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  • 设计师带你读懂当代戏剧:"Sleeping Beauty"

    Designers take you to understand contemporary drama: "Sleeping Beauty"

    01

    设计师的看剧笔记

    Designer's Note


    设计师带你读懂当代戏剧:


    02

    《睡美人》
    "Sleeping Beauty"


    “童话就像一个漂亮的小房子,但门上有一个牌子写着‘地雷!’ 所有的童话故事都有一个共同点:公主、女巫、国王和王后,善良和邪恶。但每一种都有其独特之处,因为无法解释的事情总会发生。在《睡美人》中,对我来说,这个神秘的时刻就是刺痛我的刺,随之而来的就是睡眠。这意味着什么?到底发生了什么?我有一种无法抑制的讲故事的冲动。重新阅读神话、传说和童话,发现它们表面的寓意,破坏它们,再创造它们——换句话说,认真对待它们——在我看来,这是一种意义重大的行为。”

    —— 马兹·艾克

    “A fairy tale is like a pretty little house, but there’s a sign on the door saying ‘land mines! ’ All fairy tales have things in common: princesses, witches, kings and queens, good and evil. But each one also has something unique about it, because inexplicable things happen. In 'Sleeping Beauty', for me, this mysterious moment is the actual prick of the thorn, with the sleep that follows. What does this mean, and what is really going on? I have an irrepressible storytelling urge. Rereading myths, legends and fairy tales, discovering their obvious aspects, sabotaging them and re-creating them—in other words, taking them seriously—is to my mind an act of the greatest significance.”

    —— Mats Ek


    设计师带你读懂当代戏剧:


    《睡美人》有很多版本,其故事涵义都大致相同。然而,1996年在汉堡首映马兹·艾克的版本是在现代环境中重新塑造了童话。导演艾克崇尚平凡与非凡,因此童话故事不是关于寻找幻想王子,而是关于稳定与日常的快乐。这里没有王子或公主。主人公奥罗拉(Aurora)是个被宠坏的少年,她无视自己的特权生活来追求与海洛因瘾君子的爱情,在这里没有纺锤或刺,而是海洛因针引起的昏迷。唯一能挽救她并使自己摆脱成瘾的人是戴斯王子(Prince Desire)。艾克利用其标志性的黑暗幽默与30名来自Les Grands芭蕾舞团的舞者一起探索死亡,爱情,嫉妒,报仇和幸福的结局。


    There are many versions of "Sleeping Beauty", all of which have roughly the same meaning. However, the version of Mats Ek, which premiered in Hamburg in 1996, reshaped the fairy tale in a modern environment. Director Mats Ek advocates ordinary and extraordinary, so fairy tales are not about finding a fantasy prince, but about stability and daily happiness. There is no prince or princess here. The protagonist, Aurora, is a spoiled teenager. She ignores her privileged life to pursue her love with heroin fans. There is no spindle or thorn here, but a coma caused by heroin needles. The only person who can save her and free herself from addiction is Prince Desire. Ek used his iconic dark humor to explore the ending of death, love, jealousy, revenge and happiness with 30 dancers from Les Grands Ballet.


    设计师带你读懂当代戏剧:


    03

    关于 《睡美人》

    About "Sleeping Beauty"


    03-1 导演/编舞家:马兹·艾克

    Director/Choreographer : Mats Ek 



    设计师带你读懂当代戏剧:


    瑞典舞蹈家和编舞家,比尔吉特·库尔伯格(Birgit Cullberg)的儿子,演员安德斯·艾克(Anders Ek)及舞者尼克拉斯·艾克(Niklas Ek)的兄弟。他以演员身份开始职业生涯,然后于1972年在斯德哥尔摩芭蕾舞学院学习舞蹈。他曾在Cullberg芭蕾舞团(1973–1974)和Düsseldorf芭蕾舞团(1974–19755)跳舞,然后回到Cullberg芭蕾舞团,后来成立Mats Ek / Cullberg芭蕾舞团。


    在艾克以前的一些舞蹈编排中,受到了很多来自库尔特·乔斯和他的母亲比尔吉特·库尔伯格的影响。心理困境的社会参与加上微妙的幽默感,构成了他编舞的基础。对于艾克而言,运动是个体表达的一种手段,审美价值并不是他的首要任务。 


    艾克创造了大量的芭蕾舞剧,包括20多部库尔伯格芭蕾舞团的作品,其中包括《吉赛尔》,《天鹅湖》和《卡门》等经典作品。艾克离开库尔伯格芭蕾舞团后,成为主要国际舞蹈公司的特邀编舞。他为Hamburg Ballet创作了《睡美人》,为巴黎歌剧院创作了《公寓》等。


    Swedish dancer and choreographer, son of Birgit Cullberg and actor Anders Ek; brother of dancer Niklas Ek. He started his career as an actor then studied dance at Stockholm Ballet Academy from 1972. He danced with Cullberg Ballet (1973–1974) and Düsseldorf Ballet (1974–1975), then returned to Cullberg Ballet which subsequently became the Mats Ek/Cullberg Ballet.


    In some of Ek's previous choreography, he was influenced by Kurt Joss and his mother, Birgit Cullberg. The psychological dilemma of social participation and a subtle sense of humor formed the basis of his choreography. For Ek, movement is a means of individual expression, and aesthetic value is not his primary task.


    Ek produced a large number of ballets, including more than 20 works by Cullberg Ballet, including classic works such as "Giselle" , "Swan Lake" and "Carmen" . After Ek left the Cullberg Ballet, he became a guest choreographer for major international dance companies. He created "Sleeping Beauty" for Hamburg Ballet, and created "Apartment" for Opéra de Paris.


    设计师带你读懂当代戏剧:


    03- 2 创作灵感

    Creative Inspiration


    马兹·艾克擅长将现实世界中的经验与舞台经验进行结合,在欧洲城市火车站后面见到年轻女性沉迷于“毒品”之后深受感触,看着这些被宠坏的年轻女孩,在诱惑面前难以抗拒,面无表情空洞的神态,身上到处被扎着针的血管。在诱惑面前年轻的他们认为自己足够强大,可以在没有父母的情况下生存并拒绝诱惑,但最终却陷入了滥用和贩毒的痛苦之中。以叛逆女孩的在困境中成长为灵感,成为《睡美人》的创作核心。


    Mats Ek is good at combining real world experience with stage experience. After seeing young women addicted to "drugs" behind train stations in European cities, he was deeply touched. Looking at these spoiled young girls, it is hard to resist the temptation , With a blank expression on his face, blood vessels pierced everywhere on his body. Young in the face of temptation, they think they are strong enough to survive without their parents and refuse temptation, but in the end they fall into the pain of abuse and drug trafficking. The rebellious girl grew up in a difficult situation and became the core of the creation of "Sleeping Beauty".


    设计师带你读懂当代戏剧:


    03-3 艺术创作
    Artistic Creation


    “Sleeping Beauty”是20世纪最具争议和备受赞誉的芭蕾舞表演。而这部戏剧的导演马兹·艾克热爱艺术挑衅,擅于将现实话题转变为黑色幽默,这种特立独行的编舞画风成为瑞典舞台戏剧的标志。以舞蹈艺术知识分子的名字命名,设法将经典与现代技术,学术运动之美与敏锐的手势相结合。对于以往的挑衅者来说,他们通常使用怪诞的文体来侵犯普遍接受的美感规范。


    而艾克恰恰相反,将美丽、优美的经典作品进行结构重组,加入现代与现实的元素。让童话故事焕然一新变为后现代作品,这种张弛有度的创作,在跌宕起伏的戏剧性转折中与观众产生了共鸣。这种对艺术的思考与挑衅,创造出了新的戏剧表达方式,让经典传世之作变成具有前瞻性及颠覆性的作品。


    "Sleeping Beauty" is the most controversial and acclaimed ballet performance of the 20th century. The director of this drama, Mats Ek, loves artistic provocation and is good at turning realistic topics into black humor. This maverick style of choreography has become a symbol of Swedish stage drama. Named after an intellectual in the art of dancing, he tried to combine classics with modern technology, the beauty of academic sports and keen gestures. For past provocatives, they usually use grotesque styles to violate generally accepted aesthetic norms.


    On the contrary, Mats Ek restructured beautiful and graceful classic works, adding modern and realistic elements. Turning fairy tales into post-modern works, this kind of relaxed and moderate creation resonates with the audience in the dramatic turn of the ups and downs. This kind of thinking and provocation of art has created a new way of dramatic expression, making classics handed down to the world into forward-looking and subversive works.


    设计师带你读懂当代戏剧:


    03-4 舞台设计
    Stage Design


    尽管艾克的自负可以轻易地将芭蕾舞剧变成夸张的夺人眼球的作品,但它成功地从头到尾进行了细致的制作,而没有成为任何噱头。因此,埃克能够将一出看似陈腐、谄媚的芭蕾舞剧转变成一部与主题相关、情感投入的作品。


    除了独舞演员们,此剧还加入了一个才华横溢、多样化的芭蕾舞团,与最初的场景形成鲜明对比的是,最初的场景包括许多entrées,仅仅是为了壮观。因为艾克去掉了大型芭蕾舞和许多伴舞的装饰,观众可以把注意力集中在主要角色上,并欣赏单个舞者的才华。通常情况下,独唱者会独自或以小团体的形式出现在舞台上,而不是淹没在薄纱芭蕾舞裙的海洋中。


    While Ek’s conceit could easily transform the ballet into an over-the-top eye-roller, it successfully carries the production through from start to finish without ever becoming gimmicky. As a result, Ek is able to transform a ballet which can seem hackneyed and saccharine into a work that is relevant and emotionally engaging.


    The soloists were joined by a talented and diverse corps de ballet, which was used sparingly, in contrast with the original scenario, which includes many entrées merely for the sake of spectacle. Because Ek strips away the trappings of grand ballet and many of the ensemble dances that come with it, the audience is able to focus on the main characters and enjoy the talents of individual dancers. Frequently, soloists appear on stage alone or in small groups, rather than drowning in a sea of tulle tutus.


    设计师带你读懂当代戏剧:


    04

    戏剧的背后故事

    Behind Story


    对于艾克来说,舞蹈和艺术从一开始就是他的生活。在艺术家庭的影响下,马兹·艾克继承了母亲Birgit Cullberg的传统,将古典芭蕾舞与现代主义的表现力融为一体。他通过与戏剧和舞蹈的关系开发了带有自己独特特征的动作字母;在戏剧方面,他在父亲安德烈斯·埃克(Andres Ek)的引导下,在Marieborg Folks College进行学习。


    在母亲Birgit Cullberg的指引下,他沉迷于舞蹈世界。艾克的母亲是Jurt Jooss的门徒,也是斯德哥尔摩Cullberg芭蕾舞团的创始人,使他参与了该公司的艺术指导,从1985年开始,他自己担任导演,成为一名具有个人语言的编舞家,他对古典舞剧进行了解构,创建出展示舞者独特力量的舞蹈体。1993年,他开始以独立编舞的身份为主要芭蕾舞团创作作品,并于2006年获得著名的班努瓦舞蹈奖,然后于2016年退役。


    For Ek, dance and art have been his life from the beginning. Under the influence of the artistic family, Mats Ek inherited the tradition of his mother Birgit Cullberg, combining the expressiveness of classical ballet with modernism. Through his relationship with drama and dance, he developed action letters with his own unique characteristics; in drama, he studied at Marieborg Folks College under the guidance of his father Andres Ek.


    Under the guidance of his mother Birgit Cullberg, he was addicted to the world of dance. Mats Ek’s mother was a disciple of Jurt Jooss and the founder of Stockholm’s Cullberg Ballet. He participated in the company’s artistic direction. Since 1985, he has acted as a director and a choreographer with a personal language. He deconstructed classical dance drama and created a dance body that showed the unique power of dancers. In 1993, he started to create works for major ballet companies as an independent choreographer. He won the prestigious Bannois Dance Award in 2006 and then retired in 2016.


    致谢

    Credits


    编导 / Director:

    Mats Ek   马茨·艾克

    演员 / Actor
    Vanessa de Lignière, Gamal Gouda, Gunilla Hammar, George Elkin, Torunn Robstad

    首次展演 / First performance:
    1996年6月2日  德国
    时长/duration
    106分钟 



    关于设计师

    About the Designer


    设计师带你读懂当代戏剧:


    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