Acrobatic Swan Lake
杂技天鹅湖
大约在19世纪的芭蕾马戏团里总是响起一阵,
充满异国情调的舞者,壮观的转型场面和新颖的舞步,
因此,中国杂技演员的天鹅湖无疑是下一步的发展。
早在1895年,佩蒂帕(Petipa)就让他的Odette / Odile 32fouettées跳舞,
因为观众大声疾呼在每场演出中都看到这只芭蕾舞女演员的脚。
孙家印为什么不炫耀自己的极限特技-在齐格弗里德的头上跳舞呢?
这些杂技舞者的所作所为只会吸引最纯粹的纯粹主义者。
柴可夫斯基的分数可能被粗略地记录下来,而且动作可能与原始的歌词无关紧要,
但舞台上却有魔术。
齐格弗里德(Siegfried)出发追求奥黛特(世界旅行而不是简单的到湖旅行)时,
他遇到了杂耍帽子的南美人,从一根颤抖的船桅飞向另一艘的桅杆上飞来飞去的水手,狂欢的高跷行者和一个四重奏。
在手上跳舞的青蛙。他被邪恶的鹰王(Eagle King)困住,
被那些像毛毛虫和骑独轮车跳舞的恋人一样波涛汹涌的扭曲主义者迷住了。
最妙的是,这些技巧完全融入了舞台表演–在恰到好处的时间里对柴可夫斯基玩弄真是一个奇迹。
但是,有些行为确实使这个概念有些shoe脚。
滚轴溜冰的天鹅比芭蕾的天鹅更令人印象深刻,应该扔掉小丑的小天鹅。
制作与故事的互动如此之少,真是太可惜了,王子亲密地扮演了英雄和奥黛特的角色,其奇妙,曲折的胆识,没有悲剧的女主角。
但是,最后,谁在乎呢?这些表演者重置了人为极限。
当奥黛特高高地坐在齐格菲(Siegfried)的头上时,
她的身体呈弧形的蔓藤花纹拱起,每一次厌烦都会被集体的呼吸所淹没。
By Judith mackrell, The Guardian Culture Thursday 7 August 2008
Chinese acrobats’ Swan Lake is the logical next step.
There was always a whiff of the circus about 19th-century ballet, with its exotic dancers, spectacular transformation scenes and novelty dance steps, so it is arguable that the Chinese acrobats’ Swan Lake is the logical next step. Back in 1895, Petipa gave his Odette/Odile 32 fouettées to dance because audiences clamoured to see this ballerina feet at every show. Why shouldn’t Sun Jiayin show off her own extreme equivalent – dancing on point on Siegfried’s head?
Only the stingiest of purists could fail to be enthralled by what these acrobat-dancers do. The Tchaikovsky score might be crudely recorded and the action might bear scant relationship to the original libretto, but there is magic on stage. As Siegfried sets out in pursuit of Odette (a world tour rather than a simple trip to the lake), he encounters hat-juggling South Americans, sailors who fly from one quivering ship’s mast to the next, carnival stilt-walkers, and a quartet of frogs who dance on their hands. Trapped by the wicked Eagle King, he is bedazzled by contortionists who undulate like caterpillars and lovers who dance on unicycles.
At their most awesome, these tricks are integrated completely into the stage action – juggling in exact time to Tchaikovsky proves to be a marvel. Some acts do, however, feel shoehorned into the concept. Roller-skating swans are infinitely less impressive than their ballet equivalent, and the clowning cygnets should be dropped. It is also a shame that the production engages so little with the story, with the Prince a solid cypher of a hero and Odette, in all her marvellous, bendy boldness, no tragic heroine. But, finally, who cares? These performers reset human limits. As Odette perches high on Siegfried’s head, her body arched in a back-bending arabesque, every demurral is drowned by the collective intake of breath.
杂技天鹅湖
广东省杂技团的天鹅湖奇特而俗气,有时两者同在。
一方面,您会得到模糊的故事讲述,俗气的效果以及溜冰鞋上的芭蕾舞团。
另一方面,让表演者去做不可能的事情-最壮观的是,
女主人公在韦伯华头顶上的足尖上跳舞的那一幕。
平衡后,吴正丹将另一只脚踢到高处。
然后她做一个弯曲动作,头部与支撑脚踝齐平。
观众的反应令人敬畏。
该剧团设在上海,在全球范围内赢得了奖项。
毫无疑问,天鹅湖是该公司最著名的产品。
整个演出都是围绕那个二重奏而进行的,该二重奏是在2004年以东方天鹅芭蕾在头顶上创作的。
然而,当尝试进行弹道运动时,这种生产处于最弱的状态。
柔和的身体可以毫无障碍地进入芭蕾舞姿势,但是跳舞却缺乏权威和表达能力。
柴可夫斯基的音乐保存了无数版本的芭蕾舞剧,但这种录音版本很少适合杂技表演。
尽管编舞赵明将魔术,飞舞的效果和变换转化为故事,但他的演出还是笨拙的。
窍门在那里,但毫无疑问。张继文的精心设计可以掩盖杂技细节。
上半部分的国旗被小丑的表演和不良的节奏打压。
有时,纯粹的浮华变得迷人。
为了寻找自己心爱的王子,王子骑着毛绒骆驼驶过埃及,途中经过了一群装满金属丝的肚皮舞者。
尽管表征通常很薄,但魏宝华非常重视这一切。
无论他们向他扔了多少独轮车和玩杂耍的人,他都会继续努力。
即使您必须坐下来讲故事,杂技也很惊人。
作为蛇,谭万霞把自己弄成我几乎不愿看的位置。
一个变戏法者旋转着七个或八个闪闪发光的球杆,将它们踢出地板,同时保持其他球杆的旋转。
在当晚最好的音乐使用中,小天鹅被四只青蛙代替,它们四处跳动,整齐地踢腿,使之跳动。
By Zoë Anderson of the Independant, Monday, 11 August 2008
Watch Performers doing the Impossible.
The Guangdong Acrobatic Troupe’s Swan Lake is phenomenal and cheesy, sometimes both in the same breath. On the one hand, you get blurry storytelling, tacky effects and a corps de ballet on roller skates. On the other, you get performers doing the impossible – most spectacularly, that scene where the heroine dances, on pointe, on top of Wei Baohua’s head. Once balanced, Wu Zhengdan kicks her other foot into a high extension. And then she does a backbend, her head level with her supporting ankle. The audience reacts with awed disbelief.
Based in Shanghai, the troupe has won awards around the globe. Unsurprisingly, Swan Lake is the company’s most celebrated production. The whole show was built around that duet, created in 2004 as Oriental Swan-Ballet on Top of Head.
Yet this production is at its weakest when it tries to be balletic. Contortionist bodies have no trouble getting into ballet poses, but as dancing it lacks authority and expression. Tchaikovsky’s music has saved countless versions of the ballet, but this taped version rarely fits the acrobatic action.
Though choreographer Zhao Ming builds conjuring, flying effects and transformations into the story, his staging is clunky. The tricks are there, but with little wonder in them. Zhang Jiwen’s elaborate designs can obscure acrobatic detail. The first half flags, weighed down by clown acts and bad pacing.
Occasionally the sheer flashiness becomes charming. In search of his beloved, the Prince sails through Egypt on a stuffed camel, passing a stageful of tinsel-clad belly-dancers.
Though characterisations are generally thin, Wei Baohua takes it all very seriously. He goes on registering devotion, no matter how many unicyclists and jugglers they throw at him.
The acrobatics are astonishing, even if you have to sit through the story to get to them. As a Snake, Tan Wanxia wound herself into positions I could hardly bear to look at. One juggler whirls seven or eight sparkly clubs, kicking them up from the floor while keeping the others spinning. In the evening’s best use of music, the cygnets are replaced by four frogs, who hop about on their hands, kicking their legs neatly to the beat.