本屆的畢業公演我們選擇了英國荒謬劇作家，Tom Stoppard於1962年的創作，"The Real Inspector Hound" (偵探兩個扮?!)。這是本系首次選擇非以電影改編之劇本為畢業公演之題材(W.C.)，也是我首次擔任英式荒謬劇的導演。
本校外文系成立至今已進入第三屆，在各方面都期許能有多方面的嘗試和發展。 本次希望能以非傳統的(類)實驗性手法，讓觀眾在幽默誇張的表演過程中，接收到整個劇組所要傳達的中心思想。 期待能在有限資源和經驗的限制下，能進一步展現本班至今四年在語言及西方文學方面的學習成果。
在製作過程中，最大的困難點就是如何將本劇的中心思想，正確而有效地輸送到觀眾的內心。視覺上我們將嘗試將現場觀眾的影像融入於舞台之上，讓他們在某些階段成為劇中的一員，切實地去體會那似真若幻的劇情，並進一步體會的本劇之主旨。 在舞台上，我們會將劇中劇與戲劇本身，在燈光、氛圍、以及表演手法上都做出區分。 期望在劇終後讓觀眾在驚疑過後能對本劇有進一步的迴響，進而延伸到對自我生命的省思。
This year we’ve chosen an unprecedented mystery play “The Real Inspector Hound” by Absurdist playwright Tom Stoppard. It is the department’s first experience in selecting a non-movie reedited play, and my first time as a director of such genre. Since it’s already the third graduating class of the department, we’re expecting to endeavor(W.C.) through different directions of performing and methods of conveying central idea in the development of the play. Hence, we will present it in unconventional and experimental ways; in addition, we aim at forwarding the center concepts of the play to the audiences, through humorously exaggerating ways of depiction. Hopefully we could demonstrate the four years’accomplishments in the field of foreign language and literature of the class, under limited resources and experiences.
Considering the concepts the entire play established on through development, it is our expectations to disclose to the audiences the idea that life is a struggling and blending in of fate and freewill. In the process of perpetuating one’s freewill in life, reality(fate) may often be obscured or neglected, and these tendencies of human beings may bring about unexpected conflicts and tragedies.
In the making of the play, we find it challenging to effectively convey the center concepts of the play, which are the mingling of fate and freewill, to none English major audiences. In order to make the play more perceivable and understandable to the audiences, we took focus on the visional, atmospherical, and presentational aspects of the play. Firstly, we attempt to project the images of the audiences on stage, purposing to create an empathetic link between viewers and actors; although it is unlikely to let the audiences partaking in the actual play, we look to their resonances with the theme of fate versus freewill through this method. On stage, we will diversify the designs on light, sound, and acting methods between the play, and the melodrama. As the curtain drops, we are hoping for not only the applauses from you, and also a re-examination at the lives of yours and mine.
呼 結束了 慶功!