汽车墓地

  • 朱丽叶·贝尔托 艾伦·巴松 Micha Bayard
  • 120分钟
  • AfilmbasedonFernandoArrabal's1960play,anabsudistup… AfilmbasedonFernandoArrabal's1960play,anabsudistupdateoftheCrucifixion-Jesusistheleadinagarageband-shouldbedatedbynow.Itsbizarrereversalsofroleandtone,itscasualsexandevenmorecasualcruelty,harkbacktothestyleofearlierdays,whenWAITINGFORGODOTmadetragi-comicmeaninglessnessbothanartformandasocialcomment.ThefactthattheAUTOMOBILEGRAVEYARDstandsuptotheravagesoftimeandtocomparisonwithBeckettisatributetoTrapDoorTheatre'sflawlessproductionandMichaelS.Pieper'sdirectionandsetdesign.ThestaginghighlightseverybitofArrabal'sinsanity,frommakingJesus,Judas,andPeterintotheMarxBrothers(thesilentonespeaksviaharmonica)toconceivingoftheworldasahotelruninabandonedcarsbycorrupt,unctuousbellcaptain(thespectacularDevonSchumacher).AtitscoreisDannyBelroseasEmanou,balancingearnestnesswithplayfulnessandevendescentsintofalsity.Iwouldstartareligionaroundhimanyday.BeataPilch(whogivesaterrificvanity-freeperformance)hasworkedcostumingwonderswithafewboltsofredclothandsomespangles,makingNicoleWiesnerasDilalookirresistible.Inotherhands,theplay'sdeepreligiositymightseemquaint.ButTrapDoorknowsnottonudgeandwinkaboutthedeterminedsearchforGod-theprimarypreoccupation,strangelyenough,ofthoseinfidelexistentialists.

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