The History Boys 艾倫．貝內特編劇 by Alan Bennett

Home , Andrew Knott, Russell Tovey, Sacha Dhawan, Samuel Anderson (actor)

英國國家劇團《高校男生》 National Theatre of Britain The History Boys 艾倫．貝內特編劇 by Alan Bennett

演出及製作人員 ○○○○○○○○ Credits ○○○○○○○○○○○ 8

角色介紹 ○○○○○○○○○○○○ Characters ○○○○○ 12

特稿 Feature

艾倫．貝內特：我在牛津出貓的日子

On False Pretences by Alan Bennett ○○○○○15 訪問 Interview

尼古拉斯．海德拉訪談錄

Nicholas Hytner on The History Boys ○○○○○25

劇團介紹

Company Profile ○○○○○○○○○○○○○○29 除特別註明，所有照片 Unless otherwise indicated, all 生平介紹 photos (including the front cover) © Ivan Kyncl Biographies 演員介紹

Cast ○○○○○○○○○○○○○○○○○○○○36

艾倫．貝內特 ○○○○○ Alan Bennett ○○○○○○○○○○○ 41

製作人員介紹

Production Team ○○○○○○○○○○○○○○42

14 - 18.2.2006 香港演藝學院歌劇院 Lyric Theatre, Hong Kong Academy for Performing Arts 英語演出，附中文字幕 Performed in English with Chinese surtitles 為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。節目長約 2 小時 45 分鐘，包括一節 20 分鐘中場休息 To make this performance a pleasant experience for the artists and other members of Running time: approximately 2 hours the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. and 45 minutes, including a 20 Eating and drinking, unauthorised photography and audio or video recording are minute interval forbidden in the auditorium. Thank you for your co-operation. 演員及製作 Credits

《高校男生》The History Boys 編劇艾倫．貝內特 by Alan Bennett 演員表 Cast 男生 The Boys 厄格沙薩夏．達旺 Sacha Dhawan Akthar 克羅佛塞繆爾．安德森 Samuel Anderson Crowther 達金多明尼克．庫珀 Dominic Cooper Dakin 洛活特安德魯．克諾特 Andrew Knott Lockwood 波斯納塞繆爾．巴內特 Samuel Barnett Posner 律茲羅素．托維 Russell Tovey Rudge 史格里斯杰米．帕克 Jamie Parker Scripps 提姆斯詹姆斯．哥登 James Corden Timms

教師 The Teachers 校長馬爾科姆．辛克萊 Malcolm Sinclair Headmaster 林托太太瑪姬．斯蒂德 Maggie Steed Mrs Lintott 赫特李察．基菲夫斯 Richard Griffiths Hector 艾溫史提芬．坎貝爾．摩爾 Stephen Campbell Moore Irwin

電視導演科林．黑格 Colin Haigh TV Director 化妝師帕米拉．梅里克 Pamela Merrick Make-up Lady 其他男生約瑟夫．阿滕伯勒 Joseph Attenborough Other Boys 湯姆．阿特伍德 Tom Attwood 魯迪．達馬林甘 Rudi Dharmalingam

故事發生於二十世紀八十年代 The action takes place in a grammar school in 英國北部一所中學 the north of England, in the 1980s 8 製作人員 Production Team

導演尼古拉斯．海德拉 Nicholas Hytner Director 設計鮑勃．克羅利 Bob Crowley Designer 燈光設計馬克．韓德森 Mark Henderson Lighting Designer 音樂理查．西森 Richard Sisson Music 錄像導演本．泰勒 Ben Taylor Video Director 音響設計科林．平克 Colin Pink Sound Designer 口音教練凱特．戈德弗雷 Kate Godfrey Dialect Coach 男生聲音指導帕齊．羅丹堡 Patsy Rodenburg Company Voice Work

編舞傑克．穆菲 Jack Murphy Choreographer 服裝管理卡羅．林活特 Carol Lingwood Costume Supervisor 迪克．斯特拉克 Dick Straker (for Mesmer) 錄像投射設計 Video Projection Designer 助理設計羅斯．庫姆斯 Ros Coombes Assistant Designer 副設計師蒂姆．布斯德爾 Tim Blazdell Design Associate 職員總監德里克．邦德 Derek Bond Staff Director 曼紐爾．哈蘭、伊凡．凱恩克 Manuel Harlan and Ivan Kyncl 攝影師 Production Photographers

副監製帕德利．古薩克 Pádraig Cusack Associate Producer 巡演經理查爾斯．埃文斯 Charles Evans Tour Company Manager 製作經理安迪．瓦德 Andy Ward Production Manager 舞台監督安德魯．斯比德 Andrew Speed Stage Manager 副舞台監督邁克爾．帕薩勞 Michael Passaro Deputy Stage Manager 瓦萊里．霍斯 Valerie Fox 助理舞台監督／舞蹈隊長 Assistant Stage Manager/Dance Captain 舞台管理馬田．馬敦 Martin Mardon Stage Supervisor 舞台技師丹尼．奧尼爾 Danny O’Neill Stage Technician 西蒙．弗勞洛 Simon Fraulo 燈光設計助理、 Assistant to the Lighting Designer and Production 製作電工 Electrician 音響操作克利夫．布賴恩 Clive Bryan Sound Operator 服裝主管魯絲．麥金萊 Ruth McKinlay Wardrobe Mistress 市場推廣魯絲．華特斯 Ruth Waters Marketing 宣傳皮亞．德蘇扎、瑪麗．帕克 Mary Parker and Pia de Souza Press

中文字幕黃奇智 Wong Kee-chee Chinese Surtitles 9 導演的話 From the Director 很高興國家劇團能夠參與2006年的香港藝術節。自2005年4月公演以來，艾倫．貝內特這齣睿智幽默的劇作，在國家劇團劇院，以至英國各地都大受觀眾歡迎，誠然是劇團最佳的文化大使。尼古拉斯．海德拉 I’m delighted that the National Theatre is to be part of the 2006 Hong Kong Arts Festival. Alan Bennett’s wise and witty play has brought great pleasure to audiences at the National’s home, on the South Bank of the Thames in London, and all over the UK, since it opened in May 2004. It couldn’t be a better ambassador for our work. Nicholas Hytner

國家劇團工作室負責本次製作之設備、服裝、道具和家具、布景組建、繪景和頭飾。

《高校男生》2004年5月18日在利特爾頓劇院首演。 2006年1月23日至28日在利特爾頓劇院演出後，本組演員於下列地點巡演： 2006年2月14日至18日香港演藝學院歌劇院（香港藝術節）； 2006年2月24日至28日新西蘭惠靈頓聖詹姆斯劇院； 2006年3月4日至8曰澳洲悉尼劇院； 2006年4月23日起在紐約布羅德赫斯特劇院上演。

有關《高校男生》的介紹，可於nationaltheatre.org.uk/education網址免費下載。

On this production, the National’s workshops are responsible for: Armoury; Costume; Props & furniture; Scenic construction; Scenic painting and Wigs.

The History Boys had its premiere in the Lyttelton Theatre on 18 May 2004 This cast played in the Lyttelton from 23 to 28 January 2006 before touring to: Hong Kong Arts Festival; Lyric Theatre, Hong Kong Academy for Performing Arts, 14 to 18 February 2006; St James Theatre, Wellington, New Zealand, 24 to 28 February 2006; Sydney Theatre Company, Australia, 4 March to 8 April 2006. On 23 April, the production opens at the Broadhurst Theatre, New York.

A free workpack on The History Boys is available to download at nationaltheatre.org.uk/education

演後藝人談 Meet-the-Artist (Post-Performance) 17.2.2006 (五Fri) 歡迎觀眾演出後留步，與演員會面 If you would like to meet the cast, please stay in the auditorium after the performance

加料節目 Festival Plus 講座 Talks 我和高校男生有個約會 Meet The History Boys 16.2.2006（四） 16.2.2006（Thur）下午4:00-5:00 4:00-5:00pm 英國文化協會 British Council (需索取門票） (Ticket required) 如何為國家劇團製作及策劃節目 Producing and Programming for a National Company 副監製帕德利．古薩克 Speaker: Pádraig Cusack, Associate Producer 17.2.2006（五） 17.2.2006（Fri）下午4:30-6:00 4:30-6:00pm 香港演藝學院地下休息室 Common Room, G/F, Hong Kong Academy for Performing Arts (需索取門票） (Ticket required) 18.2.2006（六） 18.2.2006（Sat）上午12:00-12:30 12:00-12:30pm 藝穗會 Fringe Club （需報名費） (Registration fee required) 詳情請參閱藝術節加料節目指南 For details, please refer to Festival Plus booklet 11 角色介紹 Characters

倫．貝內特在劇本前言中提 lan Bennett describes in his preface to 到，人物比主題更有吸引 the play script, how, for him, characters are more interesting than themes, and 艾力，也是他的戲劇的起點。 A are the starting point for his plays. At the heart 《高校男生》有四個人物，他們對教學 of The History Boys are four characters, each 和學校都有不同看法。 with contrasting outlooks on teaching and school. 赫特是一位古怪的英語教師，年屆退休。在林托太太眼中，他是一個「怪 Hector is an eccentric English teacher, close 人」，在校長眼中則是「我行我素的 to retirement. He is described as both ‘an 人」。他並不依從既定的教學方法，也 original’ (by Mrs Lintott) and as ‘a loose cannon’ (by the Headmaster). His teaching methods do 不重視分析技巧；他不理會學生是否 not follow a prescribed path, and are not 明白他講的課，只想到他們要是牢記 concerned with analytical techniques. He is not 書中的段落、詩和電影，日後自會明 concerned as to whether the boys understand 白和欣賞。赫特對考試不以為然，他 his subject, merely that they will have learnt by 教學不為別的，只為傳授知識。赫特 heart passages from books, poems and films 無疑是一位受歡迎的老師，學生也從 which they will understand and appreciate in 他那况獲益匪淺，但是他讓個人感情 later life. Hector has no interest in exams; his teaching is about the pursuit of knowledge for 干擾他的教學。他不願意成為制度的 its own sake. Whilst Hector is undoubtedly a 一部份，這意味着他可能使學生無法 popular teacher, and one from whom the boys 應付迫在眉睫的考試，減低他們考上 have clearly learnt a vast amount, he allows his 牛津和劍橋的機會。 personal feelings to interfere with his teaching. His reluctance to be part of the system means he is in danger of jeopardising the boys’ imminent exams, and their potential places at Oxford and Cambridge.

左起：李察．基菲夫斯與塞繆爾．巴內特 12 From Left: Richard Griffiths and Samuel Barnett 艾溫是一位年輕的歷史代課老師，與 Irwin, a young History supply teacher, is the 赫特背道而馳。對艾溫來說，「教育不 antithesis of Hector. To Irwin ‘education is not something for when they’re old and grey and 是為了讓他們垂暮之年坐在爐火旁回 sitting by the fire. It’s for now.’ He has been 憶的東西，而是為了當下。」校長請他 brought into the school by the Headmaster to 回來，就是要提高牛津劍橋考生的修 give the Oxbridge candidates polish and flair. 養和資質。他的教學方法是分析型 He teaches with an analytical approach, which 的，重視推翻論據，抓住一個論點， is concerned with subverting facts, of taking an 然後得出相反的結論。與赫特不同， argument and proving the opposite. Unlike 艾溫對表述形式最感興趣，對道德真 Hector, Irwin is most interested in presentation, 相則不感興趣，他認為歷史「不是鐵 he has no interest in moral truth, and instead sees history ‘not as a matter of conviction’ but 證」，而是「表演」和「娛樂」。 as ‘performance’ and ‘entertainment’.

Mrs Lintott is a more traditional History teacher. She teaches ‘History, not histrionics’. She is interested in plainly- stated and properly-organised facts. Her dry style of teaching, whilst possibly not as inspiring as the other two teachers, produces excellent results we are told. As the only woman in the school (and in the play) she is often overlooked, and frequently patronised. Unlike Hector and Irwin, she does not allow personal

左起：瑪姬．斯蒂德與史提芬．坎貝爾．摩爾 thoughts to impinge on her teaching. This From left: Maggie Steed and Stephen Campbell Moore however leads to an outpouring of pent-up anger in the midst of the boys’ mock interviews. 林托太太是一位古板的歷史教師，她教的是「歷史，不是演戲」。她認為簡 The Headmaster has 明扼要和有條不紊的陳述是最好的。 one concern, and one 她那枯燥乏味的教學風格儘管沒有另 concern only, and it is not 外兩位教師那麼富啟發性，據說卻能 the boys. He is interested in ‘league tables. Open 帶來卓越的成績。作為學校（及劇中） scholarships. Reports to 惟一的女性，她往往遭到忽略，又經 the governors’. As a 常被輕視。跟赫特與艾溫不同，她不 geographer, he has no 允許個人思想影響教學，正因為這 time for art and artists; 樣，她在男生們的模擬口試中，發泄 ‘they get away with 積壓已久的憤怒。 murder’.

Characters © Thomas Hescott 校長只關心一件事，但與學生無關。他只對「聯賽成績、公開獎學金、董事會報告」感興趣。作為一位地理科老師，他沒時間去關心藝術和藝術家 ─ 反正「他們為所欲為。」本頁照片 photographs on this page © Manuel Harlan 馬爾科姆．辛克萊角色介紹湯瑪士．夏斯葛 Malcolm Sinclair 13 全體演員 The Company © Ivan Kyncl and Manuel Harlan

14 Feature 特稿我在牛津出貓的日子

文：艾倫．貝內特能夠入讀劍橋，我顯然很聰明，卻並非天才橫溢，我也很清楚，我所寫的論文况，校為《高校男生》的場景。我曾在沒有足以使我高人一等、不愧於得到名校列斯現代學校讀書，那是一所官獎學金的真知灼見。我這泛泛之輩，無非學立文法中學。在四十年代和五十得過且過。我是個不尋常的男生，這我知年代初，該校的男生大多在列斯大學就道，但我絕不是用功的學生。讀，考進牛津和劍橋的可謂鳳毛麟角。在我的記憶中，老師並不覺得那屆的中六學這個想法在數個月後得到證實，那時我進生特別聰明，但在1951年，劍橋出身的校了軍隊服役，在聯合軍事學校學習俄語，長卻首次作出努力，敦促畢業生去投考歷自此開始與那些遠比我聰明、也比我更有史更悠久的大學。教養的同學混在一起。

我想，當中有勢利眼在作祟，一如校長把聯合軍事學校設在劍橋，雖然我們這些軍學校的體育活動從足球轉為欖球。我兩者官學員過的不完全是本科生的生活，但校都沒興趣，所以對我沒有影響。然而，我方盡量減少軍事訓練，以方便我們學習。們有約八個人投考牛津和劍橋，其中兩人我們毋須穿制服或參加檢閱，在很多方面獲得獎學金，其他人也被錄取，而我入讀這種生活比我最終要在大學况真正過的生的是劍橋悉尼．蘇塞克斯學院。活來得舒適和悠閒。

儘管那是很久以前的事，而且境況分別佷可是，考哪間大學好呢？我已身在劍橋，大，這個情景似乎成了《高校男生》的原與其服完軍役後去劍橋，不如去牛津更好型，不同的是，和其他戲劇一樣，《高校男（恐怕當時我以為這可是魚與熊掌，兩者兼生》不那麼直截了當。得)。我是在1953年10月首次有這個念頭的，當時我發現要是我願意，我仍可以參在我看來，與這齣戲更有關係的，是我在加牛津埃克塞特學院在翌年一月的獎學金人生其中兩次最重要的考試况作弊。考試。

我並非不誠實，我遵守規則，並沒有抄準備考試襲，但不管怎麼說，我還是作弊了。1954 不過，我用來準備的時間並不多。我對歷年1月考牛津埃克塞特學院獎學金時，我第史已經生疏了，而白天要學習俄語，只有一次作弊；三年半後，即1957年我參加歷晚上是屬於自己的，結果我晚上通常在劍史科期終考時再次作弊。誰也不會把它當橋公共圖書館度過。與此同時，我把所知成作弊，不管是那時還是現在，但我老覺道的一切加以簡化成一系列筆記，包括一得那是作弊；總之是欺詐。些應付熱門題目的答案，以及零散、醒目 15 的引語，全都寫在一疊四十至五十張的通自己或我的導師所期望的好。可是，當年信卡片上，隨身帶着。我默記這些卡片，我獲獎學金時，那種身懷異稟或大有可為在課堂上一邊假裝學俄語一邊背，早上坐的潛質，都早已煙消雲散。我是做事一板巴士進劍橋時背，一有機會就背。一眼的次選，這一點我和學院都心照不宣。放聖誕假的時候，也是臨近考試的時候，我碰巧在列斯參考圖書館見到一套完整的重施故技《地平線》，這是西里爾．康諾利主編的戰這時候，我想起了三年前我考獲獎學金的時雜誌，已於早一兩年前停刊了，但我卻經過，當我開始死記硬背以應付畢業試的從未聽說過有這本雜誌。它打開我的視時候，我以相同的做法，把所有知道的東野，使我了解各種文化發展，例如當時頗西濃縮在卡片上，並且像以前那樣隨身帶流行的存在主義。我不完全明白這些東着。這回卡片更多了，但內容基本上一西，但這不要緊。我像攪碎肉一樣把它們樣：好使好用的論點、生癖的引語，那實簡化，寫在卡片上，用來應付綜合試卷。際上就是一套考試工具。

考試時，這些都如泉湧至，論據、引語，我還學懂了一些應該有人教我卻沒有教過我全都是我早前三個月况辛苦背下來的資的東西，那就是在考試中以專題報導方式作料，惟一的問題是不夠時間把它們全部用答，不管常規答案如何中規中矩，但刁鑽地上。在面試况，我重複在劍橋面試時的回答問題，遠較常規的答案惹人注目。從來話，表示我最終可能會擔任聖職，儘管從沒有人教我考試技巧，或承認有考試技巧這我當時胡謅的存在主義觀點看，這個可能回事。我猜，不教授考試方法的原因，要麼性似乎已愈來愈低。是純粹出於勢利，要麼是覺得（如劇中赫特所認為），這做法實在卑劣。當我接到通知書，說我獲得獎學金時，我就想，生活將不再一樣了，當然，過不了按理，我們在高等學府中，是用學術性的多久還不是老樣子。經過最初的驚喜之答案，回答學術性的問題（《泰晤時報》社論後，我開始覺得整個過程都是我欺詐的結常捧為楷模）。我根本不是這種料子，我以果。也許我大有可為，能做點什麼，但肯一種較低級的通俗語言，以活潑的泛泛之定不是學者所為。談回答問題，佐以我可以調用的各種論據，以及也許能夠吸引主考官的措辭。長話短說，就談談三年之後，離畢業試尚有兩學期時的情況。在牛津，我無論是社一旦習慣了以全然不同的思路來回答問交上或學業上都乏善可陳，沒經歷過在軍題，我開始從這種技巧本身獲得樂趣。例隊時那種對生活滿懷希望的感覺。現在，如對所有題目，我都草擬基本答案，以同就快畢業了，我完全不知道自己有什麼打樣的論據來論證相反的觀點，並在論證過算，以前我就僅僅因為自己看上去像個教程中，以各種各樣的引語作點綴。我知道區牧師而以為自己要做教區牧師；現在也這不是學術，也知道在榮譽學位課結業考一樣，心想我也許可當個大學教師。要取試中我只能做到這樣，但這是我惟一的希得教席，我在畢業試中的表現就必須比我望。 16 去。他們都不知道「一級」是什麼意思。母親問﹕「是不是說你考第一？」這對他們來說，並不特別意外，因為在他們眼中，我從小學就一直是考第一的。

我回去推酒桶，簡直無法相信自己的運氣，那是我人生中一個最美妙的日子，不過這只是因為我走運而已﹕我的判斷沒錯，我的口試確實考得不好，但另一個口試考得好，成績又跟我差不多的考生獲得一級榮譽學位，因為我們成績相若，也就必須給我一樣的等級。這真是執到寶。

艾倫．貝內特， 1955 年攝於牛津得到一級榮譽，也就理所當然有一筆研究 Alan Bennett at Oxford, 1955 經費，於是我留在牛津，甚至一度以為自己真是一個學者，一周兩次跑到倫敦法院我如期參加畢業試，應付每天兩張須在三巷的檔案博物館讀手稿。但我不是學者，小時內做完的考卷，就這樣度過了一生中可更像一個抄寫員，因為我做的就是謄寫最疲憊的五天。結束時，我不知道自己做中世紀的經卷，卻不怎麼去研究。獲得學得好不好，也累得不去想了，只是連續一位以後的五年研究，我一直都是這樣，日星期每天下午都去看電影。子愈長，愈覺得自己是個騙子。

所有考試結果約在口試後六星期發出。那不過，除了從事我所謂的研究外，我還在時大家都要在考試委員會面前接受口試，大學况兼教，雖然我授課也並不怎麼出色即使那可能只有半分鐘。口試時間愈長，（以今天更嚴格的要求，早就被一腳踹掉就意味着你處於某個榮譽級別的邊緣，可了），但至少我努力去教學生，把應付長問升可降。我的口試有半小時之久，我覺得答題的技巧和考試過關斬將的妙方傳授給自己的表現糟透了。可以看得出，有幾位他們 — 那些我在緊要關頭自己發現的考主考官站在我這邊，盡量對我寬容，但其試技巧。他人則不感興趣。我沒精打采地回到列斯家中。因此，《高校男生》在一定程度上是那兩次關鍵的考試的結果。是以，這齣戲既是懺順利過關悔又是贖罪。我對那段牛津歲月一點也不考試結果公佈後，一位在牛津的朋友給我懷念，而且很高興再也不用參加考試了。捎來一張明信片。明信片在一個星期一早從事戲劇工作的其中一個好處是沒有考上寄達，當時我正在特利啤酒廠打工，在試，除非你把觀眾在每晚演出中跟你進行酒窖况滾動一個個酒桶。父親生病，沒有的口試也算在內。工作，和母親帶着明信片來到啤酒廠大門口的門房找我，啤酒廠就把我從地窖叫出 2004年4月 17 特稿 Feature On False Pretences

by Alan Bennett at Exeter College, Oxford, in January 1954; and then I did it again, three and a half years he History Boys is set in a school. I later in 1957, when I sat my final was educated at Leeds Modern, a examination in history. Nobody else would Tstate grammar school which in the have called it cheating, then or now, but 1940s and early 50s regularly sent boys on it’s always seemed so to me; false to Leeds University but seldom to Oxford pretences, anyway. or Cambridge. I don’t remember the sixth form in my year being thought to be Having been offered a place at Cambridge outstandingly clever but in 1951 for the first I was obviously bright but not outstandingly time the headmaster, who had been at so and there was nothing, I’m sure, in any Cambridge himself, made an effort to push of the papers I wrote that would have some of his university entrants towards the singled me out and made me worthy of a older universities. prestigious college scholarship. A place was more run of the mill and about right. I Snobbery was part of it, I imagine, and by was an odd boy, I can see that, but I was the same token he switched the school no scholar. from playing soccer to rugby, though, since I avoided both, this had little impact on me. This impression was confirmed when, a few However, about eight of us went up for the months later, I went into the army to do my Oxford and Cambridge examinations, two national service and for the first time began of whom were awarded scholarships and to mix with boys who were much cleverer the others given places, mine at Sidney than I was and who had been better taught, Sussex College, Cambridge. all of us having ended up learning Russian at the Joint Services School. It’s a situation, even though it’s so long ago and the circumstances so different, that This was based at Cambridge and while seems to mirror that of The History Boys we officer cadets didn’t quite lead the lives but it’s not quite as straightforward as that, of undergraduates, service discipline was as plays seldom are. kept to a minimum in order to facilitate our studies; we did not have to wear uniform More relevant to the play, it seems to me, or take part in parades and it was in many is that in two of the most important ways a more easeful and idyllic existence examinations of my life I cheated. than I was eventually to find university proper. I was not dishonest; I kept to the rules and didn’t crib but nevertheless I cheated. On But which university? I was already at the first occasion it was to win a scholarship Cambridge; perhaps rather than come back 18 here after national service I would be better ostensibly doing Russian, on the bus (more rounded I fear I thought of it) going coming into Cambridge in the morning and to Oxford. This first occurred to me in in any odd moment that presented itself. October 1953 when I found that I could, if I wanted, still go in for the scholarship When I went on Christmas leave just before examination at Exeter College, Oxford, in the examination, I happened to find in the following January. Leeds Reference Library a complete set of Horizon, Cyril Connolly’s wartime magazine Studying for the Exam which had ceased publication only a year I didn’t have long, though. My history was or two earlier but of which I had never rusty and studying Russian during the day heard. It opened my eyes to all sorts of meant that the only time I had to myself cultural developments, like existentialism, was in the evenings, which I generally spent which were then current and fashionable. I in the Cambridge Public Library. In the didn’t altogether understand them but no meantime I reduced everything I knew to a matter; they were reduced to minced set of notes with answers to possible morsels and written out on my cards in questions and odd, eye-catching order to serve as fodder for the General quotations all written out on a series of 40 Paper. or 50 correspondence cards, a handful of which I carried in my pocket wherever I Come the examination everything tumbled went. I learned them in class, while out, facts, quotations, all the stuff I’d

排練時的貝內特 Alan Bennett in rehearsals

19 laboriously committed to memory over the everywhere, just as I’d done before. There previous three months, my only problem a were more cards this time but the contents lack of time. At the interview I still said, as were much the same: handy arguments, I had said at Cambridge, that I would out of the way quotations, an examination probably end up taking holy orders, though kit in fact. in view of the existentialism I’d spewed out this seemed increasingly unlikely. I also twigged what somebody ought to have taught me but never had, namely that When the letter came saying that I’d won there was a journalistic side to answering an open scholarship I thought life was never an examination question and that going for going to be the same again, though it quite the wrong end of the stick was more soon was, of course, and after my initial attention-grabbing than a more joy and surprise I began to feel the whole conventional approach, however balanced. exercise had been a confidence trick on Nobody had ever tutored me in examination my part. I was a promising something, techniques or conceded that such maybe, but it certainly wasn’t a scholar. techniques existed, this omission I suspect can be put down to sheer snobbery or the Cut to three years later when I am two terms notion (in the play ascribed to Hector) that away from my final examinations. I hadn’t any such considerations were practically had a notable career at Oxford either indecent. socially or academically and I’d never experienced the same sense of life opening What we were supposed to be doing at the out as I’d had in the army. Now it was nearly highest level was writing scholarly answers over. I’d no idea what I wanted to do. Just to academic questions (a Times leader was as once I’d thought to become a vicar for often offered as a model). In my case there no better reason than that I looked like one, wasn’t much hope of that, with the so now it occurred to me I might become a alternative a lowlier form of journalism, the don on the same principle. But in order to question argued in brisk generalities, do that I had to perform much better in flavoured with what facts I could muster Finals than I or my tutors expected. and written in terms that might engage the Whatever had seemed unusual or examiners’ attention. promising about me when I’d been given a scholarship had long since worn off. I was Once I’d got into the way of turning a a safe plodding second; I knew it and the question on its head I began to get pleasure college knew it too. from the technique itself, sketching out skeleton answers to all sorts of questions, The Technique Remembered using the same facts, for instance, to argue It was then that I remembered how I’d got opposite points of view and the whole the scholarship three years before and as I seasoned with a variety of quotations. I began to cram for Finals I adopted the knew it wasn’t scholarship and that in the same technique, reducing everything I Final Honours Schools it would only take knew to fit on cards which I carried me so far but it was my only hope. 20 I duly did the examinations, two three-hour results matched his I had to be included papers a day and the most gruelling five too. It was a narrow squeak. days of my life. At the finish I’d no notion how I’d done and was so exhausted I didn’t With a first, a research grant was a formality care and went to the cinema every and so I stayed on at Oxford and for a time afternoon for a week. even convinced myself I was a scholar, coming up to London twice a week to read The results came out about six weeks later, manuscripts at the Public Record Office in after a viva voce examination. In those days Chancery Lane. But I wasn’t a scholar, everyone was viva’d, coming before the more of a copyist, since this was all I did, examining board even if it was only for half transcribing mediaeval records without ever a minute, with a longer viva meaning that doing much with them and the longer I did you were on the edge of a class and were it - for five years after taking my degree - the likely to go up or down. Mine lasted half an more dissatisfied with myself I became and hour and went, I thought, badly. I could see the bigger fraud I felt. a couple of the examiners were on my side and endeavouring to be kind; the others However, in addition to my so-called weren’t interested. I went back home to research, I did some college teaching and Leeds in low spirits. though I was no great shakes at that either (and in today’s more demanding conditions The Results would soon have been stopped) I did at A friend who was in Oxford when the list least try and teach my pupils the techniques went up sent me a postcard. It came on a of answering essay questions and the Monday morning when I was working at strategy for passing examinations... Tetley’s Brewery, rolling barrels in the techniques which I’d had to discover for cellars. My father was ill and out of work myself and in the nick of time. and he and my mother brought this card to the lodge at the brewery gates, where I was So The History Boys is on one level an sent for from the vaults. They weren’t sure outcome of those two crucial examinations what ‘a first’ was. “Does it mean you’ve and the play both a confession and an come top?” asked my mother, not expiation. I have no nostalgia for my Oxford particularly surprised as from their point of days at all and am happy never to have to view that’s what I’d always done ever since sit an examination again. One of the elementary school. blessings of a career in the theatre is that there are no examinations unless, that is, I went back to pushing the barrels around, you count the viva voce the audience put hardly able to believe my luck. It was one you through every night of the week. of the great days of my life but it was luck: I was right, I hadn’t done well in the viva April 2004 but another candidate with approximately the same results as mine had viva’d well and been put in the first class; since my 21 Interview 訪問尼古拉斯．海德拉訪談錄

湯瑪士．夏斯葛尼古拉斯．海德拉

你在排練第一天表示，自你出任英國國家劇團導演以後，便一直纏着艾倫，要求他為你寫一齣戲。這次已是你和他第四度合作。他的劇本有什麼吸引你呢？我欣賞他感情豐富，又有幽默感。他筆下沒有一句沉悶的台詞，很多演員都搶着要演他的戲，因此找演員不是問題。

對導演來說，處理貝內特劇本要面對怎樣的挑戰？劇本初稿永遠不是艾倫理想的舞台劇本。他會邀請導演跟他一起發掘劇本的特點和內容。他喜歡在劇本拿

去綵排前，多聽聽導演對劇本的意見。其實，劇本有 Glendinning © Hugo 大量出色的材料，往往只需要修飾一下，便能起到畫龍點睛的作用。自從我們首次合作改編《楊柳風》以來，我就一直叫他放心，不用考慮劇本上演的問題。因此，他只寫他想寫的，再由我來考慮如何在舞台上呈現，如何把材料移來移去，以及如何組合起來。劇本上的舞台指示很少，我就喜歡這樣！他風格突出，容易辨認，可以說像王爾德一樣。現實生活中的人，並不像他的劇中人物那樣說話。在《高校男生》况，劇中角色機智風趣和能言善辯的本領，都遠遠超過現實生活中的人物。因此，演他的戲的演員，必須多花工夫，把精采的對話講得生動自然。

在排練時，有兩三個地方你讓演員即興發揮。你希望通過這種綵排方式達到什麼？有時候，鼓勵演員自己去尋找某個場景背後的現實性是一個很好的做法，這樣一來，他們就可以發揮潛能，演好艾倫的劇本。

你為什麼會想到用錄像投影？一、我無法忍受沉悶的換景時間，我希望演出可以一氣呵成，觀眾也總會有東西可看。二、錄像投影為整齣戲增加了一個現實的場景。三、我對探討電影與戲劇如何互相取長補短非常感興趣。四、我已很久沒拍攝電影了，很想找一天去拍外景。

你希望觀眾看完《高校男生》之後得到什麼啟發？我希望劇中談到的知識和文化的傳播、歷史和史實的本質，以及教育的目的等，能夠啟發觀眾。我希望他們能深刻了解這十二個人。我希望此劇可以讓他們開懷大笑，間或感動落淚，總之是希望他們樂在其中。 25 Nicholas Hytner on The History Boys

Thomas Hescott Nicholas Hytner

You stated on the first day of rehearsals that you’d been badgering Alan for a play since you were appointed Director of the National. This is your fourth collaboration with him. What makes his writing special for you? I share his sensibility and his sense of humour. He can’t write a dull line. Actors fight to be in his plays, so casting them is no problem.

What are the challenges a director is likely to encounter with an Alan Bennett play? The first draft is never the play he wants to see on stage. He invites the director to help him discover what the play is, and what it’s about. He enjoys collaboration on the structure of the play before it goes into rehearsal. There’s a mass of brilliant material that often needs a bit of knocking into shape. Since we first worked together on the adaptation of The Wind in the Willows, I’ve encouraged him to give no attention at all to the business of staging his plays. So he writes what he likes and leaves me to sort out how to do it, to move from place to place, how to stitch it all together on stage. There are very few stage directions. I like it that way! He is a stylist as recognisable, in his way, as Oscar Wilde. People don’t actually talk the way they do in his plays. In The History Boys, everyone is far wittier and more articulate than their real life equivalents would be. So actors in his plays have to work hard to make their brilliant talk natural and effortless.

In rehearsals you used improvisation with the actors on two or three occasions. What were you hoping to achieve with this exercise? It’s sometimes a good idea to encourage the actors to find the concrete reality behind a scene for themselves, so that Alan’s text can then spring from something that’s already inside them.

What is your thinking behind the video projections? 1. I can’t stand boring scene changes; I wanted the play never to stop and for the audience always to have something to look at. 26 2. They add a physical context to the play. 3. I’m very interested in exploring ways in which film and theatre can feed each other. 4. It’s a long time since I was behind a camera and I fancied a day out on location.

What would you hope audiences would come away with, having watched The History Boys? I hope they’ll be stimulated by what it has to say about the transmission of knowledge and culture, about history and the nature of historical truth, and about the purpose of education. I hope they’ll have got to know 12 people in depth. I hope they’ll have laughed a lot, maybe cried a little, and have had a really good night out.

塞繆爾．安德森 Samuel Anderson

27 Company Profile 劇團介紹

英國國家劇團 National Theatre

英國國家劇團創立於1963年，並於1976年移往倫敦南岸，包括三個劇場 ─ 奧利維爾劇場、利特爾頓劇場和科特斯洛劇場。劇團兼容並蓄，既上演新戲，也演出經典，每個劇季可以有七八齣戲交替上演。國家劇團的宗旨是不斷重新激發英國戲劇的偉大傳統，擴闊觀眾和藝術家的視野，以及致力於在劇目中反映英國文化的多樣性。

國家劇團設有工作室，為研究和發展劇團創作，以及整體戲劇藝術發展空間，另設有國家劇團教育部，培養未來觀眾。國家劇團認為戲劇並不以舞台為始終，因此舉辦一系列廣泛的「平台表演」、後台參觀、免費的大堂音樂節目、展覽及戶外演出。此外，藉着巡演，英國和海外觀眾都可以欣賞到他們的演出。

The National Theatre (NT), founded in 1963, and established on London’s South Bank in 1976, has three theatres — the Olivier, the Lyttelton and the Cottesloe. It presents an eclectic mix of new plays and classics, with seven or eight productions in repertory at any one time. It aims constantly to re-energise the great traditions of the British stage and to expand the horizons of audiences and artists alike, and aspires to reflect in its repertoire the diversity of the nation’s culture.

At its Studio, the National offers a space for research and development for the NT’s stages and the theatre as a whole; and through NT Education, tomorrow’s audiences are addressed. With its extensive programme of Platform performances, backstage tours, foyer music, exhibitions, and free outdoor entertainment the National recognises that the theatre doesn’t begin and end with the rise and fall of the curtain. And by touring, it shares its work with audiences in the UK and abroad.

董事局主席 Chairman of the Board 海頓．菲利普斯爵士 Sir Hayden Phillips

總監 Director 尼古拉斯．海德拉 Nicholas Hytner

行政總監 Executive Director 尼克．斯塔爾 Nick Starr

巡演監製 Producer, for the National Theatre on tour 帕德利．古薩克 Pádraig Cusack

29 演員生平介紹 Cast Biographies

塞繆爾．安德森 Samuel Anderson 克羅佛 Crowther 塞繆爾．安德森參與《高校男生》的舞台劇首演、廣播劇和電影版本。其他演出有拉徹梅爾劇院的《大聲說話》。電視有《完全坦白》、《魔女第一集》、《國王的十字軍》、《醫生》和《兒女與情人》等。 Samuel Anderson appeared in the original stage production, the radio version and the film of The History Boys. His other work in theatre includes Talking Loud at the Latchmere. TV includes Totally Frank, Hex - Series 1, Kings Crusades, Doctors and Sons, Daughters and Lovers.

約瑟夫．阿滕伯勒 Joseph Attenborough 男生 Company member 約瑟夫．阿滕伯勒受訓於羅斯．布魯福德學院。他曾演出《高校男生》舞台劇首演版本。其他舞台劇包括約克皇家劇院的《單身間諜》、貝德蘭劇院的《羅密歐與茱麗葉》、巴特西藝術中心的《三毛錢歌劇》和最近在阿科拉劇院的《利西斯特拉塔》（他還為該劇配樂）。短片電影有《選擇！》和《苦差》。廣播劇有《兒子與情人》。 Joseph Attenborough trained at Rose Bruford College. He appeared in the original stage production of The History Boys. His other work in theatre includes Single Spies at York Theatre Royal; Romeo and Juliet at the Bedlam Theatre; Threepenny Opera at Battersea Arts Centre; and most recently Lysistrata at the Arcola, for which he also provided the music. Short films include Choice! and Fag. Radio includes Sons and Lovers.

湯姆．阿特伍德 Tom Attwood 男生 Company member 湯姆．阿特伍德受訓於羅斯．布魯福德學院。曾參與《高校男生》舞台劇首演及廣播劇版本。擔任音樂總監的作品包括巴特西藝術中心的《三毛錢歌劇》和布賴特韋爾劇團的《小鬼頭與賊阿爸》。他是班德利莎士比亞節的總監，並為該藝術節的《亨利五世》和《冬天的故事》編曲。 Tom Attwood trained at Rose Bruford College. His work includes The History Boys, both in the original production at the National and for radio. Work as Music Director includes The Threepenny Opera at the Battersea Arts Centre and Bugsy Malone for the Bridewell. He is Festival Director for the Pendley Shakespeare Festival, where he has written scores for Henry V and The Winter’s Tale.

塞繆爾．巴內特 Samuel Barnett 波斯納 Posner 塞繆爾．巴內特受訓於倫敦音樂戲劇學院。曾參與《高校男生》舞台劇首演、廣播劇和電影版本。其他舞台劇包括國家劇團的《黑暗物質》、曼城皇家交流劇團的《費加羅的婚禮》、奇切斯特節日劇院的《阿克靈頓的夥伴們》和戶外劇院的《科學怪人》。電視包括《皇家》、《奇怪》、《林利督察》和《結合》。電影包括《韓德森夫人的劇院》。廣播劇包括《爭奪文字》和《怪誕城之夜》。 Samuel Barnett trained at the London Academy of Music and Dramatic Art. He appeared in the original stage production, the radio version and the film of The History Boys. Other theatre includes His Dark Materials at the National, The Marriage of Figaro for the Royal Exchange, Manchester; The Accrington Pals for Chichester Festival Theatre and Frankenstein at the Open Air Theatre. TV includes The Royal, Strange, Inspector Linley and Coupling. Film includes Mrs Henderson Presents. Radio includes Fighting for Words and The Nightmare Before Christmas.

36 多明尼克．庫珀 Dominic Cooper 達金 Dakin 多明尼克．庫珀受訓於倫敦音樂戲劇學院。他曾演出《高校男生》舞台劇首演、廣播劇和電影版本。其他舞台劇包括《黑暗物質》、皇廷劇院的《克萊爾．邱吉爾事件》和皇家莎士比亞劇團的《仲夏夜之夢》；電視包括《回到現實》、《毒藥疑雲》、《雷霆傘兵》和《杰里科》；電影包括《無盡守候》、《黑幕風雲》、《來自地獄》、《答中有十分》和《冥王星上的早餐》。 Dominic Cooper trained at the London Academy of Music and Dramatic Art. He appeared in the original stage production, radio version and the film of The History Boys. Other theatre includes His Dark Materials at the National; Caryl Churchill Event at the Royal Court and A Midsummer Night’s Dream for the RSC. TV includes Down to Earth, Sparkling Cyanide, Band of Brothers and Jericho. Films include I’ll Be There, The Final Curtain, From Hell, Starter for Ten and Breakfast on Pluto.

詹姆斯．哥登 James Corden 提姆斯 Timms 詹姆斯．哥登曾演出《高校男生》舞台劇首演、廣播劇和電影版本。其他舞台劇包括愛德華王子劇院的《馬田．格雷》。電視包括四輯《胖朋友》、《戴澤與帕斯科》、《教師》、《少年無限》、《上帝的巡航》和《賬單》。電影包括《英雄與壞人》、《最後的劊子手》、《答中有十分》、《中心地帶》、《孤注一擲》和《24/7》。他正與人合寫一部供英國廣播公司播放的喜劇。 James Corden appeared in the original stage production, radio version and the film of The History Boys. His other theatre work includes Martin Guerre at the Prince Edward. TV includes four series of Fat Friends, Dalziel & Pascoe, Teachers, Boyz Unlimited and The Bill. Film includes Heroes and Villains, The Last Hangman, Starter for Ten, Heartlands, All or Nothing and Twentyfourseven. He is co-writing a new comedy drama for the BBC.

魯迪．達馬林甘 Rudi Dharmalingam 男生 Company member 魯迪．達馬林甘受訓於薩爾福德大學。他曾演出《高校男生》原舞台劇。其他舞台劇作品包括在國家劇院、獨角獸劇院、羅伯特．鮑威爾劇院、阿德爾菲工作室劇院和奧德翰大劇院的演出。他是大不列顛國家青年劇院成員。電視作品有《理髮》。 Rudi Dharmalingam trained at Salford University. He appeared in the original stage production of The History Boys. His other work in theatre includes productions at the National, the Unicorn, the Robert Powell Theatre, the Adelphi Studio Theatre and the Oldham Coliseum. He was a member of the National Youth Theatre of Great Britain. TV includes Cutting It.

薩夏．達旺 Sacha Dhawan 厄格沙 Akthar 薩夏．達旺曾演出《高校男生》舞台劇首演、廣播劇和電影版本。其他舞台劇包括東斯特拉特福皇家劇院的《溜冰少年》、皇廷劇院的《修道院生活》、萊斯特乾草市場劇院的《巫師》和《東就是東》、愛丁堡藝穗節的《感化院少年》等；電視包括《絕對坦白》、《市中心》、《最後列車》和《至激關係》第二及第三集；電影《卡里姆的故事》任主角；廣播劇作品則有《銀街》。 Sacha Dhawan appeared in the original stage production, the radio version and the film of The History Boys. Other theatre includes Skater Boy at Theatre Royal Stratford East; Monkery at the Royal Court and Borstal Boy on the Edinburgh Fringe. TV includes Perfectly Frank, City Central, The Last Train and Out of Sight II & III. Films include Karim’s Story. Radio includes Silver Street. 37 李察．基菲夫斯 Richard Griffiths 赫特 Hector 李察．基菲夫斯參演了《高校男生》舞台劇首演、廣播劇和電影版本。其他舞台劇作品包括國家劇團、溫德翰劇院、皮卡迪利劇院、皇家莎士比亞劇團、奇切斯特節日劇院和阿爾梅達劇院的演出；電視包括《荒涼山莊》、《浴缸內的新娘》、《真相》、《英國史》、《戈曼怪堡》、《希望與光榮》、《摩西督察》、《超級督察》（第一至第四輯）、《人無完人》、《大赦》、《溫莎的風流娘兒們》、《只要合法》、《一種生活》、《通緝犯》、《絕對流氓》、《好人》、《萬世英雄》和《瓦克菲爾德先生的征戰》。電影包括《維納斯》、《加菲貓2》、《星際快閃黨》、《甘地傳》、《舞台美人》、《哈利波特》（一、二、三集）、《無頭谷》、《第一夫人的保鏢》、《超人續集》、《大不列顛醫院》、《狂笑風暴》、《白頭神探再顯神威》、《肥龍皇帝》、《金眼》、《威思奈爾與我》、《上海驚奇》、《私人宴會》、《高爾基公園》、《法國中尉的女人》、《大時代》和《烈火戰車》。廣播劇包括《聖誕頌歌》、《終成眷屬》、《會見穆利納先生》、《巴馬修道院》、《巴格達之門》和《白鯨記》。 Richard Griffiths appeared in the original stage production, radio version and film of The History Boys. His other work in theatre includes productions at the National, Wyndham’s Theatre, the Piccadilly, the Royal Shakespeare Company, Chichester Festival Theatre and the Almeida. TV includes Bleak House, The Brides in the Bath, The Truth, History of Britain, Gormenghast, Hope and Glory, Inspector Morse, Pie in the Sky, Nobody’s Perfect, Amnesty, A Wanted Man, Perfect Scoundrels, The Good Guys, El Cid and Mr Wakefield’s Crusade. Films include Venus, Garfield 2, Hitchhikers Guide to the Galaxy, Gandhi, Stage Beauty, Harry Potter I, II & III, Sleepy Hollow, Guarding Tess, Superman II, Brittannia Hospital, Funny Bones, Naked Gun 2, King Ralph, Goldeneye, Withnail and I, Shanghai Surprise, A Private Function, Gorky Park, The French Lieutenant’s Woman, Ragtime and Chariots of Fire. Radio includes A Christmas Carol, Meet Mr Mulliner, Gate of Baghdad and Moby Dick.

科林．黑格 Colin Haigh 電視導演 TV Director 科林．黑格的戲劇演出包括國家劇團的《玩火》、《人生x 3》、《女繼承人》、《動物農莊》、《俄瑞斯忒亞》、《丹東之死》、《內心的聲音》和《洛倫扎丘》；老維克劇院的《費城故事》；皇家莎士比亞劇團的《商標》以及謝菲爾德溶鍋劇院、英國巡迴劇院、普利茅皇家劇院、阿爾梅達劇院、漢普斯特劇院、諾思科特劇院的演出，並曾在格拉斯高公民劇場演出三季。 Colin Haigh’s work in theatre includes Playing With Fire, Life x 3, The Heiress, Animal Farm, The Oresteia, Danton’s Death, Inner Voices and Lorenzaccio for the National; The Philadelphia Story at the Old Vic; Brand for the Royal Shakespeare Company as well as productions for the Sheffield Crucible, English Touring Theatre, the Gielgud, Theatre Royal Plymouth, the Almeida, Wyndham’s Hampstead Theatre, the Northcott and three seasons at Glasgow Citizens’.

安德魯．克諾特 Andrew Knott 洛活特 Lockwood 安德魯．克諾特曾演出《高校男生》舞台劇首演、廣播劇和電影版本。其他舞台劇包括為奧德姆劇場、舞蹈劇場和休息室劇團的演出。電視包括《火星上的生活》、《史提夫與納茲倫》、《賬單》、《傷亡》、《心在此》、《加冕街》和《乾餅》。電影包括《病房子》、《黑駿馬》和《秘密花園》。廣播劇包括《胖營》、《神聖的約翰》和《鴿子的夏天》。 Andrew Knott appeared in the original stage production, the radio version and film of The History Boys. His work in theatre includes productions for Oldham Coliseum, Dancehouse and Green Room. TV includes Life on Mars, Steve and Nazreen, The Bill, Casualty, Where The Heart Is, Heartbeat, Coronation Street and Cracker. Films include The Sick House, Black Beauty and The Secret Garden. Radio includes Fat Camp, Glorious John and Pigeon Summer. 38 帕米拉．梅里克 Pamela Merrick 化妝師 Make-up Lady 帕米拉．梅里克受訓於現在的皇家威爾斯音樂戲劇學院，曾在斯旺西、打比郡、福克斯通、里士滿的劇場和世紀劇團工作了五年。她曾參與《高校男生》舞台劇首演版本，其他舞台劇包括國家劇團的《社會支柱》、《白納德之屋》和《埋葬了的孩子》、劍橋劇院的《切尼太太的最後日子》、鳳凰劇院的《日與夜》、加里克劇院的《督察到訪》和皇室咖啡廳的《吉納的婚禮》。她曾主演《菲德雷》；電視包括《荒涼山莊》、《傷亡》、《未解之謎》、《志在必殺》、《法庭》、《宴會》、《丟棄》、《倫敦東區人》和《公理》。 Pamela Merrick trained at what is now Royal Welsh College of Music and Drama and spent five years in repertory theatre in Swansea, Derby, Folkestone, Richmond and with Century Theatre Company. She appeared in the original stage production of The History Boys. Other work in theatre includes Pillars of the Community, The House of Bernarda Alba and Buried Child for the National; The Last of Mrs Cheyney at Cambridge Theatre; Night and Day at the Phoenix; An Inspector Calls at the Garrick and Gina’s Wedding at the Café Royal. She has taken the title role in Phèdre. TV includes Bleak House, Casualty, Unsolved Mysteries, EastEnders and Justice.

史提芬．坎貝爾．摩爾 Stephen Campbell Moore 艾溫 Irwin 史提芬．坎貝爾．摩爾參與了《高校男生》舞台劇首演、廣播劇和電影版本。其他舞台劇作品包括皇家莎士比亞劇團的《無事生非》、羅盤劇院的《推銷員之死》、艾伯利劇院的《仲夏夜之夢》、阿爾梅達劇院的《李察二世》、索利茲伯里劇場、班德利莎士比亞節的《李察三世》及《維羅納的兩位紳士》；電視包括《奔忙》、《威利斯與愛德華》、《他知道自己對》和《拜倫》。電影包括《奇異恩典》、《少年壯志莫言愁》和《良家婦女》。 Stephen Campbell Moore appeared in the original stage production and the film of The History Boys. Other theatre includes Much Ado About Nothing for the Royal Shakespeare Company, Death of a Salesman for Compass Theatre, A Midsummer Night’s Dream for the Albery, Richard II for the Almeida, The Changeling at the Salisbury Playhouse, and Richard III and The Two Gentlemen of Verona at the Pendley Shakespeare Festival. TV includes Hustle, Wallis and Edward, He Knew He was Right and Byron. Film includes Amazing Grace, Bright Young Things and A Good Woman.

杰米．帕克 Jamie Parker 史格里斯 Scripps 杰米．帕克受訓於皇家戲劇學院。他曾演出《高校男生》舞台劇首演、廣播劇和電影版本。其他舞台劇包括三輪車劇院的《歌手》、杰明街劇院的《在十字架之間》、奇切斯特節日劇團的《咖啡屋》、《皮膚裂口》和《船夫》，以及牛津舞台劇場的《跳舞之後》；電視包括《血况的金屬絲》、《彷彿》和《弗伊爾的戰爭》。 Jamie Parker trained at the Royal Academy of Dramatic Art. He appeared in the original stage production, the radio version and the film of The History Boys. His theatre work includes Singer at the Tricycle; Between the Crosses at Jermyn Street Theatre; Coffee House, Holes in the Skin and Gondoliers for Chichester Festival Theatre; and After the Dance for the Oxford Stage Company. TV includes Wire in the Blood, As If and Foyle’s War.

39 馬爾科姆．辛克萊 Malcolm Sinclair 校長 Headmaster 馬爾科姆．辛克萊受訓於布里斯托老維克戲劇學院。舞台劇演出方面，有國家劇團和皇家莎士比亞劇團製作，以及倫敦和其他地區劇院的多個劇目；近期電視作品包括《約翰．迪德法官》、《陷落》、《簡報》、《興風作浪》、《文物獵手》、《謀殺室》、《安娜．卡列尼娜》、《魚》、《殺機四伏》、《卡瓦納大律師》、《傷亡》和《厄運臨頭》（與李察．基菲夫斯及瑪姬．斯蒂德合演）；電影包括《V字仇殺隊》、《聲明》、《秘密通道》、《少年落毒事件簿》和《岩上神》；音樂會方面，包括參與皇家利物浦愛樂樂團、東英格蘭管弦樂團、納什合奏團、倫敦愛樂樂團和波士頓交響樂團的演出。 Malcolm Sinclair trained at Bristol Old Vic Theatre School. His work in theatre includes several productions for the National, the Royal Shakespeare Company, and various productions in London as well as regional theatre. Recent TV work includes Judge John Deed, Falling, The Brief, Making Waves, Relic Hunter, Murder Rooms, Anna Karenina, Fish, Midsomer Murders, Kavanagh QC, Casualty and Pie in the Sky (with Richard Griffiths and Maggie Steed). Films include V for Vendetta, The Statement, Secret Passage, Young Poisoner’s Handbook and Success is the Best Revenge. Concert work includes productions with the Royal Liverpool Philharmonic Orchestra, East of England Orchestra, the Nash Ensemble, the London Philharmonic Orchestra and the Boston Symphony Orchestra.

瑪姬．斯蒂德 Maggie Steed 林托太太 Mrs Lintott 瑪姬．斯蒂德的舞台劇演出，包括在國家劇團、皇家莎士比亞劇團、牛津劇場、阿爾梅達劇場、愛丁堡呂克昂劇院、格林威治劇院、漢莫史密夫劇場、皇廷劇院等的演出，以及牛津舞台劇場的巡迴演出；近期電視演出包括《新花樣》、《賈姆與耶路撒冷》、《法蘭茲與桑德斯》、《生長》、《福伊爾的戰爭》、《殺機四伏》、《肉汁》、《摩西督察》、《厄運臨頭》和《馬田．丘茲勒維特》；電影包括《面紗》、《奧利的囚室》、《衣領上的口紅》、拉思．雷德爾《講國語的人》、《西蒙．馬格斯》和《大地兒女》。 Maggie Steed’s work in theatre includes productions for the National, the Royal Shakespeare Company, the Oxford Playhouse, the Almeida, the Edinburgh Lyceum, the Greenwich Theatre, the Lyric Hammersmith, the Royal Court in London’s West End, and on tour for the Oxford Stage Company. Recent TV work includes New Tricks, Jam and Jerusalem, French and Saunders, Born and Bred, Foyle’s War, Midsomer Murders, Meat Extract, Inspector Morse, Pie in the Sky and Martin Chuzzlewit. Films include The Painted Veil, Olly’s Prison, Lipstick On Your Collar, Ruth Rendell’s Speaker of Mandarin, Simon Magus and Kings in Grass.

羅素．托維 Russell Tovey 律茲 Rudge 羅素．托維曾演出《高校男生》舞台劇首演、廣播劇和電影版本。其他舞台劇演出包括巴比肯劇院的《丁丁》、聲音劇院的《拉拉米計劃》、國家劇團的《黑暗物質》、《亨利五世》，皇廷劇院的《塑膠黏土》和奇切斯特節日劇院的《徵募官》；電視包括《彌賽亞》、《沙恩》、《僕人》、《終極力量》、《沉默的證人》、《吸引我》、《波伊洛特》、《霍比市》、《希望與光榮》和《賬單》。電影有《我的家人和其他動物》及《皇帝的新衣》。 Russell Tovey appeared in the original stage production, the radio version and the film of The History Boys. His other recent theatre work includes the title role in Tintin at the Barbican; The Laramie Project at the Sound Theatre; His Dark Materials, Henry V and Howard Katz at the National; Plasticine at the Royal Court and The Recruiting Officer at Chichester Festival Theatre. TV includes Messiah, Shane, Servants, Ultimate Force, Silent Witness, Anchor Me, Poirot, Holby City, Hope and Glory and The Bill. Films include My Family and Other Animals and The Emperor’s New Clothes. 40 Biography 生平介紹

編劇 Writer 艾倫‧貝內特 Alan Bennett

倫．貝內特首次亮相舞台，是 lan Bennett first appeared on stage in 1960年與彼得．庫克、杜德 1960 with Peter Cook, Dudley Moore and 艾利．摩爾和強納森．米勒合演 A Jonathan Miller in the revue Beyond the 的時事諷刺劇《邊緣外》。他創作的舞 Fringe. His stage plays are Forty Years On, 台劇有《四十年來》、《人身保護令》、 Habeas Corpus, The Old Country, Getting On, Enjoy, Kafka’s Dick, An Englishman Abroad and 《古老鄉村》、《繼續下去》、《享受》、 A Question of Attribution; an adaptation of 《卡夫卡的擔保書》、《一個英國人在國 Kenneth Grahame’s The Wind in the Willows (NT 外》和《真假之謎》、改編肯尼思．格雷 1990, 1991, 1993 and 1994); The Madness of 厄姆的《楊柳風》（國家劇團1990、 George III (NT 1991 and 1992, also touring 1991、1993和1994年）、《神經大帝》 America, Greece and Israel); The Lady in the Van, （國家劇團1991年和1992年，並於美 and several of the monologues from the Talking 國、希臘和以色列巡演）、《小型客貨 Heads collection: A Chip in the Sugar, A Lady 車况的女人》以及劇作集《頭部特寫》中 of Letters and A Woman of No Importance 的幾段獨白：《糖况的碎屑》、《女文 (which he also directed and appeared in, winning 人》和《微不足道的女人》（他親自導演 the Laurence Olivier Award for Outstanding 及演出此劇，獲得羅蘭士．奧利花傑 Entertainment and Most Outstanding 出娛樂獎和音樂或娛樂作品最傑出表 Performance in a Musical or Entertainment); Bed 演獎）、《扁豆中間的床》和《堅持下去》 Among the Lentils and Soldiering On (which he also directed). （由貝內特導演）。 His work for television includes A Day Out, 他的電視劇作品包括《一日遊》、《港灣 Sunset Across the Bay, A Visit from Miss 上的落日》、《普瑟羅小姐來訪》、《是 Prothero, Me, I’m Afraid of Virginia Woolf, Doris 我，我害怕吳爾芙》、《多麗絲與道 and Doreen, The Old Crowd, Afternoon Off, One 倫》、《都是那班人》、《下午休息》、 Fine Day, All Day on the Sands, Intensive Care 《好日子》、《整天在沙灘上》、《深切治 (in which he played the leading role), Our Winnie, 療》（兼演主角）、《我們的雲妮》、《分 Marks, Rolling Home, Say Something 數》、《乘船回家》、《就說出事了》、 Happened, A Woman of No Importance, An Englishman Abroad, The Insurance Man, 102 《微不足道的女人》、《一個英國人在外 Boulevard Haussmann and two collections of 102 國》、《保險人》、《豪斯曼大道號》 Talking Heads monologues, the second of which 和兩套《頭部特寫》獨白，第二套獲南 won the South Bank Show Award for Best 岸最佳戲劇獎。 Drama.

貝內特的電影劇本包括《私人宴會》、 Alan Bennett’s films include A Private Function, 《留心那話兒》、《神經大帝》（獲兩項奧 Prick Up Your Ears, The Madness of King George 斯卡提名）。1994年，散文集《寫信回 (nominated for two Oscars). In 1994 Faber published Writing Home, his collection of prose 家》由費伯石出版社出版，另一卷自傳 pieces, and another volume of autobiography, 《未講述的故事》於2005年出版。 Untold Stories, came out in 2005. 41 製作人員介紹 Production Biographies

尼古拉斯．海德拉 Nicholas Hytner 導演 Director 尼古拉斯．海德拉是國家劇團總監。他的作品曾於不同劇院上演，包括埃克塞特郡諾思科特劇院、列斯劇院，以及他曾任副總監的曼徹斯特皇家交流劇院。執導作品包括皇家莎士比亞劇團：《請君入甕》、《暴風雨》和《李爾王》；國家劇團：《猶太人區》、《楊柳風》、《神經大帝》、《招聘官》、《旋轉木馬》、《伊尼什曼的傷殘》、《冬天的故事》、《克拉普大媽的脂粉氣房子》，而出任國家劇團總監後，由他導演的作品有《亨利五世》、《黑暗物質》、《高校男生》、《事情難免要發生》、《亨利四世》第一及第二部及《薩瑟克市集》。其他戲劇作品有：倫敦 ─《西貢小姐》、《不可兒戲》、《克雷斯達》、《小型客貨車况的女士》和《俄爾浦斯下地獄》；紐約 ─《旋轉木馬》、《第十二夜》，以及《成功的香氣》。歌劇作品曾上演於肯特歌劇院、英國國家歌劇團、格蘭德堡歌劇詳、巴黎歌劇院、巴黎夏特萊劇院、日內瓦歌劇院和慕尼黑巴伐利亞國家歌劇院。電影作品：《神經大帝》、《靈慾劫》、《欲擒故縱》及《高校男生》。 Nicholas Hytner is Director of the National Theatre (NT). His theatre work includes productions at the Northcott Theatre, Exeter; Leeds Playhouse and Royal Exchange Theatre, Manchester where he was Associate Director. He has directed works for the Royal Shakespeare Company and the National, and as Director of the NT, Henry V, His Dark Materials, The History Boys, Stuff Happens, Henry IV Parts 1 and 2, and Southwark Fair. Other work includes: (in London) Miss Saigon, The Importance of Being Earnest, Cressida, The Lady in the Van and Orpheus Descending; and in New York: Carousel, Twelfth Night and The Sweet Smell of Success. Opera includes productions for Kent Opera; English National Opera; Glyndebourne; Paris Opera; Théâtre du Châtelet, Paris; Geneva Opera and Bavarian State Opera, Munich. Films include The Madness of King George, The Crucible, The Object of My Affection and The History Boys.

鮑勃．克羅利 Bob Crowley 設計 Designer 鮑勃．克羅利是國家劇團成員。設計作品包括國家劇團：《高校男生》、《仲夏夜之夢》、《猶太人區》、《海達．加布勒》、《馬雷尼的黑人扭擺舞》、《賽跑的魔鬼》、《呢喃的法官》、《沒有戰爭》、《王子的戲》、《理查三世》、《白色變色龍》、《大海》、《巫山風雨夜》、《旋轉木馬》、《指定的哀悼者》、《伊尼什曼的傷殘》、《李爾王》、《艾美的觀點》、《禮拜五女友》、《伊萊克特拉服喪》。皇家莎士比亞劇團：作品超過二十五部，包括《危險關係》（東尼獎提名）、《金雀花王朝》、《亨利四世》第一及第二部、《李爾王》和《哈姆雷特》。戶外活動日劇團：《聖奧斯卡》和與史提芬．雷聯合導演的《在特洛伊的治療》。敦瑪劇院：《拜訪森林》和《俄爾甫斯下地獄》。阿爾梅達劇院：《月光》和《無人地帶》、《賣冰人來了》（東尼獎提名）、《克雷斯達》和《猶大之吻》。高文花園皇家芭蕾舞團：《國王前往法國》、《諾特花園》和《茶花女》。其他製作包括：於慕尼黑上演的《唐．喬望尼》；紐約上演的《旋轉木馬》（東尼獎)、《哈普古德》、《愛的邀請》（東尼獎提名和劇評人獎）、《第十二夜》（東尼獎提名）；為紐約公共劇院設計的作品有《海鷗》；保羅．西蒙的《斗篷人》（東尼獎提名）、《成功的香氣》、迪士尼的《阿依達》及現正於倫敦西城上演的《歡樂滿人間》。克羅利曾獲皇家工業設計家獎。 Bob Crowley is a NT Associate. He has designed over 20 productions for the National Theatre; over 25 productions for the Royal Shakespeare Company, Field Day Theatre Company; the Donmar Warehouse; and the Almeida, receiving Tony nominations for The Iceman Cometh and Les Liaisons Dangéreuses. For the Royal Ballet at Covent Garden: The King Goes Forth to France, The Knot Garden and La Traviata; and Don Giovanni in Munich. In New York: Carousel (Tony Award), Hapgood, The Invention of Love (Tony nomination and Drama Desk Award), Twelfth Night (Tony nomination), Paul Simon’s The Capeman (Tony nomination), The Sweet Smell of Success and Disney’s Aida (Tony Award). Currently in London’s West End: Mary Poppins. He has received the Royal Designer for Industry Award. 42 馬克．韓德森 Mark Henderson 燈光設計 Lighting Designer 馬克．韓德森是國家劇團成員和阿爾梅達劇院燈光顧問。為國家劇團的《玩火》、《聯合國調查員》、《伊萊克特拉服喪》、《民主》、《埃德蒙》、《星期五女友》、《亨利五世》和《我的兒子們》、阿爾梅達劇院的《李爾王》、《事物的形狀》、《李察二世》、《赤裸裸》、《許多》、《哈姆雷特》（亦於百老匯演出）及《施恩座》及敦瑪劇院的《真實事物》、《夏日癡魂》和《生活設計》製作設計燈光。其他西城劇院：《艾美的觀點》、《賣冰人來了》、《猶大之吻》、《飛天萬能車》（均於百老匯上演）、《我們的房子》、《油脂》、《花錢、花錢、花錢》、《納維爾之島》、《愚人》、《哥本哈根》、《激情》、《終局》、《今宵不再》；巡演作品：紳士同盟、法蘭茲與桑德斯、艾迪．伊扎德和羅旺．阿特金森；歌劇和音樂劇包括為朗伯特芭蕾舞團、皇家芭蕾舞團、格蘭特堡歌劇節、皇家歌劇院和英國國家歌劇院演出設計燈光。 Mark Henderson is an NT associate and lighting adviser to the Almeida Theatre. He has designed lighting for productions at the National including Playing with Fire, The UN Inspector, Mourning Becomes Electra, Democracy, Edmond, His Girl Friday, Henry V and All My Sons. For the Almeida work includes King Lear, The Shape of Things, Richard II, Naked, Plenty, Hamlet (also Broadway) and The Mercy Seat; and for the Donmar Warehouse The Real Thing, Suddenly Last Summer and Design for Living. Other West End productions: Amy’s View, The Iceman Cometh, The Judas Kiss, Chitty Chitty Bang Bang (all also on Broadway), Our House, Grease, Spend Spend Spend, Neville’s Island, Follies, Copenhagen, Passion, Endgame and Tonight’s the Night. On tour: The League of Gentlemen, French and Saunders, Eddie Izzard and Rowan Atkinson. Opera and dance include productions for the Ballet Rambert, the Royal Ballet, Glyndebourne, the Royal Opera and English National Opera.

理查．西森 Richard Sisson 音樂 Music 在戲劇方面的作品：艾倫．貝內特的《小型客貨車况的女士》（女王劇院）、尼古拉斯．賴特的《克雷斯達》（阿爾梅達劇院）和理查．尼爾森的《各地兒童晚安》（皇家莎士比亞劇團）而作的配樂。音樂會作品：學院交響樂團的聯繫作曲家，為威格莫爾音樂廳合作推出《歌曲集》系列，以及為盧頓音樂俱樂部開設教育課程。歌廳表演方面：音樂諷刺劇《基特與寡婦》這齣雙人戲中擔演，最近巡演作品包括湯姆．萊勒的《蠢事》，以及為英國女演員鍾．里弗斯的演出當配角。 Richard Sisson’s work in theatre includes incidental music for Alan Bennett’s The Lady in the Van at the Queen’s Theatre, Nicholas Wright’s Cressida for the Almeida, and Richard Nelson’s Goodnight Children Everywhere for the Royal Shakespeare Company. Concert work includes Composer-in- Association with Symphonia Academica, devising and presenting the Songbook series in association with Wigmore Hall. Work in cabaret includes performances as half of the satirical musical double act Kit & The Widow and recent tours including Tom Lehrer’s Tomfoolery and support for Joan Rivers. He broadcasts regularly for the BBC.

43 科林．平克 Colin Pink 音響設計 Sound Designer 科林．平克曾在倫敦市政廳音樂戲劇學校受訓，後任職於國家劇團音響部。他為國家劇團設計音響的作品包括《禮拜五女友》、《故態復萌》、《呀！醜小鴨》、《特洛埃勒斯與克雷斯達》、《惡人的歌劇》、《房屋／花園》、《羅森克蘭茲和吉爾登斯坦已死》和《倫敦綠帽男》。他是《南太平洋》和《窈窕淑女》的副設計師，《紅男綠女》、《黑暗中的女士》、《俄克拉荷馬！》和《老實人》的首席操作員。他現在是自由戲劇和電影音響設計師，近期設計作品包括《國王與我》、《萬事皆空》、《拜訪森林》、《芝加哥》、《舞廳》和《孤星淚》。電影則有《舞台美人》、《艾菲》及《Mrs Henderson Presents》。 Colin Pink trained at the Guildhall School of Music and Drama and worked for the National Theatre’s Sound Department. Designs for the National include: His Girl Friday, The Relapse, Honk! The Ugly Duckling, Troilus and Cressida, House/Garden, Rosencrantz and Guildenstern Are Dead and The London Cuckolds. He was Associate Designer on South Pacific and My Fair Lady, and Principal Operator on Guys and Dolls, Lady in the Dark, Oklahoma! and Candide. He is now a freelance sound designer for theatre and film, and recent work includes The King and I, Anything Goes, Into the Woods, Chicago, Cabaret and Les Miserables. Films include Stage Beauty, Alfie and Mrs Henderson Presents.

本．泰勒 Ben Taylor 錄像指導 Video Director 本．泰勒1999年畢業於斯塔福郡大學，取得電影研究學位。他純以數碼錄像拍攝的畢業電影作品在2000年獲得英國短片電影詳的最佳英國錄像作品獎。過去四年來，他在倫敦最多產的音樂錄像公司任撰稿人和導演，與各路才俊合作，包括搖滾寶貝樂隊和湯尼．克里斯蒂。 Ben Taylor graduated from Staffordshire University in 1999 with a Degree in Film Studies. His final year film, shot entirely on DV, won Best British Video at the BBC Short Film Festival in 2000. For the last four years he has been working as a writer and director at Alchemy, London’s most prolific music video company, working with all manner of talent from Babyshambles to Tony Christie.

凱特．戈德弗雷 Kate Godfrey 口音教練 Dialect Coach 凱特．戈德弗雷受訓於中央語言與戲劇學校，現任職於倫敦市政廳音樂與戲劇學校和國家劇團，近作包括《玩火》、《聯合國調查員》、《夢想戲劇》、巡迴演出的《枕子男》、《三姊妹》、《星期五女友》及《晚餐》。她曾任職的劇團尚有奇切斯特節日劇院和巴特西藝術中心。她曾在日本主持以演員和導演為對象的聲音訓練作坊，並擔任佛朗科．澤菲雷利的電影《永遠的卡拉斯》的女主角芬妮．阿丹的對話教練，這是一部有關歌手瑪麗亞．卡拉斯的電影。 Kate Godfrey trained at the Central School of Speech and Drama and now works at the Guildhall School of Music and Drama and the National Theatre, where she most recently worked on Playing With Fire, The UN Inspector, A Dream Play, The Pillowman (on tour), Three Sisters, His Girl Friday and Dinner. Other theatre companies for whom she has worked include Chichester Festival Theatre and Battersea Arts Centre. She has taught voice workshops to actors and directors in Japan, and has worked as dialogue coach to Fanny Ardant in Franco Zeffirelli’s film about Maria Callas, Callas Forever.

44 帕齊．羅丹堡 Patsy Rodenburg 劇團聲音指導 Company Voice Work 帕齊．羅丹堡受訓於中央語言與戲劇學校。她是國家劇團和倫敦市政廳音樂與戲劇學校的聲音系主任，並曾擔任皇家莎士比亞劇團的聲音導師達九年。她在歐洲、北美、澳洲和亞洲各地的戲劇、電影、電視和廣播界工作。曾給世界眾多重要劇院和歌劇團授課，常合作的有加拿大斯特拉特福德節日劇院、分享經驗劇團、緊密劇團、阿爾梅達劇院、唐瑪倉庫劇院、皇家劇院和米高．霍華德工作室。她是倫敦聲音與語言中心主任。著有《說話的權利》、《講話的必要》和《演員說話》；錄像有《你自己的聲音》，錄音帶則有《說話的權利》。 Patsy Rodenburg trained at the Central School of Speech and Drama. She is Head of Voice at the National Theatre and Guildhall School of Music and Drama, and was voice tutor at the Royal Shakespeare Company for nine years. She works extensively in theatre, film, TV and radio throughout Europe, North America, Australia and Asia. She has given lessons to many of the world’s leading theatre and opera companies, and maintains a continuous working relationship with Stratford Festival Theatre (Canada), Shared Experience, Cheek by Jowl Complicite, the Almeida, the Donmar Warehouse, the Royal Court Theatre, and Michael Howard Studio, New York. She is a Director of the Voice and Speech Centre, London. Publications: The Right to Speak, The Need for Words and The Actor Speaks. Video: A Voice of Your Own. Audio tape: The Right to Speak.

傑克．穆菲 Jack Murphy 編舞 Choreographer 由傑克．穆菲為國家劇團、皇家莎士比亞劇團、伯明翰話劇大舞廳、小維克劇團及倫敦市政廳音樂戲劇學校等多個劇團製作編舞。另外，他為國家劇團的《楊柳風》、英國國家歌劇團的《命運的力量》和格蘭特堡歌劇節的《蒂托的仁慈》重新設計動作。他編舞的電影和電視有《答中有十分》、《篇篇情意劫》、《名利場》、《BJ單身日記：愛你不愛你》、《威尼斯商人》、《哈特之戰》、《亂世有情天》、《來自歌迪茲的愛》、《試驗與報應IV》、《無條件的愛》、《我與瓊斯太太》、《不是沒規矩》和《棕色眼睛的俊男》。 Jack Murphy has worked for the National Theatre, the Royal Shakespeare Company, the Birmingham Rep Ballroom, Riverside Studios and on tour for the Young Vic, the Royal Exchange and the Guildhall School of Music and Drama. He recreated the movement for The Wind in the Willows at the National; Force of Destiny for the English National Opera and La Clemenza di Tito at Glyndebourne. Film and television choreography includes Starter for Ten, Sylvia, Vanity Fair, Bridget Jones 2, The Merchant of Venice, Charlotte Gray, Love From Colditz, Unconditional Love, Me and Mrs Jones, Ain’t Misbehavin and Brown Eyed Handsome Man.