海德堡舞蹈劇場 x 舞蹈空間舞團 《火鳥．春之祭》

DTH & DFT& CHIEN Wen-pin & ESO - Firebird & Rite of Spring

基本資料

《火鳥》與《春之祭》在廿世紀誕生時就相當「異數」。《火鳥》是晚期浪漫主義管絃樂語彙的最終表達方式，史特拉汶斯基(Igor STRAVINSKY) 在和聲與配器的破格，讓他一戰成名；而編舞家佛金(Michel FOKINE) 與之搭配的舞蹈，雖還保有芭蕾舞劇中常見的火鳥與惡魔善惡角色之分，但已不復見傳統的四幕分段，也沒有古典芭蕾制式的旋轉、跳躍等炫技場面，讓角色情緒完全融入音樂之中。史氏的《春之祭》更打開全新的音樂世界，管絃樂色彩與聲響效果的震憾完全不同以往，因此被指揮伯恩斯坦（ Leonard BERNSTEIN ）譽為「廿世紀最重要的作品之一」。而尼金斯基(Vaslav NIJINSKY) 的舞蹈創作，雖頗符合史氏的想像，但穿著原住民服飾、內八跺腳

的獻祭儀式舞蹈，出乎大家的想像，讓驚嘆與厭惡的觀眾爭論不休，甚至大打出手。

百年前這種對「異」的極端態度，引發伊凡．沛瑞茲(Iván PÉREZ) 的創作動機，首開先例串連兩曲，將《火鳥》做為序曲，先創造一個被眾人孤立，但可能也令人嚮往的角色，理想世界最終被「自我」與「他者」群體對立的《春之祭》所摧毀。異於一般選擇女性做為被犧牲的獻祭者，伊凡此次選擇由男舞者來擔綱，性別的轉換，呈現出百年來人類社會的演進、轉變，並賦予舞作當代的意義。

編舞家伊凡是西班牙人，在荷蘭展開舞者及創作生涯，現在旅居德國。四處巡演及創作的經驗，讓他深刻體會到作為「異鄉人」的美麗與哀愁。他喜歡在作品探討人性中的社會效應、個體在面對孤獨時的狀態，這是長期身為異鄉人的觀察，他也因此學會成為一個異鄉人。

為慶祝舞蹈空間35 週年，伊凡特率海德堡舞蹈劇場團員一起前來，由簡文彬指揮長榮交響樂團現場演出。九十九位藝術家如何在舞台上從容應對「群體」與「異者」的關係，將不只是舞台上的65 分鐘演出，也會是值得關注的人生議題。

The Firebird and The Rite of Spring have been “outliers” of the art since their creation in the  twentieth century. The Firebird is the ultimate expression of late-Romantic orchestral style; Igor STRAVINSKY unconventional choices in harmonization and instrumentation quickly gained him remarkable success. The accompanying choreography by Michel FOKINE, in the form of the firebird and evil sorcerer, retains the commonly seen division of good versus evil characters in story ballets. However, it no longer follows the traditional four-act form, or demands that dancers showcase impeccable skills with formal classical ballet turns and jumps; rather, it allows the characters to be fully absorbed in emotions depicted in the music. STRAVINSKY’s The Rite of Spring, moreover, was an eye-opener into a brand-new music horizon. Its vibrant orchestra timbres and spectacular sound effects were unprecedented, earning the acclaim as “one of the most important works of the twentieth century” from conductor Leonard BERNSTEIN. Vaslav NIJINSKY’s choreography closely reflects Stravinsky’s vision, but the folkloric costumes and ritual dances with knock-kneed stomping were so unexpected, they caused much controversy and even physical altercations among the audience members who found the performance surprising or abhorrent. 

Such extreme reactions to “the other” a century ago sparked the creative inspirations of Iván PÉREZ. Setting the precedent of connecting the two pieces, Pérez used The Firebird as an overture, devising a widely ostracized yet perhaps desirable character, before the idealistic world is eventually demolished in The Rite of Spring by collective antagonism between the “self” and the “other”. Unlike most works, which cast female characters as the sacrificial victims, Pérez’s production chooses a male dancer for the role. The reversal of gender roles displays the transformations in human society over the past century, attaching contemporary significance to the work.

Iván PÉREZ is a Spanish choreographer who began his dancing and creative career in the Netherlands. He now resides in Germany and has accepted invitations to perform his works at prominent theaters in London, Paris, and other cities. Through the journey of touring and creating, Pérez gained a deep understanding of the wonders and sorrows of being a “foreigner”. He said, “In my works, I enjoy exploring the societal effects of humanity and the state of the individual when facing loneliness. These are based on my long-term observations as a foreigner, and in this process, I have also learned to become a foreigner.”

In celebration of Dance Forum Taipei’s 35th anniversary, Pérez visits Taiwan with Dance Theatre Heidelberg. They will be accompanied by the live performance of Evergreen Symphony Orchestra, conducted by CHIEN Wen-pin. How will these 99 artists placidly address the relationship between the “collective” and the “other” on the stage? In addition to being featured over a compelling 65-minute performance, this will also be an intriguing issue to explore for life.

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