你被慾望殺死過幾次？你活過來了嗎？
現代人的情感中，有一件為難的事：「我不知道怎麼去愛…」。
《迷離劫》是導演徐堰鈴「莒哈絲計畫」的第二個作品。繼2010年在牯嶺街小劇場的《沙灘上的腳印》後，擴大製作規模，從《勞兒之劫》來到了整個 「印度系列」。非同於莒哈絲在《印度之歌》演出上對於嗅覺感官的要求，本製作環繞著不懂愛/不會愛/不能愛的主題，劇本由姜富琴重新編劇，設計群表現多聲 部之美，主焦在呈現聽、說、讀、寫，敘事本身整體紊亂的感動。
不只三個女人在劇中，交換各自的沈睡狀態，交換故事的記憶；多過四個男人尋找開始與結束的答案，他聽見吶喊聲頻頻走調…。敘述愛情本身、投入對愛 情的癖好，這與寫作的艱難、寫作的樂趣，有著無比的相似無比痛快之無法言喻！在苦難的背後總有純潔的喜樂，在絕望的裡面卻有希望在事物之中引誘著我們：從 心理、自然、噪音等層面，揭發愛的通俗劇中「閱讀狀態」、「河流」、「干擾」的純粹景象。於是「去愛」，是迷醉、雙面劫持、有生之悲慟與假死般高潮，同時 輕浮於夢河，寄託。《迷離劫》企圖藉由混雜的語言系統，精準爭取現實情愛中，心靈書寫的自由。
製作人：莊菀萍
導演：徐堰鈴
編劇：姜富琴、徐堰鈴
演員：朱宏章、林鈺玲、莫子儀、李奇勳、魏沁如、蔡佾玲
音樂創作：陳建騏 王榆鈞
舞台設計：曾文通
影像設計：周東彥
燈光設計：賴雨農
動作創意：魏沁如
服裝設計：Coco
平面設計：C. Lin
舞台監督：吳維緯
執行製作：吳伊婷
燈光設計助理：吳思樺
導演助理：張宛婷
Drifting
Summary
How often were you murdered by your desire? Did you survive?
Nowadays, there's an embarrassing situation for people: I don't know how to love....‘Drifting’ is the second part of Marguerite Duras Project by Ms. Yenling. Following the first part ‘The Track On The Beach’ in 2010, she extends the whole production scale, collecting material from the novel ‘Le ravissement de Lol V. Stein’ to Marguerite Duras’ India series works. Separated from Marguerite Duras’ deliberating of sense of smell on the ‘India Song’ performance, ‘Drifting’ is drifted into themes about incomprehensive/improbable/incapable of love. Fu-chin Chiang as the playwright, each theater designer trying to present several different language systems from the script, individually and independently, focusing on the narrative art: including the process of listening, speaking, reading and writing, in order to take the audience to get into the chaotic beauty in expression.
During the play, the three women not only exchange their state of falling asleep, but also exchange their memory about the stories. The four men search for the answer of beginning and ending, often hearing the screams twisted. To describe LOVE itself, or to be absorbed in the addiction of love, is indescribably similar with the obstacle and the pleasure during writing. There Is always innocent joyfulness behind the suffering; there is always hope within despair. It is hidden in the ordinary things, seducing us to lift open the curtain of some essential pictures in the melodrama such as 'state of reading', 'river-flowing', and 'interfering' from aspects of mind, nature, and other noises. Therefore, TO LOVE, Is the bewitching, the dual-seizing, with mourning of birth and orgasm of feigned death, at the same time floating on and placing hope on the dream river. All in all, by hybrid dialect systems, ‘Drifting’ shows the effort to strive for the freedom of accurate intellectual writing from love in reality.
