Uwe 教授是國際知名的導演。他在德國取得戲劇博士學位後，推動提倡戲劇製作，先後在德國、塞浦路斯、希臘、土耳其全歐各地演出。近年來他在北美各地演講並執教於University of Delaware 戲劇系。最近他在英倫的 Cambridge Scholars Publishing 出版新作Heinz-Uwe Haus and Theatre Making in Cyprus and Greece(Heinz-Uwe Haus 及其在塞浦路斯和希臘的戲劇製作) 。我特將Odile Popescu女士 的介紹評論翻譯成中文，以中英並列的方式呈現給國文界，分享西方戲劇大師的風采及智慧。

Heinz-Uwe Haus and Theatre Making in Cyprus and Greece
Heinz-Uwe Haus 及其在塞浦路斯和希臘的戲劇製作

This book presents to the reader a selection of documents and analyses of the activities of more than 40 years by former Berlin stage director Heinz-Uwe Haus in Greek-language theatre. For the first time, all of Haus’s productions and their reception are presented in their aesthetic context—from the legendary Caucasian Chalk Circle by Brecht (1975) all the way to Ibsen’s The Lady from the Sea (2017), both performances of the Cypriot National Theatre (THOK). Approximately 20 productions on the stages of Nicosia, Athens, Thessaloniki, Agrinion, Kalamata, Patras, Oiniades and Paphos, as well as visiting productions and co-productions in Greece and Germany are being brought back to our memory. All record how they are seeking to redefine theatrical truth, aiming for a form of story-telling that transcends national heritage to tap into the socially universal. Thus, in eight chapters a unique stocktaking in contexts of theatre history and cultural politics takes place, which is of interest not only for theatre makers and audiences in Cyprus and Greece.

本書向讀者展示了柏林前舞台導演Heinz-Uwe Haus 40 多年來在希臘語劇院中的活動精選文件和分析。 第一次、Haus 的所有作品及其回應在藝術背景下呈現出來——從Brecht傳奇的《高加索粉筆圈》Caucasian Chalk Circle（1975 年）一直到Ibsen的《海上夫人》The Lady from the Sea（2017 年），這兩齣都是塞浦路斯國家藝術學院（THOK）的表演。大約有 20 部作品在尼科西亞、雅典、塞薩洛尼基、阿格里尼翁、卡拉馬塔、帕特雷、奧尼亞德斯和帕福斯的舞台上演出，另有在希臘和德國的參觀製作和聯合製作，回朔到我們的記憶中。全都記錄了他們如何尋求重新定義戲劇真相，企圖以一種超越民族傳統的說故事形式深入基層大眾。因此，在八篇章節中，並不僅是出於塞浦路斯和希臘的戲劇製作人和觀眾的興趣，更對戲劇歷史和文化政治的背景進行了獨特的盤點。

Together with co-editor Daniel Meyer-Dinkgräfe and supported by Costas Hadjigeorgiou, Haus succeeds, particularly through the retrospection at the ground-breaking Brecht-reception through his work from the mid-seventies to the end of the eighties, in providing an exciting launch of the cur-rent discussion of future developments of the theatre in the Western world.This relates to questions both of dramaturgical practice and societal action. Due to the political situation in the region – Cy-prus had to deal with the results of the Turkish invasion of 1974 and in Greece the military junta had just been overthrown – the democratic forces in both countries recognized the “Use Value” (Gebrauchswert) of the theatre. For a few years the theatre became the cultural centre of the nation and a force for identity building. The actress Despina Bebedeli states: “Theatre making encouraged the dialogue between the social stratas, it had an impact on mobilizing the people for the democrati-zation of the society”. (p. 351)

在 Costas Hadjigeorgiou 的支持下，Haus 與共同編輯 Daniel Meyer-Dinkgräfe 獲致了成功，特別是藉著在開創性的Brecht招待會上回顧了他從 70 年代中期到 80 年代末的作品，開啟了令人興奮的西方世界戲劇未來發展的討論。這涉及戲劇實踐和社會行動的問題。由於該地區的政治局勢——塞浦路斯不得不應對 1974 年土耳其入侵的結果，而在希臘，軍政府剛剛被推翻——兩國的民主力量都得承認劇院的“使用價值”（Ge- brauchswert）。幾年來，劇院成為國家的文化中心和身份認同建構的力量。女演員Despina Bebedeli 表示：“戲劇製作鼓勵了社會階層之間的對話，它對發動人民實現社會民主化產生了影響”。 （第 351 頁）

The book includes material written by Haus at the time for his cast, announcements of the productions in the media, newspaper reviews and academic articles about the productions, conference contributions, and reflections by cast members (both professional actors and university faculty) and designers (set, costume, light, music). A wide range of topics is then discussed
in the contexts of approaches to directing, actor training, the intellectual debate of Brecht in Cyprus and Greece, and historical and biographical dimensions.
Among the contributors are many prominent voices of Greek, Cypriot and international criticism and culture, such as Petros Markaris, Despina Bebedeli, Neophytos Neophytou, Stelios Kafkarides, Aspassia Papathanassiou, Panayiotis Serghis, George Kotsonis, Glyn Hughes, Afir Stojanowa, Klaus M. Schmidt, Klitos Ioannides, Daniel Meyer-Dinkgräfe, Gregor Karydas, Nona Moleski, Theodore Grammatas, Andri Constantinou, Claudine Elnecave, William Browning, Christakis Georgiou, Günther Rüther, Andy Bargilly, and Guy Stern.

這本書包括Haus當時為他的演員寫的材料、媒體上的作品公告、關於作品的新聞評論和學術文章、會議稿件以及演員（專業演員和大學教師）、和設計師（佈景、服裝、燈光、音樂）的表述。並且討論了導演方法、演員培訓、Brecht在塞浦路斯和希臘的思辨以及歷史和傳記等背景下廣泛的主題。稿件中有許多希臘、塞浦路斯和國際批評和文化的空谷迴音，如 Petros Markaris、Despina Bebedeli、Neophytos Neophytou、Stelios Kafkarides、Aspassia Pa-pathanassiou、Panayiotis Serghis、George Kotsonis、Glyn Hughes、Afir Stojanowa、Schmid Klaus M. , Klitos Ioannides, Daniel Meyer-Dinkgräfe, Gregor Karydas, Nona Moleski, Theodore Grammatas, Andri Constantinou, Claudine Elnecave, William Browning, Christakis Georgiou, Gün-ther Rüther, Andy Bargilly, 和 Guy Stern。

Contemporary references in Haus’s texts clearly document the important role of the support the di-rector received under the conditions of the Cold War from personalities such as the Cypriot Presi-dents Archbishop Makarios and Spiros Kyprianou, Greek Prime Minister Panayiots Kanellopoulos, Greek Cultural Minister Melina Mercouri, Greek Ambassador Dimitris Rallis. Karlos Koun, Jacovos Kambanellis, Elli Lambetti, Panayiotis Skoufis, and August Everding.
The essays of Daniel Meyer-Dinkgräfe und Klaus M. Schmidt give hints to the harsh political reali-ties of Haus’ life under communist rule, where he was a target of harassment by the state. The inter-cession of such leading political and public figures was often succesful, because the regime needed for its strategic interests in both states an image of civility. But still the permanent struggle for Haus to get the permission to accept the invitations for working in Cyprus and Greece was an endless and dangerous saga. The Stasi, the East German secret police, tracked his every move. Yet, the artist felt, as he told the reviewer, protected through his international recognition and his continuous engage-ment with Western medias. Since the end of the 70th he was lecturing and directing in the US and Canada too, what brought additional attention and connections.

Haus文本中的當代參考文獻清楚地記錄了在冷戰條件下，獲得來自塞浦路斯總統Archbishop Makarios和Spiros Kyprianou、希臘總理Panayiots Kanellopoulos、希臘文化部長Melina Mercouri, 希臘大使 Dimitris Rallis, Karlos Koun, Jacovos Kambanellis, Elli Lambetti, Panayiotis Skoufis, and August Everding等人物支持的重要作用。Daniel Meyer-Dinkgräfe 和 Klaus M. Schmidt 的文章暗示了Haus在共產主義統治下生活的嚴酷政治現實，在那裡他倍受國家機器的騷擾。此種事件重要政治人物和公眾人物的調解往往是成功的，因為該政權需要為其在兩國的戰略利益中樹立文明形象。但是，Haus為獲得塞浦路斯和希臘工作邀請許可而進行的長期鬥爭仍然是一場無休止的危險傳奇。東德秘密警察Stasi跟踪他的一舉一動。然而，正如他告訴評論家的那樣，這位藝術家感受到了國際肯定和與西方媒體的持續接觸的保護。從 70 年代末期開始，他也在美國和加拿大講學和導演，這帶來了額外的關注和連結。

The book, which is illustrated with images of posters and drawings for the productions (by Costas Kafkarides, Glyn Hughes, Jean Bodin) radiates the spirit of empathy, optimism, courage and energy, as taught by Haus’s paragons, Brecht, Peter Brook, Manfred Wekwerth, and Wolfgang Heinz.
這本書以海報圖片和作品圖畫（由Costas Kafkarides, Glyn Hughes, Jean Bodin繪製）進行說明，散發出Haus的典範人物Brecht, Peter Brook, Manfred Wekwerth, and Wolfgang Heinz所教導的同理心、樂觀主義、勇氣和活力的精神。

The value of this publication is its wealth of knowledge of theatre making. Though directing may be Haus’ most austere style of presenting his views, it is the concept that epitomizes his career. Haus did away with conventional methods of acting, staging, and performance. He replaced “realistic set-tings” with “imagined space” that often revealed the mechanics of the stage and created startling visual effects. He would often use highly physical elements in his performances, shifting emphasis from oratory to action. “It was a matter of letting actions speak louder than words, what was unusu-al for many actors. Looking back, I can say, the much beloved rhetoric would no longer serve as the main device for communication”. (Haus in an telefon interview 8/3/21.) “Storytelling”, “contradic-tions”, “gestus”, “de-familiarizing/alienation” are Haus’ tools of Brechtian origin – self-trained in his youth and later developed in his collaboration with Manfred Wekwerth at the Deutsches Theater Berlin and the Institute for Theatre Directing of the GDR. But under the Greek theatre conditions he moved the goal-posts for Brechtian productions (including the so-called ‘models’), in the process redefining himself as a director, and to some extend the theatre itself. Haus’ focus became the ac-tor’s ability to create through his imagination of social attitudes any situation to which the “emotinal memory” of the audience will respond.

該出版物的價值在於其豐富的戲劇製作知識。雖然導演工作可能是Haus表達觀點的最嚴肅的風格，但這是他職業生涯的縮影。Haus確實摒棄了傳統的演戲、舞台和表演方法。他用“想像的空間”取代了“真實的場景”，這往往揭示出舞台的機制並創造了驚人的視覺效果。他經常在表演中使用高度身體化的元素，將重點從誇張的言辭轉換為動作。“這是一個讓動作勝於口述的問題，這對許多演員來說是不尋常的。 回顧過去，我可以說，備受喜愛的修辭將不再是溝通的主要手段。”（Haus 在 8/3/21 的電話採訪。）“說故事”、“矛盾”、“姿態”、“陌生化/異化”是 Haus 的工具，其源自於Brecht—他年輕時自學，及後來與柏林德意志劇院Manfred Wekwerth和東德劇院導演研究所的合作中發展出來的。但在希臘劇院條件下，他改變了Brecht作品的規則（包括所謂的“模特”），在這個過程中重新界定自己導演的角色，並在某種程度上擴充了劇院。豪斯的關注點變成了演員藉其對社會態度的想像，創造觀眾的情感記憶並予回應。

The notes on Brecht’s The Caucasian Chalk Circle, The Good Person of Szechwan, Mother Courage and her Children, The Rifles of Senora Carrar, The Resistible Rise of Arturo Ui, on Schiller’s The Robbers, Carvajal’s Lautaro, Borchert’s Outside the Door, Ibsen’s Lady from the Sea, Euripides’ The Suppliant Women and Antigone, or Shakespeare’s Measure for Measure illuminate working processes under different social and artistic challenges. Over the years such influences as the early writing of Peter Brook, the cooperation with Charly Weber, the collaboration with the choreographers Patricio Bunster, Eva Winkler and Andrew Tsubaki and the painters Guillermo Deisler and Glyn Hughes as well as visits of performances by Peter Stein and LaMama enrich Haus’ ability to include the “sister arts” (Brecht) in his vision of theatricality.

在Brecht的《The Caucasian Chalk Circle高加索人粉筆圈》、《The Good Person of Szechwan四川好人》、《Mother Courage and her Children勇氣媽媽和她的孩子》、《The Rifles of Senora Carrar塞諾拉·卡拉爾的步槍》、《The Resistible Rise of Arturo Ui阿圖羅·烏伊的崛起》、Schiller的《The Robbers強盜》、Carvajal的《Lautaro勞塔羅》、Borchert的《Outside the Door門外》、Ibsen的《Lady from the Sea海上夫人》、Euripides的《The Suppliant Women and Antigone哀求的女人和安提戈涅》或Shakespeare的《Measure for Measure以牙還牙》的筆記中闡明了不同社會和藝術挑戰下的工作過程。多年來受到Peter Brook的早期創作、與Charly Weber的合作、與編舞家Patricio Bunster、Eva Winkler和Andrew Tsubaki
以及畫家Guillermo Deisler和Glyn Hughes的合作以及Peter Stein 和LaMama的表演訪問等影響、豐富了 Haus 的能力以至於能將Brecht 的“sister arts姐妹藝術”納入他的戲劇視野。

The documents and the descriptions of all of Haus’ Cypriot and Greek productions demonstrate how his goal was to reinvigorate the theatre through a theatrical vocabulary not tied to language, but in context to the social conditions. Haus used all aspects of theatre to stage this: lighting, set, props, costumes, and most importantly: action. “All served to present the audience with a real, raw, and emotional experience”, remembers the actor Neophytos Neophytou (p. 97). The reader discovers, that Brecht’s “thinking capable of intervention” is the base for the director. From there he goes be-yond anything audiences had already experienced.

所有Haus 塞浦路斯和希臘作品的文件和描述都展示了他的目標、就是如何透過一種與語言無關但與社會條件相關的戲劇詞彙來重振劇院。Haus多面向的使用戲劇來進行舞台表演：燈光、佈景、道具、服裝，最重要的是：動作。 演員 Neophytos Neophytou（第 97 頁）回憶道：“所有這些都旨在向觀眾呈現真實、原始和感性的體驗”。 讀者發現，Brecht所謂的“具干預能力的思考”是導演的基礎。 從這基礎上他超越了觀眾的所有體驗。

The book traces the trajectory of Haus’ crucial contribution to the discussion, both in his writings and in his productions. It succeeds brilliantly, and I defy anyone to read the book and not come away thinking better of the theatre, its scope, its passion, its contribution.
這本書追溯了Haus具重要貢獻的討論的軌跡，無論是在他的著作中還是劇作中。 它取得了輝煌的成功，任何人閱讀完這本書後，都會對劇院、其範圍、其熱情和其貢獻進一步好好地思考。


Heinz-Uwe Haus and Theatre Making in Cyprus and Greece, ed. by Heinz-Uwe Haus and Daniel Meyer Dinkgräfe, Cambridge Scholars Publishing, Newcastle upon Tyne, UK;
405 p.; 2021; ISBN: 1-5275-7274-9; ISBN13: 978-1-5275-7274-4

Heinz-Uwe Haus 與塞浦路斯和希臘的戲劇製作 作者：Heinz-Uwe Haus 和 Daniel Meyer Dinkgräfe，劍橋學者出版社, Newcastle upon Tyne, UK;
405 p.; 2021; ISBN: 1-5275-7274-9; ISBN13: 978-1-5275-7274-4