Le ballon rouge (1956)
Director: Albert Lamorisse

Le Ballon rouge is a 1956 fantasy featurette directed and written by French filmmaker Albert Lamorisse who is best known for his award winning short films which he began making in the late 1940s.The thirty four minutes short film was about a story between a little boy and a red balloon features their one day adventure.

The film won numerous awards, including an Oscar for Lamorisse for writing the best original screenplay in 1956 and the Palme d'Or for short films at the 1956 Cannes Film Festival. The film has also become one of the most popular with children and the educators. 

Following the adventure with the boy, ironically we saw the indifference between kid’s world is full of curiosity and love, and on the other hand the adult’s world is cold and mean. Is that because we all lost our innocence and purity along the process of growing up? From the eyes of red balloon, it gave us a preview of the pain that we much go through while entering the adulthood and then question raised, have we already forgotten about how to be curious and what to dream about?

In 2007, referenced by Le ballon rouge, French-Taiwanese film director Hou Hsiao-Hsien directed Flight of the Red Balloon. And, what would we expect to see the world through the red balloon in 2007? We are inquisitive.

The Bicycle Thief (1948)
Director: Vittorio De Sica 

Italian director Vittorio De Sica, is the leading figure in the neorealist movement. “Bicycle Thief (Ladri di biciclette)” is the most renowned among his movies, which is also regarded as the most important in neorealist film.

The movie tells the story of a poor father and son searching for the stolen bicycle (the only property of his family), which the father needs to be able to work. The movie was given numerous awards including NBR Award, BAFTA Film Award and Academy Award. It was presented brilliantly in a simple way with non-professional actors, featured the real situation of poverty and unemployment in post-war Italy, so as the details of real living condition. Inside the movie, you can find the contrast between the unfairness of the society and the forgiveness of the little kid. In the dilemma of poverty and dignity, how should a man stand?

五月,看了《玩死卓別靈》.看後不辭而別,和友人走在觀塘寂靜的街道上高談闊論著各自的觀後感.我說我不滿足,但不是不喜歡,只是納悶著,這跟卓別靈有什麼關係呢? 

卓別靈只是一個驅殼,然戲中的Danny才是靈魂吧.一個飽受母親虐待的童年,一段不被原諒的男女關係,一份高不成低不就的工作,一個不願面對自己心魔的人,靈魂被壓抑得體無原膚.

那...他還剩下什麼?

擁有的,是一個從童年開始便印在他腦海裡的人物,卓別靈.印象落在他電影中詼諧的外表與動作,沒有對白的黑白電影反而令他鬆了一口氣,好讓他暫時離開說話溝通的正面交峰,卸下防衛,活在一個不用去取悅人的領域.可惜這時的他,反而活得更不像一個人.心房一直是緊閉的.

然而,當所有的思緒困窘跟卓別靈在房間中隨意出現與跳躍,他又控制得了多少?自己總是不由自主地任由其出現與他們來去反覆對峙著,是他要自己沒有出路.看到這裡,我嘮叨著:“卓別靈總有方法扭轉悲劇為喜劇的.”心想既然你是卓別靈的話,那拿點勇氣來克服他吧.就這樣看著看著,戲完結了.當然他的卓別靈已死,因他已不再需要了.

有人說,壓抑的人常常是無法領導自己的人生.有壓抑習慣的人,基本上,身心都長期處於無法前進的狀態。但一旦打開壓抑,你的人生將會完全不同.我想這就是要處死卓別靈的原因吧.

也許吧.

「若基督不再降臨,我們便製造一個吧!」

 

Steven Berkoff以此作命題,製造出一個製造基督的故事。在他的故事裡,基督(JC)是一個因時勢而產生出來的推銷員。推銷的是聖經預言的真確:默西亞真的已經到來,他會為救贖世人而犧牲、死亡和復活。而他,JC,就是那位飾演默西亞的魔術師。

 

故事的命題看來是很反基督。

 

在沒有預設的宗教信仰底下來看,聖經內記載的是一個故事,Steven Berkoff寫的亦是一個故事。這兩個故事相同之處,就是他們都是在說有關「信仰」的故事。無論在聖經還是Steven Berkoff的故事內,基督的母親、十二位追隨者和大群的民眾都是相信基督是有能力為他們帶來救贖。可能不是當下的一刻,但總之,一定是在將來的某一天。在此信念的基石上,他們便成就了默西亞的到來。

 

說到此,會否有點似曾相識的感覺:

可曾相信過毛澤東能使國家富強,超英趕美。

可曾相信過希特拉能建立富強而優越的亞利安民族。

可曾相信過拉登能驅逐異教徒,建立真正信奉真主的阿拉伯世界。

可曾相信過金正日能為北韓人民建立了最幸福的國度。

可曾相信過只要努力工作,人人都可以成為李嘉誠。

可曾相信過曾蔭權能比董建華建立設更民主、更公平的香港,至少也能做好呢份工。

 

在人心渙散的時代,人民需要「信仰」作為生活的指路明燈,需要一個「默西亞」導航,需要一個「猶大」來成就「默西亞」,需要一個「撒旦」來張顯「默西亞」的神聖。建立了這份的「信仰」,信徒自然便能得到救贖。

 

但對於「默西亞」來說,信徒不需要知自己是在信什麼,只要相信「默西亞」的「信仰」便是。

 

Steven Berkoff JC的故事,如一盤冷水潑過來,倒影出「默西亞」的「信仰」,要我們重新思,究竟我們在「相信」什麼。

 

看到最後,發現原來聖經說的是基督的故事,而Steven Berkoff說的是JC的故事。預期再討論他是否反基督,是否在褻瀆基督,倒不如開電視看看新聞,看看我們是否需要「默西亞」、「猶大」和「撒旦」好過喇。

 

(製作: 同流 場次: 6月17日3pm)

看罷櫻桃園 回到了香港的家

坐在房間的紅色單人梳化上 (總覺得蘇聯是屬於紅色的)

從CD架上搜出一隻俄羅斯音樂的光碟 (這是要做海鷗時所購入的)

空氣中瀰漫著手風琴, 三弦琴和吉他交織的樂章

聽著"販子舞"

整夜想著那個櫻桃園...

Read more: 微酸的櫻桃園 The Cherry Orchard By Anton Checkov

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