Frankenstein, based on the novel by Mary Shelley

Nick Dear’s plays include Lunch in Venice (NT Connections, 2005); Power (NT, 2003); The Villains’ Opera (NT, 2000); Zenobia (RSC, 1995); In the Ruins (Bristol Old Vic, 1990); Food of Love (Théâtre de Complicité, Almeida, 1988); The Art of Success (RSC, 1986); Pure Science (RSC, 1986); and Temptation (RSC, 1984). He also collaborated with Peter Brook on the development of Qui est là? (Bouffes du Nord, 1996). His adaptations include The Promise (after Arbuzov, Tricycle, 2002); Summerfolk (after Gorky, NT, 1999); Le Bourgeois Gentilhomme (after Molière, NT, 1992); The Last Days of Don Juan (after Tirso de Molina, RSC ,1990); and A Family Affair (after Ostrovsky, Cheek by Jowl, 1988). His screenplays include Persuasion, The Turn of the Screw, Cinderella, The Gambler, Byron, Eroica and Agatha Christie’s Poirot. Opera libretti include The Palace in the Sky (ENO / Hackney Empire, 2001); and Siren Song (Almeida Opera Festival, 1994). He has also written extensively for BBC Radio, beginning with his first play, Matter Permitted (1980).

出版者:Faber and Faber

作者:Nick Dear

页数:96

出版时间:2011-2-17

价格:GBP 9.99

装帧:Paperback

isbn号码:9780571277216

图书标签:剧本戏剧读书动机不纯英国FrankensteinBC蛋疼腦殘粉英語

Slowly I learnt the ways of humans: how to ruin, how to hate, how to debase, how to humiliate. And at the feet of my master I learnt the highest of human skills, the skill no other creature owns: I finally learnt how to lie. Childlike in his innocence but grotesque in form, Frankenstein’s bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the friendless Creature, increasingly desperate and vengeful, determines to track down his creator and strike a terrifying deal. Urgent concerns of scientific responsibility, parental neglect, cognitive development and the nature of good and evil are embedded within this thrilling and deeply disturbing classic gothic tale. Mary Shelley’s Frankenstein, adapted for the stage by Nick Dear, premiered at the National Theatre, London, in February 2011.

读后感

记得是在看完National Theatre的live screening后，从amazon.uk订了这本书。 一直没舍得看，因为拿到手薄薄的一本，应该一下午就能翻完(forgive me I'm such a slow reader, wanna enjoy every single line as possible) 于是它就这样被我封存在一个大箱子里，和其他的书啊碟一...

记得是在看完National Theatre的live screening后，从amazon.uk订了这本书。 一直没舍得看，因为拿到手薄薄的一本，应该一下午就能翻完(forgive me I'm such a slow reader, wanna enjoy every single line as possible) 于是它就这样被我封存在一个大箱子里，和其他的书啊碟一...

读书笔记去哪里了。。。。 There are two schools of thought. One says that we are all made imperfect, and require the assistance of a higher authority – a deity – to overcome the sin of being born. The other school of thought – to which I subscribe – ins...  

记得是在看完National Theatre的live screening后，从amazon.uk订了这本书。 一直没舍得看，因为拿到手薄薄的一本，应该一下午就能翻完(forgive me I'm such a slow reader, wanna enjoy every single line as possible) 于是它就这样被我封存在一个大箱子里，和其他的书啊碟一...

记得是在看完National Theatre的live screening后，从amazon.uk订了这本书。 一直没舍得看，因为拿到手薄薄的一本，应该一下午就能翻完(forgive me I'm such a slow reader, wanna enjoy every single line as possible) 于是它就这样被我封存在一个大箱子里，和其他的书啊碟一...

用户评价

脑补太多，没法评价╮(￣▽￣")╭

又重新精读了一遍，才发现里面一些用词的美妙。

感觉剧本一般般？觉得这出戏好不好很大程度上依赖于演员的演绎。原著还没看，等看了再来对比一下。

不知道是我太久没读剧本了还是怎么回事，觉得这个剧本写得不怎么样啊……但基于故事本身就是那种戳我心槽的，还是读得几次内奔。而且听着OST对着both Frankenstein and Creature脑补缺[划掉]自攻自受[/划掉]好带感。迫切想看NTlive重播和documentary法兰法兰看在你跟博士的姓有一半一样的份上快给力一点嘛TAT哦，还有今天到手这本似乎是再版的才77页，我还特地对照了一下扫描版，原来排版略微紧凑了一点点，从15页开始就比第一版节约了版面，内容是一模一樣的。顺便吐个槽：后面那四页空白纸是要留给脑残粉们给缺缺签名用么？

有些台词好像别有深意；可又没有深入展开，什么都有一点，可就是不到点子上...比较喜欢1~21幕