香港新浪網 MySinaBlog
菲比蘭蘭 | 30-Aug-07 | Cats, English Posts | (391 Reads)

請看以下短片,Tommy貓說得很清楚,領養動物的真正意義,和街上的義工其實在做什麼。

Please watch this video. Tommy Cat tells us the true meaning of adopting animals, and what the volunteer workers on the streets are actually doing.

 English

中文版

Tommy's Blog: http://www.tommythecat.hk/Tommy_the_Cat/Welcome.html


菲比蘭蘭 | 25-Aug-07 | Cats, 阿貓日記 | (887 Reads)
一年前,到愛護動物協會領養部找貓,正蹲著看籠裏一對BB貓時,一隻在籠外走動的黃貓跑到我身旁,二話不說「霹啪」一聲躺下,肚皮朝天,向我示好──他就是阿拔! (閱讀全文)

菲比蘭蘭 | 21-Aug-07 | Drama Education | (536 Reads)

Alien 在他的blog中提到時光倒流能否實現的問題。

相對論及量子力學,我的認識皮毛,不懂談論,只是他在主題中說「如果可以回到過去,你會作什麼?」教我想起年前跟一班小學生共同編作的一齣名為《失魂的時光機》的舞台劇。

「穿越時空」一向是戲劇創作的上佳「前文本」,在該劇中,同學們不僅想像回到過去會作什麼,也想像跑到將來會作什麼。劇末有以下一段台詞,是演員的真實心聲。似乎小學生對「未來」的興趣遠遠大於「過去」,或許是因為他們的「過去」只有很短吧!

這段率真得可愛的心聲,現在重看,有些仍然叫我忍唆不禁(如N和T)!emoticon

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菲比蘭蘭 | 13-Aug-07 | Drama Education | (490 Reads)

舊生聚會中,與一位現職數學教授的老朋友談天,我打趣道:「當年學的數,如今除了加減乘除百分比外,恐怕沒有什麼仍會用了!」

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菲比蘭蘭 | 11-Aug-07 | General | (507 Reads)

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潘仲琪老師是我中學時的中文老師,也是領袖生的負責老師。

最近一個畢業20週年的舊生聚會中,老當益壯的潘sir在70多位出席的同學、家眷、老師當中團團轉,笑意盈盈地向同學逐一問好,還向我們要名片。

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菲比蘭蘭 | 08-Aug-07 | Cooking | (623 Reads)

今天想吃住家飯,但又不想弄太複雜的。

老公說:「不如吃罐頭餐?今日打風。」

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菲比蘭蘭 | 07-Aug-07 | General | (432 Reads)
Ratatouille(五星級大鼠)說的是個簡單的故事。

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簡單就是美。

戲中有兩句對白教我特別感動:

Dad: You can't change nature! (你不能改變自然定律)

Remy: But change is nature, Dad!(但轉變就是自然定律)

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菲比蘭蘭 | 06-Aug-07 | Drama Education | (533 Reads)

過去一段日子,像跟自己打了一場仗,最近才開始從創傷中慢慢復元。

其中一個問題是,戲劇教育予我的訓練,使我習慣對別人包容、耐心聆聽、別過早下判斷。在絕大多數情況下,這些都是美德,但有時遇上固執偏頗、得勢不饒人的談話對手,我會頗感委屈,時而更在事後懊惱不已,怪責自己口齒不夠伶俐,尖酸的話沒有說出口。

如果時光能夠倒流,回到以下場景,我會希望能吐出那句尖酸的話:

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菲比蘭蘭 | 03-Aug-07 | Drama Education, English Posts | (348 Reads)

Stumbled upon something I wrote for the Hong Kong Federation of Drama Societies 11 years ago.

Not a bad idea to share them again here, this time re-written and presented in English.

Learning and Experience

When I was in primary three, I was the champion of a mental arithmetic competition.

I am not a maths genius. It was just that I got more chances to practice arithmetics than most kids do.

Since I was very small, I began to help in my family's business - a Dai Pai Dong (a cooked-food stall) on the roadside in a factory district. When someone gave 10 dollars to buy a breakfast that cost $4.5, the change would be $5.5. No more, no less.

I can still recall how my classmates struggled when our teacher taught us how to do subtractions. For 100 minus 45, you have to borrow 10 from the tenth digit to subtract 5, so you get 5 in the numeric digit. Then you borrow from the hundredth digit to make up for the 10 you lent to the numeric digit, and that gives you 9, and 9 minus 4 becomes 5. So you end up with 5 in the tenth digit and 5 in the numeric digit, and the answer is 55. That was how we were taught to do subtractions.

Quite an abstract and complicated concept for junior primary kids.

But I never worked out the answers that way, for my experience in the Dai Pai Dong gave me the perfect site to practice those "theories", to an extent that the theories are embodied in my experience.

By the same token, I've learned how to project my voice ever since I began to work at the Dai Pai Dong. If you ask me what the mechanism for voice projections is... Well, when you are to shout over 7 tables in an open-air food stall to tell your Dad that the customer wants two glasses of iced tea with milk, you don't think about how the diaphragm works!

Give and Take

I had been a soprano for many years in choral singing. One day, I decided that it had become quite boring, and I asked the choir conductor to let me change to the alto part. The idea was well-received, for there were always too many sopranos and too few altos in my choir.

The sopranos are often responsible for the melodic line. The timber of the voice is stressed. For altos, however, besides the voice's timber, harmonic skills are also important.

Having changed my position, I found the whole experience in choral singing opened up. My ears were opened, hearing the many other choral parts that I had never paid enough attention. My heart was opened, learning how to support and embrace the progression of melodic lines.

It gets me to think about an observation on some young people's theatre works. The young actors, very often the main roles, could become very ignorant about the other actors. They only played their parts according to their own fixed ways, without considering the give and take with others. Worse still, some would "teach" their counterparts how to do their parts, "so that I can respond to you this way"!

Sometimes it is the teachers or directors who encourage them to do this, as those young actors are the "main cast", so they think!

I would say this is the result of a rather superficial understanding about theatre and acting.

Maybe they should all be taught to take an "alto's stance" when they learn about acting.