在戏里,看见自己
——第四届乌镇戏剧节印象

2016-05-12 09:53:05张婷ZhangTing曹宇光CaoYuguang
艺术交流 2016年4期
关键词:戏剧节乌镇舞台

文张婷 Zhang Ting 译曹宇光 Cao Yuguang

在戏里,看见自己
——第四届乌镇戏剧节印象

文张婷 Zhang Ting 译曹宇光 Cao Yuguang

Self-identi fi cation in Dramas——Impression of the 4thWuzhen Theatre Festival

戏哪有人生精彩?预先设定的狂欢遭遇突如其来的死亡,比戏更有戏剧性。第四届乌镇戏剧节甫一开始,正轻松谈起“我希望办到第四届的乌镇戏剧节更有厚度,除了有优美和狂喜,还要有批判和思考”的乌镇戏剧节艺术总监孟京辉,突然得知意大利剧作家达里奥·福在米兰去世的消息,惊讶得久久无法恢复平静。

兼顾狂喜与沉思,正是达里奥·福作品的最动人处。1997年,他获颁诺贝尔文学奖,评奖委员会评价他——擅长以中世纪弄臣的方法来痛斥当权者,进而维护受压迫者的尊严,他的作品“同时具有逗人发笑,引人入胜并为读者提供多种视角的力量”。《他有两把左轮手枪和黑白相间的眼睛》是孟京辉带来此次戏剧节的全新作品,原作者正是达里奥·福,演员们不仅负责演出的部分,还兼任编舞、谱曲、填词、现场演唱和演奏,“用带劲的演出表示我们的怀念。”孟京辉说。

“眼睛不够用”

“达里奥·福的剧本搭配载歌载舞的方式,这是一种新鲜的呈现。”内行看门道,与戏剧节同期举办的国际戏剧评论家协会论坛上,德国戏剧理论家、法兰克福大学戏剧系教授汉斯·蒂斯·雷曼说:“我发现很多国家的年轻观众都喜欢这样的戏,这部作品在德国也不会缺观众。”

“年轻”是乌镇戏剧节的一大特色,无论观众还是创造者——作为开幕戏的《群鬼2.0》,是中国青年戏剧导演王翀用多媒体方式对易卜生经典作品进行的全新解读:舞台上以四块屏幕展现人物状态之分裂的方法,在欧洲的舞台上亦非鲜见,甚至俨然成风;但这样做是必要的吗?此举是对“四屏时代”年轻观众的讨好吗?王翀坦言,他之所以用演员与摄像机进行互动,因为网络的影响不由分说,是多焦点的,每个人都以自我为中心,甚至是“自拍式”的。

《群鬼2.0》的海报上有一句宣传语:“在一群鬼面前,两只眼睛不再够用”,此语绝非虚——坐在台下的观众,要兼顾舞台和四块屏幕,显然不那么简单;要从舞台所传递的海量信息中遴选出自己所需,更非易事。

“我也不知道”

戏剧节另一部备受瞩目的280分钟“巨作”——《赌徒》,改编自俄罗斯文学巨匠陀思妥耶夫斯基的同名小说。陀氏一生命途多舛,被流放到西伯利亚劳改营多年后,返家时发现妻子将不久于人世,之后他的兄弟与挚友也相继英年早逝。心力交瘁之下,他远走德国躲避债主,转眼间又输掉身上最后的钱和他所有的著作版权。因为急需拿到出版商的预付款,他竟在26天内完成了《赌徒》,简直就是一部关乎赌瘾的宣言。

从1999年起便开始将陀氏一系列小说搬上舞台的柏林人民剧院艺术总监弗兰克·卡斯托夫,此番也运用了多媒体视觉影像,他透过旋转的舞台将空间区隔成电影院、游乐场、旅馆房间、公司住所和赌场五个空间。其中的赌场被其他四个空间团团包住,所有在赌场发生的事情,都以摄影机现场转播到电影院空间,仿如一场实景“轮盘赌”。对于《赌徒》,他的理解是:“在彻底的失控、邪恶、放纵和躁动下,一切都有可能,或者说,一切都没有意义。”

1992年,柏林墙倒塌不久,生于东柏林的卡斯托夫,合并后的柏林市政府邀请他出任人民剧院艺术总监。卡斯托夫的口头禅是带有柏林口音的——“我也不知道”。1992年新的演出季开幕致辞时,他说:“我也不知道这儿该如何发展。在东德,我们学会了何为即兴。我希望大家不要在乎媒体,不要在乎评论家和其他剧院,幸灾乐祸的敌人到处都是,重要的是在这里工作的乐趣。”带着这种“不知道”精神,卡斯托夫和演员们的工作方法堪称“残酷”——绝对自由,用绝对自由来挑战演员,挑战肢体和精神上的懒惰,激发他们的创造力,他曾说:“艺术需要疯狂,在今日社会中,只有对运动员还能做出过分的要求,艺术却不行了,人们流于自我满足。”而此番《赌徒》超过4小时的“满场飞”,还有大段大段让“字幕君”吐苦水“字幕限制不了演员们”的即兴表演,也着实让人感慨——他们何止是演员,分明就是演员加上奥运会运动员。

《赌徒》剧照 Stage Photo of the play Der Spieler

《妈妈的诗》剧照 Stage Photo of the play Mother Earth

对于卡斯托夫的解读,不妨将之视为他也在挑战观众的懒惰——戏剧不光是用来享受的,作品对于当下国际政治的影射,诸如“这原本属神迹之地的欧洲已经破碎,亚洲可能才是我们的出路”的台词,还有剧中人——分别来自英国、法国、德国和俄罗斯的不同身份,都逼迫我们思考。汉斯·蒂斯·雷曼则说:卡斯托夫身上那种“失望的东德人”特质,让他不可避免地将自己的经历带入了戏剧创作之中。“看卡斯托夫的戏是一种享受吗?或者说,看戏应该是一种享受吗?这本身就是值得思考的问题。不得不承认的是,对于卡斯托夫的作品,我也有大半都看不懂。他对于陀思妥耶夫斯基的文本有细致入微的分析与处理,不一定是进剧场的人事先都能有所准备的。但是我认为观众和舞台产生个人化的连接更重要,不要害怕你不懂——先感受、再理解,试着与剧中人‘同呼吸’就好了。”

“同呼吸就好了”

与剧中人“同呼吸”,甚至无需过多语言,来自俄罗斯的《妈妈的诗》和法国的《那些人》无疑都做到了这一点。前者的中英文标题看似迥异——中文是《妈妈的诗》;英文mother earth直译则是“大地之母”;两者却都强调了“母亲”之于俄罗斯民族的重要意义。作品改编自钦吉斯·艾特马托夫同名小说,故事从夏日清晨,身着白衣的姑娘一边在田间劳作,一边与一身黑衣的“大地母亲”对话开始;秋收时,她爱上了一个年轻的工人,两人畅想着共度一生的未来;不久后,这对年轻夫妇成了三个孩子的父母,他们一同在田野耕作、阖家欢乐;大儿子遇到了一位好姑娘,双双坠入爱河、喜结连理。随后战争的消息传来,大儿子入伍,与爱人分别;父亲、二儿子、小儿子也都相继入伍,冬天,一切被冰雪覆盖,母亲收到了丈夫和儿子们的死讯;她到田野质问“大地母亲”,为什么会有战争、死亡与恐惧,“大地母亲”告诉她:她的儿媳正孕育着一个新生命;而儿媳又在生产时去世,结尾,母亲独自带着这个新生的婴儿生活下去……

在演出“大地母亲”一角的大提琴家奥尔加·德明娜的伴奏之下,一家人在田间旋转、舞动,别具俄罗斯风格的跳跃腾挪带来的欢悦;婚礼狂欢时舞台上方突然洒下数百颗子弹的恐怖;用黑布分别兜住大儿子和儿媳,往不同的方向拉扯的“生离死别”;儿媳怀胎十月,仅仅用她站在长桌上,边走边一个个捡起石块装进衣裙进行演绎。作品以行云流水的肢体动作和去繁就简的象征表达,完全超越语言,让人体味到诗意不只在远方;而剧中仅有的一句台词——二儿子入伍前,在火车站边挥舞着帽子边不断喊出的“MаMа ”,能打动的,想必不仅是“战斗民族”。

在没有布景的舞台上,男人和女人推着一辆车而来,所有的家当和一儿一女都在这辆车里。而后他们一件件将东西取出,在空地上“建”起一个最简陋的家。两位演员熟练操作着木偶,演绎出剧中人的一双儿女,他们调皮、好奇、充满幻想地学会走路、开始成长,饥饿、外来人的威胁让他们烦恼,却也让一家人更加亲密。“切勿迷路,切勿分离。即便再贫穷困苦,只要和家人在一起,都是幸福。”《那些人》的导演弗朗索瓦斯·格里埃尔如此阐释这一部短小的作品。她和法布里斯·罗密尔、克劳蒂亚·乌鲁蒂亚两位演员不仅一起创作故事,一起动手制作了要用的所有道具,甚至还在一起“发明”了一种奇特的语言——作品里,人物的对话除几句是法语之外,其他都是用这种语言完成的,配合着母亲哼唱的时而轻快、时而沉重、时而又有魔幻味道的旋律,给人留下很深的印象。演出之后,笔者见到来自智利的克劳蒂亚·乌鲁蒂亚,她说自己所哼唱的旋律有的来自法国香颂、有的来自盎格鲁民谣,哄孩子们睡觉时那首特别的歌则是智利传统的摇篮曲。

对于今年戏剧节的主题“眺”,孟京辉还想多说两句:“如果你真想眺望的话,那一定得准备好——得有能力跳起来,不会崴脚、不会摔着,还要有眺望的眼光和视野,更要有一颗美好的心。”从日常的烦冗中,跳脱到戏里;在戏里,看见自己,或许能重遇过往欢欣,或许能自省当下迷惘,或许能远眺前路光亮。Is it possible that a drama turns out to be more wonderful than life? The predestined carnival colliding with unexpected death might be far more dramatic than any theatre play. When talking about the 4thWuzhen Theatre Festival (WTF) at the very beginning, Meng Jinghui, art supervisor of WTF who once said“besides elegance and ecstasy, this session of WTF is expected to be more profound in criticism and thinking”, was too astonished to regain peace in mind at the news that Italian playwright Dario Fo passed away at Milan.

The perfect combination of ecstasy and reflection is the most touching part of Dario Fo’s works. In 1997 he was awarded with Nobel Prize in Literature. The Jury praised him as a writer "who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden" and his works“providing power of humor, enlightenment and multi-perspective observation for readers”. The latest production that Meng Jinghui has dedicated to this session of WTF was the play He Had Two Pistols with White and Black Eyes, whose author was just Dario Fo. Besides acting, those actors took up choreography, lyrics and music composition, live singing and recital. As Meng expressed,“we would like to present an unforgettable performance to pay our homage to this great master”.

Beyond Eyes Vision

“This pair of Dario Fo’s script as well as song and dance is a brand new presentation.” As a senior professional in theatre, Hans-Thies Lehmann, professor of Theatre Studies at Goethe- Universität, Frankfurt am Main, and world renowned theorist from Germany, asserted, “As far as I can see, young audiences from many countries will like such theatre productions and it is no exception at all in Germany”.

Either for audiences or for creators, “young age” has become a main character in WTF. As the opening play, Ghosts 2.0 was a novel re-interpretation of Henrik Ibsen’s classical masterpiece through multi-media by Chinese young theatre director Wang Chong. In this production, four screens were set up on stage to demonstrate the separate situations of the figures. Though it is no longer a rare occasion and has even become a fashion in European arena, we couldn’t help wondering if it was necessary and if it aimed to cater for those young audiences in favor of “four-screen separation”. As Wang Chong admitted, the interaction betweenactors and cameras is intended to reflect the uncontrolled multiintersection effect of Internet as well as the egoist or “selfied”recognition of everyone.

“In face of group ghosts, a pair of eyes can’t see everything”. Such a quote from the poster of Ghosts 2.0 proved to be unexaggerated at all. Obviously, it was not easy to capture every scene over the stage and on those four screens at the same time or to select useful information out of massive amount from this drama.

I’ve No Idea Either

Another outstanding production in WTF was an 280-minutelong drama Der Spieler, adapted from the novel The Gambler by Russian literature master in literature Dostoyevsky. After years of exile in a labor camp in Siberia, he returned home to find his wife dying. Soon after that, both his brother and his best friend fell to early deaths. Devastated and uprooted, he traveled to Germany in an attempt to escape his creditors. In no time, he had gambled away the last of his money as well as the copyrights to all of his books. In urgent need of a cash advance from publisher, he jotted down The Gambler in only 26 days, which was just a literary manifesto of gambling addiction. Frank Castorf, artistic director of the Volksbuhne am Rosa-Luxemburg Platz, began to take up series of Dostoyevsky’s versions on stage in 1999. This time, by means of multi-media image in vision, he divided the stage around a spinning platform into five parts, that is, cinema, playground, hotel room, company office and casino. The casino was surrounded by other four parts, and all that happened within the casino was live broadcast in the cinema like a living roulette. As to the play, the director uttered his understanding, “in a complete loss of control, evil, indulge and agitation, everything is possible, or in other words, meaningless”.

In the wake of the fall of the Berlin Wall, Frank Castorf, born in East Berlin, was invited by Berlin Municipality in 1992 to act as artistic director of the Volksbuhne am Rosa-Luxemburg Platz. In his Berlin accent, this director used to say “I’ve no idea either”in German. In the opening speech for repertory season of 1992, he said, “I’ve no idea what to be developed here. During our days in German Democratic Republic (GDR), we learned about improvisation. I hope that everyone never cares about media, critics or other theatre because we can always find the opponents who delight in others’ trouble. The only thing that matters is the joy of work here”. With such an open mind in artistic creation, thedirector and his peers adopted a cruel way of “Absolute Liberty”so as to fight against actors’ inertia in both physical and spiritual conditions and to stimulate their creativity. As the director said, “art calls for insanity, and in the current society, extreme requirement only applies to athletes because most artists are drunken in self-content”. In the play Der Spieler, all the actors and actresses presented over 4 hours’ acting with quantities of lines. However, the subtitle never confined their improvised acting and all the audiences regarded them as one of the best actors and athletes in Olympic spirits.

Such presentation can be understood as the director’s challenge-“Drama is far beyond mere enjoyment” against audiences’ inertia as well. Some indications of the current international politics such as the line “Europe, land of God’s miracle, is broken, while Asia might be our way out” or the varied national identities from UK, France, Germany and Russia made us think over and again. In the opinion of Hans-Thies Lehmann, the director’s feature of “a disappointed person from GDR” had inevitably brought his own personal experience into theatre creation. “Is watching Castorf’s drama a kind of enjoyment? Or is watching drama enjoyment? It’s a good question worth thinking about. I have to admit that almost half of Castorf’s drama is beyond my comprehension because his detailed analysis and arrangement in Dostoyevsky’s script is often beyond audiences’ preparedness. Nevertheless, it is more important for audiences to make personal connections with the drama. Never be afraid that you may fail to understand the plot, but feel about it and try to understand while sharing the same air with those characters”.

“Share the Same Air”

Language seems to be unnecessary so long as audiences can share the same air with the characters in a drama. Undoubtedly, the two dramas Mother Earth from Russia and Those People from France were just the cases. Russian drama Mother Earth was adapted from Chingiz Aitmatov’s novel. Though Chinese version of the title (literally Mother’s Poem) is a bit different, the significance of “Mother” to Russian people is stressed as well. The story started on an early morning in summer when a young girl in white had a conversation with “Mother Earth” while working in the field. During harvest time, she fell in love with a young worker and this couple dreamt of their future happiness. Soon they became parents of three sons—the Senior, the Middle and the Junior. They worked in the field together and enjoyed family happiness. The Senior met a nice girl and they soon got married. Afterwards, the terrible news came that a war broke out. The Senior joined the army, and soon the Middle, the Junior and the Father followed. When winter froze the field with snow, the deaths of the Father and three sons came to the Mother who then? asked “Mother Earth” why such bad things as war, death and fear were still allowed. Mother Earth replied that the Daughter-in-Law was expecting a baby. However, the Daughter-in-Law died after giving birth to a baby. In the end, the Mother struggled alone with this new life.

In the accompaniment by cellist Olga Demina as “Mother Earth”, the whole family swirled in dance and their distinct movement in Russian style indicated their joy, the sudden falling of hundreds of bullets during the wedding carnival brought about terror and the Senior and the Daughter-in-Law were wrapped by dark cloth and forced apart by death. The Daughter-in-Law’s simple act of picking stones one after another into the skirt while walking along a long table implied the boring process of pregnancy. Such fluent motion and gesture as well as explicit expression of symbolism, totally without language, brought audiences into a poetic romance. The Middle Son’s cry of “mama” before he got on the military train, as the only line in the whole play, aroused a universal touching sense among the audiences’ hearts regardless of nationality.

On a stage without scenery, a man and a woman came with a cart within which they had all their belongings and children. Then they took everything out of the cart one by one and set up a most simple house in the open air. The actor and the actress skillfully worked the puppets as their son and daughter who were curious, naughty and full of imagination. They learnt to walk and began to grow up. The threats from hunger and stranger made them annoyed and yet more close to each other as a complete family.“Never get lost or separated. Even if one leads a poor and hard life, the family reunion is always happiness.” Françoise Glière, the director of the drama Those People, explained about this short play. Together with two actors Fabrice Rumier and Claudia Urrutia, she managed the plot and all the props, and even “invented” a unique language. Except for a few lines of conversation in French, the rest of the expression was realized in this special language. Along with the Mother’s melody that sounded sometimes brisk, sometimes somber and sometimes magical, this particular expression impressed most audiences. As the actress Claudia Urrutia who came from Chile introduced during the interview after the show, the melody was inspired from French Chanson and Anglo Ballad. The particular song she hymned to get children into sleep was just the traditional cradle song of Chile.

As to the theme word “Gaze Beyond”, Meng Jinghui had more to say, “if you really want to gaze beyond, you must be wellprepared so as not to get twisted or have a fall. Moreover, you must have long vision and beautiful mind”. Indeed, when one jumps out of daily chores into drama, he or she can achieve selfidentification. Maybe we can recollect the joy in the past, see through the current mist, and find a promising future.

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