Music. Power. Jealousy.
Lucian Msamati (Luther, Game of Thrones, NT Live: The Comedy of Errors) plays Salieri in Peter Shaffer’s iconic play, broadcast live from the National Theatre, and with live orchestral accompaniment by Southbank Sinfonia.
Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna, the music capital of the world – and he’s determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy his name. Seized by obsessive jealousy he begins a war with Mozart, with music, and ultimately, with God.
After winning multiple Olivier and Tony Awards when it had its premiere at the National Theatre in 1979, Amadeus was adapted into an Academy Award-winning film.

Since the original run, Shaffer has extensively revised his play, including changes to plot details; the following is common to all revisions.

At the opening of the tale, Salieri is an old man, having long outlived his fame, and is convinced he used poison to assassinate Mozart. Speaking directly to the audience, he promises to explain himself. The action then flashes back to the eighteenth century, at a time when Salieri has not met Mozart in person, but has heard of him and his music. He adores Mozart's compositions, and is thrilled at the chance to meet Mozart in person, during a salon at which some of Mozart's compositions will be played. When he finally does catch sight of Mozart, however, he is deeply disappointed to find that Mozart's personality does not match the grace or charm of his compositions. When Salieri first meets him, Mozart is crawling around on his hands and knees, engaging in profane talk with his future bride Constanze Weber .

Salieri cannot reconcile Mozart's boorish behaviour with the genius that God has inexplicably bestowed upon him. Indeed, Salieri, who has been a devout Catholic all his life, cannot believe that God would choose Mozart over him for such a gift. Salieri renounces God and vows to do everything in his power to destroy Mozart as a way of getting back at his Creator.

Throughout much of the rest of the play, Salieri masquerades as Mozart's ally to his face while doing his utmost to destroy his reputation and any success his compositions may have. On more than one occasion it is only the direct intervention of the Emperor himself that allows Mozart to continue (interventions which Salieri opposes, and then is all too happy to take credit for when Mozart assumes it was he who intervened). Salieri also humiliates Mozart's wife when she comes to Salieri for aid, and smears Mozart's character with the Emperor and the court. A major theme in Amadeus is Mozart's repeated attempts to win over the aristocratic "public" with increasingly brilliant compositions, which are always frustrated either by Salieri or by the aristocracy's own inability to appreciate Mozart's genius.

The play ends with Salieri attempting suicide in a last attempt to be remembered, leaving a false confession of having murdered Mozart with arsenic . He survives, however, and his confession is disbelieved by all, leaving him to wallow once again in mediocrity.

Since the original run, Shaffer has extensively revised his play, including changes to plot details; the following is common to all revisions.

At the opening of the tale, Salieri is an old man, having long outlived his fame, and is convinced he used poison to assassinate Mozart. Speaking directly to the audience, he promises to explain himself. The action then flashes back to the eighteenth century, at a time when Salieri has not met Mozart in person, but has heard of him and his music. He adores Mozart's compositions, and is thrilled at the chance to meet Mozart in person, during a salon at which some of Mozart's compositions will be played. When he finally does catch sight of Mozart, however, he is deeply disappointed to find that Mozart's personality does not match the grace or charm of his compositions. When Salieri first meets him, Mozart is crawling around on his hands and knees, engaging in profane talk with his future bride Constanze Weber .

Salieri cannot reconcile Mozart's boorish behaviour with the genius that God has inexplicably bestowed upon him. Indeed, Salieri, who has been a devout Catholic all his life, cannot believe that God would choose Mozart over him for such a gift. Salieri renounces God and vows to do everything in his power to destroy Mozart as a way of getting back at his Creator.

Throughout much of the rest of the play, Salieri masquerades as Mozart's ally to his face while doing his utmost to destroy his reputation and any success his compositions may have. On more than one occasion it is only the direct intervention of the Emperor himself that allows Mozart to continue (interventions which Salieri opposes, and then is all too happy to take credit for when Mozart assumes it was he who intervened). Salieri also humiliates Mozart's wife when she comes to Salieri for aid, and smears Mozart's character with the Emperor and the court. A major theme in Amadeus is Mozart's repeated attempts to win over the aristocratic "public" with increasingly brilliant compositions, which are always frustrated either by Salieri or by the aristocracy's own inability to appreciate Mozart's genius.

The play ends with Salieri attempting suicide in a last attempt to be remembered, leaving a false confession of having murdered Mozart with arsenic . He survives, however, and his confession is disbelieved by all, leaving him to wallow once again in mediocrity.

他们相遇，他有女朋友；
他们相遇，他有妻子；
他们相遇，他们相爱了；
他们回她的房间，她赶他走；
他们回她的房间，她留他，但他走了；
他们同居了；
他们因为性格不合分手了；
他们因为没感觉分手了；
他们因为出轨分手了；
他们没有任何原因地分手了；
他们有了新伴侣；
他们又在一起了；
她得了癌症；
她没得癌症；
他挽留她，他们做好准备在一起了。

他们相遇，他有女朋友；
他们相遇，他有妻子；
他们相遇，他们相爱了；
他们回她的房间，她赶他走；
他们回她的房间，她留他，但他走了；
他们同居了；
他们因为性格不合分手了；
他们因为没感觉分手了；
他们因为出轨分手了；
他们没有任何原因地分手了；
他们有了新伴侣；
他们又在一起了；
她得了癌症；
她没得癌症；
他挽留她，他们做好准备在一起了。

Constellations is a two-hander play by the English playwright Nick Payne. It premiered at the Royal Court Theatre in early 2012, with Rafe Spall and Sally Hawkins in the lead roles. The play received strong reviews from critics and subsequently transferred to the Duke of York's Theatre in the West End. In November 2012 Constellations was named the winner of the best play category at the Evening Standard Theatre Awards, making the 29-year-old Payne the youngest winner of the award. In January 2013 Payne revealed that a film adaptation was under way.

Constellations is a two-hander play by the English playwright Nick Payne. It premiered at the Royal Court Theatre in early 2012, with Rafe Spall and Sally Hawkins in the lead roles. The play received strong reviews from critics and subsequently transferred to the Duke of York's Theatre in the West End. In November 2012 Constellations was named the winner of the best play category at the Evening Standard Theatre Awards, making the 29-year-old Payne the youngest winner of the award. In January 2013 Payne revealed that a film adaptation was under way.

Nicolas is going through a difficult phase after his parents’ divorce. He’s listless, skipping school, lying and thinks that moving in with his father and his new family may help. A fresh start. When he doesn’t settle there either, he decides that going back to his mother’s may be the answer. When change feels like the only way to survive, what will he do when the options begin to run out?

Nicolas is going through a difficult phase after his parents’ divorce. He’s listless, skipping school, lying and thinks that moving in with his father and his new family may help. A fresh start. When he doesn’t settle there either, he decides that going back to his mother’s may be the answer. When change feels like the only way to survive, what will he do when the options begin to run out?

一个儿子从小到大都以为自己是家里的独生子，偶然间发现自己不过是好几个克隆版本其中之一。面对儿子的质问，父亲支支吾吾地承认说亲生儿子早年夭折，于是决定让医生克隆一个一模一样的儿子，但医生违背医学伦理，偷偷克隆了好几个。父亲决定要起诉医院。
然而父亲的说法不尽不实：亲生儿子不但没有过世，而且也才得知父亲竟然抛弃了他而克隆出另外的儿子。父子对峙的过程牵出一系列谜团：父亲当年为何要克隆儿子？母亲哪去了？克隆版本的存在对亲生儿子的成长和自我认同产生了怎样的冲击？而克隆人的身份和尊严又如何定义?
The play begins with a father, Salter, and his son Bernard (B2) discussing the fact that the son has found out that he has been cloned. The father claims not to have known this and claims that a hospital must have stolen his cells at some point and made illegal copies of him. He talks about suing the hospital for money. The son then mentions that there were others and the father admits that the son is a clone. He says that the original son and his mother died in a car crash and that he wanted his son back so he had him cloned. Then the original son confronts Salter and has a discussion about the clones, Salter again denies knowledge about the others. It turns out Salter lied about the mother dying in a car crash; she killed herself by throwing herself under a train; and that the original son did not die, but was instead 'sent away' by Salter, unable or unwilling to care for him due to his grief. The first clone then finds out the original is still alive. Bernard (B1) meets with Bernard (B2) and murders him, and then proceeds to commit suicide. Salter then meets with Michael Black, another clone. Michael Black lives a very normal life, has a wife and three children, and is happy. Salter ends up miserable and seemingly alone even though he knows that there are 19 more clones.

一个儿子从小到大都以为自己是家里的独生子，偶然间发现自己不过是好几个克隆版本其中之一。面对儿子的质问，父亲支支吾吾地承认说亲生儿子早年夭折，于是决定让医生克隆一个一模一样的儿子，但医生违背医学伦理，偷偷克隆了好几个。父亲决定要起诉医院。
然而父亲的说法不尽不实：亲生儿子不但没有过世，而且也才得知父亲竟然抛弃了他而克隆出另外的儿子。父子对峙的过程牵出一系列谜团：父亲当年为何要克隆儿子？母亲哪去了？克隆版本的存在对亲生儿子的成长和自我认同产生了怎样的冲击？而克隆人的身份和尊严又如何定义?
The play begins with a father, Salter, and his son Bernard (B2) discussing the fact that the son has found out that he has been cloned. The father claims not to have known this and claims that a hospital must have stolen his cells at some point and made illegal copies of him. He talks about suing the hospital for money. The son then mentions that there were others and the father admits that the son is a clone. He says that the original son and his mother died in a car crash and that he wanted his son back so he had him cloned. Then the original son confronts Salter and has a discussion about the clones, Salter again denies knowledge about the others. It turns out Salter lied about the mother dying in a car crash; she killed herself by throwing herself under a train; and that the original son did not die, but was instead 'sent away' by Salter, unable or unwilling to care for him due to his grief. The first clone then finds out the original is still alive. Bernard (B1) meets with Bernard (B2) and murders him, and then proceeds to commit suicide. Salter then meets with Michael Black, another clone. Michael Black lives a very normal life, has a wife and three children, and is happy. Salter ends up miserable and seemingly alone even though he knows that there are 19 more clones.

西西里国王怀疑王后与自己的好友、波希米亚国王有染，所以逼死了幼子和王后，抛弃了刚出生的女儿，派人去毒杀好友未遂，两个国家反目成仇。十几年后，公主在牧羊人家中长大，邂逅了波希米亚王子，这对被波希米亚王诅咒的小情人逃往西西里王的宫殿求得庇护。于是那个咒语破解了：当西西里王的子嗣重生时，他的王后也获得了重生。

西西里国王怀疑王后与自己的好友、波希米亚国王有染，所以逼死了幼子和王后，抛弃了刚出生的女儿，派人去毒杀好友未遂，两个国家反目成仇。十几年后，公主在牧羊人家中长大，邂逅了波希米亚王子，这对被波希米亚王诅咒的小情人逃往西西里王的宫殿求得庇护。于是那个咒语破解了：当西西里王的子嗣重生时，他的王后也获得了重生。

第一幕
卡蘿拉是一猶太家族的僱工，("16 Feet Beneath the Sea")她每天就是與收音機、("The Radio")乾衣機、洗衣機等等為伍("Laundry Quartet")，在她小小的地牢裡工作。小主人羅亞常常跟她談話，("Noah Down the Stairs")有時甚至會替她點一下煙。("The Cigarette")每天洗完衣服，("Laundry Finish")最痛苦莫過於要用乾衣機，("The Dryer")卡蘿拉亦向觀眾們反映自己是個單親媽媽，一共有四個孩子得照顧，其中大兒子參加了越戰，長女則踏入反叛期，兩個小弟弟仍然年幼。("I Got Four Kids")來到猶太家庭，母親死後不及，父親史德華娶了好友富裕的蘿絲，她嘗試著融入家庭裡。("Caroline, There's No Extra Food")史德華自妻子亡後心情低落，失去了希望("There is No God, Noah")，而蘿絲在新家庭中取不到羅亞信任，卡蘿拉也拒人於千里。("Rose Stopnick Can Cook")
蘿絲向父親交待生活，("Long Distance")另一邊廂卡蘿拉跟同是幫傭的好友多迪("Dotty and Caroline") 討論多迪的改變，("Moon Change")以及象徵南方居民的銅像被移走的事。("Moon Trio")突然傳來了堅尼地總統被暗殺的消息，("The Bus")眾人為之驚訝。("This Can't Be")在猶太家庭裡蘿絲為了讓羅亞記得金錢的重要，("Noah and Rose")便立下了新例，若羅亞再把零錢漏在口袋裡，那麼錢便歸卡蘿拉所有。這其實也是她想替卡蘿拉加薪的順水推舟點子。("Inside/Outside")總統遭刺殺的消息來到了，眾人又陷入討論。("JFK")
晚上，卡蘿拉點燃了煙聽著收音機。("No One Waitin'")此時其長女艾美回來，二人旋即因艾美的新觀念而爭吵，及後又快速言歸於好。("'Night Mama")羅亞在床上幻想與卡蘿拉交談，("Gonna Pass Me a Law")而卡蘿拉也由羅亞想到自己的孩子。("Noah Go to Sleep")蘿絲向卡蘿拉交待了零錢的事("Noah Has a Problem")，史德華向羅亞告誡，("Stuart and Noah")卻讓他更加故意把錢留在裡面。("Quarter in the Bleach Cup")卡蘿拉一開始是抗拒，終於也拿了一次。羅亞好奇她會怎麼用這些錢("Caroline Takes My Money Home")，他嚮往跟這些孩子相會。而艾美則向弟弟積基和祖說了一個虛構的故事解釋錢的來由("Roosevelt Petrucius Coleslaw")。
第二幕
卡蘿拉又在做工了，("Santa Comin' Caroline")她跟"同伴"們討論著零錢的事，("Little Reward")亦回想了當年的情事。("1943")蘿絲發覺史德華其中一件衣服裡被燙過的零錢弄污了。卡蘿拉聲稱不要她的施捨，("Mr. Gellman's Shirt")二人爭執，("Ooh Child")終於不歡而散，("Rose Recovers")然而卡蘿拉為了孩子卻仍拿了錢走。("I Saw Three Ships")聖誕派對，("The Chanukah Party")多迪和艾美也過了來幫手，("Dotty and Emmie")蘿絲之父因為把政治帶入家庭而不大受歡迎。("I Don't Want my Child to Hear That")然而他卻因批評黑人運動而與艾美來了場爭辯，("Mr. Stopnick and Emmie")卡蘿拉覺得艾美過了規矩打了她一巴。("Kitchen Fight")蘿絲之父覺得有趣，給了羅亞一張二十元大鈔，並要他好好保管。("A Twenty Dollar Bill and Why")整個派對不歡而散，艾美在巴士站抱怨著，("I Hate the Bus")眾人也在為生活而煩惱。("Moon, Emmie and Rose Trio")
正當羅亞想著如何用那二十大鈔時，卻發現他把之留了在口袋裡。("The Twenty Dollar Bill")卡蘿拉不肯把這二十元歸還，羅亞一時之氣向卡蘿拉說希望一個炸彈把所有黑人炸死。卡蘿拉氣憤的要他下地獄去，更把錢留在杯子裡離開；羅亞在不知道她把錢放在杯子裡，便留下了一張紙條。("Caroline and Noah Fight")蘿絲奇怪卡蘿拉為何不見了，杯子裡的二十元又是怎麼一回事，其父突然出現宣稱錢是他的，在羅亞面前將之沒收。("Aftermath")多迪收到消息後便去找卡蘿拉，並發現她正處於絕望中，("Sunday")經多迪和艾美鼓勵後她祈禱重拾信心。("Lot's Wife")終於伴隨著收音機，("Salty Teardrops")卡蘿拉回到猶太家庭。蘿絲和羅亞的關係破冰，("Why Does Our House Have a Basement")而雖然他與卡蘿拉不能回到從前，至少也是重新開始了。("Underwater")在尾幕中，艾美承認她是移走銅像的人，並跟兩位弟弟為母親而自豪。("Epilogue")

第一幕
卡蘿拉是一猶太家族的僱工，("16 Feet Beneath the Sea")她每天就是與收音機、("The Radio")乾衣機、洗衣機等等為伍("Laundry Quartet")，在她小小的地牢裡工作。小主人羅亞常常跟她談話，("Noah Down the Stairs")有時甚至會替她點一下煙。("The Cigarette")每天洗完衣服，("Laundry Finish")最痛苦莫過於要用乾衣機，("The Dryer")卡蘿拉亦向觀眾們反映自己是個單親媽媽，一共有四個孩子得照顧，其中大兒子參加了越戰，長女則踏入反叛期，兩個小弟弟仍然年幼。("I Got Four Kids")來到猶太家庭，母親死後不及，父親史德華娶了好友富裕的蘿絲，她嘗試著融入家庭裡。("Caroline, There's No Extra Food")史德華自妻子亡後心情低落，失去了希望("There is No God, Noah")，而蘿絲在新家庭中取不到羅亞信任，卡蘿拉也拒人於千里。("Rose Stopnick Can Cook")
蘿絲向父親交待生活，("Long Distance")另一邊廂卡蘿拉跟同是幫傭的好友多迪("Dotty and Caroline") 討論多迪的改變，("Moon Change")以及象徵南方居民的銅像被移走的事。("Moon Trio")突然傳來了堅尼地總統被暗殺的消息，("The Bus")眾人為之驚訝。("This Can't Be")在猶太家庭裡蘿絲為了讓羅亞記得金錢的重要，("Noah and Rose")便立下了新例，若羅亞再把零錢漏在口袋裡，那麼錢便歸卡蘿拉所有。這其實也是她想替卡蘿拉加薪的順水推舟點子。("Inside/Outside")總統遭刺殺的消息來到了，眾人又陷入討論。("JFK")
晚上，卡蘿拉點燃了煙聽著收音機。("No One Waitin'")此時其長女艾美回來，二人旋即因艾美的新觀念而爭吵，及後又快速言歸於好。("'Night Mama")羅亞在床上幻想與卡蘿拉交談，("Gonna Pass Me a Law")而卡蘿拉也由羅亞想到自己的孩子。("Noah Go to Sleep")蘿絲向卡蘿拉交待了零錢的事("Noah Has a Problem")，史德華向羅亞告誡，("Stuart and Noah")卻讓他更加故意把錢留在裡面。("Quarter in the Bleach Cup")卡蘿拉一開始是抗拒，終於也拿了一次。羅亞好奇她會怎麼用這些錢("Caroline Takes My Money Home")，他嚮往跟這些孩子相會。而艾美則向弟弟積基和祖說了一個虛構的故事解釋錢的來由("Roosevelt Petrucius Coleslaw")。
第二幕
卡蘿拉又在做工了，("Santa Comin' Caroline")她跟"同伴"們討論著零錢的事，("Little Reward")亦回想了當年的情事。("1943")蘿絲發覺史德華其中一件衣服裡被燙過的零錢弄污了。卡蘿拉聲稱不要她的施捨，("Mr. Gellman's Shirt")二人爭執，("Ooh Child")終於不歡而散，("Rose Recovers")然而卡蘿拉為了孩子卻仍拿了錢走。("I Saw Three Ships")聖誕派對，("The Chanukah Party")多迪和艾美也過了來幫手，("Dotty and Emmie")蘿絲之父因為把政治帶入家庭而不大受歡迎。("I Don't Want my Child to Hear That")然而他卻因批評黑人運動而與艾美來了場爭辯，("Mr. Stopnick and Emmie")卡蘿拉覺得艾美過了規矩打了她一巴。("Kitchen Fight")蘿絲之父覺得有趣，給了羅亞一張二十元大鈔，並要他好好保管。("A Twenty Dollar Bill and Why")整個派對不歡而散，艾美在巴士站抱怨著，("I Hate the Bus")眾人也在為生活而煩惱。("Moon, Emmie and Rose Trio")
正當羅亞想著如何用那二十大鈔時，卻發現他把之留了在口袋裡。("The Twenty Dollar Bill")卡蘿拉不肯把這二十元歸還，羅亞一時之氣向卡蘿拉說希望一個炸彈把所有黑人炸死。卡蘿拉氣憤的要他下地獄去，更把錢留在杯子裡離開；羅亞在不知道她把錢放在杯子裡，便留下了一張紙條。("Caroline and Noah Fight")蘿絲奇怪卡蘿拉為何不見了，杯子裡的二十元又是怎麼一回事，其父突然出現宣稱錢是他的，在羅亞面前將之沒收。("Aftermath")多迪收到消息後便去找卡蘿拉，並發現她正處於絕望中，("Sunday")經多迪和艾美鼓勵後她祈禱重拾信心。("Lot's Wife")終於伴隨著收音機，("Salty Teardrops")卡蘿拉回到猶太家庭。蘿絲和羅亞的關係破冰，("Why Does Our House Have a Basement")而雖然他與卡蘿拉不能回到從前，至少也是重新開始了。("Underwater")在尾幕中，艾美承認她是移走銅像的人，並跟兩位弟弟為母親而自豪。("Epilogue")

This is what a border is. A magic money line.

Something changed today. The trains are no longer stopping at the station on the border and no one knows why. Plus, the stationmaster suddenly has two new arrivals to deal with. Arrivals that will divide the local population.

This prophetic early masterpiece from David Greig explores our complex relationship to Europe – as a continent, a refuge, an idea.

Grimaldi爱上了同父异母姐姐Annabella，两颗炽热的心燃烧在一起。而贵族索兰佐在安娜贝拉怀孕后娶了她，这三人的命运也从此改变……

Grimaldi爱上了同父异母姐姐Annabella，两颗炽热的心燃烧在一起。而贵族索兰佐在安娜贝拉怀孕后娶了她，这三人的命运也从此改变……