日常 Day to Day

凭着《35》、《鬼.病》、《P2》、《BFF》等舞台剧而获好评的编导William叶伟这次良加入”残酷“的元素，希望可以通过震撼的画面和声音来制作别树一格的观剧体验。《日常》的创作源头于编导本身对于”过火“与”病态“的喜好，也放大”人与人关系“的怪异、复杂与简约来激荡观众的日常脑袋，绝对挑战观众的极限。他表示，爱情永远是难捉摸的事情，尤其是当年龄越大又或者感情进行的太久，对于事情的接受程度也改变，有者甚至将改变发挥极致，连性格也变得判若两人。这件事情上没有对跟错的标准，但当我们往心里去摸索的话，或许我们还会看见最初的自己。

他继续表明：“这次我采取了“惊悚”和“残酷”的元素放在《日常》舞台剧里，无论是演绎方式或桥段的设计，都让观众在观剧的时候一直保持“清醒”的状态进行分析与猜测，所以在剧情上的点子都是通过音乐、声效、投影和演技来呈献”惊吓”，同时也挑战观众现场观剧的极限。毕竟这次会有大胆的画面与情节，所以希望可以激发观众的脑袋进行思考继而产生反思。

《日常》主角的表演方式要求剧场形式之外，还得兼顾观众观剧的心情、接受程度等等因素，所以要找到平衡点就有赖于演员的基本功夫和感受力必须要好。他成功邀请久休舞台剧和实力深厚的李承运担任主要演员，因为他是一名思考型的演员，他除了对角色的剖析细腻外，更注重的是整体戏剧所要表达和呈献的氛围，所以对于获奖无数、游走在舞台剧和电视剧之间的他来说，我相信必定能为《日常》呈献深刻的演艺，把《日常》的精髓讯息刻画清晰。“
观众必定会看见在白白一片的布景看到“插花”，而且是四个阶段的插花境界~ 艳俗、含蓄、矫情、病态，正好类似《日常》主角的爱情观，也因此做了一个意识上的结合。
叶伟良也说”看剧可以转动脑筋，也可以因为纯粹娱乐，所以你绝对可以把《日常》当做一场LIVE的”惊悚“舞台剧来观赏“。

Employing the concept of Theatre of Cruelty in its image and sound, William is trying to create a unique theatrical experience for the audience. It’s also triggered by William’s fascination with the “extreme” and “pathological” elements and also the amplification of the quirkiness in human relationship. He thinks love is always elusive. When you or/and your relationship reached certain milestone, your acceptance to certain things will change and sometimes these changes will transform you completely. There will be no standard right or wrong judgement but if we seek deeper into our heart, probably we will find the real us.

He continues : “I’m utilizing some “horror” and “cruel” elements this time in the performance style and plot design to keep the audience “awake” analyzing and guessing. So the ideas will be channeled through music, sound effect and actors’ performance to challenge the audience’s limit. There will be more provocative scenes and storyline this time so I hope the audience will find this exciting and subsequently think deeper and doing some self-reflection.

The demands on actors are heavy due to the style of Theatre of Cruelty and the audiences’ acceptance so the balance between the acting skills and sensitivities is very important. I believe the main cast Berg Lee with his immense talent and experience between theatre and TV, will adeptly channel the character and infuse the stage with the effective ambience to deliver the message of the play.

Audience will definitely remember the scenes of “flower arrangement/ikebana” with the white backdrop each signifies the phases of flower arrangement i.e. gaudy, implicit, dramatic and pathological; which mirrors the perspective of love in the play”

He also adds : “You can watch the play in deep-thinking mode or purely for entertainment so you can probably take it as a LIVE horror theatre experience too”