关于上海莎士比亚
上海莎士比亚是世界上第一个永久性的用中文演出莎士比亚戏剧的组织。
莎士比亚戏剧的魅力超出了戏剧表演的语言范畴。作者敏锐的心理体现在他创造的角色，命运和戏剧冲突中，在四百多年的岁月里莎士比亚戏剧感染了遍及全世界的观众。
纵观全球，几乎每一个一流的城市都拥有他们本土语言表演莎士比亚戏剧的剧院，以此来证明莎士比亚戏剧的普及性。在德国柏林，莎士比亚戏剧所列的剧目演出比世界上的任何一个城市都要多，现在演出城市的名单上又增加了上海。
上海莎士比亚的演员们接受了专业表演培训，即在与之紧密相关的20世纪最受推崇的表演教师的培训中，我们的演员们呈现了情节环环相扣，原汁原味的莎士比亚戏剧的精彩演出。我们的演员们在舞台上展现的罕见勇气和持之以恒的精神，让我们觉得上海莎士比亚将会有无与伦比的前景。
作为首场演出，上海莎士比亚选择了无与伦比、极其精彩的《安东尼与克莉奥佩特拉》，这是《罗密欧和朱丽叶》成人版的延续。尽管剧中人物一样地纵情自由，不受拘束，愿意为爱情牺牲一切，甚至生命，但是初恋的新鲜感已被成熟的印记所代替。
《波利克里斯》是莎士比亚后期创作的最后四部作品的第一部，被认为是一个传奇，故事中充满了大冒险，魔幻和音乐。每一个章节都讲述了家族经历了四分五裂之后，在信念和忍耐中奇迹般地重逢。《波利克里斯》以童话的方式展开剧情。贯穿于剧中风土人情的故事协调是莎士比亚所有作品中最最动人的场景。
上海莎士比亚目前致力于介于古典和现代的剧作家作品的新视角的翻译。2014年4月，上海莎士比亚将史无前例地用中文上演国际公认的20世纪最重要的剧作家塞缪尔·贝克特三部短剧。这一具有历史意义的突破性事件是由塞缪尔·贝克特基金和柯蒂斯布朗出版有限公司合作完成。
上海莎士比亚是由美国资深演员Thomas Caron负责，他曾参与制作了莎士比亚的《李尔王》，亨利克.易卜生的《建筑大师》，并饰演了塞缪尔.贝克特的《等待戈多》中的弗拉基米尔。2011年他执导上海话剧院演出了莎士比亚的名剧《第十二夜》，Caron先生以他从业55年的经验组建了上海莎士比亚剧团，并参与培训。
上海莎士比亚致力于成为一个永久性组织，并能兼容中国迅速发展的现代文化。
所有的艺术都有其两面性。艺术不只是缓释剂。任何成功的艺术商业合作依赖于观众情感的成功体验，满足艺术家们从事艺术工作的热情和得到艺术表演的肯定。
你们——我们的观众朋友，上海莎士比亚的演员以及所有的幕后人员都是戏剧表演不可或缺的组成部分。我们融合在一起可以做得更出色，期待着并欢迎你们的到来。
ABOUT SHANGHAI SHAKESPEARE
Shanghai Shakespeare is the world’s first permanent Chinese-language theater company dedicated to performing the plays of William Shakespeare.
The power of Shakespeare’s plays transcend the tongue in which they are performed. The psychological acuity with which he created his characters, and the life and death dramas they inhabit, have electrified audiences all over the world for more than four hundred years.
Across the globe, nearly every first-class city is home to a theater that performs the works of Shakespeare in its indigenous language, proof of the universality of Shakespeare’s plays. Berlin, Germany leads the list by producing more of Shakespeare’s plays than any other city in the world. To that list we can now add Shanghai.
The actors of Shanghai Shakespeare have undergone specialized training that combines the principles of the 20th century’s most acclaimed acting teachers with the fast-paced efficiency of Shakespeare’s original staging. The result has given rise to a company of actors who exhibit the unparalleled benefits of a unified approach to performing - a courage and a connectivity that is rarely achieved onstage, and thrilling to behold.
For its inaugural production, Shanghai Shakespeare chose the incomparable, and rarely performed, “Antony and Cleopatra.” In Shakespeare’s grown-up complement to “Romeo and Juliet,” the freshness of first love has been supplanted by the disenchantment of maturity. Betrayal and cynicism are banished in the unbridled desire to sacrifice everything - even life itself - for love.
“Pericles,” is the first of Shakespeare’s final four plays, known as the Romances, whose hallmarks are high adventure, magic, and music. Each tells the tale of a family torn apart by tragedy, miraculously reunited by faith and patience. “Pericles” unfolds like a fairy tale. Its climatic reconciliation is among the most moving scenes in all of Shakespeare.
Shanghai Shakespeare is dedicated to presenting new translations of the works of playwrights both classical and modern. In April 2014 Shanghai Shakespeare produced the first-ever Chinese translations of three short plays by Samuel Beckett, internationally acknowledged as the most important playwright of the 20th century. This historical and ground-breaking event was authorized by the Estate of Samuel Beckett and the publishing firm of Curtis Brown Ltd.
Shanghai Shakespeare is led by classical American actor Thomas Caron, who has appeared in Shanghai in the title roles of Shakespeare’s “King Lear,” Henrik Ibsen’s “The Master Builder,” and as Vladimir in Samuel Beckett’s “Waiting for Godot.” In 2011 he directed Shanghai Repertory Theater’s acclaimed production of Shakespeare’s “Twelfth Night.” Mr. Caron brings over fifty-five years of experience to the formation and training of Shanghai Shakespeare’s ensemble.
Shanghai Shakespeare is committed to being a permanent fixture for the future of China’s burgeoning embrace of modern culture.
All art is a two-way street. Art is not a palliative. The success of any artistic venture depends on the willingness of the audience to do its part, to meet the artist half-way, to engage with the work, in order to take away the transformation that is the promise of participation.
You, our audience, are as much a part of Shanghai Shakespeare as any of our actors and technicians. Together we will do great things. We look forward to welcoming you.
