A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.
朱利安·洛佩兹,Nene,纳塔利娅·德·莫利纳,米伦·伊瓦古伦,Canco,Rodríguez,阿尔韦托·洛佩兹,Juanlu,González,Xisco,González,Manuel,Pérez,阿德尔法·卡尔沃,曼努埃尔·伯克,帕科·图斯,安东尼奥·德钦特,胡里安·毕亚格兰
刘凯,樊伟鹏,钱琦,应媛
鲁比·罗丝,唐·约翰逊,泰瑞斯·吉布森,卢卡斯·提尔,萨莎·班克斯,保罗·本-维克托,约翰·菲奥里
安藤樱,山田凉介,生濑胜久,宇崎龙童,吉原光夫,江口德子,大場泰正,渊上泰史
熊井友理奈,铃木爱理,菅谷梨沙子,樱田通,吉泽瞳
瑞安·雷诺兹,杰森·贝特曼,奥利维亚·王尔德,莱斯利·曼恩,艾伦·阿金,莫洽·梦若,格里高利·伊齐恩,罗明,悉尼·鲁维耶,克雷格·比尔克
蕾雅·德吕盖,塞缪尔·基尔舍,克洛蒂尔·蔻洛,奥利维尔·雷堡汀,Angela,Chen,Serena,Hu
朱莉娅·奥蒙德,Lydia,Page,罗科·法萨诺
詹森·艾萨克,莱丝利·曼维尔,安娜·钱斯勒,罗斯·威廉姆斯,阿尔芭·巴普蒂斯塔,卢卡斯·布哈沃,伊莎贝尔·于佩尔,弗莱迪·福克斯,朗贝尔·维尔森,罗珊妮·杜兰,克里斯蒂安·麦凯,艾伦·托马斯,德尔罗伊·阿特金森,杰瑞米·惠勒,莎拉·里克曼,本·阿迪斯,吉莱纳·隆代,巴纳巴斯·雷蒂,文森特·马丁,伊戈尔·萨斯兹,佐尔特·帕尔,彼得·维赫,巴尔·瓦斯维尔斯
梅丽古丽·艾买提,沙衣达·艾合买提
侯彦西,巫建和,邱以太,詹怀云,蓝正龙,陈柏霖,谢欣颖,林奕岚,钟欣凌,白静宜,严艺文
Ignacio,Quesada,马塞洛·索比奥托,Tamara,Rocca,Lautaro,Soto
张岩,王德顺,蔡宜恒,英壮,杜旭东
徐睿知,朴海秀
温心,成毅,尹正,赵多娜,赵莹,王千一,杜双宇,景岗山
何欢