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卫报:神韵,怪异的宣传与光怪陆离的组合(中英对照)

发布日期:2008年02月28日   文章来源:凯风网   作者:Judith Mackrell 李芬(编译)
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  编者按:2月25日,英国《电讯报》发表署名文章,对法轮功的所谓“神韵”演出发表公开批评,当日英主流媒体《卫报》也同时刊发文章,指出“神韵”是“怪异的宣传与光怪陆离的组合”。原文编译如下:

 

  【英国《卫报》2008年2月25日,作者:Judith Mackrell】神韵在伦敦演出时间的选择可谓别有用心。在北京2008年奥运会的准备阶段,英国各地场馆正在用举办中国现代艺术展的形式展示着当代中国。与之针锋相对,在纽约组建的以流亡中国艺术家为主组成的神韵演出团,也在这里举办集传统舞蹈、滑稽剧和音乐于一体的晚会。在晚会上,长期流亡海外的男高音满怀思乡情,但他们所展示的却不是当代中国,而是过去的中国,或者说是中国应有的样子。

 
  节目主持人周梅和林理善(Leeshai Lemish)面带微笑,用洪亮的声音在晚会的20个节目中间穿插介绍,其中为观众交代一些故事背景和民族风俗还是有用的,但从根本上看来,他们要展示介绍的还是这场演出的目的——将演出作为示威活动来抗议中国共产党体制。
 
  神韵艺术团的大部分演员为法轮功修炼者。正如主持人所介绍,不但多数节目倾向于传达法轮功“真、善、忍”的教义,而且一些节目确实改编于中国大陆的斗争,背景图片魔幻般地描述了蜂拥而出的法轮功成员,精心策划的舞蹈冲突体现了他们与“残忍暴徒”的英勇斗争。
 
  即使你同情法轮功,也能感觉出这台节目中传递着一些鬼鬼祟祟的、热衷于布道式的腔调。这个事实也使得这台晚会的视觉风格糟得像一个迪斯尼式的节目:演员身着华而不实、满身亮晶晶金属片的传统服饰,背景是计算机制作的风景图片。
 
  舞台上也有一些令人愉悦的节目,比如震耳的鼓声,萦绕于怀的中国小提琴独奏,精心设计的舞动精美彩绸和扇子的舞蹈。但是也有许多节目违背了艺术团的承诺——保持中国古典艺术传统。
 
  戏剧《万王下世》中,出现了一对拥有明亮光环和翅膀的西方天使,看起来很不真实。另一个节目《升起的莲》,遭酷刑的法轮功修炼者,被围绕着他们的灵光照耀,整个好像圣诞剧彼得潘中的精灵。
 
  这实在是一出怪异的宣传与光怪陆离的组合。(完)
 

 

'Something creepy' about Falun Gong performers

 

By: Judith Mackrell

The timing of Shen Yun's appearance in London could not be more interesting. In the run-up to the Beijing Olympics, venues around Britain are hosting China Now, a showcase for the country's contemporary art. In marked contrast, Shen Yun is a programme of traditional dance, mime and music, performed by exiled Chinese artists based in New York. The tenor of this production is deeply nostalgic and deeply ex-pat. Not China Now, but China Past, or China As It Ought to Be.

We are introduced to the material through comperes Mei Zhou and Leeshai Lemish, who deliver bright, smiling links between the show's 20 items. Useful details are supplied concerning narrative sources and ethnic style, but what fundamentally emerges from this joint show-and-tell is the production's mission to stage a protest against China's communist regime.

The majority of the cast (members of the Divine Arts organisation) turn out to be practitioners of the oppressed spiritual movement Falun Gong. As the comperes make clear, not only are most of the numbers slanted to embody the movement's creed (truthfulness, compassion, tolerance), but some of them explicitly dramatise scenes from its struggles within mainland China, with background images magically depicting the swelling multitudes of Falun Gong followers and choreographed conflicts showing heroic battles with brutal party goons.

Even if you are sympathetic to the Falun Gong cause, there is something creepy about the evangelical tone with which this is delivered. It is also made worse by the fact that the show's visual style is like a Disney production, with the cast dressed in gaudy, glittery updates of traditional costumes backed by scenes of soft-focus landscape created by computer animation.

There are some authentic pleasures to be seen on stage fierce demonstrations of drumming; a haunting Chinese violin solo; choreographed set pieces in which the sinuous calligraphy of the dancers' bodies is elaborated with rippling silks and fans. But too much of it goes against the troupe's stated commitment to preserve the heritage of classical China.

One tableau - Descent of the Celestial Kings - includes a pair of improbably western-looking angels with tinsel halos and wings. Another - The Risen Lotus Flower - shows Falun Gong prisoners being tortured but who are illuminated by a spiritual light that pirouettes around them like a digital Tinkerbell. It is all too weird a mix of propaganda and bling.

(The Guardian, Monday February 25, 2008)

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