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There's no horsing around with Joey, the star puppet of London's West End hit War Horse.
倫敦西區熱門劇作《戰馬》的明星戲偶喬伊可不「馬」虎。

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The show has attracted almost four million viewers to date.
這個演出至今已經吸引了將近四百萬名觀眾。

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And on this month's Art of Movement, Nick Glass finds out how Joey's handlers replicated movements of horses to bring the puppet to life.
在本月《動的藝術》節目中，尼克．葛拉斯要瞭解喬伊的操控者如何複製馬的動作，讓戲偶栩栩如生。

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Is Joey, the star of War Horse, the most accomplished puppet ever made for the stage?
《戰馬》的明星喬伊是舞台上有史以來最完美的戲偶嗎？

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Most nights of the week, he springs into life, manned by three puppeteers,
週間大多數夜晚，他由三位操偶師控制躍然台上，

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and we, the audience, suspend belief [disbelief] and accept him as a living, breathing creature.
而我們觀眾擱置懷疑，接受他是個活生生、會呼吸的生物。

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On stage alone with Joey, I intuitively approach as I would a real horse,
單獨和喬伊在台上，我靠近他時出於直覺就像靠近一匹真馬一樣，

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man and beast, two strangers meeting in an open field, feeling each other out.
人和野獸，陌生的雙方在一個開放的場地見面，感受熟悉彼此。

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Joey is simply a wonder horse. He was only meant to have a six week canter at London's National Theatre.
喬伊實在是匹神奇的馬。他本來只打算在倫敦國家劇院跑個六週。

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Six years later, he gallops on and on, on stages around the world.
六年之後，他持續奔馳在世界各地的舞台上。

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One, two, three, four. One, two, three four.
一、二、三、四。一、二、三、四。

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If he goes faster, it goes into a trot, which is a two rhythm. One, two. One, two. One, two.
如果他走快一點，就會開始二拍節奏的小跑步。一、二。一、二。一、二。

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And if he speeds up even more, he goes into a faster four count, which is galloping.
如果他再加快一點，他就進入較快的四拍，也就是奔馳。

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And that's... but the... and the hind...
而那……但……後面的……

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That's amazing.
真是了不起。

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He's beautiful, isn't he? I've... again, six years and I still get butterflies when I see that.
他很美，不是嗎？我已經……還是一樣，六年了，我看到這仍然興奮不已。

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Joey was designed and made by a specialist puppet company in Cape Town, South Africa.
喬伊是由南非開普敦一家專門的戲偶公司設計和製造。

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They had already made hyena, chimpanzee and giraffe puppets for their own productions.
他們為自家製作的劇作做過鬣狗、黑猩猩、長頸鹿的戲偶。

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And just like the others, Joey had to be light and flexible.
就像其他的戲偶，喬伊必須質輕又有靈活。

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His spine is aluminum. The rest of him -- cane, plywood and fabric along with a few pulleys and bike levers.
他的脊柱是鋁製的。其他的部份——藤條、膠合板、布料，還有一些滑輪組和自行車操控桿。

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The big challenge was to make him realistic, to make him apparently think, react and feel on stage.
最大的挑戰是要讓他寫實逼真，讓他在舞台上表現出思考、回應和感覺。

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And to achieve that, micro movement, as they call it, was crucial.
要達到這個目標，他們所謂的微動作就不可或缺。

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The smallest twitch of the ear, the smallest twitch of the tail, little shudders of the skin -- all those things are really important in making meaning.
耳朵極細微的抽搐，尾巴極細微的抽甩，皮膚輕微抖動，所有這些對於表意都十分重要。

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So, one of the things we say to the puppeteers is be really careful about any odd movement,
所以我們告訴操偶師的其中一件事情就是，對任何額外的動作都要相當小心，

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because the audience is hungry to read the movement all the time.
因為觀眾無時無刻都渴望著解讀動作。

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The watershed moment in the designing of the ears was discovering how to make 180 degree movement out of the ear only controlled by this much finger movement that the puppeteer has,
設計耳朵的關鍵時刻是發現如何讓耳朵做出一百八十度的轉動，而只消操偶師用手指這樣動一下就能控制，

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and basically reinvented an ancient old watch mechanism by mistake and found that it actually worked very nicely.
基本上是不小心改造了古老鐘錶的一種機械裝置，然後發現實際上效果非常好。

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Three puppeteers each operate a different part of Joey -- the head, the heart and the hind.
三位操偶師各自操控喬伊的不同部位——頭部、胸部和臀部。

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But crucially, they must somehow perform and move as one.
但重要的是，他們必須想辦法表演和行動如一。

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Yeah, as soon as we get into the horse, we start to breathe together off stage, before we come on stage.
是的，我們一進入馬身，在上台前，我們在台下時就會開始呼吸一致。

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Sometimes, I know it sounds weird, but it feels like you kind of morph into the horse,
有時候，我知道這聽來詭異，但感覺像是我變身為馬了，

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like veins come out of your body, go into the puppet and you just... you are one.
好像血管從我的身體延伸出去，進到戲偶中，而我就……我們就融合為一體了。

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Breathing was crucial to bringing Joey to life.
要讓喬伊栩栩如生，呼吸非常重要。

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When I watched real horses, their lungs expand sideways.
我觀察真正的馬，他們的肺部是向側面擴張。

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And I knew that wouldn't be very visible on the stage, so I cheated.
我知道這在舞台上不會很明顯，所以我取巧處理。

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The front manipulator of the horse can lower and raise the chest, and the audience absolutely buy it.
馬前段的操控者可以下降和抬起胸部，結果觀眾完全接受了。

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They don't mind that it doesn't go sideways. As long as they can see it, it's fine.
他們不在意不是向側面擴張。只要看得到有動作就好，那沒關係。

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Puppetry is handmade. Puppetry is low-tech.
戲偶是手工的，戲偶是低科技。

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When we go to the cinema these days and you watch a very high-tech film, an element of surprise and magic that is missing.
我們當今去電影院觀賞非常高科技的電影，一種驚奇和魔力的元素卻不見了。

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And I think that the puppet asks the audience to provide that.
我想，戲偶就在邀請觀眾產生驚奇之情。