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项目简介

Running time: appr. 105mins (incl. one intermission)

 

 

《大饭店》这里的每个人物都因他们的存在而有了独特的生命力,没有他们就没有你所看到的人物。

——黎星

 

 

7位活跃在国内舞台上的顶尖舞者

强强联手实力演绎“大饭店罗生门”!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

摄影 @舞蹈岭南-赵秋来

 

 

结束了一天的工作,经理回到自己的房间,想起今天发生的一切——

 

教授和夫人在饭厅沉默地对坐,可他明明听到他们的房间传来尖叫……

 

情人又收到了玫瑰,这已经是她入住一周后得到的第七朵了,这痴心却不露面的人究竟是谁?

 

新来的客人——孕妇,初见的温柔瞬间可化作匕首,矛盾的气质让她宛如旋涡,怎么会对那个醉汉死心塌地?更令人惊讶的是,这个总是醺醺然的男人,在偶然清明的时刻,竟能从他的眼睛里看到一个孩子。

 

哦,对了,还有女佣,他的下属,跟他一起被困在这个大饭店的人,最近花在打扫客房上的时间越来越多了,她到底在做什么呢?

 

不想了,不想了。

 

经理躺在睡了很多年的床上,让自己的思绪进入梦里,教授、夫人、情人、孕妇、醉汉、女佣以及他自己,都变成了鸟,拼了命地寻找可以栖居的枝丫。

 

我们行过一生,暂住此地,肉身在大饭店辗转,灵魂何以为家?

 

舞台设计——“电影美术之神”种田阳平灯光设计——荷兰舞蹈剧场(NDT)的首席灯光师汤姆·维瑟黎星导演、主演一间大饭店,一场“罗生门”

 

 

 

 

摄影 @舞蹈岭南-赵秋来

 

 

在《大饭店》中,我们可以看到“电影美术之神”种田阳平打造的绝美舞台。灯光设计汤姆·维森创造的奇幻世界,以及作曲家刘彤为本剧量身打造的现代和传统相结合的完美配乐——不仅仅是灯光,当声配乐响起的时候,原本安静的观众席就有人开始轻声惊叹。舞台,灯光,音乐三部分缺一不可,配合编舞的整体编排和舞者身体的行动共同构成了《大饭店》的“美感”和“剧场性”。

——剧评人 塔苏

”“

《大饭店》的惊喜,是顺应新中产崛起,用更为综合性的叙述方式来激发想象,让舞蹈的抽象在跟其他艺术形式的互动中,与个人生活相关的一部“供需”之作、“应景”之作。它为当今“跨界”找到了进入舞蹈的入口。梦境的尾声,水景悄然入场,舞者与水波的挪移踢溅在光影的配合下,将人性的困惑上升出一种诗意。

——剧评人刘冰

”“

《大饭店》跳出了剧场里才会有的人间模样,也跳出了只有现代舞蹈才会喷涌出来的生命酣畅。

——中国舞蹈家协会研究员 卿青

 

一场如幻似真的“罗生门”

一次酣畅淋漓的孤独狂欢

2021年9月19-20日,七位舞者共聚上海大剧院

 

为你带来一出全明星阵容的舞蹈剧场

 

 

 

 

 

“悬疑”舞剧

 

与其说《大饭店》是一部舞剧,它更像是一次电影的旅程,一幅感性的众生相,而对于爱好悬疑推理游戏的朋友们,更像是一场悬疑重重、扑朔迷离的剧本杀游戏。

当房间的门关闭,寂静随之而来,是真实的存在,也是虚幻的想象,每一扇房门都好像罗生门一样通向着不同的回答。

 

 

摄影 @舞蹈岭南-赵秋来

 

 

敢问看过的,哪个不喊绝?

 

不仅群星云集,舞剧《大饭店》的幕后班底也是超高配置!邀请被誉为“电影美术之神”的奥斯卡奖得主种田阳平设计舞台;荷兰舞蹈剧场(NDT)的首席灯光师汤姆·维瑟担任灯光设计;与黎星合作过多部作品的超默契挚友《南京南京》操刀者刘彤担任作曲;著名的独立设计品牌EIN成衣定制为每位演员量体裁衣。

 

 

 

 

 

 

There are many stories in "The Hotel" - mine, my friends’, and yours. We live our different lives while feeling touched by the same things, composing the most intriguing part of what I call a theater work– each audience will interpret multiple layers of meaning because of their different lives.

It’s a delight to the author that sometime, somewhere in the future, an actor on the stage or a scene of this night will cross our minds.

As a professional dancer, I have been touring around the world all the year round, accompanied by my full-loaded suitcase. Perhaps because I often travel to different places, I got to feel the touching moments and the helplessness in different cultural environments. I often wonder how this loneliness can lead to extraordinary concentration and persistence, though I fight with my own thoughts from time to time. I bring out different characters and moods from the suitcase every time I open it. They might be me, or might not. They are men and women, angels and demons, through which I can always see myself. They are part of my real life.

After I turned the hotel to my temporary "home," observing the guests coming and going through this "home" and speculating about the antecedents and consequences of each of their behaviors always excite me. I love these details of life more than the intricate stories. The dance theatre "The Hotel" is set in such a place that everyone is familiar with. The time and cultural background of the story have been weakened, with the people in the space remaining, living in the past, the present and the future. I love the stage because of dancing. I’ve recognized myself because of the stage. The body on the stage would never lie, thus presenting my life on the stage is the best way for me to communicate with the world!

The journey of "The Hotel" started since July 2017, throughout which the excitement and entanglement of working on a directorial debut have encompassed me. From an actor to a director, the transforming perspective presents me a different scenery that I’ve never seen before. I’ve invited Yohei Taneda, the Oscar-winning production designer hailed as "The Master of Film Production Design"; Tom Visser,the chief lighting designer of the Nederlands Dans Theater (NDT); Liu Tong, the great composer whom I’ve worked with several times and a mentor of mine into the production team, as well as the renowned independent designer boutique, EIN, for the tailor-made costumes for each dancer. Working together, we’ll present the audience a three-dimensional hotel space in the theater. Through the transformation of the real and the unreal in this space, the collisions between each of the characters, between the individual and the collective, will be revealed. We try not to narrate, but to draw on the essence of events and emotions, to build logical links between every figure, and to weave together the various scenarios. Hence, a multi-dimensional space is constructed within the parallel storylines, offering the viewer a mirror perspective. In an absurd and mystical story in which "the truth that you believe only exists in your head," a rehearsal of the Rashomon-style human violence is presented together by everyone in the hotel.

 

——Li Xing, on the morning of November 1st,2018

 

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