路克·帕西弗（Luc Perceval）
路克·帕西弗1957年5月30日生于比利时罗梅尔。在安特卫普（Antwerp）学习表演。作为一名演员，受聘于安特卫普市政剧院荷兰皇家剧院。1984年，他和盖伊·朱斯特（Guy Joosten）一起在“蓝色星期一公司”（ Blauwe Maandag Compagnie）成立了一个独立剧团，与“尘土飞扬剧院”（ the dusty repertory theatre）对抗。1998-1999年，剧团被荷兰皇家剧院合并，并命名为“巡演剧院”（ Het Toneelhuis），帕西弗为艺术总监。他所创作的弗兰芒语作品荣获了许多奖项，包括1990年哈利亚（Halia）艺术奖：多次受邀参加荷兰和比利时的戏剧节。他的《战斗！》还荣获了艺术创新奖，德语版《战争》（Ten Oorlog）（2000《今日戏剧》杂志剧评观察剧目）。他在巡演剧院的合同在2005年到期，之后他开始担任柏林列宁广场剧院的专任导演。
早在1980年路克·帕西弗就闻名于比利时。他的“蓝色星期一公司”使他成为“弗兰芒斯浪潮”（Flemish Wave）的反叛者之一，用日常语言将经典剧目本土化，以对抗受政府资助的市政剧院。他用壮观的莎士比亚马拉松戏剧形式排演的剧目《战斗！》获得了超于弗莱芒语言区之外的突破性的成功。
随后经过几个月的彩排，已经是安特卫普市政剧院的经理人的帕西弗，与德国演员一起，重新研究并演绎了这个已经在比利时演出获得成功的12小时时长的历史剧。这次比利时和德国两国艺术家联合制作的长篇巨制在汉堡剧院和萨尔斯堡戏剧节演出，并应邀参加2000年柏林戏剧季，使帕西弗几乎一夜成名。自此之后他成为了欧洲戏剧界当之无愧的大导演。
帕西弗一直致力于回归莎士比亚。在《李尔王的痛苦》（2002）一剧中，他把李尔王改编成一个住在老人家里的老年痴呆症患者，一个满口胡言的老人将自己想象为李尔王。这部作品招来颇多评议（“shrunken theatre”）。他在慕尼黑Kammer剧院演出的《奥赛罗》（2003）也引起了争议性的评论。
帕西弗强调他不想把自己的导演风格像“商标”一样强加于戏剧文本。“我对重复我自己从没兴趣。每一部戏都有它自己的语言和形式，它自己的秘密。”事实确实如此，《战斗》中狂暴的形象和他在慕尼黑上演的Jon Fosse版的《秋天的梦》（该剧受邀参加2002年柏林戏剧节）中神秘幽远的气氛相差是如此之大。尽管如此，帕西弗的戏剧作品特征依然十分鲜明，那就是他寻求两极的对比：惊声尖叫与沉默是金。肢体语言占主导地位。他想创造原始的环境，原初的大自然。相形之下，语言逐渐淡出，成为背景——这是他时常批评的。对他来说，语言仅仅是一种感叹，一种单调冗长的陈述， 一种平庸的日常用语。
不难理解，帕西弗偶尔也会创作一些古典的作品作为古风雅韵风格的尝试。在《Aars!》（2000）中他把埃斯库罗斯的《奥瑞斯提亚》描述成一场凶残的家庭灾难集合，仇恨的爆发，贪婪和暴力，一篇在发霉的厨房和冷漠的空间之间引发的长篇大论。这部作品中声光电的暴风雨中，在进攻和退缩时激烈的画面中，在对幸福的渴望何无法安抚的孤独中，语言退化为尖叫和噪音……
Luk Perceval
Born in Lommel/Belgium on 30 May 1957. Studied acting in Antwerp. Hired as an actor at Antwerp municipal theatre “Koninklijke Nederlandse Schouwburg”. Together with Guy Joosten in 1984 he founded the independent group in“Blauwe Maandag Compagnie” in opposition to the dusty repertory theatre and he has been producing for it ever since, managing it on his own after 1991. In 1998/99 the group merged with the “Koninklijke Nederlandse Schouwburg” under the name “Het Toneelhuis, Perceval became its artistic director. He received many awards for his productions in the Flemish language, including the Thalia Prize in 1990 for the artistic work as a whole; numerous invitations to theatre festivals in the Netherlands and Belgium.
He was awarded the 3sat Innovation Prize for “Battles!”, the German version of “Ten Oorlog” (production of the year 2000 in the critics’ survey of “Theater heute”). His contract with “Het Toneelhuis” will expire in 2005, then he wants to commit himself as an in-house director at the Berlin Schaubühne am Lehniner Platz.
Luk Perceval was well-known in Belgium even in the 1980s. With his “Blauwe Maandag Compagnie” he was one of the rebels of the “Flemish Wave”, which developed its own local versions of classics influenced by everyday language in opposition to subsidised municipal theatre. The great breakthrough beyond the Flemish language area came with “Battles!”, the spectacular Shakespeare marathon.
In several months of rehearsals, Perceval – who had by now become manager in Antwerp – once again studied the twelve-hour version of the history plays with German actors with which he had also succeeded in Belgium. This coproduction of the Deutsches Schauspielhaus in Hamburg and the Salzburg Festival, invited to the Berliner Theatertreffen in 2000, made him famous overnight. Since then he has been considered one of the great directors of European theatre.
He has kept going back to Shakespeare. In “L. King of Pain” (2002) he made King Lear into an Alzheimer’s sufferer in an old people’s home, an old man spouting nonsense who imagines he is Lear. The production met with much criticism (“shrunken theatre”). His “Othello” at the Munich Kammerspiele (2003) also met with a controversial response.
Perceval stresses that he does not want to impose his directorial style on the texts as a “trademark”. “I have never been interested in repeating myself. Every play has its own language and form, its own secret.” Indeed, the distance between the image orgies of his “Battles!” and the mysterious intimacy of his Munich Jon Fosse version of “Dream of Autumn” (invited to the 2002 Berliner Theatertreffen) is vast. Nevertheless, clear lines can be seen in his theatrical work. Perceval seeks out the extreme: the screeching and the silence. Bodies and physical expression are dominant. He wants to create primeval situations, elemental nature. In contrast, language fades into the background – something for which he is occasionally criticised. With him, language is often reduced to a mere exclamation, a monotonous litany, banal everyday jargon.
It is not surprising that Perceval has also come across classical plays in his search for the archaic. in “Aars!” (2000) he described Aeschylus’s “Oresteia” as the murderous concentration of a family catastrophe, an explosion of hatred, greed and violence, a tirade between musty kitchens and the coldness of space. In the storm of light and sound of this production, in the vehement images of aggression and regression, hunger for happiness and inconsolable loneliness, the language faded into screeching and noise.
