2024臺北藝術節：維帢亞・阿塔瑪《曼谷公寓》

相關講座：8/22(四) 19:30 2024 TAF｜北藝筆記《聚焦東南亞—撒哇滴咖！泰國當代劇場》

延伸閱讀：被宣傳包圍的個體—窺視《曼谷公寓》裡的微縮社會

延伸閱讀：「如果能用說的，我就不用做這個作品了」：專訪《曼谷公寓》導演維帢亞・阿塔瑪與製作人莎莎賓．希芮旺吉

2013年《曼谷公寓》於泰國初次公演時，一名觀眾表示：

「這齣戲看完感覺就像反映了我們所處的社會是什麼樣子，如果覺得很怪異的話，其實這個怪異的社會也沒什麼兩樣。」（引自Thai PBS報導）

當我們不談論房間裡那頭大象時，我們在談論什麼？

★寫實刻畫泰國當代社會樣貌

★雙面舞臺，一戲二刷解鎖兩面精彩

曼谷，兩間公寓。一間住著兩個女人，另一間住著兩個男人。同樣的國家廣播穿透公寓大肆播送，交替著新聞、傳統音樂，與各式國家宣傳廣告。平行的空間，女人熱烈討論人生，與生命可能的結局；男孩回憶著在學校看的電影《小活佛》（Little Buddha），熱情吐露對活佛產生的異樣性迷戀。

泰國導演維帢亞・阿塔瑪（Wichaya Artamat）2013年發表的劇場作品，不顧對祖國的不敬，用詩意包裝諷刺，直面當前泰國社會盲目的信仰與實踐。主修電影的他，以擅長的隱喻與轉譯，藉雙面舞台堆疊兩方的生活細節與對話，將觀眾帶往曼谷的公寓與日常，窺探泰國社會不可觸碰的三大支柱：宗教、軍隊與君主制度。電影般的敘事風格，溫暖詩意，偶如蔡明亮詮釋時間流逝的長鏡頭，體現日常的寫實。處處是死線的對白，大膽帶出「泰國社會作為一種邪教」的挑戰性思考。《曼谷公寓》2023年與布魯塞爾國際藝術節（Kunstenfestivaldesarts）共製重演，十年一晃，依舊發人深省。

【舞台分佈說明】

《曼谷公寓》為雙面台演出，中間使用珠簾分隔，觀眾選擇其中一面則另一面將在珠簾後，無法同時清晰觀看兩面演出，故提供舞台分佈說明，由觀眾自行選擇欲觀看的視角。

Baan Cult, Muang Cult is a double-sided stage performance, with a bead curtain separating the middle. When audience choose one side to watch from, while the performance on the other side will be behind the bead curtain. It is hard to clearly view both sides simultaneously. Therefore, we provide a description of the stage layout, allowing the audience to choose the viewing perspective.

團隊介紹

泰國｜維帢亞・阿塔瑪（Wichaya Artamat）

主修電影，著迷表演。2008年擔任曼谷戲劇節節目專員；2009年加入新劇場協會（New Theatre Society），開始執導戲劇，並以非傳統的戲劇手法與實驗性聞名，熱衷研究當代社會如何透過曆法來記憶或忘卻歷史。2011年協同創辦了「為了什麼劇團」（For What Theatre）。劇場作品《曼谷公寓》於2013年在曼谷首演，獲得評論家與觀眾一致好評。

為了什麼劇團（For What Theatre）

由維帢亞・阿塔瑪（Wichaya Artamat）、莎莎賓．希芮旺吉（Sasapin Siriwanij）和Ben Busarakhamwong三名成員創立的為了什麼劇團（For What Theatre），是這三位藝術家在自己主要領域之外進行實驗的「遊樂場」，其製作了戲劇、木偶劇、裝置藝術、跨學科表演、舞蹈和行為藝術作品，常常提出問題或觸及泰國的爭議性議題。

Baan Cult, Muang Cult infiltrates the psyche of an entire society through the back door - MOUVEMENT

As annoying as it is. Boredom as a weapon against a stuffy state system - PZAZZ

One room becomes two. One is inhabited by two females, the other by two men, with a singular sound from the radio floating above them, distributing propaganda, melodramas, and advertisements that connect and penetrate the spaces. Exhibiting seemingly mundane, quotidian dialogues and actions on stage, Baan Cult, Muang Cult scrutinizes the omnipresent zeitgeist and taboos of contemporary Thai society.

First created in 2013 by director Wichaya Artamat, this work has secured his place on the Thai theatre map ever since. From This Song Father Used to Sing (Three Days in May) to Four Days in September (The Missing Comrade), he kept tackling the sociopolitical status of his home country, delicately, ambiguously yet profoundly. With the revised text by Ratchapoom Boonbunchachoke and Pathipon Adsavamahapong, Artamat sees the piece as an exploration of then and current Thailand’s social structure as a cult, which is upheld by three unchallengeable pillars even today: the nation, the religion, and the king. The title implies how the power of “imagined community” is dispersed throughout the land/country (Muang) as well as houses/homes (Baan).

Ever since its premiere over a decade ago, this work has witnessed waves of political turmoil in Thailand. Wherever political expressions are suppressed, life itself becomes political. Baan Cult, Muang Cult continues to point out the elephant in the room(s) as the wall becomes thinner, even transparent, making the unfinished business more intricate and slippery to deal with.

Wichaya Artamat

Wichaya Artamat is a founding member of For What Theatre. He studied film in undergrad and is captivated by performances, starting work in theatre as a project coordinator for Bangkok Theatre Festival 2008. He joined New Theatre Society in 2009, during which he grew to become a director recognised for various experimental forms and unconventional theatrical approaches. Wichaya is especially interested in exploring how society remembers and unremembers its history through certain calendar days. He co-founded For What Theatre in 2011 and is also a member of Sudvisai Club and Collective Thai Scripts. Since 2019, his works have been co-produced by, and toured in, many international festivals, including Kunstenfestivaldesarts, Wiener Festwochen, and Festival d’Automne à Paris.

For What Theatre

Founded and consisting of 3 members: Wichaya Artamat, Sasapin Siriwanij, and Ben Busarakhamwong, For What Theatre serves as a ‘playground’ for these three artists to experiment outside their own main practices. For What Theatre has produced plays, puppet theatre, installation, multidisciplinary performance, dance, and performance art, oftentimes posing questions or poking at problematic political issues in Thailand.

演出暨製作人員名單

概念與導演：Wichaya Artamat

文本：Ratchapoom Boonbunchachoke, Pathipon Adsavamahapong

演員：Parnrut Kritchanchai, Dujdao Vadhanapakorn, Sarut Komalittipong, Surat Kaewseekram

廣播擷取：Wichaya Artamat 

技術與布景設計：Pornpan Areeyaveerasid, Rueangrith Suntisuk

服裝設計：Nicha Buranasamrit

舞台監督與字幕執行：Pathipon Adsavamahapong 

製作與巡演經理：Sasapin Siriwanij, Thongchai Pimapunsri

共同製作：Kunstenfestivaldesarts 

Concept and direction: Wichaya Artamat

Text: Ratchapoom Boonbunchachoke, Pathipon Adsavamahapong

Cast: Parnrut Kritchanchai, Dujdao Vadhanapakorn, Sarut Komalittipong, Surat Kaewseekram

Radio essay: Wichaya Artamat

Technical direction and scenography: Pornpan Areeyaveerasid, Rueangrith Suntisuk

Costume design: Nicha Buranasamrit

Stage management and surtitle operation: Pathipon Adsavamahapong

Production and tour management: Sasapin Siriwanij, Thongchai Pimapunsri

Coproduction: Kunstenfestivaldesarts

演出全長：節目全長約90分鐘，無中場休息。

字幕語言：泰文發音，中英文字幕。

演後座談：8.24(SAT.) 14:30演後於水源劇場

到場注意事項：◎演出部分含成人議題、裸露、巨大聲響、暴力，請留意並斟酌入場。◎遲到或中途離席的觀眾，須依工作人員引導等候入場。

◎ 90 mins, no intermission

◎ In Thai, Mandarin and English surtitles.

◎ Suggested Age 18+ Years Old.

◎ Latecomers and re-entry subject to discretion.

◎ Contains nudity, strong language, adult issue, violence.

◎ Post-discussion: after 8.24(SAT.) 14:30 performance