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大型舞台剧《野草》9月26,27日在温尼伯演出 [复制链接]

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— 本帖被 Source 执行压帖操作(2017-09-13) —
“当我沉默着的时候,我觉得充实;我将开口,同时感到空虚。过去的生命已经死亡。我对于这死亡有大欢喜,因为我借此知道它曾经存活。死亡的生命已经朽腐。我对于这朽腐有大欢喜,因为我借此知道它还非空虚。生命的泥委弃在地面上,不生乔木,只生野草,这是我的罪过。”   大型舞台剧《野草》9月26,27日在温尼伯演出。 iriF'(1  
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整台演出由三部作品构成,创作灵感来自鲁迅《野草》中同名短篇散文诗:死火影的告别极地之舞,曾在纽约、华盛顿、旧金山等 地演出,并参加澳大利亚珀斯国际艺术节、德国 (沃尔夫斯堡)穆维门托艺术节、2014年纽约BAM Next Wave艺术节等。2015年受文化部邀请出访墨 西哥和智利。在多次受邀出访欧美的巡演中均受到 当地观众和剧院的一致好评。 p>0n~e  
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剧情:
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第一乐章 死火 r| 0wIpi6Q  
我梦见自己在冰山上奔驰。这是高大的冰山, 上接冰天,天上冻云弥漫,片片如鱼鳞模样。 山麓有冰树林,枝叶都如松杉。一切冰冷,一 切青白。这是死火。有炎炎的形,但毫不摇动,全体冻 结,像珊瑚枝:尖端还有凝固的黑烟,疑这才 从火宅中出,所以焦枯。 ~*^aCuq\  
第二乐章 影的告别 6n Hyd<o  
我不过一个影,要别你而沉没在黑暗里了。然而黑暗又会吞并我,然而光明又会使我消失。然而我不愿彷徨于明暗之间,我不如在黑暗里沉没。然而我终于彷徨于明暗之间,我不知道是黄昏还是黎明。我姑且举灰黑的手装作喝干一杯酒,我将在不知道时候的时候独自远行。 |7E1yu  
第三乐章 极地之舞 3q$"`w  
于是只剩下广漠的旷野,而他们俩在其间裸着全身,捏着利刃,干枯地立着;以死人似的眼光,赏鉴这路人们的干枯,无血的大戮,而永远沉浸于生命的飞扬的极致的大欢喜中。在无边的旷野上,在凛冽的天宇下,闪闪地旋转升腾着的是雨的精魂......是的,那是孤独的雪,是死掉的雨,是雨的精魂...... P4dhP-t  
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第一乐章作曲:苏聪
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旅德作曲家,自1985年起任教于德国慕尼黑高等音乐学院作曲系和奥格斯堡大学音乐系。现任巴登州电影学院及斯图加特市音乐高等学院电影及媒介音乐联合制作专业教授。 [<A|\d'x  
1987年为影片《末代皇帝》作曲,获第六十届奥 斯卡最佳原作音乐奖,成为第一位获得奥斯卡奖的中国人。此外还荣获格莱美”最佳背景音乐原作专辑、德国埃森“克鲁普基金会奖学金”等30余项大奖。 YhFd0A?]  
钢琴独奏:何佩勋(台湾) iz\GahK  
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第二乐章 作曲:Biosphere(挪威) i.6+ CA  
挪威电子音乐家,1991年正式以Biosphere的名义发表了专辑《Microgravity》,确立了他在“ambient techno”流派中的先驱地位, 成为microsound / experimental ambient领域的重要人物。作品《Patashnik》,《Substrata》和 《Shenzhou》等被认为是重新定义了氛围音乐。 Biosphere混合了具象音乐与抽象音乐理念创造出的极简作品,深邃大气,严肃高远,于循环往复之中铺陈出难言的情绪与意境。 |$.`4h?  
Kangding Ray(法国) xa|/P#q  
原名David Letellier,他的作品展示了他丰富的音乐背景和独特的创作方式——将节拍与氛围音效糅合成渐进发展的架构。将机器与传统乐器结合构成微妙而富于韵律的主体,并加入噪音、失真声 墙、大量贝司声线、人声以及野外录音等元素,将techno节奏与黑暗质感交织混合,始终游走在实验 音乐与club文化的边缘。 xe!6Pgcb  
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第三乐章作曲:王鹏 H D{2nZT  
中央音乐学院Central Conservatory of Musik和德国国立吕贝克音乐学院Musik Hochschule Lübeck的作曲专业。作品多次在国内外上演,并获得很好的反响。对现代音乐、民族音乐、舞蹈音 乐甚至流行影视音乐等等不同领域皆有广泛的涉 猎,参与了许多不同体裁与题材的音乐创作工作。  `\#J&N  
北京当代芭蕾舞团 Tn 3<cO7v  
北京当代芭蕾舞团创办于2008年,由创团编舞家王媛媛兼任艺术总监与团长。舞团联手国内外优秀导演、音乐家和设计师,不断为中国当代舞蹈界推出一部部高质量作品,用极具风格的舞蹈平台,向世界展示当代中国舞台艺术。 ).9m6.%Uk  
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演职员表 pv;ZR  
演员 3=xN)j#B  
张强ZHANG Qiang L<M H:  
冯琳舒 6-h(305A  
郑杰 :7jDgqn^|i  
王轶男 a+ lGN  
顾小钏 c*HWH$kB  
栾天奕 <vUhJgN2/  
秦子乾 iF'qaqHWY4  
简颖欣 qA5PIEvdq  
王裕鑫 Q"=$.M~  
那贵均  hNF.  
李琳 ^OnZ9?C{R  
赵午月 ! 4{T<s;q  
胡菁 )r.4`5Rc  
钱智海 &5o ln@YL  
钱俞颖 }D\i1/Y  
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艺术总监:王媛媛 /r@~"R x'  
巡演经理:陈臻臻 2 rx``,7Q  
彩排经理:高晶 ?0k4l8R  
舞台经理:欧琳Stage Manager: OU Lin  El:&  
灯光:李萌Lighting Technician: LI Meng 2qxede  
音响:芦桐林 kKEs >a  
吊杆:陶磊 we;QrS(Hi  
舞台技术:刘双资、葛洪印、何进才 Cqc5jx0)  
化妆:周倩、徐陶然 TW5Pt{X= f  
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Wild Grass W$ag |WV  
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Renowned for the alluring fusion of Chinese tradition with a fiercely modern sensibility, Ballet Wild Grass is adapted from the poetry collection Wild Grass written by Chinese literary giant Lu Xun in 1927. Q% LQP!Kg  
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Comprising three movements, “Dead Fire,” “Farewell of the Shadow,” and “Dance of Extremity”, Wild Grass unfolds as an evocative abstraction of Lu’s volatile elemental landscapes, accompanied by solo piano, strings, and experimental electronica. White paper leaves scatter underfoot as dancers alternate between balletic grace and tension, conjuring the fragility and vitality of the human spirit. oVYW '~OID  
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It has been toured more than 100 performances in BAM theatre of New York, Kennedy Center of Washington, Harris Theatre of Chicago, and many other main city theatres in USA, Europe and Australia. 0s'H(qE,_  
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Performer: Beijing Dance Theater 2E*h,Mo  
Founded in 2008, the Beijing Dance Theater (BDT) has graced China’s dance stage with quality productions. Collaborating with renowned directors, composers, and visual artists, the BDT continues to showcase contemporary Chinese stage art to the world in style. qxW^\u!<  
With amazing creativity and productive momentum, the BDT has built a repertoire of ten different works, which represent the creative team’s critical reflections on various facets of contemporary society. The repertoire includes: Stirred from a Dream, a dance-drama adapted from the Kunqu opera Peony Pavilion; Haze, a contemplation in a time of crisis; Prism, a triple-bill featuring work by choreographers from Sweden, Denmark, and Canada; The Color of Love, a sensual exploration of the emotional landscape of women in their 20s, 30s and 40s; etc. }6!*H!  
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Creator: %AnqT|\#,  
Director and Choreographer: 95%QF;h  
Wang Yuanyuan $Y9Wzv3Ra  
Choreographer of Ballet Raise the Red Lantern <Gkmk?x`A  
Resident choreographer for the National Ballet of China \GEf,%U<K  
Guest choreographer for the New York City Choreographic Institute, Hong Kong Academy for Performing Arts, Royal Danish Ballet and Shanghai Ballet. N!iugGL  
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Producer/Stage & Lighting Designer: >0Gdxj]\  
Han Jiang: China National Ballet Mission Group Lighting Design \4 5%K|  
Su Chong (Germany): Oscar winning original music of Last Empire |VxO ,[~  
Biosphere (Norway) .T|1l$Jn  
Kangding Ray (France) }Z Nyd  
Wang Peng (China) Dj(!i1eQNZ  
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Three Movements: rI.CCPY~s  
First Movement: Dead Fire Os>^z@x  
“I dream that I am racing on ice mountains. These are huge ice mountains, whose tops join the icy skies covered with frozen, scale-like clouds. At the foot of the mountains grow icy trees, whose leaves resemble pine needles. All cold. All pale. ” 052e zh_  
“This is Dead Fire. It has burning form but no flickering. It stands frozen like corals, with black smoke curdled on its tips that makes you wonder whether it has just emerged from a house on fire – and that is why it looks burnt and dead. ” D3xyJ  
“A wisp of black smoke issues from me, rising and twirling like a snake. The ice valley is suddenly surrounded by flowing flames, me in the middle. I look down and see Dead Fire burning, consuming my clothes. I melt and drip onto the icy ground. ” .tH[A[/1 a  
Second Movement: Farewell, Shadows! {]V+C=`  
“I am but a shadow, about to depart and sink into darkness. But darkness will swallow me, even as light will vanish me. Yet I will not linger ambivalently between light and darkness: I would rather sink into darkness. ” u#r[JF9LP  
“Yet I linger between light and darkness; know not whether it is dusk or dawn. Let me raise my ashen grey hand and feign a toast; I shall journey far, far away, unbeknownst to all. ” PG*:3![2  
Third Movement: Dance of Extremity Z.rR)  
“And there remains only the vast wilderness; this dried couple, completely naked, sword in hand, stand in the middle. With dead men's eyes they observe with gusto the withering passers-by in a great bloodless carnage. They are eternally plunged into life's giddy, excruciating bliss. ” ;N;['xcx;  
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Dancer KKJ)BG?qZ  
ZHANG Qiang LZF %bJv  
FENG Linshu #9FY;~  
ZHENG Jie E/IoYuB  
WANG Yinan oW\kJ>!  
GU Xiaochuan ZtPnHs.x  
LUAN Tianyi ywj'S7~A  
QIN Ziqian |fhYft  
Tina KAN Vnvfu!>(  
WANG Yuxin @=G6fW:  
NA Guijun W&`{3L  
LI Lin k^C^.[?  
ZHAO Wuyue ?4A$9H  
HU Jing E@%9u#  
QIAN Zhihai F*rsi7#!pG  
QIAN Yuying 3tu:Vc.:M  
Stage Crew 49d02AU%  
Artistic Director: WANG Yuanyuan b^q8s4(   
Tour Manager: Jane CHEN S&Szc0-|k  
Rehearsal Manger: Jing Gao b"7L ;J5|  
Stage Manager: OU Lin 7x5wT ?2W  
Lighting Technician: LI Meng U+2U#v=<  
Sound Technician: LU Yifu [oS4W P  
Fly Bar Technician: TAO Lei q88;{?T1  
Stage Technician: LIU Shuangzi, GE Hongyin, HE Jincai SL ) ope  
Make-up Artist: ZHOU Qian, XU Taoran 5g\>x;cc  
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