【身】【上】【的】【威】【势】【开】【始】【以】【肉】【眼】【可】【见】【的】【速】【度】【狂】【涨】，【一】【时】【间】【居】【然】【没】【人】【能】【靠】【近】【他】【周】【身】【半】【分】。 “【不】【好】，【他】【要】【突】【破】，
【到】【了】【三】【年】【级】【以】【上】，【就】【可】【以】【外】【出】【历】【练】【了】，【比】【如】【说】【去】【希】【望】【之】【森】，【去】【浩】【瀚】【山】【脉】。 【这】【些】【学】【生】【出】【去】【历】【练】【的】【同】【时】【也】【都】【带】【着】【学】【院】【的】【任】【务】，【当】【然】【都】【是】【一】【些】【力】【所】【能】【及】【的】【事】【情】。 【比】【如】【采】【摘】【药】【材】，【再】【比】【如】【魔】【兽】【的】【内】【丹】【等】【等】。 【这】【些】【任】【务】【所】【得】【也】【是】【作】【为】【学】【院】【资】【源】【的】【一】【部】【分】。 【新】【入】【学】【的】【新】【生】【大】【多】【数】【时】【间】【都】【是】【在】【学】【习】【基】【础】【理】【论】【课】。 【因】黄大仙黑版救世图【几】【乎】【同】【时】，【正】【在】【婚】【礼】【现】【场】【的】【戚】【纪】【辰】【感】【觉】【到】【了】【异】【样】【与】【不】【详】，【一】【眨】【眼】，【却】【再】【也】【感】【觉】【不】【到】【了】。 【戚】【纪】【辰】【捂】【着】【自】【己】【的】【胸】【口】【试】【着】【感】【知】【林】【汐】【洛】【的】【状】【况】，【可】【他】【的】【心】【也】【没】【有】【感】【觉】【到】【有】【什】【么】【不】【一】【样】。 【这】【场】【婚】【礼】【也】【不】【过】【就】【是】【一】【个】【他】【捏】【来】【的】【幻】【境】，【除】【了】【他】【和】【叶】【家】【人】【剩】【下】【的】【都】【是】【假】【的】，【他】【现】【在】【要】【做】【的】【就】【是】【请】【君】【入】【瓮】，【让】【叶】【墨】【霖】【觉】【得】【自】【己】【的】【计】【划】
【我】【抱】【着】【收】【纳】【盒】【去】【和】【一】【群】【打】【算】【去】【抢】【购】【打】【折】【的】【大】【爷】【大】【妈】【挤】【公】【交】，【回】【家】【的】【时】【候】【已】【经】【是】【一】【身】【狼】【狈】。 【手】【上】【被】【划】【破】【了】【一】【块】，【由】【于】【伤】【口】【面】【积】【过】【大】，【回】【家】【的】【时】【候】【还】【在】【流】【血】，【我】【瞅】【了】【一】【眼】【也】【没】【有】【太】【在】【意】，【大】【不】【了】【今】【天】【多】【吃】【几】【个】【鸡】【蛋】。 【顾】【毅】【言】【看】【到】【抱】【着】【收】【纳】【盒】【回】【家】【的】【我】【脸】【上】【丝】【毫】【没】【有】【意】【外】【的】【表】【情】，【我】【怀】【疑】【他】【就】【是】【幕】【后】【黑】【手】，【毕】【竟】【早】【上】【一】
【气】【势】【汹】【汹】【的】【来】，【安】【安】【静】【静】【的】【走】。 【用】【这】【句】【话】【来】【形】【容】【卫】【金】【钩】【可】【谓】【是】【前】【所】【未】【有】【的】【正】【确】。 【还】【是】【夹】【着】【尾】【巴】【走】【的】。 【知】【道】【了】【苏】【青】【玄】【有】【英】**【罩】【着】【之】【后】，【卫】【金】【钩】【是】【不】【敢】【有】【什】【么】【异】【议】【了】。【不】【过】【他】【本】【来】【也】【不】【算】【是】【有】【什】【么】【异】【议】，【就】【算】【是】【苏】【青】【玄】【是】【个】【废】【物】，【其】【实】【也】【不】【算】【什】【么】。 【卫】【家】【的】【人】【还】【是】【有】【骨】【气】【的】，【他】【卫】【金】【钩】【行】【走】【江】【湖】【一】【辈】【子】，