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星报:法轮功晚会不过是宣传幌子(中英对照)

发布日期:2008年01月21日   文章来源:凯风网   作者:Susan Walker 李芬 张涤非(编译)
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  【加拿大多伦多《星报》2008年1月20日,作者:苏珊·沃克(Susan Walker)舞蹈专家】城里并非每天都有自称能给观众带来切实健康好处的晚会。不过,男高音关贵敏在晚会前的招待会上确实是这么说的,他在两个半小时的中国新年“奇观”晚会尾声演唱了《法轮圣王》。
 
  这个被公认为极其俗气的晚会,在每个可能的机会都会提出一些“启示和真理”,介绍所谓“被中国共产党破坏”前的“中国文化精髓”,并画蛇添足地展示音乐和舞蹈的康复效用。节目充满了法轮功讯息,以至于抵消了任何歌舞可能给观众带来的愉悦。
 
  在晚会作出“中国艺术真实写照”的承诺之后,帷幕拉开了,观众却惊讶地看到两个张开白色翅膀飞舞的西方天使。据晚会称,中共政府对佛教和道教等传统宗教进行镇压,但舞台上基督教的氛围却比佛教还要浓厚。
 
  舞蹈节目由扇子舞、蒙古筷子舞、藏族长袖舞等组成,另外还有“满族格格”们脚踏16世纪的花盆鞋款款而行。舞蹈中间穿插着歌曲表演。两位女高音中姜敏的表演还不错,一个女低音、一个次高音和一位男高音用中文演唱西方歌曲。歌词不太好记,像什么“不要再轻信只有一种声音的体制”,还有“那么,为什么我们对你揭露党?”
 
  真正的艺术并不是这样的。晚会的舞蹈始终是老一套。演员表演水平之寻常,就像是在排练。只有筷子舞中男士的舞蹈或杂技能力给人留下一点印象。
 
  此外,观众离开剧场时,原有的全部病痛也并没有任何好转。(完)
 

Falun Gong New Year event mere propaganda

You don't get well, but you do get the point at tacky New Year event

It's not every day that a show comes to town on the wings of claims that watching it might bring tangible health benefits. But that's what was heard at a pre-show reception from tenor Guimin Guan, a performer who sings "Holy Falun King" near the end of the 2 1/2- hour Chinese New Year Spectacular.

The healing powers of the music and dance on display in this admittedly spectacularly tacky show was the icing on the cake of enlightenment and truth that was offered up at every opportunity in a presentation of "the true essence of Chinese culture" before it was "damaged by the Chinese Communist Party." The production is so heavily laden with Falun Gong messages as to negate any pleasure the dancing and singing might have afforded.

After all the promises of a true depiction of Chinese art, it was a surprise to see two angels in white feathered wings fluttering about as the curtain came up. Buddhism and Taoism are the traditional religions allegedly suppressed by the Communist government, but the mood on stage was more that of a Bible camp than a Buddhist retreat.

The dance component of the show included a fan dance, a Mongolian chopstick dance, a Tibetan sleeve dance, and "Ladies of the Manchu Court" shuffling about in 16th-century Chinese heeled shoes. In between the dances, two sopranos, one of them not bad (Min Jiang), a contralto, an alto and a tenor sang in Chinese to Western music. The lyrics were not what you'd call catchy: "Don't be gullible before the one-voice system," and "Why do we expose the Party for you, then?"

Art it wasn't. The choreography was consistently banal, with the performers arranged in rows doing identical gestures. The dancers were under-rehearsed and unremarkable. Only the men in the chopstick dance left any impression of dancing or acrobatic ability.

The drumming in the "Drummers of the Tang Court" sequence, barely held a candle to what you might see at a kodo drum concert, and the final "Victory Drums" scene had all the earmarks of the socialist realism that thrived in the Mao era.

And furthermore, this reviewer left the theatre with all her aches and pains intact.

(The Star, January 20, 2008)

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