古怪阴郁又催泪治愈的黑色喜剧，围绕着抑郁症和自杀话题，讲述一个功能失调的家庭和一个住家日本插画师的故事，自杀未遂不敢袒露抑郁痛苦的男主人，得不到丈夫关爱于是与建筑工调情的女主人，他们的龙凤胎儿女，沉浸在无用发明里的软蛋儿子和不敢出柜的古怪女儿，同时爱上了同一个女孩，还有一个不知来历的日本插画师男孩，似乎与男主人有着同性私情，每个人都有自己的秘密。男主角是来自《神奇动物管理员》的Julian Barratt，女主角是来自《小镇疑云》的Olivia Colman，并由日裔英国人Will Sharpe自编自导自演，他在片中扮演永远阳光的日本插画男孩，英剧的黑色幽默又掺杂着日剧的古怪治愈！

该剧描述一个功能失调的家庭如何确保自身的稳定。花儿一家人的性格全都古里古怪，导致他们难以团结一致。他们住在一间拥挤、肮脏、凌乱、破败、总是吱吱呀呀乱响的老房子里。毛瑞斯（Julian Barratt饰）是个儿童书作家，他的妻子狄波拉（Olivia Colman饰）是个 音乐教师。他们有一对双胞胎子女艾米（Sophia Di Martino饰）和唐纳德（Daniel Rigby饰），但他们爱上了同一个女孩阿比格（Georgina Campbell饰），天天争风吃醋。毛瑞斯的母亲海蒂（Leila Hoffman饰）也住在他们家中。狄波拉和毛瑞斯的婚姻很久以前就破裂了，但他们仍然没有离婚。毛瑞斯深受心魔和秘密折磨，狄波拉怀疑丈夫与给他的儿童书绘制插画的日本人瞬（Will Sharpe饰）在搅基。

一位面目丑陋不堪的老妇生下了一个相貌标致、拥有天使面孔的男婴。然而男婴的姐姐（朱丽娅·奥蒙德Julia Ormond饰）却声称孩子是自己的。处女生子的荒唐前提一旦成立，一连串不可思议的玄虚之事便相继发生，整个世界的秩序将不复存在。她先是宣称男婴为神之附体的圣婴，后是以圣母玛利亚自称，靠圣婴赚取钱财。当姐姐与主教的儿子（拉尔夫·费因斯Ralph Fiennes饰）相恋时，却遭到了圣婴的阻碍，主教的儿子惨死在牛角之下。
姐姐为了报复，杀死了圣婴，闻讯赶来的人们要求严惩这个触犯天条的女人，于是她被判处了死刑，由于当时法律规定，处女是不能处死的，所以教皇命令208名士兵强奸她。姐姐在强暴中死去，人们欢快地将圣婴肢解后分掉，希望可以得到圣婴的庇佑。

80岁生日前夕的弗朗西斯·福特·科波拉计划执导新片[大都会](Megalopolis，暂译)。科波拉透露，该片已准备了多年，已经有剧本了，并且开始非正式地与可能的演员进行商谈。据悉，裘德·洛在商谈的演员之中。 据《Deadline》报道，该影片设定在纽约，讲述一名建筑师企图在这座城市创造一个乌托邦，这个企图被市长强烈反对。

这部剧是《星球大战外传：侠盗一号》的角色前传剧，主角是反抗军同盟间谍Cassian Andor（剧中由Diego Luna继续饰演），讲述在反抗军形成期间他的冒险经历。

影片基于苏格兰作家阿拉斯代尔·格雷所著同名小说，融合现实主义、奇幻、科幻元素，将弗兰肯斯坦的故事重塑，设定在维多利亚时代晚期，贝拉·巴克斯特（艾玛·斯通 Emma Stone 饰）是一个反复无常、性欲过剩、不受束缚的女人，也是一个女科学怪人——她以溺水的方式来逃离虐待成性的丈夫，古怪而才华横溢的科学家古德温（威廉·达福 Willem Dafoe 饰）将她未出生的孩子的大脑取代了她自己的大脑，以此复活。

World-renowned company Complicité return to our stage with a brand-new production based on Nobel prize-winning writer Olga Tokarczuk’s darkly comic novel, directed by Simon McBurney.

In the depths of winter in a small community on a remote Polish mountainside, men from the local hunting club are dying in mysterious circumstances and Janina – an eccentric older local woman, environmentalist and devoted astrologer – has her suspicions. She has been watching the animals with whom the community shares their isolated, rural home, and she believes they are acting strangely…
A thought-provoking, wry and otherworldly murder mystery, this is a tale about the cosmos, poetry, and the limitations and possibilities of activism.
Simon McBurney directs a new work for theatre based on Nobel Prize winning author Olga Tokarczuk’s acclaimed novel, which was shortlisted for the 2019 International Booker Prize.

Prior to the first act, an induction frames the play as a "kind of history" played in front of a befuddled drunkard named Christopher Sly who is tricked into believing that he is a lord.
In the play performed for Sly, the "Shrew" is Katherina Minola, the eldest daughter of Baptista Minola, a lord in Padua. Katherina's temper is notorious and it is thought no man would ever wish to marry her. On the other hand, two men – Hortensio and Gremio – are eager to marry her younger sister Bianca. However, Baptista has sworn not to allow his younger daughter to marry before Katherina is wed, much to the despair of her suitors, who agree that they will work together to marry off Katherina so that they will be free to compete for Bianca.
The plot becomes more complex when Lucentio, who has recently come to Padua to attend university, sees Bianca and instantly falls in love with her. Lucentio overhears Baptista announce that he is on the lookout for tutors for his daughters, so he has his servant Tranio pretend to be him while he disguises himself as a Latin tutor named Cambio, so that he can woo Bianca behind Baptista's back.
In the meantime, Petruchio arrives in Padua, accompanied by his servant, Grumio. Petruchio tells his old friend Hortensio that he has set out to enjoy life after the death of his father and that his main goal is to wed. Hearing this, Hortensio seizes the opportunity to recruit Petruchio as a suitor for Katherina. He also has Petruchio present to Baptista a music tutor named Litio (Hortensio himself in disguise). Thus, Lucentio and Hortensio, pretending to be the teachers Cambio and Litio, attempt to woo Bianca unbeknownst to her father, and to one another.
Petruchio, to counter Katherina's shrewish nature, woos her with reverse psychology, pretending that every harsh thing she says or does is kind and gentle. Katherina allows herself to become engaged to Petruchio, and they are married in a farcical ceremony during which (amongst other things) he strikes the priest and drinks the communion wine, and then takes her home against her will. Once they are gone, Gremio and Tranio (disguised as Lucentio) formally bid for Bianca, with Tranio easily outbidding Gremio. However, in his zeal to win, he promises much more than the real Lucentio actually possesses, and Baptista determines that once Lucentio's father confirms the dowry, Bianca and Tranio can marry. Tranio thus decides that they will need someone to pretend to be Vincentio, Lucentio's father, at some point in the near future. Elsewhere, as part of their scheme, Tranio persuades Hortensio that Bianca is not worthy of his attentions, thus removing any problems he may cause.
Meanwhile, in Petruchio's house, he begins the "taming" of his new wife. She is refused food and clothing because nothing – according to Petruchio – is good enough for her; he claims perfectly cooked meat is overcooked, a beautiful dress doesn't fit right, and a stylish hat is not fashionable. He also sets about disagreeing with everything she says, and forcing her to agree with everything he says, no matter how absurd; on their way back to Padua to attend Bianca's wedding, she agrees with Petruchio that the sun is the moon, and proclaims that "if you please to call it a rush-candle,/Henceforth I vow it shall be so for me" (4.5.14–15). Along the way, they meet Vincentio who is also on his way to Padua, and Katherina agrees with Petruchio when he declares that Vincentio is a woman and then apologises to Vincentio when Petruchio tells her he is a man.
Meanwhile, back in Padua, Lucentio and Tranio convince a passing pedant to pretend to be Vincentio and confirm the dowry for Bianca. The man does so, and Baptista is happy for Bianca to wed Lucentio (actually Tranio in disguise). Bianca then secretly elopes with the real Lucentio. However, Vincentio arrives in Padua, and encounters the Pedant, who claims to be Lucentio's father. Tranio (still disguised as Lucentio) appears, and the Pedant acknowledges him to be his son Lucentio. There is much confusion about identities, and the real Vincentio is set to be arrested when the real Lucentio appears with his newly betrothed Bianca, and reveals all to a bewildered Baptista and Vincentio. Lucentio explains everything that has happened and all is forgiven by the two fathers.
Meanwhile, Hortensio has married a rich widow, and so in the final scene of the play there are three newly married couples at Baptista's banquet; Bianca and Lucentio, the widow and Hortensio, and Katherina and Petruchio. Because of the general opinion that Petruchio is married to a shrew, a quarrel breaks out about whose wife is the most obedient. Petruchio proposes a wager whereby each will send a servant to call for their wives, and whichever comes most obediently will have won the wager for her husband. Katherina is the only one of the three who comes, winning the wager for Petruchio. At the end of the play, after the other two wives have been hauled into the room by Katherina, she gives a speech on the subject of why wives should always obey their husbands and the play ends with Baptista, Hortensio and Lucentio marvelling at how successfully Petruchio has tamed the shrew.

2019年乌镇戏剧节剧目之一，时长约75分钟。
为什么是戏剧？它有什么用？是关于什么的？
我们将带着这些问题和许多其他问题一起踏上一段充满戏剧性和欢乐的旅程。我们会发现不仅我们，许多伟大的剧作家都受到了这些问题的启发。这就是“为什么”我们做《为什么？》。
“戏剧是一种非常危险的武器。”——这句话是在20世纪20年代由最有创意、最具创新精神的导演中的一位写下的。 他的名字叫梅耶荷德。他看到了整个俄罗斯30年代戏剧和艺术所经历的所有危险。他读到了我们所说的“不祥之兆”，但他没有停止，他直到最后一刻都希望革命能够胜利，并为此付出了他的生命。
海利·卡迈克尔、凯瑟琳·亨特 和马塞洛·马格尼这三位杰出的演员将为我们展现这个非常人性化、既有戏剧性的也有喜剧性的故事。
At the beginning of the 20th Century “why” and “how to do theatre“ became burning questions.

What was theatre about? How could it be more alive, more open to all? How could the actor be helped to be truer? What could be a new space? A new way of acting?
These questions and many others take us on an exploration joyful and dramatic. This is “why” we do Why?

“Theatre is a very dangerous weapon.” These words were written in the 1920s by one of the most creative, most innovative, directors the theatre has known. His name is Vsevolod Meyerhold. He saw all the menacing dangers that the theatre and art in general were going through in the 1930s in Russia. He read “the writing on the wall”, as we call it, but he did not stop. He hoped until the last minute that the Russian Revolution would win. Meyerhold paid for this with his life.

The three actors—Hayley Carmichael, Kathryn Hunter, and Marcello Magni—will unfold for us this very human story.

—Peter Brook and Marie-Hélène Estienne

第二届天津曹禺国际戏剧节暨第五届林兆华戏剧邀请展展演剧目

剧目简介

“当我们探索大脑的山峰和山谷，我们将抵达惊奇的山谷。”

想象一个世界，在这个世界中每个声音都有一个颜色，在这个世界中每个颜色都有一种味道，在这个世界中数字8是一个胖女士。这部惊人的新戏探索了那些用不同视角观察世界的真实的人的迷人经历。

《惊奇的山谷》是一次进入神秘的惊奇的人类大脑的万花筒般的旅程。它来自多年的神经学研究、真实的故事及法里德史诗般的神秘的诗《鸟的会议》。

导演简介

彼得·布鲁克（1925年—）是英国著名戏剧及电影导演，是上世纪五六十年代现代舞台剧的代表者，至今已创作超过70部作品。其力求创新和反传统的作风，对二十世纪的戏剧发展影响深远，被公认为是当今西方戏剧界最重要的导演之一。

他的戏剧理论著作《空的空间》是戏剧学院学生的必读书。他曾是英国皇家莎士比亚剧院的驻场导演，后赴法国巴黎创立国际戏剧研究中心进行戏剧实验。他的《摩诃婆罗多》以比《圣经》长9倍的印度史诗为蓝本，在露天剧场中演出9小时，创下历史之最。

剧院简介

巴黎北方剧院初建于1876年。1974年，彼得·布鲁克接手剧院成为其戏剧创作基地。其后，作为欧洲著名导演，他立足北方剧院，创作了很多经典、优秀的剧目。他说，一个古老的剧院是美丽的，但旧式的剧场空间限制了剧目的呈现。新剧场充满活力，但没有灵魂。如果我们恢复了影院完美的架构，它也将失去一些魅力，那也是一种缺憾。

第二届天津曹禺国际戏剧节暨第五届林兆华戏剧邀请展展演剧目

剧目简介

“当我们探索大脑的山峰和山谷，我们将抵达惊奇的山谷。”

想象一个世界，在这个世界中每个声音都有一个颜色，在这个世界中每个颜色都有一种味道，在这个世界中数字8是一个胖女士。这部惊人的新戏探索了那些用不同视角观察世界的真实的人的迷人经历。

《惊奇的山谷》是一次进入神秘的惊奇的人类大脑的万花筒般的旅程。它来自多年的神经学研究、真实的故事及法里德史诗般的神秘的诗《鸟的会议》。

导演简介

彼得·布鲁克（1925年—）是英国著名戏剧及电影导演，是上世纪五六十年代现代舞台剧的代表者，至今已创作超过70部作品。其力求创新和反传统的作风，对二十世纪的戏剧发展影响深远，被公认为是当今西方戏剧界最重要的导演之一。

他的戏剧理论著作《空的空间》是戏剧学院学生的必读书。他曾是英国皇家莎士比亚剧院的驻场导演，后赴法国巴黎创立国际戏剧研究中心进行戏剧实验。他的《摩诃婆罗多》以比《圣经》长9倍的印度史诗为蓝本，在露天剧场中演出9小时，创下历史之最。

剧院简介

巴黎北方剧院初建于1876年。1974年，彼得·布鲁克接手剧院成为其戏剧创作基地。其后，作为欧洲著名导演，他立足北方剧院，创作了很多经典、优秀的剧目。他说，一个古老的剧院是美丽的，但旧式的剧场空间限制了剧目的呈现。新剧场充满活力，但没有灵魂。如果我们恢复了影院完美的架构，它也将失去一些魅力，那也是一种缺憾。

　　讲述一段扭曲可怕的婆媳关系：刚刚怀有身孕的Belinda在婆婆搬到家里与她和丈夫同居后，她的生活发生了非常糟糕的变化，这位婆婆身上似乎有着很可怕力量，Belinda必须想办法拯救自己的生活。

一个小社区正发生大量令人发指的罪行，路易斯侦探感觉这些行为仿佛都是某人或者某种存在在针对她。路易斯和女儿关系不好，更无法找卧病在床的丈夫求助，于是转向基督教报刊《基督卫报》的记者梅根修女求援。
梅根修女也有着糟糕的过去，曾见过人性至恶的一面。一方面她依旧坚信人性好的一面，另一方面又担心世界被邪恶污染。
随着调查推进，两人发现自己掉入了一张邪恶的大网，这里产生的问题远多于给出的答案。

海达 深陷过去爱情的余痛与当前生活的窒息之中。随着一个充满张力的夜晚展开，她那被长久压抑的欲望与隐藏的矛盾终于爆发，不仅将她自己，也将她身边所有人，卷入一场操控、激情与背叛的旋涡之中。

影片围绕着一个女人展开，当她意外地收到一个神秘的木箱时，她的日常生活发生了险恶的转折。她没有意识到它所蕴含的黑暗力量，很快发现了盒子和即将到来的生命威胁之间的不祥联系。随着盒子向她发出令人不寒而栗的最后通牒——要么采购三件特定物品，要么屈服于致命的命运，展开的 叙述愈演愈烈。随着每一个转折，女人都踏上了一段悬疑的旅程，与时间赛跑，揭开邪恶力量背后的秘密，并在危险的生存之路上航行。

Presenting a behind-the-scenes account of a visionary at work. From Oscar-nominated Mike Figgis, Megadoc gives audiences an unfiltered and intimate look at the making of Francis Ford Coppola’s epic sci-fi drama Megalopolis.