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项目简介

 

赵梁舞蹈剧场 | 「东方灵欲三部曲」

深美如渊,千古一梦——“东方灵欲三部曲”之《警幻绝》、《幻茶谜经》、《双下山》为当代艺术家赵梁首度以经典文本的重构结合博物参与叙事的方式触及古典文化的深层内在,令穿越时空的视觉元素、形式语言皆得调度,依循灵性,不拘成法,以极具文学性、哲学性、视觉性和实验性的综合有机体为观众郑重开启艺术精神的朝圣之旅。

Profound beautiful, dreamlike -- for the first time, well-known modern artist, Mr. ZhaoLiang, manifests the profound essence of traditional Chinese culture in his Soul & Desire Trilogy (Dreams of Zen / The Tea Spell / Escaping From the Mountain). He adopts the technique of “drama within drama”, uses antiques as stage props, creates surreal visual effects and integrates symbolism in the dances.  The performances are spiritual creative, philosophical, visual and experimental while the plots are beautiful stories themselves. 

东方灵欲三部曲分为三阕,是导演赵梁多年工作游历海外后向中国古典文化及东方语境的一次致敬和回归。这三部曲在体系上单独成章,于内核之中却是一脉相承。其作品无论从立意到结构,从语言到视觉都在尝试一种新的结界,这种探索需要极高的悟性和勇气,赵梁可谓是中国现代舞历史上颇具探索精神的开拓者之一,事实上这些作品在海外的演出也广受赞誉,不但跨越了当代与古典的范畴,还联结了东方和西方共同的域场,闪耀出人性里共通的幽微光芒。 

traditional Chinese culture and his fluency in eastern dance vocabulary after he spent time overseas. The three chapters are independent yet interrelated.  Together they form an experiment in terms of theme, structure, dance components and visual effects, which demands extraordinary artistic talent and courage. All these may as well make Zhao Liang an avant-garde in the modern dance history of China. In fact, these art works have also won round applauses overseas. They transcend the boundary between modern and classic, connect the East with the West and shine forth with something universal -- the human nature.

 

 

 

 

 

上山下山,如履平地。

Up to the mountain; down from the mountain

《双下山》 / Escaping From the Temple

演出时间:2021年12月3日19:30

演出地点:上海国际舞蹈中心-大剧场

演出票价:688/488/388/188元

建议16岁以上观众观看

 

《双下山》一剧缘起昆曲中的两出折子戏《思凡》和《下山》,戏曲界素来有“男怕夜奔,女怕思凡”一说,正是言其难度之大。学者林语堂先生在其著作《吾国与吾民》中称赞《思凡》采用小尼姑的口吻独白“其文辞堪当中国第一流作品之称而无愧色”。

赵梁ART在这部作品中大胆将《思凡》昆曲唱段与舞蹈表演同时呈现在舞台上,不但保留了昆曲的婉转清丽,又蕴含现代舞的先锋灵动,这种戏中戏的尝试颇具挑战和难度。小尼姑的角色则化为两人分饰,梅派传人董飞饰演其中的优尼空一角并现场完成昆曲演唱的环节可谓亮点。

《双下山》的故事国人大多详知,不过是那日山中桃花初开,小尼姑与小和尚相遇,心中萌发情愫,最后双双放下拂尘,结伴共同下山去。然而,舞台上最浓墨重彩的尾声究竟是小尼姑疯疯癫癫的幻觉还是观者心中对美满大结局一厢情愿的期盼投射?《双下山》的精妙之处恰恰在于以这样一个开放式的结尾为观者掀起了另一层帷幕,令人意犹未尽……

 

在视觉呈现上《双下山》或许是灵欲三部曲中最素净淡雅的一部,一切回归纯朴本真。然而正是这部堪称清水芙蓉的《双下山》引发的现实层面的讨论和争议却从未停歇过,上山下山,出世入世,如何方能如履平地可谓每个观者的功课。该部作品也是2015年上海国际艺术节的特别委约作品之一,2016年夏天在德国巡演刷新了观众的对中国现代舞的印象,好评如潮。

 

Escaping From the Temple was derived from two famous Chinese Kunqu Operas: Longing For the Mundane and Going Down the Mountain. As far as difficulty level is concerned, Longing For the Mundane is well known as the demanding one to perform for female artists. In his book My Country and My People, famous author Mr. Lin Yu tang once marveled at the monolog script of the young nun in Longing For the Mundane that, “this is undoubtedly a top notch literature in China.”

Zhao Liang inventively presents the Kunqu Opera singing and dance performances simultaneously on the stage, featuring both the natural beauty of the former and the avant-garde dynamics of the latter. Such approach to incorporate “drama within drama” is very challenging. The role of the young nun is played out by two people, among whom Ms. Dong Fei has been trained under the lineage of the great Peking Opera master Mr. MeiLanfang. She will play the role of Empty and sing Kunqu alive on the stage.

The story of Escaping From the Temple is quite well known in China: on a beautiful spring day, a young nun met a young monk and they fell in love with each other. Eventually both of them left their temples and went down the mountain together. The ending is the climax of the story. However, is it an illusion of the young nun or a projection of the audiences for a “happy ending”? The amazing part of Escaping From the Temple lies in its open ending. The audiences may uncover one layer of the story after another...

From the point of view of visual effects, Escaping From the Temple may be the least fancy show among all three in Trilogy: everything is presented as itis.  However discussions and debates triggered by the show and its “as-is” style have never stopped. To be or not to be -- in the mountain or down from the mountain, in the temple or in the mundane -- and how to transit smoothly in between... Audiences of this show may find themselves pondering these questions. This art work was also featured as special performance on the Shanghai International Art Festival in 2015.Insummer 2016, this show was on a tour in Germany, which won enormous positive feedbacks and pressed a ‘reset’ button to German audiences’ impression on Chinese modern dance.

 

 

 

尾声 / Epilog

 尘归尘,土归土……

Ashes to ashes; dust to dust...

 

赵梁ART的灵欲三部曲每一部尾声,皆是天心月圆,慈悲祥和。如次反观众生相,他相,再及我相,皆不过是凡世里的一层层厚厚盔甲,沾染了光阴的沧桑和尘埃。当身体脱下枷锁渐渐开始松弛柔软,黑暗里听得到呼吸的声音,眼前开始模糊起来,索性把此身也放下吧!

In each show of the Trilogy, Buddhistic music is played at the end of the performance, creating a compassionate and harmonious atmosphere.  These art works mirror the fact the all forms -- myself, others and myself again --are merely layers of armor that we put on in the mundane world, from one lifetime to another.  When the body is free from its constraints, it starts to become relaxed and flexible and emotions may arise.  Better let go of the attachment to this body as well!

 

天地清明,山高水长都是肉身,浩瀚星空,霞光云霁,无一不是归处。 The sky is pure and the earth is clear, while human form could be manifested everywhere in the landscape. The stars are shimmering and the clouds are floating, while my home could be set anywhere in this universe.

 

于万籁俱静中,才能听到一朵花开的声音。 In the absolute silence, one can hear the sound of a flower blossoming.

 

见众生,见天地,方见自己……

Know all sentient beings.  Know the world.  Eventually ... know thyself.

 

期盼与您和光同尘!Look forward to seeing you there!

 

中国当代舞历史上个人舞蹈季作品呈现,融合东方美学语境与西方叙述体系的一次大胆尝试。

A fantastic attempt of oriental aesthetics in western interpretation, an absolute tribute to the Chinese Dance History!

 

赵梁—当代艺术家

Zhao Liang—Contemporary Artist

 

当代舞蹈艺术家,导演赵梁,是中国现代舞新生代的领军人物之一,新东方美学和传统文化的实践和开括者,他关注于天地人之间的关系,擅于从文化线索中剥离出艺术的思辨,并以出其不意、身体力行的方式呈现在表演艺术的前沿中,不断突破风格和边界。引领观众思考传统文化在当代艺术语境中的价值与意义。不需要文字解读,却能直击人心,赵梁独特的舞台风格和创作语言来自他多年游历于自然和人文的感悟。国外媒体称他为来自“东方的牧羊人”,他是获得罗马奖国际舞蹈比赛的中国现代舞者,被誉为中国艺术界具东方神秘气质的“灵魂舞者”与“编舞天才”。并获中国舞蹈届奖项“荷花杯”的表演及编导双料金奖,中国舞蹈家协会理事,国家艺术基金的获得者,并入选2020全国文艺领军人才。

Zhao Liang, a spiritual dancer and choreography wizard, has a unique flare of Eastern mystery.  He was the first Chinese winner of “Roman Award” for modern dance at the international dance competition.  Also presented to him were National Cultural Award as well as Lotus Cup, the highest award in the Chinese dance community, for Best Performance and Best Choreography.  On his tour to Germany, Zhao Liang was referred by the local media as “Shepard” from the East.

 

The words “dancer” and “dance” alone are not sufficient to define Zhao Liang and his works.  Besides the unique somatic language of dance, his creativity and use of space, behavioral art and music make Zhao Liang a truly well-rounded artist.  

 

In 2012, the artist founded Zhao Liang Art Studio.  Their art works flow from the heart and use dance as a vehicle.  The team has been following their unique artistic philosophy and style of body language.  Through continuous experiments and explorations of organic movements, they have created a number of performances that not only resonate on one’s soul level but are also popular with the audiences.  

 

Among all the art works, the Soul & Desire Trilogy kept setting new box office records for modern dance shows produced in China.  Zhao Liang Art team have started to tour overseas more often and are received with warm welcome by fans abroad.

 

 

 

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