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我不可能做到别人要求我做每一件事,我只有足够时间去做我该去做的事情。如果我无法把每件事情都作到尽善尽美,这便意味着我想做的事情已经超过了我该去做。认清了自己的人生坐标,我的生活变得更为简单了,作息安排也更为合理。 魅力由它而生,它是苦难的根源,也是塑造坚强现在的原因。愿意相信别人,能够承担别人的信任,相信别人却是极其艰难的决定。心底的秘密存在于过去,找到那个能接受过去的人,就能有勇气焚毁所有的担心,融化冰封的城堡,让世界大地回春。

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“三分钱歌剧”:虚无主义的轻快之音  

2011-10-15 20:52:36|  分类: message |  标签: |举报 |字号 订阅

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“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客

由罗伯特·威尔逊执导的这部虚无主义歌剧,通过黑白诡异的人物形象和精妙夸张的舞台效果,集狂欢与恐怖于一身,鲜活的表现了底层恶民的世俗生活与压迫他们的大资本家的恶行,并以此来讽刺当今社会的问题。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
If you've never seen "The Threepenny Opera" before, its hilarity may surprise you. While the general maxim holds that life is bad and people worse, you may as well languish in style.

如果你以前从没看过“三分钱歌剧”,你会为剧中狂欢的氛围感到惊讶。不过,这部歌剧围绕着“生活艰辛,世人奸诈”的格言展开,因此你不妨带着倦怠的姿态去观看它。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
"It's art, it's not nice," a character says at one point to his new bride in the Berliner Ensemble's staging of "The Threepenny Opera" at the Brooklyn Academy of Music. With its sparkling costumes and hallucinatory staging, you sort of understand what he means: It's not enough for this kind of show just to be pretty -- it has to disgust you, too.

It does. This is a circus that is no less horrifying for being beautiful.

在纽约布鲁克林音乐学院的舞台上,“三分钱歌剧”中柏林乐团的一幕里,剧中一位角色对他的新娘说道,“它是艺术,它并不美好。”当你看到舞台上那些令人眼花缭乱的服饰,和幻想一般的舞台布景,你或许能够理解他的意思:这类演出不仅仅要展示美丽的元素,它有时也要令你产生反感。

确实如此。这场歌剧的骇人之处不亚于其美丽之处。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
"The Threepenny Opera," by Bertolt Brecht and Kurt Weill, premiered in 1928 as a musical comedy that has come to be regarded as a masterpiece over the years. The story of lowlife master Macheath; new bride Polly Peachum; her father, the king of the beggars; Chief of Police Tiger Brown and the rest of the scummy London underground seems like melodramatic farce at first, but reveals itself in the end to be a kind of nihilist joke. Under the direction of Robert Wilson and performed in German with English subtitles, this production is simultaneously hilarious and chilling. Despite the show's history, it's hard to imagine it staged any better than it is at BAM.

由布莱希特·贝托尔特和库尔特·魏尔创作的“三分钱歌剧”,曾作为一部音乐喜剧在1928年进行了首次公演。如今,它已经被视为一部杰作。故事有关于一个生活在社会底层的“欺诈大师”麦基和他的新娘波莉?皮契尔,波莉的父亲——乞丐之王,还有警察厅厅长“老虎”?布朗。这些人物和伦敦脏乱的社会底层生活乍一看像是一出夸张的闹剧,但当你看完整部剧便会发现,它事实上是一个虚无主义的玩笑。如今这部歌剧由罗伯特?威尔逊执导,用德语进行表演并配上英语字幕。整部剧作既欢快又令人寒心,这两种氛围被完美的交织在了一起。且不提这部作品的历史,这一次它在布鲁克林音乐学院的舞台上的呈现是极为卓越的。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
Wilson's version differs in that it has more to say about contemporary society than about history, and it delights in the parallels. One lowlife, asked to sing a song, launches into Lady Gaga's "Bad Romance." Later, Mac appears in the whorehouse dressed like a Wall Street kingpin, throwing cash in the air. He knows that by indulging in his love of women, he'll probably end up in jail -- but he goes anyway. If you can't do what you want to do in a world where pleasure's hard to come by, why not just die anyway?

威尔逊所持有的独特观点是,比起历史,他在剧中想要展现更多的是现代社会的情况。他认为当故事与观众的生活有相似之处时,它便能够使人发笑。剧中,别人要求一个社会底层的人唱一首歌,于是他便唱起了Lady Gaga的《Bad Romance (邪恶的浪漫)》。后来,麦基穿得像华尔街的大人物一样出现在妓院,并将钞票撒向空中。他知道如果一直沉迷于女色,他很可能会最终被送进监狱,但他依然一意孤行。他认为,如果在这个本就难以得到快乐的世界上,人还不能随心所欲的去做些什么,那还不如死了算了。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
Towards the end of the show, when Mac begins ranting about the evils of the big corporation and the banker, many people in the audience cheered, perhaps thinking of the Occupy Wall Street protests happening not so far away.

在表演的尾声,麦基大声斥责那些大公司和大银行家的恶行。此时,许多观众欢呼叫好,或许是想到了才刚发生不久的“占领华尔街”示威活动。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
These characters look as if they've been lifted directly out of "Glitter and Doom," a recent Metropolitan Museum exhibit of Weimar-era portraits: Their faces are painted white and black, their expressions drawn on so they look like dead dolls, their clothes black, glamorous and shapely.

最近大都会艺术博物馆举办了一场魏玛时代肖像画的展览,而本剧中的人物形象与这次展览“辉煌与劫难”这一主题如出一辙:他们的脸被抹得煞白,眼妆则化得乌黑,表情憔悴无力,看上去像是没有生命的玩偶。他们的服装都是黑色的,然而造型格外迷人。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
They move like dolls, too. Wilson is famed for his use of posed body movements, but in "The Threepenny Opera," these movements are mechanical rather than elegant. The figures trip like marionettes across the stage. Everyone speaks in a shriek, a groan or a gurgle, as if speech had been separated out into those primal noises used only to communicate the basest emotions.

他们的动作也像是玩偶一样。威尔逊一向擅长于运用人物们的动作姿态,但是在“三分钱歌剧”中,演员的动作并不那么优雅,反而是机械呆板的。演员们在舞台上像是牵线木偶一般走动,每个人说话都像是在尖叫,呻吟,或发出咯咯的声音,好像所有的话语都被转化成了最原始的那些声音,仅仅用来交流最基本的情感。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
With just line and light, Wilson manages to choreograph his visuals so that both minor, ominous shifts in mood and sudden bursts of humor are synchronized with the sets. Figures have their white faces lit against pure darkness, or are turned entirely to silhouettes against the scrim. A series of spectacular scene changes are punctuated by characters singing directly in front of a black curtain.

威尔逊只通过线条与灯光就能够精妙的编制出舞台上的视觉效果,让剧中人物最最细微的,不详的情绪转变,和突如其来的幽默气氛与整个场景的设置同步起来,达到相辅相成的效果。人物的苍白脸孔有时在漆黑的舞台上显得明亮,有时则躲在薄薄的纱幕背后成为了隐约的剪影。当壮观的布景在被替换的时候,演员们甚至直接站在一块黑色的幕布前歌唱。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
Despite the lack of clutter onstage, numerous actions are suggested through exaggerated sound effects. A beggar pours his change into the pocket of another, as the sound of jangling money rings out for minutes. A rap on a door -- or a head -- is a sharp, loud bang.

尽管舞台上缺乏零碎的道具,但是通过夸张的音效,许多场景都被描绘得栩栩如生。一个乞丐将身上的零钱都倒进另一个人的口袋的时候,钱币丁零当啷的声音持续了好几分钟。而敲门,或是敲头的声音,则是一声尖锐的巨响。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
The finale could be read as a pointed jab at the schmaltz of the Hollywood ending. The queen's messenger, wearing a massive red cloak, delivers Mac from his execution, raises him to a lord, awards him a pension and gifts him a castle. Everything is bad, and then everything is good again. That's how it works, at least in the theater.

这部戏的结尾被认为是对好莱坞式感伤结局的尖锐反击:故事的最后,一位穿着大红袍的女皇信使,带麦基离开刑场,来到一位领主面前,并赐给他赏金和一座城堡作为礼物。

一切都是坏的,然后一切又都变好了。这就是人生,至少是戏剧里的人生。

“三分钱歌剧”:虚无主义的轻快之音 - die rose - die rose的博客
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