设计师带你读懂当代戏剧：Two Cigarettes in the Dark
The Contemporary Performance through the Eyes of a Designer : "Two Cigarettes in the Dark "
01
设计师的看剧笔记
Designer's Note
02
"Two Cigarettes in the Dark"
黑暗中的两支香烟
这部作品是源源不断的超现实场景，没有线性叙事。轻松的荒诞图像描绘了日常生活的单调性以及我们的生活方式。
Bausch的工作非常个人化。在舞台上，她的舞者毫不羞耻地表演，这在现实生活中是难以想象的，因此与公众建立了通俗的联系。一切正常，没有什么可以隐藏或恐惧的。观众和演员一起笑和哭，演员的灵魂暴露得越多，观众对他们的感觉就越亲密。
This work is a continuous flow of surreal scenes without linear narrative. Relaxed absurd images depict the monotony of daily life and our way of life.
Bausch's work is very personal. On the stage, her dancers performed without shame, which is unimaginable in real life, and therefore established a popular connection with the public. Everything is normal, there is nothing to hide or fear. The audience laughs and cries with the actors. The more the actor's soul is exposed, the closer the audience feels towards them.
03
关于 "Two Cigarettes in the Dark"
About "Two Cigarettes in the Dark"
03-1 导演和编舞: 皮娜·鲍什
Direction and Choreography: Pina Bausch
皮娜·鲍什（Pina Bausch），1940年出生于Solingen，2009年在Wuppertal去世。她在Essen的Folkwang学校接受了Kurt Jooss的舞蹈训练，在这段时间中她习得了卓越的舞技。在Wuppertal剧院的导演阿诺·伍斯坦霍弗(Arno Wustenhofer)聘请她担任舞蹈指导后不久，她从1973年秋季开始将剧团更名为伍珀塔尔坦茨剧院(Tanztheater Wuppertal)。剧院的更名虽然一开始就引起争议，但逐渐获得了国际认可。它的诗性元素与日常元素的结合，对舞蹈的国际发展产生了决定性的影响。Pina Bausch被授予一些全球性最伟大的奖项和荣誉，是当今最重要的编舞家之一。
Pina Bausch was born 1940 in Solingen and died 2009 in Wuppertal. She received her dance training at the Folkwang School in Essen under Kurt Jooss, where she achieved technical excellence. Soon after the director of Wuppertal's theatres, Arno Wüstenhöfer, engaged her as choreographer, from autumn 1973, she renamed the ensemble the Tanztheater Wuppertal. Under this name, although controversial at the beginning, the company gradually achieved international recognition. Its combination of poetic and everyday elements influenced the international development of dance decisively. Awarded some of the greatest prizes and honours world-wide, Pina Bausch is one of the most significant choreographers of our time.
03- 2 创作主题
Creative Theme
在彼得·帕布斯特（Peter Pabst）设计的封闭而完美的环境中，表演者互相呼唤，穿越道路，以暴力和滑稽的顺序互相跟随，从而寻求填补其存在的空白。在悲剧与嘲讽，痛苦与希望之间，这些画作碰撞，揭示了男女之间关系的所有复杂性以及人性的矛盾。
In the closed and perfect environment designed by Peter Pabst, performers call to each other, cross roads, and follow each other in a violent and comical order, seeking to fill the gaps in their existence. Between tragedy and ridicule, pain and hope, these paintings collide, revealing all the complexity of the relationship between men and women and the contradictions of human nature.
03-3 场景布置
Scene Layout
舞台看起来像一个巨大的起居室，里面有几扇门和三个不成比例的水族馆窗户（在茂密的森林，仙人掌和装满水的游泳池中），观众可以看到衣着考究的男女，他们正在拼命地试图找到自己的位置。他们正在喝咖啡，站在原木上，有外遇，用斧头切橙子，在郁郁葱葱的花园里射击他们不忠实的恋人，并在舞台上奔波，腰间绑着锅，但总是穿着高跟鞋或鱼鳍。
有趣的是，音乐是在动作发生之后出现的，强调了它的牺牲性，以提醒人们，即使是看似重复的思想，在生活中我们也只能表现有限的次数。在喝酒和华尔兹舞表演之间，坐在地板上，无论舞者做什么，这看起来都是很正常的事情，观众因此而理解眼前不断的重复运动。
The stage looks like a huge living room with a few doors and three disproportionate aquarium windows (in the dense forest, cacti and swimming pools filled with water), and the audience can see well-dressed men and women. They are desperately trying to find their place. They are drinking coffee, standing on logs, having an affair, cutting oranges with an axe, shooting their unfaithful lovers in the lush garden, and running around on stage, with a pot tied around their waist, but always wearing high heels or fish fin.
What’s interesting is that music appears after the action has taken place, emphasizing its sacrificial nature to remind people that we can only express a limited number of times in our lives even with seemingly repetitive thoughts. Between drinking and waltz performance, sitting on the floor, no matter what the dancer does, this seems to be a normal thing, and the audience understands the constant repetitive movement in front of them.
04
独特的戏剧语言
Unique Drama Language
剧里这些角色之间或与其他八位表演者之间的关系在舞台上具有多样性，但他们之间的关系并不清楚。正如鲍什（Bausch）的大多数作品一样，没有任何叙述或意义需要从辉煌而令人困惑的插图中去除。相反，他们只能在观察者的脑海中凝聚。在脑海中留下生动，奇异的图像：烦扰的和疏远的，安抚的和娱乐的。
到表演尾声的时候，观众似乎在看着脆弱的文明，以及在黑暗中喝酒和吸烟所带来的最后一次痛苦。但是，还有更多莫名其妙的场景出现，将受够了烦恼的听众带到最近的出口。梅西先生准备了一顿饭；格罗斯曼铲走并砍下木制衣架；斯特拉克坐在舞台的边缘，把自己喷成了幽灵般的白色... 最后，其余的演员游行，以克罗斯比的声音低声吟唱标题歌曲。到那时，这件作品似乎已经脱节了，它唯一的讯息就是生活和爱情的最终徒劳。难怪黑暗中的两支香烟这部作品很少再次出现在观众面前。
The relationship between these characters in the play, or with the other eight performers on the stage is more variable. The relationship between them is unclear. As with most of Bausch's works, there is no narrative or meaning to be removed from the brilliant, confusing flow of vignettes that make up the work. Instead, they can only condense (or not condense) in the observer's mind. Leaving vivid, bizarre images in the mind; disturbing and alienating, comforting and entertaining.
Towards the end of the performance, the audience seemed to be watching the last pain of a fragile civilization, drinking and smoking in the dark. However, there are more inexplicable scenes that will bring listeners who are fed up with troubles to the nearest exit. Mr. Mercy prepared a meal; Grossman shoveled away and cut off the wooden hangers; Straker sat on the edge of the stage and sprayed himself a ghostly white... Finally, the rest of the actors marched to Rossby's voice whispered the title song. By then, the work seemed to be out of touch, and its only message was the ultimate futility of life and love. No wonder the two cigarettes in the dark are rarely resurrected.
致谢
Credits
导演和编舞 / Direction and Choreography:
皮娜 鲍什 Pina Bausch
布景设计 / Set design
Peter Pabst
戏服 / Costumes
Marion Cito
音乐 / Music
Claudio Monteverdi
Ludwig van Beethove
......
首次展演 / First performance:
1985年3月31日 伍珀塔尔剧院
演出时长 / Duration：
3h
关于设计师
About the Designer
廖青
莫方 Eating Lab+Gallery+Theater 主理人
荷兰皇家艺术学院室内建筑专业
(Interior Architecture) 研究生
清华大学美术学院环境艺术设计系室内设计专业 本科
