Maguy Marin版普罗科菲耶夫＜灰姑娘＞

中国之屎

Cinderella

Sadler's Wells

Using influences from mime and puppetry, and even what looks very much like the occasional trope from Chinese opera movement, along with exquisite observation of the way children move and react, and the beautiful ballet skills of his dancers - and still more: an immense reservoir of imagination - Maguy Marin has created an extraordinary piece of dance theatre. It combines enchantment and strange menace - under the romance of the tale as Marin tells it run very dark skeins, unsettling and surreal, hinting at cruelties and disappointments, at terrors and loneliness, of the kinds peculiar to childhood. But the charm not just of the story but of Marin's remarkable telling of it wins triumphantly, just as it should, driving away the shadows, and with them the ugliness and cruelty which blights.
    Marin squarely faces the challenge of the Cinderella tale's saccharin possibilities, and defeats them hands down. For with the darkness implicit in the tale, and the stroke-of-genius use of masks to introduce poignancy, enchantment, beauty, and an amazing degree of expressiveness, Marin has searched into the corners of Prokofiev's powerful narrative score and found ways of giving the central emotions a remarkably exact symbolisation. There is much humour in the process, and each of the main characters is given a gestural motif to characterise him or her. Thus the matriarch settles her bosoms before taking any action, the Prince steps everywhere with infinite grace, the Fairy Godmother exercises her illuminated wand like a mechanical doll.
    Cinderella herself is completely realised in character, from the way she wakes up in her kitchen corner at the beginning to the way she accepts the Prince's embraces at the end. Although this is a grown-up tale whose themes need no explanation from any Bruno Bettleheim, Marin has woven the richly-conceived Cinderella persona out of a child's mannerisms, a brilliant stroke because it simultaneously captures innocence and awakening, and makes it obvious that the glass slipper could fit no one but her.
    The set is striking and fully integrated into the action, each element necessary for advancing or commenting on the tale. The use of toys and tricks characteristic of an Edwardian nursery is another of many contributory strokes of imaginative genius; they not only fit the story perfectly, but double the potency of its telling.
    If the staging and choreography constitute work of the highest imaginative order, no praise can do justice to the brilliant realisation of Marin's intentions by his troupe. Lyon Opera Ballet is a collection of fine dancers, for whom the highest classical standards are taken as read, to which they add an admirable repertoire of skills in mime and acting. They combined to produce a wonderful evening of theatrical dance, and an object lesson in the limitless possibilities of ballet to entrance.

中国之屎

拿到碟就迫不及待地戴上耳机欣赏了一遍
刚开始有一半是冲是普罗科菲耶夫来的
看过之后却对Maguy Marin五体投地了
无怪乎纽约时报称：这不是普罗科菲耶夫的Cinderella而是Maguy Marin杰出的创造。
所有演员一律戴着诡异的面具，一开始即领人直入童话世界
随着情节的展开，也许有些许的差别，但并没有离开作品的原旨
受到音乐本身的限制，也不可能对情节作出更大的改动
不过中间许多元素的加入使得这本来简单的故事丰满起来
一个半小时的表演一气呵成，酣畅淋漓，不失一出好戏

lixunghuan

呵呵
英语不好
不太懂