90 | 空氣中的視聽與幻覺

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終於讓我等到了蘇打綠 - 一大早就收到短訊,朋友們都興奮的不了呢!

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今年的循環演唱會在室內體育館舉行。真的不是說特別high,也沒必要嘛。我並不否認我有點莫名其妙感到很緊張,有使勁裝副冷靜的樣。蘇打綠的音樂從一開始就是療傷的,也對社會現象提出觀察,所以對我來說價值特別高 - 就像天氣冷的時候帶給我無限溫暖的一杯熱咖啡,炎熱的夏天後涼爽的秋天。無論是失落,受傷,滿足,心寒,什麼時候都愛聽蘇打綠。情感價值很高啦,能讓我把出道以來的歌曲全部背熟的就僅有蘇打綠。

 

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看完蘇打綠的演唱會並沒有什麼激烈的情感,那三個鐘頭內沈浸在溫暖的歌聲與情感之中就已經足夠了。能夠現場用心靈聆聽蘇打綠真的是件特別幸福的事。蘇打綠從頭到尾都不能成為偶像,是真正的歌者,音樂人,創作才子。

蘇打綠的十週年,我開始喜歡蘇打綠。我預計到了20,30週年,我還會坐在舞台前用心聆聽這個樂團吧。

接下來的十年,二十年,我們用溫暖推翻這世界。

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89 | 볼쌍한 오이디푸스

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Going into the theatre started with a surprise at the entrance, when the ushers told us the seats were up on stage.

“Huh?”

But that was the tiniest of surprises compared to what Korean theatre company 죽달 Juk-Dal (name derived from their first show 죽도록 달린다 Running to the Death) had in store for me at their production of The Chorus: Oedipus.

Forceful and visceral, this production of Oedipus holds you tightly by the collar and socks you squarely in the gut. You know that it’s coming, you know the answer to all the questions Oedipus has about his birth, but you keep hoping and hoping it’s not true. Director Seo Jae-Hyung did an amazing job with the staging. From the choice of having seating on the stage, creating physical intimacy between the audience and the cast, to having Oedipus scale the proscenium steps alone at the end, all these choices seemed to have been meticulously thought out, and to good effect. The proximity of the audience to the stage (I was in the first row) meant that when the ravens descended on Oedipus, I felt like the ravens were assaulting me. When the combat scene ensued, I felt like I was physically hit. This was part of what made Oedipus such a spectacle – the intimacy you felt with the entire production.

Other than searing images, like that of Jocasta falling into Oedipus’ arms, or her pleading with Oedipus not to look at her with that light in his eyes, or Oedipus ascending the steps towards the light and exiting to live a lonely existence where no one could speak to him, there were also the haunting sounds which the actors created – sounds of ravens cawing, and a sinister swoosh that to me, signalled destiny chasing after Oedipus. The use of four pianos, tight choreography and amazing harmony among the chorus made for an almost tactile experience. They evoked despair, hope and deep sympathy in me as the play went along. The emotions are the things that linger long after I leave my seat. And so.. these were the images and sounds that I will be hard-pressed to forget. I was glad to be a citizen of Thebes, just for a night.

Oedipus refused to let me go, long after I left the theatre.

Poor Oedipus, poor, poor Oedipus.
오이디푸스, 불쌍한 오이디푸스.

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“난 오이디푸스, 난 신이 아니다
고통 많은 다 테베를 위해
신게 버려진 백성을 위해”
I, Oedipus, I am no god
For Thebes, that suffers greatly,
For the people that the gods have abandoned..

“그 삼거리.. 나도 지나왔지.. 그 삼거리.”
That intersection.. I’ve also passed it, haven’t I.. that intersection.”

“신이 이렇게까지 미워 할 수 밖에 없었나 탄식이다.”
There is no one that the gods detest more than me.

“나는 신이 아니다.
나는 살았고,
그들을 사랑했고,
그래서 고통스러웠다.”
I am no god.
I have lived, and
I have loved them,
And so I suffer.