【书摘】Matthew Bourne and His Adventures in Dance – Swan Lake部分

作者叼走禁令的鹅发表在读书笔记、资料资源标签：、、、、、、
  1. The wreathing of arms above the head in this photograph is a motif inspired by Nijinsky photographs; and it came to characterize all the swans in Bourne’s choreography. 尼金斯基的花魂姿势（见下）和《牧神午后》对马伯创作的影响很大。20140102__20140105_e6_bk05nijinskyp1-1
  2. Actually, I rather disliked swans: found them frightening. 来马伯你告诉我是不是小时候被啄过屁股？
  3. When I was making it, I had had a lot of rejections; and I hadn’t been in a relationship for a while – before which I’d gone through a difficult ending to a long-term relationship. 之前分手的心情投射给了王子。
  4. also the strange worship of a symbol, of a beautiful male creature-person. I suppose I have always had people like that in my life – people that you have a feeling for from a distance. 此处大声@Adam Cooper。
  5. I found that Adam had, certainly on stage, a mystery about him that could have appealed to me because of my early enjoyment of those Nijinsky pictures. Mind you, this emerged gradually. 花式吹AC。
  6. I think my initial impetus to do it was that sexual drama would be a strong part of it . 👌
  7. Those two were often caught doing things that would have been quite normal behaviour for most young women; but because they were royal now, it was deemed to be unsuitable and wrong. 开始女友人设不过是一个没法融入皇室的普通人，后来为了笑点把女朋友改得越来越粗俗让人难以共情，我是不喜欢的。
  8. That (1979) Darrell production is a drug-dream retelling of Swan Lake; it has a fairly tormented, psychological drama. The swan scenes are opium-induced hallucinations in the Prince’s mind. MB : Yes, but I thought this was Swan Lake ; that all Swan Lakes would be along these lines. I didn’t know then that Darrell’s treatment of the story was something new. … Because of the Darrell production, I think I always saw the Prince in the Royal Ballet’s Swan Lake as a more complex figure than he actually was in that production. 所以马伯最初看的版本其实也是魔改版（天鹅场景为王子抽鸦片产生的幻觉），但是这影响了马伯后来看传统鹅的视角，以至于给传统鹅的王子也视为比剧本更具有深度的角色。马伯说是因为音乐本身的深度在那里。
  9. Your own Swan Lake is almost entirely drawn from the 1877 score. And although it has several musical re-orderings, it has fewer of them than most Swan Lakes. In particular, your Act Four uses only the music that Tchaikovsky wrote for it. 音乐这一部分书里说了很多，AM非常称赞马伯对音乐的运用。一方面是忠于1877年原稿（保留原有速度，第三幕双人完全按照原稿，第四幕仅保留柴可夫斯基写作部分等），很多在剧情安排上也凭着出色的直觉让“核心音乐”位于叙事中心（比如俄罗斯舞曲和匈牙利舞曲。）关于音乐具体可以参考水晶姐写的这篇文章。
  10. My memory of that solo is one of the things I take most strongly from that production. I always liked that music; and even though I know Tchaikovsky probably didn’t write it for the Prince (it’s part of the pas de trois divertissement, I think), it sounds as if it’s approaching the core of Swan Lake . Certainly I wanted to have that music, as a solo for the Prince, somewhere in my Swan Lake; and I use it just at the same point as Nureyev, just before he sees the swans at the end of Act One. 第一幕酒吧Solo。这一幕的位置安排来源于1979年英皇production，而英皇则是借鉴了努里耶夫版。最终酒吧Solo和努里耶夫版王子独舞位置完全一致。
  11. So when it came to my production, I always knew I wanted it to run straight on from Act Three. In fact, when you go back to the music Tchaikovsky wrote for Act Four, it’s an extremely short act anyway. 第三幕第四幕不能有Interval。
  12. At the time there was a lot of violent male dancing around… I was reacting against that; I wanted to do something beautiful for men… What I was initially interested in was to push male dancing. To show different kinds of male lyricism: that was what was in the forefront of my mind.
  13. To be quite honest, I didn’t even remember the Prince–Queen section of Mayerling . It had been a long time since I’d seen it, I’d never known it well, and I had grown confused – as Mayerling audiences often are – about which character is which: especially which is his mother, the Empress, and which is his ex-mistress, the Countess. 哈哈哈这是真的！梅耶林的女性角色实在太难区分了！但说实话，回过头来看的确是有些像，尤其是Adam Cooper还饰演过鲁道夫。
  14. Sexual longing? I always see that as the basis of a good story. 振聋发聩。
  15. AM: At several points in your shows, there is a moment of either the shock of beauty or the shock of sexual allure: in fact, a moment when the recognition of beauty becomes the recognition of sexual desire. 振聋发聩*2。
  16. Are you conscious that, along with all of that, jealousy is frequently an important element in your dance dramas? MB : I think it is, yes. 谁不爱修罗场？马伯作品里“嫉妒”发生的时候永远让人最为兴奋（看看车男！）
  17. I like making my central character suffer quite a lot. 振聋发聩*3。
  18. Ultimately, we always cast because of talent. We’d never cast anyone over someone else for any other reason. But, if we’ve got a choice between two people we’re equally interested in, we’ll go for the one who does most to widen the mix of people in the company. 卡司多样性。很多面试者在听到马伯的回答之后都如释重负。
  19. I’d got an impression that he was an underdog Royal Ballet principal dancer, but someone who the Royal would mainly use for the more modern roles and in new choreography; which was good, I thought, for me. 和AC这篇采访互相印证，AC那时确实在英皇过得不愉快。
  20. I think he was quite taken aback when I said it was the Swan that I wanted him to do. It obviously hadn’t occurred to him that that would be the role he would be offered; and he probably pretended to be a little less shocked than he was. AC后来说他第一反应是这人是不是疯了。
  21. … just explaining what the part was and what we were doing, in wanting Adam to play the Swan. Then, when I said there would also be a male Prince, he just said ‘Oh dear’, with raised eyebrows . Actually, I think Dowell found the idea of the project quite exciting. 其实Dowell对AC不算看好，所以他也许是无所谓。不过马伯还是猜测他的男舞者一面被这个想法激起了兴趣。
  22. It’s very much my way to cultivate friendship with people that I’m going to be working with – to make sure, actively, that we know each other well, and that we get on before the rehearsals begin. 让AC和Scott“相亲”。所以之后男鹅卡司都会这样吗？
  23. You go into their dressing room before a show and it’s a very relaxed atmosphere: they just sit there, staring into space and smoking. 两个人无言望天抽烟笑死。
  24. He’s a hopeless case in terms of the way he lives: he smokes a lot, eats really badly, doesn’t look after himself, is a workaholic, can’t relax, has to be working all the time – performing, or, if he’s not performing, doing something else in there. He flogs himself to death when he doesn’t need to. 马伯一边盛赞Scott在创作过程中与他的合拍，一边对Scott生活方式不予认同（并且嫉妒地表示Scott这样生活了十年身体依旧保持）。Scott去年还是英年早逝了。
  25. As it happens, all the dancers playing the Swan to date have been straight, and both the Princes gay. 王子与头鹅的直弯即使到现在也依循这样一个大致pattern。
  26. Strangely enough – if only I could dance it! – that would be the part that I would feel comfortable doing. Apart, that is, from the Queen, which is the role I’d love to do most. 马伯野心很大嘛。
  27. Once the decision was made that the Swan was in the imagination of the Prince and then projected on to a real person in Act Three, it made sense that other things were not relevant to our story. 这是马伯自己理解的版本，他后来的采访也一直说是开放解释。
  28. AM : Did you draw up your idea of the musical text first and then your scenario? Or vice versa? Or both at the same time? MB : I would go from one to the other. I would have a dramatic idea, and then see if there was the music to support it. Or I would just find myself in love with some piece of Swan Lake music – maybe one that wasn’t in most stage versions of Swan Lake – and wait till I knew how I could use it dramatically. 工作方式：音乐和场景谁先谁后？
  29. The original idea of the Private Secretary was to show him engineering situations that made the Prince feel he was going mad and eventually doing so. The Stranger was the son of the Private Secretary and was brought there in the knowledge that the Queen would go for him – and also maybe in the knowledge that the Prince might fancy him too. 初版秘书和陌生人设定。
  30. in some descriptions of the symbolic associations of the swan, is that it’s a sort of phallic symbol. The long neck: a sexual idea. 天鹅的性意味……感觉马伯这里也非常隐晦了。但是说真的，如果考虑牧神午后的影响，整个第二幕也可以很色情。
  31. Our Prince does kiss the Girlfriend, but it has the feeling of his trying to prove something. It’s rather sudden: something he feels that he has to do, rather than something that comes out of passion. 后来的王子不一定是这么演的，至少我觉得有的王子对女朋友是动了真心。
  32. Also, because it repeats, I felt that it had a sense of time moving on as well. So there’s a sense that you could repeat something and comment on it again later; which is what we do in the first section, in which the Queen remains ageless while time and routine move on. I also think that the beginning shows very nicely the progression of the Prince’s age, and also the boredom of royal duty. 第一幕华尔兹的时间感。
  33. This Moth Ballet is in part a send-up of the corniest aspects of traditional – or just bad – Swan Lakes. 果然蛾子依照了鹅子！
  34. I was thinking that, in one way, our Prince goes to the ballet and later on re-imagines the ballet’s events in his own mind. 后来这个主意因为音乐太喜感被弃用，剧中剧变成了喜剧。
  35. AM : Did you ever ask them to shave their chests? MB : Never. I felt that one of the things we were trying to show was a masculine image anyway. We weren’t pretending that they looked like swans. It was like creating a creature of our own that suggested swan in some way, but also very much suggested maleness… There also came a point when we decided to make the swans creaturelike, at times, as well as bird-like. Also semi-human. 关于是否剃胸毛：马伯想象里基本还是半鹅半人。当然任凭观众脑补了。
  36. I like having the hands very relaxed, just hanging. Either that or very cleanly straight, with fingers all together. I didn’t like the spikily separated fingers you often see in ballet. I’m always getting people to close their fingers if they’re taking a strong position: clean lines… It feels sensual to me, and sexy as well, because it’s about touching your own body, which is another thing that I like to use on stage… A lot of dancers, when we teach them Swan Lake material now, don’t want to be having contact with their own bodies or heads. They’re always leaving space between their arms and their head, or between their arms and their bodies. Constantly the shout from our end of the floor is: ‘Arms on heads!’ But it’s an alien thing to a lot of dancers. 关于尼金斯基动作：强调抚摸自身的性感一面。不过球那个盘丝洞是不是过了点……
  37. So we ended up with the more straightforward diminuendo ending, which Tchaikovsky may have written. It’s from his ‘Swan Lake Suite’. I liked its simplicity. 音乐说明：湖边大双结尾直接采用了减弱。
  38. Most hair-raising of all, you start off the whole series with the Russian Dance: which is almost always omitted from twentiethcentury stage productions of Swan Lake, despite its irresistible music. … Then it brings in that violin solo, which creates this atmosphere of tension amongst everyone. I was really thrilled with that. 音乐：黑衣出场后直接使用俄罗斯舞曲，而不是放在西班牙之后。马伯是凭直觉感受到了这段音乐的Tension。而AM则表示有人研究认为这段这么鲜明的violin solo可能本意就是要用在黑鹅而不是国家队身上。
  39. I put them in this order: Russian; Spanish; Neapolitan; czardas（匈牙利）.
  40. I think that you reveal that the czardas somehow – because of its orchestration – belongs to the inner family of Swan Lake music. 匈牙利舞曲被用来讲述核心故事，与前人研究（认为匈牙利舞曲也属于核心音乐）不谋而合。
  41. It brought an older memory into my mind, of the film Valentino , where Nureyev as Valentino dances with Dowell as Nijinsky. They’re just partnering each other in a ballroom in dark suits, observed by someone from a distance, and they do a whole tango. Tango灵感来源之一。视频见：https://www.youtube.com/watch?v=guq2_aHKEu8
  42. This is a sort of male–female competitive affair: a West Side Story type of dance. Anything you can do, I can do better – that idea. 传统的黑天鹅Coda，同时cue了WSS和飞燕金枪。AM非常欣赏马伯挖掘了音乐中竞争的意味。
  43. So is the Queen. She’s dressed in white, and so is the Private Secretary. That leads into a nightmare version of the swan world and of the swans themselves. 非常有趣。女王秘书和护士的白色衣服直接导致了关于群鹅的噩梦。这意味着第四幕群鹅已经是这些想要“纠正”王子的众人的象征：没法杀死王子，便要毁灭他的人格。暴力精神病纠正的痕迹太明显了。我曾经担心过第四幕的医院场景实际上是脑白质切除术。朋友Knight S. 补充认为护士们的三角形站位和第二幕群鹅可能也有对应关系，而动作却是第一幕仆人和众人的那种僵硬。
  44. The Prince having been in their world in Act Two, I now wanted them to enter his world in Act Four; but I wanted to feel that they were coming out of the walls. If I was to do a film of it, they would just walk through the walls, and through the bed… it’s now confined to his world. He can’t escape. 马伯这个描述着实吓人。第四幕借鉴希区柯克The Birds。
  45. In the middle of the act, it actually goes into a sort of halfway house sort of world, where the bed seems to be suspended in mid-air almost, because the back wall disappears when the swan appears, and there’s a starry background and a black floor. 也提到故意要让王子的床巨大无比，而王子显得十分渺小。
  46. Perhaps nobody’s ever noticed this, but at the very end of Act Two, the Swan and the Prince turn around and run into the water; then the other swans all start to do pas de chat and to cross the stage with wave-like arm movements – first one line of swans, then the next. The image is of them running into the water. 原来第二幕最后王子随着鹅一起忘情地跑入了水中。所以老太太看到的不仅是个半夜大笑跳舞的醉汉，还是个湿淋淋的醉汉。但是真的想象了一下这个场景又很感动，本来要投湖的王子在水中找到了生命。
  47. Searching, wanting, imitating, following, journeying towards yearning, waltz. Duet in waltz about physical reactions to each other. 马伯给第二幕华尔兹的标注。真会写。
  48. …a high proportion of them aren’t right for us. They’re too ‘ballet’ – too precious and refined – and they don’t use their torsos enough, or their weight. Those we take into the company tend to be the exceptions in those respects. 芭蕾出身演员可能反而不合适。
  49. It was made very clear who was second-cast; most performances in the Sadler’s Wells season would be first-cast. The second-cast were to have two matinées and two evenings in the initial run of two and a half weeks; and, once the tour began the following year, they would have many more performances. 判断AB卡的标准。我觉得现在主要还是看press night。
  50. But, to do David justice, when the show was in rehearsal, he was more animal-like, with greater fluidity; the movement came through the whole of his body more; he was down into the ground more. All this in turn influenced the way Adam did the role. 原卡David Hughes对头鹅的贡献。David后来因为不愿屈居人下而离开剧组。
  51. Ben Wright: He is a more vulnerable, younger-seeming Prince. Ben和Scott可能互相还不喜欢对方的王子，一个觉得对方无情，一个觉得对方小孩子气哭哭啼啼。
  52. We decided, for example, that the Swan couldn’t hold with his hands, because they were wings: he had to lift the Prince up under the arms, with his hands still free so that there was a feeling of flight about it as well; and we decided also that at times the Prince must feel like a small child, vulnerable, as small as he can. 关于湖边大双的托举。
  53. He wraps him in his wings, and lifts him up. It’s like, ‘No, you’ve got to accept me.’ It’s to bring the Prince back to his true nature. He literally clings to the Prince, leans back, and so can lift one leg up while the Prince lifts both his legs off the floor. 天鹅还是很强势的！
  54. We were, in the Act Three duet, trying to find a few parallels, for jealousy’s sake. 女王和黑衣跳舞沿用了部分湖边大双的动作，比如那个托举，这加重了王子的嫉妒。
  55. The height of the physical relationship is the Swan’s wrapping up the Prince with his wings and cradling him, which is quite moving. 那马伯你说什么sexual含义呢？
  56. In their rehearsal, Will Kemp and Mark Mitchell suggested that we just jumped these phrases, and they got very carried away. It was a great rehearsal; I loved it, and laughed so much, they were working so hard. But they made it difficult for themselves! – to the point where the big swans’ dance is not much liked by people who do it now: it’s exhausting. 四大的动作不小心编太难，差点儿把自己栽了哈哈。
  57. In the Soho scene, Will Kemp was the Pop Idol. Because it was British retro, I asked him to play Cliff Richard. That foxed him; he would rather have been Elvis Presley. He enjoyed playing the Italian Princess’s lover in Act Three, because he had been having a relationship with an Italian girl in the Royal Ballet and had visited Italy, so he knew the way of life and enjoyed the Mediterranean jealousy of the character. 马伯你是不是人？
  58. Fiona’s approach to the second cast was that it was rude even to watch someone else, let alone to comment. 英皇出来的也太严格了……Sarah Wildo也是如此。后面Fiona喜欢AMP居然是因为下班了大家还会一起聊天喝酒？英皇原来不会这样的吗？
  59. AM: In the traditional Swan Lake, the way in which the ballerina does her thirty-two fouetté turns over a drastic change in the music is always horridly unmusical. 第一次看到有人嫌弃挥鞭转。不过90年马林斯基转得还是非常合拍的。
  60. The way the Swan lifts the Queen over his hoisted leg over a series of tables; Fred and Ginger do that in the ‘Yam’, in Carefree. 圆桌舞来源。
  61. The interesting thing about all Act Three was that it felt dreadful in the studio. It never felt that it had any life to it whatsoever. I thought it was a disaster. It was only the first time we did it on stage, with the lighting, that it actually ever worked. 第三幕直到舞台上才展现魅力。
  62. ‘Third Section. Declares his love. She says she’s held captive by evil forest ogre/troll, and cannot leave the forest. He vows to release her, etc. 我果然是看不懂芭蕾手语，完全没看出来。马伯在男鹅本剧中禁止芭蕾手语。
  63. She collapses at the last minute. She withers away with excitement. 蛾子死了？马伯你是不是人？
  64. 母子关系：If there’s any sexual element to it, I don’t think it works so well. It could work, but we didn’t go for that.
  65. 母子争执，马伯觉得that this is not the first time this sort of thing has happened. 但我觉得还是更像第一次发生。
  66. 母子争执结束秘书都看到了。Never private.
  67. AM: He wants the Swan/Stranger in his mind, but he doesn’t actually want the sex. AM认为酒吧那一幕时王子还是直的，or深柜。但是我看96版的时候觉得出柜与否占据了心里压力中很大一部分，尤其是王子看到裸男雕塑的反应。
  68. So, while we were doing Act One, I used to send Adam and David (Hughes) up into a studio, because they weren’t needed in Act One. I told them, ‘Just listen to the music and see what ideas you have. Just think it through.’ 排第一幕时把AC和David关小黑屋想第四幕。
  69. the problem was that the music had so many climaxes. Just when you think it’s all over, it starts up again. And your first thought is, ‘What on earth can we do with this next climax? 哈哈哈第四幕音乐高潮太多无所适从。
  70. One theme in Act Four is betrayal. The Prince must feel the Swan has betrayed him in Act Three. The Swan has to win him back by saying, ‘I am the true one.’ 关于“背叛”，和传统鹅正好倒转。
  71. There’s the section where the swans are all attacking the Prince – they turn on him because he has turned against nature (going with a Swan – or with a man) – and leave him for dead…their first attack really was on the Prince, to get rid of him. 无论群鹅是不是王子的幻想，群鹅杀死王子都因为他“异于常人”，这让我想起广州那对父女说的话：“他爱上了一个异类。”
  72. now, since he’s still alive and since the Swan’s obviously sticking with him, they turn on the Swan – because he has betrayed them – and attack him. 人鹅版罗朱，苦命鸳鸯啊……
  73. Swan dive… was Adam’s idea. I was a bit suspicious of it, to be honest; at first I thought, ‘It feels a bit clichéd.’ But I liked the fact that we saw the Prince downstage, blocked by all the swans, and the way this let them reach out to each other before the Swan was devoured. Anyway, it was one of those ideas Adam had devised upstairs while we were doing Act One, and he wanted to do it. Once I saw how very well it worked, I left well alone! 第四幕的Swan Dive是AC的贡献。AC贡献还包括小皮鞭和烟灰。
  74. Adam is more over-powering and more dominant and has a much more powerful presence than Will does overall. His dancing has more strength and power and, therefore, seems to dominate the Prince much more easily, much more casually. Just by his presence, he can dominate the whole stage; and he actually looks much taller on stage than he is. When he walks on, in both Acts Two and Three, he looks enormous – and yet off stage he’s the same height as me – not even six foot. I don’t understand that at all. 花式吹AC。
  75. Will, by contrast, is slight and boyish, a very different presence. He’s only half an inch shorter than Adam, but that’s not how it feels on stage. His presence is something he has to work at. His style is more gentle and fluid, and his intensity is something he worked on – whereas Adam’s is natural. Adam has an incredible sexual magnetism for people, because it appears that he’s not trying very hard – and probably he isn’t – in terms of projecting the image that he does. What Will has is a quite different kind of mystery. It is perhaps a different kind of erotic appeal, but Will’s is projected with greater innocence and a certain spiritual quality that’s really remarkable. 对Will Kemp的形容让我想到了Will Bozier，顺便继续花式吹AC。
  76. Adam has a great way of playing with music. The music’s really inside him, in the sense that he knows what he’s doing, so that he goes for one chord or beat or sound in the music, or holds back from one. He’s in control of it, because he’s got great resources of technique, and he brings some very strong dynamic qualities to individual phrases. Will’s technique isn’t such that he can exert that freedom; but he has a physical response to the music that feels more emotional; I think his style has a basic grace and fluency that complements the whole current of a phrase. 依旧花式吹AC，顺便比较Will Kemp。
  77. 王子大量借鉴路二，部分借鉴乔治六世。当时也参考了很多王室相关的书籍。
  78. Still, that became fainter for the West End publicity. He became less obviously a naked man; he sank more into the water-like background. In the foreground, however, we put the eyes – Adam’s eyes – staring out at the camera from under his brow like a swan. Next, for Los Angeles, he disappeared altogether. They were nervous of it looking like a ballet; to make it look like a musical, they wanted Adam Cooper in the black leather trousers as their main image, set against a red background. And now, as we’re going on to Broadway, I’ve insisted on going back to the eyes. The naked man holding a swan has disappeared altogether. The lettering of Swan Lake is similar to the original lettering, but now with water beneath it. 关于男鹅的海报变迁。很惊讶美国人居然会觉得王子赤裸地抱住天鹅不适合作为海报。马伯当时坚持要让AC的眼睛留在海报上。

发布者：叼走禁令的鹅

当我伸出手来，总希望能抓住些什么，不至于落入对空虚无尽的恐慌之中。

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