（我）沒有罪 －－序幕
I pledge (not) guilty -- Prologue
朋友問我，今年算是回歸劇場吧？
For me, this project is a tribute
to Bertolt Brecht, my much affected theatre master, who has been on my
mind for years. Almost 3 years ago, I coincidently saw "The Resistible
Rise of Arturo Ui" produced by Berliner Ensemble and "The Seven
Deadly Sins" by Pina Bausch Tanztheater Wuppertal and was deeply
moved by them.
其實對我來說，是劇場，是live art，或甚麼，最重要的是找一個最適合的方式表達自己。
That reinforced my idea of doing a Brecht's play
and made me more determined to put his theories into practice.
很多年前，我第一次接觸布萊希特的理論，甚麼「間離效果」，甚麼「史詩劇場」，總在我心裏迴旋，布萊希特對寫實主義劇場的不滿足，一直觸動著我。兩、三年前在德國跑到一度錯過了的柏林劇院（Berliner
Ensemble）看演出，深深感動。我終於明白，布萊希特說的，不只是一套自完其說的理論，而是可行甚至是不斷更新的美學。
As a runaway of theatre, I wonder how I can sort
out my discontent with it. This leads me to Brecht's theories of theatre
such as "alienation effects", "epic theatre", etc.
What do those mean to modern theatre? What does Brecht mean to me/us?
What is a "sin"?
後來機緣巧合，我在烏帕塔看了翩娜包殊舞團重演廿多年前的作品《七宗罪》。《七宗罪》是布萊希特1933年的作品，劇作兩個同名姊妹安娜在台上東拉西扯，時而跳躍，時而倒下，如自我交戰。只怪我的德語學得不好，但聽他們對唱著，我又由衷的感動起來。
Working with Shu-ning and Ken, I hope to explore
these questions through a series of experiments and performances.
或許，是時候讓我從實踐中尋找布萊希特最觸動我的一些東西。
I admire Bertolt Brecht not only for his contribution
to the revolution of modern theatre, but also for his sympathetic yet
critical attitude to things which make his theories evergreen.
跟許樹寧和經綸的合作，我想，《（我）沒有罪》不只是借題發揮，更是我希望透過不斷的專注的實踐，以向布萊希特致敬的創作計劃。
I would like to take this chance to review myself
and my love-hate relationship with theatre and I hope that we can open
up more possibilities of liveness and performance.
或許，到底是不是布萊希特也不重要，而是關乎如何尋找一個像他一樣歷久常新的方式前進吧……
魂游 wen yau
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