还魂三叠

Synopsis and Team

 

还魂三叠
(Three Haunting Souls)


Zhou Long (Director, China)
Yan Quanyi (Dramatist, China)
Jiang Jinghong (Music Designer, China)
Liu Xiaoqing (Styling Designer, China)
Han Jiang (Lighting Designer, China)
Production: Chinese Academy for Dramatic Art

Three Haunting Souls is an experimental drama performed in a small theater, which combines the elements of Chinese traditional opera and the modern factors. It has been adapted from the highlights of traditional operas, The Peony Pavilion: “Love-making in a Dream”, The Red Plum Pavilion: “Setting Pei Free” and The Wulong House :“Holding Captive”. The theme is classical but staged in a contemporary fashion. It is no longer necessary to conjure up the complete plot, but rather they are recounted in a highly abstract, highly simple manner, freeing up this classical theatre from conventional formal boundaries.

Description

告白

A Note to the Play

《还魂三叠》是一部既运用传统戏曲元素又极具现代感的实验性小剧场戏剧,不同于任何传统戏剧样式,打碎戏剧性结构,不拘泥于故事情节,不再编造完整剧情,高度抽象、高度简约、高度无限。在凸显传统戏曲表演本体的同时,赋予极具创新精神的表现形式,在自由时空中进行自由表演。将人物形象予以概念化、抽象化,以个体化的表现,折射类型化的人物,达到现实性、社会化的寓意。古人的观念、古朴的声腔、古典的身韵,都在现代理念中结构、解构,以古代人折射现代人的人生观、价值观、爱情观,为古代人对爱情理解注入现代人的思考,讲述关于至情的永恒哲理。


Three Haunting Souls is an experimental drama played in the small theater which combines the elements of Chinese traditional opera and modern factors. Different from other traditional drama style, it breaks the drama structure that no complete story will be told but just performed in an extremely simple, abstracted and unrestrained way. It not only shows the traditional opera but is also performed with the innovative modern concept without limitation of the space and time. The figures are of concept, abstract and personalized, reflecting characterization and connotation of reality and socialization. The ancient ideas, voices and acting are all constructed and deconstructed in a modern concept to reflect the concept of love, life and value of modern people by means of ancient people’s behavior. This show is about the eternal philosophy of love with the combination of modern and ancient understanding.


中国古典戏剧舞台上的“人鬼情未了”
The Ghost on Chinese classical opera stage
生可以死,死可以生,只有爱不能忘记
Man is mortal and love is immortal.
戏曲表演与现代手段的机巧结合
Combination of the traditional opera performance with modern approach
古典风韵与当下思维的奇妙穿越
Connection to the classical style with modern concept
古代与现代善恶美丑的叩问与碰撞
The collision of the kindness and evil, beauty and ugliness between the past and present
古人与今人爱恨情怨的交集与对话
The conversation of love and hatred, affection and resentment between the ancient and the modern
空荡荡舞台,水袖、折扇、手绢,打破时间、超越时间
Break and transcend the time with empty stage, long sleeve, folding fan and handkerchief
对影成三人,歌唱、吟咏、身段,展现古今、来往生死
By three women’s singing, reciting and acting to represent the past and present, life and death

导演的话

Director’s words

三部戏文诠释三种精神
Three scripts annotate three kinds of spirit
三个灵魂完成三次穿越
Three souls achieve three types of life
三个剧种呈现三种风格
Three kinds of Chinese traditional opera present three styles
三位演员演绎三段往事
Three actresses tell three stories.
三种技巧凸显三个看点
Three skills stand for three focuses.
三种吟唱表现三种心境
Three intonations show three states of mind
三把乐器烘托三种情绪
Three musical instruments imply three kinds of emotion
三种光色渲染三种意境
Three tints set off three artistic conceptions.

题材选取

Subject selection

《还魂三叠》取材于传统戏曲,把《牡丹亭·幽媾》、《红梅阁·放裴》和《乌龙院·活捉》三出经典折子戏重新打碎糅合。《放裴》的奔放热烈,《幽媾》的细腻委婉,《活捉》的暧昧伤感,都在简洁空灵的现代舞台中消解。古典的题材,现代的演绎,既能捕捉到传统文化精髓,又在崭新的戏剧形态中目迷神离。三个经典的折子戏在现代舞台空间所组成的奇异世界里相互穿插,进进出出,即即离离,呈现出令人称奇的舞台景象,充满新颖奇妙的色彩。


Three Haunting Souls has been adapted from the highlights of traditional operas, The Peony Pavilion “Love-making in a Dream”, The Red Plum Pavilion “Setting Pei Free” and The Wulong House “Holding Captive”. The vigorous and fervent Setting Pei Free, the delicate and euphemistic Love-making in a Dream and the sad and sentimental Holding Captive all clear up on the simple, modern and vacant stage. When the old stories are paraphrased in a modern sense, we can capture the traditional cultural quintessence as well as brand-new theatrical form. The adaptation of these three highlights is performed in a staggered way with a surprising stage vision, full of novel performing charms.

人物形象

      Characters

三个中国经典还魂戏剧的女主角,被现代女性演员重新演绎,诠释中国古典女性内心世界的无限和渺远。《红梅阁》中的李慧娘是回到阳间进行最危险的拯救,用一对翻飞冲击的长水袖表现紧张的气氛和侠义刚烈的性情;《牡丹亭》中的杜丽娘是回到阳间与心上人永做夫妻,用一柄翩然开合的折扇表现典雅清纯的气质和自怜自恋的心态;《乌龙院》中的阎惜娇是将心上人带入阴间永做夫妻,用一块风骚俏丽的手绢加上精巧细腻的指法、步法表现极端自我的追求。旦角美轮美奂的肢体语言、柔美轻盈的吟咏歌唱,既塑造角色,又跳出角色,她们是她们,又不是她们。三人共同拥有极致状态,却呈现三种性情、三种类型、三种符号,是在同一片“情”空下的三个不同轨道。


The three women were the heroines reviving from death in Chinese classical drama. They are deduced once again by modern actresses, revealing the inner mind of the ancient women. Li Huiniang in The Red Plum Pavilion is reborn to this world to conduct the most dangerous salvation. With a pair of long fluttering sleeves, the atmosphere of tension is attained and her chivalrous and upright temper is implied. Du Liniang in The Peony Pavilion is reborn in order to find her beloved. She uses a folding fan to represent her elegant and pure personality as well as the mind of narcissism. Yan Xijiao in The Wulong House wants to take her beloved to the netherworld to be her husband forever. A pretty and coquettish handkerchief accompanied with her exquisite acting expresses a pursuit of extreme selfishness. The actresses shape the characters with their fair and wonderful body language as well as their soft and delicate lines and songs. They act exactly who they are but meanwhile, they are just out of the characters as on-lookers. They show us three kinds of tempers, types and symbols. They represent their “love” in three ways.

Sound / Music

音乐构成

Composition of music

以古典风格为基调,根据古今人物超时空的移情原理,以现代的结构对古典的音韵元素进行编织。昆曲、京剧、越剧三大剧种,被抽象淡化为声腔元素,依托剧种又风格统一,既有程式又无程式,用清晰干净的声线,在弦歌雅韵的吟咏唱和中表现富有张力的女性人物内心。通过埙、箫、筝、琵琶、鼓等不同个性乐器的音乐色彩对应不同人物性格,既作为表演的配乐,又充当制造情境和气氛的背景音乐。在创作排练过程中,通过吟唱、表演与即兴演奏碰撞逐渐成形,寓有形于无形之中,奏无谱之曲、咏无格之歌。以古典音乐的自由状态为起点,经过现代思维的诠释,与吟唱、身段的若即若离的配合,回归到一种新的自由状态。


Based on classical style, the music is rearranged in a modern structure with ancient music elements. Kunqu Opera, Peking Opera and Yueju Opera, the three major traditional operas in China, are abstracted as the basic elements for tunes. The expressive inner world of female characters is embodied by the elegant reciting and singing through the clear and neat sounds. The personalities of different characters are represented through distinct musical instruments of xun, xiao, zheng, pipa and drum as the soundtrack of the acting as well as the atmosphere. All the songs, lines and performance are formed during rehearsal extemporaneously without any pre-written limitation. Starting from the freestyle of classical music, interpreted with modern thoughts and combined with singing and acting, the music is arranged to a new free style.

演出足迹

Pictures

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