星期四, 二月 23, 2006

关于“同一首歌”和京剧

看到什么都不自觉地会往京剧上联想,今天这个也一样。

歌星大部分是1月13日晚上至1月14日晚上到达多伦多,确切地说, 《同一首歌》连一次完整的彩排都没有,都是到了一个歌星,就跑到演唱会现场去试试音,四位主持人会前连一次彩排都没有,因为曾志伟的女儿曾宝仪1月14日夜晚才到。演唱会前我们实在为《同一首歌》捏一把汗,能成功吗?难道所有的《同一首歌》节目都是这么粗制滥造出来的? 但是到了1月15日演唱会现场,我们才发现忧虑都是多余的,主持人的配合还是比较默契的,即使有出错的地方,制作节目的时候一定会剪辑掉。 《同一首歌》的成功主要来源于:这些歌星和主持人都是走台经验相当丰富的,所以应变能力很强!

看完这个熟悉京剧的人应该都想得起一个戏班里的专有名词:台上见。是的,台上见。从前的京剧演员一个晚上可能要赶很多场,可能头天散了戏才知道后台管事的第二天派了什么戏码。演员不可能去对戏,不可能像现在一样从响排到彩排一遍一遍的来。看到派出的戏不实授,得赶紧连夜去找先生捋一遍。就算排出新戏,各位演员也只有自己的一部分盖口,全部的总讲只有主角和和替主角抱本子的才有。个人拿着自己的部分去找戏找俏头。

这是对演出的不负责么?恰恰相反,这是对演出的极度负责。“功夫在诗外”用在京剧上同样合适。演员在舞台外下的功夫,在科班七年的训练让他们成为了各具特色的标准件。说他们各具特色,因为每个演员都不同;说他们是标准件,因为他们在台上只需要互相给一个肩膀就能接上。正是这种训练保证了演员有大量的演出,同时大量的演出也给了他们实践这些经验的机会。当看到网上新闻说某某京剧院花了1个月来排演《红鬃烈马》时,你有什么理由还不相信京剧已经完了呢?

星期六, 二月 11, 2006

山姆语录

F: I can't do this, Sam.

S: I know. It's all wrong. By rights, we shouldn't even be here. But we are. It's like in the great stories, Mr. Frodo, the ones that really mattered. Full of darkness and danger they were. And sometimes you don't want to know the end, because how could the end be happy? How could the world go back to the way it was when so much bad had happened?

But in the end, it's only a passing thing, this shadow. Even darkness must pass. A new day will come. And when the sun shines, it will shine out the clearer. These were the stories that stayed with you. That meant something evne if you were too small to understand.
  
But I think, Mr. Frodo. I do understand. I know now. Folk in those stories had lots of chances of turing back, only they didn't. They kept going. Because they were holding on to something.

F: What are we holding on to, Sam?

S: That there's some good in this world, Mr. Frodo. And it's worth fight for.