10. For the actors and actress, what things do they have to change compare to the traditional way of acting?

对于演员们来说，他们需要在表演上做什么以应对这种改变？

Well, I think they need to soak it up. I don't know that they have to consciously change it. There’re certain things that you try to avoid. For instance there's a young man in the play who plays the duke and very frequently I think he moves to much like a modern, then...you know...you’re a royalty, you're a duke, you have to hold yourself certain way, to carry yourself a certain way. But primarily you try to pick actors for their parts, and they say that characters are 90% the atctors you chose to the play, so we have very very good actors, and they fit their parts. I don't think that much i have to ban them into something they're not.

也许不是有意识的那种刻意改变，但是的确要求他们在表演中有所调整。比如饰演公爵的男演员，肯定就要有点儿贵族范儿。不过在一开始选角儿的时候我们就有特地考虑。演员在性格上跟剧中角色也有相似。所以我也不必要非让演员演一些不像他们自己的东西。

11. Where do you see the future of Shakespeare theater in Shanghai in 10 years?

你认为十年之后上海的莎士比亚戏剧会发展成什么样？

I would hope in 10 years that Shanghai Shakespeare is known as one of the greatest Shakespeare companies in the world, that's what i know, starting now with.. That's what i'll hope. because i'm not young and i'll be staying here, I don't have so many more years in my life. I'm devoted to this, if in 10 years i can say we have a recognized strong company that people could come see Shakespeare which is with English subtitles, i'll be very happy.

我希望上海莎士比亚剧团能成为全球最好的莎士比亚剧团之一。因为我也不年轻了，我既然决定在这里发展，我希望能做到最好。

12. Compare to audiences in other countries, how did the Chinese audiences react to Shakespeare?

中国观众的反应如何？与其他国家的观众的反应有何不同？

I don't know about Chinese audiences because i've only staged these plays in English, and the tickets are not cheap. I know Chinese have more money to spend than they used to. But it's a higher-class person, and i wish there's a way to make it more accessible to lower income people. I don't know what we're going to charge for the Chinese 12th night, but i hope it's less than what we charge for the English. I wanna pay the actors, something for their travel and their effort. i can't compare Chinese audiences...I see the audiences out there I see mostly successfully Laowai（老外）, that's not exactly the audiences i want to see.

其实我对中国的观众不太了解。来看这次演出的很多都是外国人。我知道中国人民现在比以前富裕了，但是能买得起门票的人看来还是不太多。我很希望能够把门票价格降低一点、让更多低收入的人也能看到这样的戏剧。我还不清楚这次中文版的定价是多少，但希望能比英语版低一些。英文版的观众很多是成功的外国人士，这不是我真正想要看到的观众人群。

13. Did you make any adjustment to cater to the Chinese audiences? Spot, conversations, way of acting?

这次在中国上演，是否有为中国观众做一些调整？

No, not really. Somebody pointed out last night that the fool in the play is dressed a Chinese robe. But i did this play 7 years ago in America and i set my fool in a Chinese robe, so it has nothing to so much being in china as someone always said a Chinese connection. Wherever you go in the world, you come into Chinese people. In this movie I'm telling you about, that is the touchdown by us. This is 1939, it's paris, and there's a scene in a woman's apartment, she has two great big Buddha, Chinese Buddhas. So you know wherever you go, China is there. And you can put it in any kind of period.

I did a King Lear 李尔王 in 1989 in June. I didn't want to dress in old English style, so i told the costume person dress a Chinese. So it was a Chinese King Lear, and of course that was June, 1989. People saw my Chinese King Lear and: how did you know? I do know, i just wanted a Chinese King Lear. No matter of strange, and i would use the word lucky timing, but it's an interesting coincidence.

应该就是在舞台设计和服装中加入了一些中国的元素。 但其实7年前我在纽约排这个剧本时，也加入了很多中国元素，所以算起来也不是专门为中国观众所作出的调整。我之前就说我和中国的牵绊很强，走到哪儿都能遇见“中国”。就像我刚刚提到的那部法国电影，中间也有一个场景是一个女人的房间中摆着两尊佛像。我1989年执导《李尔王》的时候，也不喜欢演员传古老的英国服装，我让他们全穿上中国的服装。所以它变成了一个中国的《李尔王》！这真是一个有趣的巧合。

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