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电讯报:神韵,借娱乐之名,行宣传之实(中英对照)

发布日期:2008年02月26日   文章来源:凯风网   作者:Sarah Crompton 李芬 石言(编译)
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  编者按:英国《电讯报》2月25日发表署名文章,公开批评法轮功的所谓“神韵”表演是一场“借娱乐之名,行宣传之实”的政治演出。作者对法轮功不择手段的“邪教”宣传表示了深深的厌恶。原文编译如下:

 

  【英国《电讯报》2008年2月25日,作者:Sarah Crompton】“东方太阳马戏团!”——晚会广告宣称这将是中国人带来的一场奇观,其实根本就不是那么一码事儿。

 
  杂技、唱歌、舞蹈,所有的演出技巧都是变着法子在为法轮功做宣传服务的。要知道法轮功1999年被中国政府定为“邪教”,并已经被依法取缔。
 
  神韵表演艺术团的大部分成员是法轮功学员。在演出中他们并没有把自己对法轮功的信仰掩饰在那些中国传统舞蹈和传说的故事背景中,而是将其作为整场演出的焦点推出。
 
  于是,歌曲赤裸裸地鼓吹他们所遵奉的法轮功教义的种种好处,舞蹈场面都有明显的寓意背景,节目高潮是一个小品,在一个现代中国公园场景里,一个善良的女人和她的女儿因为信仰法轮功而遭“邪恶”的共产党毒打,最终引起人们起来反对他们。
 
  如今,按照大赦国际的说法,似乎有证据表明法轮功的追随者遭受了“残酷的迫害”。但是另一方面,让我去接受李洪志的观点,也勉为其难,他认为“外星人生活在我们中间”,“同性恋和混血婚姻是堕落的”。因此看来,要把法轮功宣称的“真善忍”作为社会所接受的准则,恐怕还有很长的一段路要走。
 
  我真正反对的是,把这样一个具有明显政治意图的表演冠以家庭娱乐的名义偷偷搬到了欧洲各地的舞台上。
 
  周五,法轮功在英国音乐厅搞了首场演出,固然也有部分听众(大多数为中国血统)为之喝彩,但其余的观众都和我一样,对演出内容感到不寒而栗。
 
  在这样一个背景下,判断这台晚会到底有何艺术价值,似乎已经没有什么意义了。依我看,它是中国传统文化庆祝活动中一个迪斯尼式的令人惊悚的演出。
 
  在两个不断微笑的双语主持人的引导下,身着奇装异服(老式的西方紫色裙子配白色晚礼服)的歌星,打扮成藏族僧人、古代勇士的舞者,在绚丽花束和亮晶晶的彩色丝绸背景下一一亮相。在他们表演过程中,明亮的背光下,飘浮的佛像、幻动的幽灵若隐若现,偶尔还有变换的风景闪现,幻灯机有意无意制造了这种动漫效果。
 
  晚会按部就班地进行,伴着些许优雅,但其所承诺的杂技表演却寥寥可数。最好看的节目也就是癫狂的鼓手、蒙古族顶碗舞和藏族舞蹈,那些节目内容简单,最少告诫。其余的节目均被其所竭力诉诸的政治内容所拖累。
 
  这是我在剧院看过的最不可思议和最令人不安的一场晚会。(完)
 

 

Shen Yun: Propaganda as entertainment

 

By: Sarah Crompton

 

Sarah Crompton reviews Shen Yun at the Festival Hall
  
This show is advertised as a Chinese spectacular - a kind of Eastern version of Cirque du Soleil. It is nothing of the kind.
  
Acrobatics, singing and dancing skills are used in the service of a propaganda exercise on the part of Falun Gong, a group banned as an "evil cult" by the Communist Chinese government in 1999.

Most of the members of the Divine Performing Arts troupe are members of Falun Gong. But their beliefs do not simply form a backdrop to a neutral presentation of traditional Chinese dance and legends. They are the focal point of the evening.

Thus the songs boast about the benefit of the laws and principles by which they live, the dance scenes are mostly parables and the climax is a vignette set in a modern Chinese park, where a good woman and her daughter are beaten for their beliefs by evil Communist Party thugs until the people rise up against them.

Now it does seem, from Amnesty International evidence, that followers of this group have suffered brutal persecution; on the other hand, I am reluctant to welcome the teachings of a man who believes that aliens live among us and that homosexuality and mixed-raced marriages are degenerate. This seems a long way from the "truthfulness, compassion and forbearance" presented as the group's principles on stage.

But what I really object to is that such a politically motivated performance is being smuggled on to stages around Europe in the name of family entertainment. And at the group's first performance in Britain on Friday at the Festival Hall, I was not alone. While many of the audience - the majority of Chinese origin - applauded, others were appalled.

In such a context, any judgment of the piece's artistic merit seems beside the point, but it is a horribly Disneyfied version of the traditional Chinese culture it seeks to celebrate.

Introduced by two constantly smiling bilingual presenters, the singers wear a strange mixture of old-fashioned Western garb (purple crinoline, white evening suits) and the dancers appear dressed as Tibetan monks, ancient warriors, flowers and the like in brilliantly coloured silks. They perform against bright slides, across which flying Buddhas or spirits occasionally zoom into view, to unintentionally comic effect.

They move with great discipline and some grace, but the promised acrobatics are few and far between. The best of the routines - some ferocious drummers, a Mongolian bowl dance, a Tibetan dance of welcome - are those that are simplest and least admonitory. The rest are tainted by the baggage they are asked to carry.

The result is one of the weirdest and most unsettling evenings I have ever spent in the theatre.

(Telegraph.co.uk, February 25, 2008)

(责任编辑:)

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