攝影 | 葛昌惠
第一屆《自己的劇本》原創戲劇節《颱風走在預報前》
盜火劇團（編劇胡錦筵、導演林文尹）
首演日期│2016/11/04
首演地點│北市 Mad L文化空間
入圍理由
在本次入圍決選的作品中，本劇無疑是最貧窮，也最小規格的製作。連劇場都稱不上的空間裡，三個角色與一些空間裡現成的生活用品，卻構成了一部讓人目不轉睛的好戲。這是一齣既寫實又荒謬的心理劇，最後還有兩種不同的結局，編劇的創意要如何被執行？這在台灣劇場「純」戲劇的製作上一直是個問題，劇本不是最後被導演的風格吃掉，就是演員的能力無法達到劇本深度。但這齣精緻的小製作展現了編導演之間成功的磨合，台詞準確的推進，導演在節奏動作的收放上步步為營，演員在劇情的三角關係中處處都「有戲可作」。在只有二十幾個座位的空間條件下，能如此投入於戲劇本身的琢磨十分難得。製作雖小但戲不小，是一齣足可做為範本的演出。 (主筆／郭強生)
關於第一屆《自己的劇本》原創戲劇節《颱風走在預報前》
「劇本」是劇場演出之本；有了自己的原創劇本，才能述說屬於自己這塊土地、人民情感及觀點的戲劇。此次展演，是盜火劇團第一屆「自己的劇本」原創戲劇節作品的其中之一，以劇作家為主角，彰顯原創劇本的價值，為「華文戲劇」的內容生產，找到更多的創作人才。《颱風走在預報前》於非劇場空間實景演出，劇本日常化的語言，營造出強大的戲劇張力和情緒角力，風雨交加、颱風即將來襲的外在環境，呼應室內當下分手現場痛苦、壓抑的氛圍，演員情緒的控制和爆發恰到好處，導演妙筆生花採用開放式的結局，在寫實之架構下，打斷了線性時間和空間，營造出全劇的魔幻氛圍。
關於人物
此戲為編劇胡錦筵原創劇作，將生活中細瑣對話放上舞台，營造日常但不平常的劇場氣氛，並在寫實架構下使用開放式結局，探討多元人際關係之可能。《颱風走在預報前》是以戀愛為題，試圖反應出當下年輕人的社會現狀：不願提及過去，無法預期未來，唯一擁有的就是尷尬，和無法處理的當下。
此2015年，胡錦筵剛上完日本知名編導平田織佐在臺北開的劇作工作坊，思考自己能否如平田所教那般，將日常語言放置於舞台上？剛好臺北文學季讀劇活動邀劇本，他從生活中錄音取材，劇本完成後先自己讀，再找非專業演員讀，聽起來若有不自然之處就反覆修改。胡錦筵挑戰「一鏡到底」的寫作手法，以同世代的年輕戀人為主角，寫就這齣如鏡反射觀眾生活、極具真實感的三角戀愛戲；他說，「閱讀文字跟口語文字不同，生活中我們其實不會說的像寫的這麼多，更多是在看似沒意義的發語詞裡面，藏著很多情感細節」。
導演林文尹和胡錦筵結識於多年前外表坊時驗團的作品《春眠》，胡錦筵對擔任演員的林文尹十分欣賞，邀他演出自己劇作《二樓的聲音》及《目前想不到》。在聽完臺北文學季讀劇活動《颱風走在預報前》的讀劇會後，兩人便著手討論如何將劇本落實演出；林文尹認為劇本裡有種極致戲謔底下的犀利，他好奇真的做出來會怎樣？於是一起找盜火劇團的製作人劉天涯和藝術總監謝東寧討論，最後由盜火劇團把概念整理起來，並提供場地資源，延伸成多齣劇作連番上演的「自己的劇本─原創戲劇節」。林文尹形容本劇的導演方法：「劇本裡的感情糾葛是我們身邊都會發生的平常事，如何把瑣碎拿上舞台？我自己也是演員，知道彼此信任很重要。有些演員要用減法，拿掉習慣的表演方法才能營造自然感；如演員之一是沒演戲經驗的模特兒，則要用加法給她表演技巧。讓演員在台上表現出真的生活與說話，需要花大量時間嘗試。」
他倆從年紀、外型到劇場經驗截然不同；胡錦筵當初考上戲劇系只因分數剛好，大三才看了人生第一本小說，他非常感謝王友輝老師劇作課的教導，讓他從寫作得到了成就感，決定要以編劇為職。他逼自己一年看百本以上的小說，養成大量閱讀和日常觀察習慣。光靠寫作難以維生，剛畢業的他一邊投入教職，利用餘暇寫作；他提到「我幾乎都寫自己想寫的，喜歡從很極致的角度切入發想，比較不擅長受人委託的命題寫作。」寫完劇本，他會自己找製作人，跟製作人看場地，討論演員名單，有時會配合場地空間狀況重寫。對他來說，空間、演員、所有元素都會對劇本有所影響，劇本並非初稿寫完就定稿，而是要進排練場與大家一起工作，不斷磨合、改寫才有最終成品。
相較於胡錦筵，林文尹則資深的多。林文尹高中時就加入臨界點劇象錄劇團，當年本想畫漫畫做廣告，誤把劇場當電影，以為接觸劇團可以學分鏡。當時臨界點劇象錄以編導田啟元為核心，劇團每週固定團練，啟蒙了少年林文尹對劇場的思考，也深刻影響他的創作觀念，他談到「從接觸劇場到現在，我心裡面一直有當年寺山修司影片中表演舞踏的震撼畫面，對當時十七歲的我來說，這些畫面很恐怖但又很美，至今仍想把心中那些畫面做出來，始終沒變。」為了生計，林文尹曾半工半讀，從保全到攝影記者都做，但最後還是回到熱愛的劇場表演；他說，「在劇場我比較快樂。我現在有戲就排，另一邊在宜蘭教國中表演藝術課。說是教表演，其實都在教做人基本道理，也培養未來的觀眾」。
胡錦筵是死忠的籃球迷，尤其喜歡看美國職籃達拉斯小牛隊，球隊中的明星球員能切能投是他的偶像；林文尹則比較喜歡從前喬丹時期分工明確的比賽風格，對現在人人不分位置投三分球的風氣不感興趣；喜歡全能球員的胡錦筵全心投入劇本寫作，偏好分工明確的林文尹卻在劇場裡能導能演。或許，就是因為彼此差異大，在劇場裡反能互補，激盪出最好的藝術成果。
盜火劇團
盜火劇團由藝術總監謝東寧於2013年所創立，劇團取名「盜火」，是效法希臘神話英雄--普羅米修斯「盜火」造福人類，盜火劇團企圖以劇場力量，走入人群、影響社會。 在創作方面，主要開發本土觀點的新創作，亦以導演的總體劇場觀念，詮釋當代新文本及世界經典劇作，期待透過劇場，能夠反映社會真實、土地情感，期待以全球的視野觀看，屬於華人生活的劇場圖像。盜火劇團亦肩負「藝術教育及社區推廣」、「劇團海外交流」、「文化政策研究」…等工作。本團入選為文化部105、106年度「演藝團隊分級獎助計畫」育成級。
胡錦筵
台北藝術大學劇本創作研究所畢業。編劇作品包括《第七天是疲倦的一天》、《安娜》、《颱風走在預報前》〈獲第十五屆台新藝術獎季提名〉、《目前想不到》〈獲教育部文藝獎劇本類學生組特優〉、《二樓的聲音》〈獲第十三屆台新藝術獎季提名〉、《三爐沈香》等。
林文尹
1975年出生於台北市。台灣藝術大學戲劇系畢，曾就讀東華大學創作與英語文學研究所。1992年接觸台灣小劇場，曾任臨界點劇象錄行政、編導、演員、教育訓練講師，往後多次參與劇場、影像之編劇、導演、演員、設計、幕後助理等工作。2007年以劇情短片《花宅53號》獲第29屆金穗獎最佳演員。 重要劇場導演作品：《哈姆雷特的最後一夜》（1999，臨界點劇象錄，首演於臨界點劇象錄生活劇場，作品入選小劇場雙年展）、《白水2003》（2003，臨界點劇象錄，首演於華山藝文中心）、《惡露》（2010，人舞界劇團，首演於再現劇團藝術工場）、《昆西莫多》（2013，小劇場學校，首演於牯嶺街小劇場一樓實驗劇場）。
作品相關評論
平滑寫實的語言反身性《颱風走在預報前》─表演藝術評論台2016/11/21
不安全分手指南——原創新劇《颱風走在預報前》─ARTALKS2016/11/11
製作團隊
編劇｜胡錦筵
導演｜林文尹
演員｜徐子婷、鄔曉萱、劉皇麟
燈光設計｜林靖雁
音樂設計｜許博烝
導演助理｜葉彤
舞台助理｜林鈺軒
藝術總監｜謝東寧
製作人｜劉天涯
專案製作｜楊名芝
執行製作｜黃澄閑、沈琬婷
視覺設計/劇照｜葛昌惠
CF導演/攝影/剪輯｜楊博達
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2016 Sinophone Original Play Biennial—Storm off the Forecast
Voleur du Feu Theatre/ Playwright WU Ching-Yan、Director LIN Wen-Yin
Comments from Nomination Committee
Among all the finalists, this work undoubtedly has the least budget and is the smallest production. In a space that can barely be called a theatre, three characters with some common, everyday objects have surprisingly produced a captivating play. It is a psychological drama that is realistic and absurd at the same time. Moreover, it provides two different endings. How can the creative idea of a playwright be executed? This has always been an issue in the production of "pure" drama in Taiwanese theatre. The director's style might overshadow the script, or the actors' level might be insufficient to bring out the depth of the script. However, this exquisite small production has demonstrated the perfect collaboration between the playwright and the director. As the lines are being delivered with precision, the director remains tremendously careful in controlling the rhythm and progress of the performance. In the triangle relationship portrayed in the story, the actors are able to shine in different moments. It is rare and precious that they are so dedicated to perfecting the play when the space only has about twenty seats. Whereas the production is small, the performance is simply great and exemplary. (Commentator: KUO Chiang-Sheng)
About the Artwork
The play’s script is the foundation of theatre art. Only original scripts can relate and respond to our own land, emotion, and perspective. Storm off the Forecast was one of the 2016 Sinophone Original Play Biennial performances hosted by Voleur du Feu Theatre. This art festival focuses on the playwrights through highlighting the value of original scripts, and looks for more potential creators of Sinophone drama. Storm off the Forecast was performed in a non-traditional theatre space. The script consisted of the language of daily life, which helped create a strong dramatic tension and wrestling emotions. The external environment of the impending typhoon echoed the painful and depressive indoor atmosphere of the breaking-up couple. The actors' control and outburst of emotions were mastered with precision, and the director ingeniously adopted an open end. Furthermore, the linear time and space of the realistic story-telling was shattered, which gave rise to a magical atmosphere that enshrouded the entire play.
About the Artist
Voleur du Feu Theatre
Voleur du Feu Theatre was founded by its Artistic Director HSIEH Tung-Ning in 2013. The name of the company is inspired by the Greek myth of Prometheus, who stole fire from Zeus to benefit human beings. The goal of Voleur du Feu Theatre is to enter the public and influence the society with the warmth and power of theatre.
Voleur du Feu Theatre predominantly focuses on producing new creations with ethnic Chinese perspectives. Meanwhile, the theatre company also adapts contemporary new scripts and classical scripts through the theoretical concept of total theatre, hoping to respond to social reality and local sentiments while perceiving the Sinophone theatre through a global perspective.
Voleur du Feu Theatre also engages in works about "Art Education and Promotion in Community," "International Exchange," and "Cultural Policy Research." The theatre company has been an incubation grant recipient of the Performance Troup Grant Project initiated by the Ministry of Culture in 2016 and 2017.
WU Ching-Yan, Playwright
WU Ching-Yan graduated from the Graduate Institute of Playwriting, Taipei National University of the Arts. His works include The Seventh Day Is a Tiring Day, Storm off the Forecast (finalist of the 15th Taishin Arts Award), Nothing for Now (Distinguished Honor Prize, The MOE Literature and Arts Creation Awards), The Second Floor (nominated for the 13th Taishin Arts Award), and Burning Incense.
LIN Wen-Yin, Director
Born in Taipei in 1975, LIN Wen-Yin graduated from the Department of Theatre, National Taiwan University of Arts, and has attended the Graduate Institute of Creative Writing and English Literature, National Dong Hwa University. LIN first stepped into Taiwanese avant-garde theatre in 1992, and has worked as administrator, playwright, director, actor, training instructor at Critical Point Theatre Phenomenon. Afterwards, he also engaged in various works, such as playwriting, directing, performing, design, theatre assistant work, etc. In 2007, he won the Best Actor for his performance in the short film, 53 Flower House, at the 29th Golden Harvest Awards for Outstanding Short Films. He has directed many works, including The Last Night of Hamlet (produced and premiered by Critical Point Theatre Phenomenon in 1999, and was selected into the Avant-garde Theatre Biennial), White Water 2003 (produced by Critical Point Theatre Phenomenon and premiered at Huashan 1914 Creative Park in 2003), The Filth (produced by Flourish Theatre Company and premiered at Representation Theatre in 2010), and Quasimodo (produced by The Little Theatre School and premiered at Guling Street Avant-garde Theatre in 2013).
