跨时空:跨文化调查

IF 0.1 3区 艺术学 0 THEATER
Anne Cattaneo
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引用次数: 0

摘要

1999年,林肯中心艺术节将汤显祖的《牡丹亭》带到纽约,由陈世正导演。《牡丹》创作于1598年,也就是西方莎士比亚时代,被认为是中国昆曲的代表作之一。它成为明朝最受欢迎的戏剧。这部长达20个小时的戏剧从现实世界进入了一个超自然的世界,主角是一位强大的女主人公杜丽娘,她坠入爱河,在梦中经历了一系列的冒险。林肯中心艺术节的制作人约翰·洛克威尔(John Rockwell)在中国寻找材料时得知了这部经典杰作。年轻的导演陈世正是这次旅行的翻译和向导。罗克韦尔鼓励石政自己制作完整的故事,当他看到结果时,邀请它到林肯中心。《牡丹》在上海的预演结束后,石政、他的女主角钱仪和几位参与演出的音乐家前往纽约准备转移,然后,突然,这部新作品被中国政府以“颓废”为由禁止了。这些设备被扣押在上海机场。在林肯中心委员会和包括亨利·基辛格在内的几位政治人物的介入下,说服中国政府释放布景,并允许在美国进行制作。然而,已经在那里的艺术家将不被允许返回中国。《牡丹亭》获得了巨大的成功,它拥有庞大的演员阵容,采用水、活鸟和环境噪音的创新舞台,优美的音乐和非凡的表演。它随后在巴黎秋季艺术节、米兰短笛剧院、珀斯国际艺术节、丹麦奥胡斯艺术节、柏林艺术节、维也纳艺术节、新加坡艺术节以及最后在南卡罗来纳州查尔斯顿的斯波莱托艺术节上上演。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Step Across Time and Space: Cross-Cultural Investigation
In 1999, the Lincoln Center Festival brought a new interpretation of Tang Xianzu’s The Peony Pavilion to New York, directed by Shi-Zheng Chen. Peony was written in 1598, Shakespeare’s era in the West, and is considered one of the masterpieces of Chinese Kunqu opera. It became the most popular play of the Ming Dynasty. The twenty-hour-long play, which moves from reality into a supernatural world, features a powerful central female heroine, Du Liniang, who falls in love and enters into a series of adventures in a dream. The producer of the Lincoln Center Festival, John Rockwell, learned of this classic masterpiece while traveling through China looking for material. The young director Shi-Zheng Chen was an interpreter and guide on this trip. Rockwell encouraged Shi-Zheng to stage his own production of the complete story and, when he saw the results, invited it to Lincoln Center. Shi-Zheng, his leading lady Qian Yi, and several of the musicians involved with the piece traveled to New York after Peony’s preview run in Shanghai to prepare for the transfer, and then, suddenly, the new production was banned by the Chinese government on the grounds that it was “decadent.” The sets were seized and held at the airport in Shanghai. It took the intervention of the Lincoln Center Board and several political figures including, reputedly, Henry Kissinger, to persuade the Chinese government to release the sets and allow the production to proceed in the United States. The artists already there would not be allowed to return to China, however. The Peony Pavilion was a huge success, with its large cast, innovative staging with water, live birds, and ambient noise, its beautiful music, and extraordinary acting. It went on to be staged at the Festival d’Automne in Paris, the Piccolo Teatro in Milan, the Perth International Arts Festival, the Aarhus Festival in Denmark, the Berlin Festival, the Vienna Festival, the Singapore Arts Festival, and, finally, the Spoleto Festival in Charleston, South Carolina.
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