The Other Shore (39 page)

Roosters never lay eggs

An island in the Pacific Ocean

It never sinks no matter what

He lays a trap

And he traps himself

One day the war breaks out

Nobody is alive

And this house exists no more

The sun still shines over the lawn

Mozart is dead

Some people still play the quartet

It would not be so sad

There’s no sugar in the coffee

Tea is always bitter

Some teas are sweet

A left-handed person

A fable that is a parable but not speakable

One day he lays a trap

And this house exists no more

Taborsky’s son

He is called Taborsky

He eats breakfast every morning

There’s no sugar in the coffee

The sun still shines over the lawn

It would not be so sad

An island in the Pacific Ocean

Some people still play the quartet

A left-handed person

It never sinks no matter what

When the war breaks out

Tea is always bitter

Mozart is not dead

Some teas are sweet

A fable that’s a parable but not speakable

Roosters never lay eggs

Speakable but not a parable

A parable but not speakable

The
end

10 January 1995, France.

(
This play was commissioned by the Bibliotheque Municipale de Joué-Lès-Tours and sponsored by Le Centre National du Livre de France.
)

Some Suggestions on Producing Weekend Quartet

1. The play can be used as a recitation text, a radio drama or a stage performance. The text, combining drama, poetry, and narrative, can easily be accompanied by music.

2. During the performance the four characters are on stage at all times except during the breaks; it is as if they are members of a quartet playing at a concert.

3. Each character has his or her own point of view. As there are four characters, there will be four points of view. In case of the same incident being enacted in different scenes, the director should alter the angle of vision, change the positioning of the characters, or rearrange them in a contrasting manner.

4. The same character should distinguish between the first, second, or third person point of view while he is engaged in a monologue, dialogue or in a conversation involving three or four speakers. This awareness provides the performance with new possibilities. The actor could choose to play the role (when speaking in the first person) or not play the role (when speaking in the third person), or he could also take on the image of his character in the eyes of other characters. There are many options, and the overall design may require the coordination on the part of the director.

5. When an actor has mastered the three different points of view in the dialogues, he will not find it difficult to clearly define his own character and the characters of others and play his part among them. When the dialogue is in the second person, the actor adopts the identity of a neutral actor, and he can address the character he is playing or address the audience directly. When the dialogue is in the third person (“he” or “She”), the actor, taking on the identity of a neutral actor, can explain the character he is playing to the audience or to his addressee in the play.

6. The play has appropriated some structural elements of musical composition, thus logical development and chronological sequence of the plot elements are not its major concerns. Changes in mood are more important than the unfolding of the story. It is essential, more so than any other stage techniques, that the different scenes should be accorded corresponding time span and tempo during the performance.

7. A realistic stage design should be avoided because there are many shifts between reality and imagination, memory and dream, and thought and narration in the play. As for set design and spatial arrangement, it is advisable to use only a few movable doors, chairs, and tables in different combinations. This can be coordinated with changes in lighting or by switching the lights on and off. The actors’ costumes and props can be changed behind the doors; there is no need for exits. In this way the tempo of the performance is quickened and the structure tightened.

The above suggestions are for reference only.

Appendix A

Plays Written by Gao Xingjian

1982　
Absolute Signal
《絕對信號》

1983　
Bus Station
《車站》

1984　
Modern Shorts
《現代折子戲》:

　
The Imitato
r《模仿者》

　
Hiding from the Rain
《躲雨》

　
Tough Walk
《行路難》

　
The Pass at Mount Habala
《喀巴拉山口》

1985　　
Soliloquy
《獨白》

1985　
Wilderness Man
《野人》

1986　
The Other Shore
《彼岸》

1987　
Hades
《冥城》

1989　
The Story of the Classic of Seas and Mountains
《山海經傳》

1989　　
Exile
《逃亡》

1991　
Between Life and Death
《生死界》

1992　
Dialogue and Rebuttal
《對話與反詰》

1993　
Nocturnal Wanderer
《夜遊神》

1995　
Weekend Quartet
《周末四重奏》

Appendix B

Selected Criticism on

Gao Xingjian’s Plays

Chinese

Barmé, Geremie. “Bufang huangdan yixia—Jieshao Gao Xingjian he tade zuopin
Chezhan
” 〈不妨荒誕一下—介紹高行健和他的作品《車站》〉(It Does not Matter to be a Bit Absurd—An Introduction to Gao Xingjian and His Bus
Station
).—Trans. by Zhang Zebo 張澤波.《香港文學》, 9 (1985).

Beijing Renmin Yishu Juyuan
Juedui Xinhao
Juzu 北京人民藝術劇院《絕對信號》劇組, ed. “
Juedui xinhao” wutai yishu tansuo
〈《絕對信號》舞臺藝術探索〉 (Explorations into the Dramaturgy of
Absolute Signal
). Beijing: 中國戲劇出版社, 1985.

Chen, Fangzheng 陳方正. “
Lingshan
zhiwai de shengsijie—juzuojia Gao Xingjian yinxiangji” 〈《靈山》之外的生死界—劇作家高行健印象記〉 (The Boundary Between Life and Death Beyond
Spiritual Mountain
—Impressions of the Dramatist Gao Xingjian).《信報》(Hong Kong), 26 Oct. 1993.

Chen, Ganquan 陳敢權. “Cong
Shengsijie
kan Gao Xingjian de xiju lilun” 〈從《生死界》看高行健的戲劇理論〉 (A Look at Gao Xingjian’s Theory of Drama from the point of view of
Between Life and Death
).
Dramatic Arts
《戲劇藝術》(Hong Kong: 香港演藝學院), 9 (1995).

Chen, Liyin 陳麗音. “
Shengsijie
yu Gao Xingjian de xijuguan” 〈《生死界》與高行健的戲劇觀〉 (
Between Life and Death
and Gao Xingjian’s View on Drama). Paper presented at the “International Conference on World Chinese Playwriting” held at The Chinese University of Hong Kong, December 1993.

Chen, Shouzhu 陳瘦竹. “Tan huangdan xijude shuailuo ji qi zai woguode yingxiang” 〈談荒誕戲劇的衰落及其在我國的影響〉 (The Decline of the Theatre of Absurd and Its Influence in China).《社會科學評論》, 11 (1985).

Da, Yong 大勇. “Gao Xingjian xinzuo
Yeren
” 〈高行健新作《野人》〉 (
Wilderness Man
, A New Play by Gao Xingjian).《劇本》, 7 (1985).

Ding, Yangzhong 丁楊忠. “Tanlu—
Juedui xinhao ji qita
” 〈探路—《絕對信號》及其他〉 (Asking the Way—
Absolute Signal
and Other Opinions).《劇壇》, 2 (1983).

Ding, Yisan, Qu Liuyi, Tong Daoming, Su Yu, and Zhao Huan 丁一三、曲六乙、童道明、蘇予、趙寰. “Dui you zhengyide huaju jubende zhengyi—Zhongguo Xiju Wenxue Xuehui zhaokai you zhengyide huaju juben taolunhui fayan jiyao” 〈對有爭議的話劇劇本的爭議—中國戲劇文學學會召開有爭議的話劇劇本討論會發言紀要〉 (The Controversy Surrounding Controversial Drama—A Summary of the Speeches Delivered at the Seminar on Controversial Drama Organized by the China Society of Studies on Dramatic Literature ).《劇本》, 7 (1985).

Du, Qingyuan 杜清源. “Huajude tezheng yu huajude biange” 〈話劇的特徵與話劇的變革〉 (Drama: Its Characteristics and Changes).《文藝通訊》, 11 (1984).

“Dui wutai zhenshide zhizhe zhuiqiu” 〈對舞台真實的執著追求〉 (The Earnest Pursuit of Realism on Stage).《作品與爭鳴》, 3 (1983).

Fengzi 鳳子. “Kan
Yeren
” 〈看《野人》〉 (On
Wilderness Man
).《光明日報》, 13 June 1985.

Gao, Wo 高臥. “Xiaoyi
Juedui xinhao
xiao juchang yanchu” 〈小議《絕對信號》小劇場演出〉 (
Absolute Signal
Performed in a Small Theatre: A Preliminary Discussion).《戲劇報》, 13 (1982).

“Guanyu
Chezhan
de zhengming” 〈關於《車站》的爭鳴〉 (The Controversy Surrounding Bus Station).《戲劇論叢》, 3 (1984).

“Guanyu jige huajude zhengming (
Juedui xinhao he Chezhan
)” 〈關於幾個話劇的爭鳴（《絕對信號》和《車站》）〉 (The Controversy Surrounding Certain Plays [
Absolute Signal and Bus Station
]).《劇本》, 2 (1985).

He, Yan 何閻. “Huaju Chezhan guanhou” 〈話劇《車站》觀後〉 (Written After Seeing
Bus Station
).《文藝報》, 3 (1984).

He, Yangming 何養明. “Huaju yishu xingshide kegui tansuo—wu changci huaju
Juedui xinhao
guangan” 〈話劇藝術形式的可貴探索—無場次話劇《絕對信號》觀感〉 (A Valuable Exploration on Artistic Form—
Absolute Signal
, A Play Without Act Divisions ).《老人天地》, 4 (1985).

Hu, Yaoheng 胡耀恒. “Yi yanyuan wei zhuzhoude xiju—lun Gao Xingjian de xiju yishu” 〈以演員為主軸的戲劇—論高行健的戲劇藝術〉 (Actor-Centred Theatre—On Gao Xingjian’s Dramaturgy).《中央日報》(Taipei), 23 Dec. 1995.

Hu, Yaoheng 胡耀恒.
Bainian gengyunde fengshou
《百年耕耘的豐收》(Plenitude of a Hundred Years of Cultivation). Taipei: 帝教出版社, 1995.

Huang Mei-hsü 黃美序.”Gao Xingjian xijuzhong de fodao renwu” 〈高行健戲劇中的佛道人物〉 (Buddhist and Taoist Characters in Gao Xingjian’s Plays). Unpublished paper, delivered at “The Second Chinese Drama Festival, Hong Kong, 1998” held at The Chinese University of Hong Kong, November 1998.

“Huiyu buyide huaju
Yeren
” 〈毀譽不一的話劇《野人》〉 (Wilderness Man, A Play of Divided Opinions).《作品與爭鳴》, 11 (1985).

“
Juedui xinhao
zuotan jiyao” 〈《絕對信號》座談紀要〉 (The Forum on
Absolute
Signal
).《文藝評論報》, 15 Aug. 1983.

Ma, Jian 馬健. “Cong xianshi dao moxuyou de bi’an—ping Gao Xingjian de xiju
Bi’an
” 〈從現實到莫須有的彼岸—評高行健的戲劇《彼岸》〉 (From Reality to the Other Shore of Nonexistence—On Gao Xingjian’s
The Other Shore
).《明報》(Hong Kong), 18 Apr. 1995.

Ma, Wenqi 痳文琦. “Shuiyue jinghua” 〈水月鏡花〉 (The Moon in the Water and the Flowers in the Mirror).
In Houxiandai zhuyi yu dangdai xiju
《後現代主義與當代戲劇》. Beijing: 中國社會出版社, 1994.

Li, Shuoru 李碩儒. “Xuezhehua yu duchuangxing” 〈學者化與獨創性〉 (Being Scholarly and Being Unique).《光明日報》, 16 June 1985.

Lin, Kehuan 林克歡. “Doupo” 〈陡坡〉 (Steep Slope).《戲劇報》, 7 (1985).

Lin, Kehuan 林克歡. “Kenhuang dao bi‘an” 〈墾荒到彼岸〉 (From Pioneering to the Other Shore). In Lin Kehuan, ed.
Lin zhaohua daoyan yishu
《林兆華導演藝術》. Harbin: 北方文藝出版社, 1992.

Lin, Yinyu 林蔭宇. “Dui
Yeren
daoyan yishude shizheng fenxi” 〈對《野人》導演藝術的實證分析〉 (A Positivist Analysis of the Art of Directing in
Wilderness Man
). In Lin Kehuan, ed.
Lin zhaohua daoyan yishu
《林兆華導演藝術》. Harbin: 北方文藝出版社, 1992.

Liu, Zaifu 劉再復. “
Shanhaijingchuan xu
” 〈《山海經傳》序〉 (Preface to
The Story of the Classic of Seas and Mountains
). In Gao Xingjian 高行健.
Shanhaijinchuan
《山海經傳》. Hong Kong: 香港天地圖書有限公司, 1993.

Qu, Liuyi 曲六乙. “Xishou, ronghua, duchuangxing” 〈吸收、溶化、獨創性〉 (Absorption, Assimilation, and Uniqueness ).《戲劇報》, 12 (1982).

Qu, Liuyi 曲六乙. “Ping huaju
Chezhan
ji qi piping” 〈評話劇《車站》及其批評〉 (Bus Station and Its Criticism).《文藝報》, 7 (1984).

Run, Sheng 潤生. “Guanyu huaju
Juedui xinhao
de taolun zongshu” 〈關於話劇《絕對信號》的討論綜述〉 (A Summary of the Discussions on
Absolute Signal
).《作品與爭鳴》, 3 (1983).

Shan, Jia 姍佳. “Guanyu huaju Chezhan de taolun zongshu” 〈關於話劇《車站》的討論綜述〉 (Summing Up the Discussions on
Bus Station
).《北京劇作: 徵文專號》(1984).

“Shehui zhuyi xiju bixu zhongshi shehui xiaoguo” 〈社會主義戲劇必須重視社會效果〉 (Socialist Drama Must Emphasize Social Effects).《北京劇作: 徵文專號》(1984).

Song, Luman 宋魯曼. “Yibu you mingxian quexiande zuopin—ping huaju
Chezhan
” 〈一部有明顯缺陷的作品—評話劇《車站》〉 (An Obviously Flawed Play—On
Bus Station
).《北京劇作》, 2 (1984).

Tang, Sifu 唐斯復. “Yige yinren zhumude xinhao” 〈一個引人注目的信號〉 (An Eye-catching Signal).《文匯報》, 21 Nov. 1982.

Tang, Sifu 唐斯復. “Huiyu canbande huaju
Yeren
” 〈毀譽參半的話劇《野人》〉 (
Wilderness Man
, A Play of Divided Opinions).《中國青年報，星期日刊》, 19 May 1985.

Tang, Yin, Du Gao, and Zheng Bonong 唐因、杜高、鄭伯農. “
Chezhan
Sanren Tan” 〈《車站》三人談〉 (A Three-Man Discussion on
Bus Station
).《戲劇報》, 3 (1984).

“Tuozhan xiju siwei” 〈拓展戲劇思維〉 (Expanding the Modes of Thinking in Drama).《戲劇電影報》, 26 May 1985.

Wang, Xiaocong, Tao Xianlu, Pan Xinxin, and Xia Fan 王小琮、陶先露、潘欣欣、夏幡. “Xingfen zhihou de sikao” 〈興奮之後的思考〉 (Thoughts After Excitement).《戲劇報》, 7 (1985).

Wang, Yusheng 王育生. “Kanguo
Yeren
huo de jidian zhiyi” 〈看過《野人》後的幾點質疑〉 (A Few Questions After Seeing
Wilderness
Man).《文藝報》, 13 July 1985.

Wen, Tao 聞濤. “Zhanxinde xiju xingshi—huaju
Yeren
guanhou” 〈嶄新的戲劇形式—話劇《野人》觀後〉 (A Totally New Dramatic Form—After Seeing
Wilderness Man
).《工人日報》, 12 May 1985.

Wen, Yuhong 溫裕紅. “Wo kan Gao Xingjian de xiju lilun” 〈我看高行健的戲劇理論〉 (My Opinions on Gao Xingjian’s Theory of Drama).
Dramatic Arts
《戲劇藝術》(Hong Kong: 香港演藝學院), 10 (1996).

Wu, Geng 武耕. “Gudude xunmei xinling—ping Gao Xingjian de
Bi’an
” 〈孤獨的尋美心靈—評高行健的《彼岸》〉 (The Lonely Heart In Search of Beauty—On Gao Xingjian’s The Other Shore).《信報》(Hong Kong), 12 April 1995.

Wu, Jicheng, Xu Nianfu, and Yao Mingde 吳繼成、徐念福、姚明德. “Yeren wu wen” 〈《野人》五問〉 (Five Questions Concerning
Wilderness Man
).《戲劇報》, 7 (1985).