芭蕾舞剧《白毛女》与胡蓉蓉的民族芭蕾探索

【作者】 杨洁；

【导师】 孙惠柱；

【作者基本信息】 上海戏剧学院 ， 戏剧戏曲学， 2010， 博士

【摘要】 芭蕾舞剧《白毛女》是我国民族芭蕾舞剧代表作之一,曾荣获“中华民族二十世纪经典舞蹈作品”的殊荣。作为八个样板戏之一,半个多世纪以来,《白毛女》的价值似乎总淹没在强烈的政治色彩下,本文试图从另一个视点——跨文化表演的角度来进行研究,探讨芭蕾舞剧《白毛女》及其创作者胡蓉蓉的教育创作理念对中国现代民族芭蕾舞剧创作和芭蕾教育的借鉴价值。芭蕾舞剧《白毛女》根据同名歌剧改编,是一个跨文化表演的典范。六十年代中期,古典芭蕾的西洋贵族文化和中国的平民文化产生了巨大冲突,面临生存危机。胡蓉蓉以毛泽东提出的“洋为中用、古为今用”以及“文艺为广大群众服务”的文艺方针为指导,对西方古典芭蕾舞剧进行大胆革新,将其成功用于反映中国人民的当代生活,实现了西洋文化和民族文化的对接。作为芭蕾民族化的初次尝试,舞剧从小型发展到大型,胡蓉蓉在牢牢把握芭蕾基本形态的基础上循序渐进地推动着芭蕾民族化的深度与广度,在保证芭蕾语汇得到最大应用的基础上,逐步引入多样化的民族舞蹈元素来弥补芭蕾塑造人物和发展剧情的不足。在表演形态上,舞剧以“塑造中国当代人民形象”为中心,融古典芭蕾、民间舞蹈、戏曲舞蹈和话剧表演的精华为一体,同时借助中西乐器合奏、芭蕾加唱、民族服装和道具的使用等方法,使民族文化深入贯串整部舞剧。由于民族文化与芭蕾文化的和谐融合,舞剧化解了中国观众对芭蕾的陌生感和外国观众对中国的陌生感,在文化交流中发挥了重要作用。芭蕾舞剧《白毛女》跨文化创作的成功,和胡蓉蓉主导的跨文化大合作密不可分。胡蓉蓉有着良好的跨文化背景,精通芭蕾,也热爱民族舞蹈,而且在话剧、影视、音乐、美术、体操、戏曲等领域兼收并蓄,为舞剧创作和中西文化的交融提供了有利的条件。编导组其他三位教师,也都有中西舞蹈的跨文化背景,特别是深厚的民族舞蹈功底和丰富的舞台表演经验。在跨文化大合作中,胡蓉蓉能巧妙地发挥众人之长,使舞剧的舞蹈音乐、服装造型,舞美灯光都为人物塑造服务,在多元文化碰撞中保持着风格的和谐统一。改革开放后,胡蓉蓉以《雷雨》将民族芭蕾舞剧的创作推向了新的高度。《白毛女》诞生于“民族化”浪潮中,重点在于借助中西舞蹈语汇的融合诉说故事;《雷雨》则强调用芭蕾的本体语汇特别是双人舞交流来深入挖掘人物内心。但是,以中国人物的塑造为民族化起点,根据芭蕾特点来进行题材选择和舞剧结构,根据剧情内容和人物特点来进行芭蕾动作的选择、解构和重构,注重戏舞融合,依然是胡蓉蓉进行民族芭蕾舞剧创作的主要方法。芭蕾舞剧《白毛女》由课堂实习剧目发展而来,是胡蓉蓉“中西结合,学以致用”跨文化教育理念的体现。作为我国著名芭蕾教育家,胡蓉蓉认为:东西方文化环境不同,中国演员和西方演员体貌特征也不同,中国芭蕾要发展,必须要根据中国演员特点和中国观众特点来创作民族芭蕾剧目。因此,胡蓉蓉率先将中国剧目引入课堂排练,让学生在丰富的中西剧目实践中提高多元文化修养,最终为我国培养了一大批拔尖芭蕾人才,也带来了八十年代上海芭蕾舞团民族芭蕾创作的高峰。相比之下,近二十多年来我国芭蕾舞界学习西方艺术的条件好了很多,创作民族题材作品的热情却少了许多,尤其缺乏成功的现代民族芭蕾舞剧创作。因此,胡蓉蓉跨文化舞蹈教育和创作的经验特别值得引起我们的认真反思。更多还原

【Abstract】 As one of the masterpieces of typical Chinese ballets,“Bai Maonv”(The White Hair Girl) has been laurelled as“the classic works of dancing in the 20 century in China”. As one of the eight model dramas, its value has always been submerged in the strong element of politics. This essay aims to make an original study in perspective of intercultural performance with the purpose of exploring the value of the ballet“Bai Maonv”itself and educational and creative concepts that the choreographer Hu Rongrong made on the creation of national modern ballet and ballet education in China.Chinese Ballet“Bai Maonv”is a representative of intercultural performance adapted from the opera of the same name. In the middle 60s, the occidental noble culture of classical ballet had a huge conflict with the civilian culture in China, which was once on the edge of existence. Hu has made a bold revolution of occidental classical ballet in the principle of“make the past serve the present, make foreign things serve China”and“literature serves for the public”brought forward by Chairman Mao, which has successfully turned ballet into an integrated condition that it gives full play to the current lives of Chinese people and reaches a perfect joint of occidental and national culture. As the first attempt of nationalizing the ballet, from a small size to a large one, Hu has deepened and widened the nationalization of ballet step by step on the basis of the elementary forms of ballet and introduced multiple dancing elements to compensate for the deficiency of ballet to develop character and plot while, at the same time, the ballet terms could be best applied with. As to the performance forms,“establish typical Chinese images in the contemporary age”looks like a thread which makes a perfect combination of essences of classical ballet, folk dances, and traditional Chinese Opera dance and Spoken drama performance. Aiming to make national culture throughout“Bai Maonv”, Many other measures were taken such as: performing music with both traditional Chinese musical instruments and western musical ones, singing in ballet, national costumes, national props and etc. The successful fusion of culture at home and abroad eliminates the strangeness of China audience to Ballet and the strangeness of foreign audience to China, which makes“Bai Maonv”play an important role in the culture communication.“Bai Maonv”could not be a success without the intercultural cooperation conducted by Hu. She is specialized in ballet, having great passions for national dancing with a solid intercultural background. Hu contributes a lot to fields as drama, film, music, gymnastics and the traditional Chinese Opera which have provided great benefits to the ballet creation and communication between Chinese and occidental culture. Other three choreographers in the group are also with intercultural background of dancing both at home and abroad, especially with profound foundation of national dancing and rich experience of stage performance. In the intercultural cooperation, Hu gives full play to everyone and makes a whole contribution to figuring characters with the help of music, costumes and stage lightings which leads to a coherence of styles in the conflict of multiple cultures.After the policy of reform and opening up, Hu promoted the national ballet creation to a new height with the play of“Thunder Storm”.“Bai Maonv”was born when nationalization was quite prevailing. It focused on the blending of Chinese and occidental dancing terms to tell the story; while“Thunder Storm”pays attention to revealing the deep heart of characters with the ballet terms, especially with double-dancing. Nevertheless, Hu kept the same principal on her national ballet creation: Starting with the nationalization by figuring Chinese characters; Setting themes and structure according to the features of ballet; Selecting, deconstructing and reconstructing of ballet movements according to the plots and roles; Emphasizing the blending of drama and dancing.“Bai Maonv”is adapted from the exercising plays in classroom which stands for the concept of intercultural education under the guidance of“combination of Chinese and occidental cultures and put what you have learned into practice”. As a famous educator, Hu considers that Chinese and occidental cultural environment differs from each other, so do the figure features of Chinese and occidental performers. She also believes that the development of Chinese ballet depends on the creation in terms of Chinese actors and audience. Consequently, Hu is the forerunner who brought Chinese drama into classroom for rehearsals, aiming to cultivate students multiple cultures in practice of Chinese and occidental plays. Thus, Hu fostered a great number of ballet elites and led a creation peak of Shanghai corps de ballet in 80s of 20th Century.Comparatively, the conditions to learn the western arts has been inproved much than before, while the passion to create the national ballet decline much than before. The successful modern national ballet products can rarely be found in these years. Therefore, the experience of Hu Rong Rong on intercultural ballet education and creation should arouse our enough attention.更多还原