《一次彩排》

现场,9 个表演, 

时长:100分钟

 2018年12月15日

 

《一次彩排》是今年我在北京缓存空间驻留时完成的一个由9个行为贯穿组成的现场表演。这个现场以一次彩排的形式展开,为场面调度提供了一种灵活的,即时生成的,甚至是允许观众参与的弹性。我尝试在这次现场中将后台透明化,将演员的排练,后台的道具,灯光,音响控制暴露在观众视听范围内。而这次现场表演也试图通过演员,舞者以及观众视角的流动实现舞蹈,肢体姿势,文本,声音在剧场和非剧场,表演和非表演空间的分割,转换和相互渗透。

 

"One Rehearsal"

live show, 9 performances

100 minutes

Directed by Qingmei YAO, nine successive performances came together as “one rehearsal” at CACHE Space in Beijing, December 15, 2018. The performance, as can be seen as a real rehearsal, presents its stages in a flexible, even participatory way. Behind the scenes, Qingmei Yao questions the circulation and the transmission of gestures, sounds, texts between the scenic and non-scenic spaces.  

 

N°1 . 移动的群雕

 

群雕由分别擅长现代舞,芭蕾舞,民族舞,街舞和古典舞的舞者组成五人组的社会现实主义“群雕”。舞者在走廊的过道依次完成6个群雕的肢体姿势。每个舞种六组“群雕”通过五位舞者对“行走”的不同阐释在空间中扩散,移动。在不同的群雕姿势之间,进行定点姿势的成形,维持,和失形,移动。 这一雕塑要求演员对固定的肢体姿势维持的忍耐力, 通过对身体的考验,群雕最终避开了宣传式的图像,呈现了身体的呼吸,眨眼,等松弛和自然状态。

 

Performance N°1  The moving socialist sculpture

 

The performance is brought to life by five dancers of different genres: modern, ballet, Xinjiang, pop, and traditional Mandarine dance. While moving through the corridor towards the gallery, the five dancers realize six still positions, with each dancer giving his or her own interpretation of gestures according to their specialities. Formed as “sculptures,” the dancers are required to maintain their postures for a relatively long period. It is through testing the limits of one body’s tolerance that they avoid a propagandistic iconography, but instead reveal a rather relaxed status, breathing or blinking their eyes. 

 

N°2 .星星之火

 

观众使用二十个手电为移动的群雕照明。手电筒的冷光源跟随群雕从料阁子的走廊过道向走廊深处移动。走廊深处的门虚掩着,里面透出暖光。群雕移动进入缓存空间。观众将手电放置在门口进入缓存空间。

 

缓存空间被分隔成两个剧场区域。A 和B 是相对的两个剧场空间,中间的观众席的小凳子将AB两区分割开来。

 

Performance N°2  The sparks

 

The audience turns on 20 flashlights. The cold lights guide the dancers, leading them to move from the end of the corridor towards the room, where a gleam of warm light leaks through the door. The flashlights are left in front of the door before the audience enters into the room. Inside the room, the space is divided into three sections - two performing stages (A and B) on each side, with an audience zone of stools situated in the middle.

 

N°3 新时代的发声练习,C区

 

群雕舞者进入空间后在表演区域A区换装放松热身。而另一头“新时代的发声练习”已经开始。身着西装的播音员通过对情绪,节奏,音高的塑造不断重复说出“新时代”这三个词。在导演的要求下,他详细地向现场的观众解释了播音员标准发音的原理和技巧。之后A区的群雕舞者在“新时代”的发声练习中重新彩排了一次。

 

Performance N°3 The New Age

 

While the dancers are warming up on stage A, a TV announcer appears on stage B repeating the words “Xin Shi Dai” (the New Age). He practices on the rhythm and the emotion of the pronunciation. As required by the director, he then gives a detailed introduction of the theories and techniques of how an announcer for the official Chinese TV channels talks. Later on, the “socialist sculpture” is performed on stage A, with the announcer continuing his phonetic practice on stage B.

N°4  走进新时代,A区

 

五位阿姨组成的广场舞舞蹈队上场。表演分成音乐节奏不同的三部分,分别是“走进新时代“,“放慢两倍走进新时代“,“放慢十倍速走进新时代。音乐从激昂亢奋的的节奏到放慢二倍速的粗缓无力,最后倒放慢十倍速后凝重的无可辨识的噪音。而舞蹈的阿姨需要依靠各自对放慢十倍的理解掌握肢体动作。身体对动作的记忆变得越来越艰难,表演结束退场后阿姨们进入B区。

 

Performance N°4. March towards the New Age

 

Five amateur dancers in their fifties, all dressed in red sweaters and white pants, appear on stage A. Like many other women of their age, these amateur dancers, who are from the same neighborhood in Beijng, dance in public spaces regularly. Inherited with the popular disco music and propaganda choreography of the 60s, they are now part of China’s urban landscape. The performance flows in three sequences, a same piece of music is played repeatedly in three different rhythms. The titles are announced respectively as: “Marche towards the New Age,” “March towards the New Age, half the pace,” “March towards the New Age, 1/10 of the pace.” The cheerful communist music, exalted by the enthusiasm of the Party, gradually becomes heavy, ridiculous, and eventually unrecognizable in the end. It plunges the audience into a world of extravagant and terrifying sounds. The dancers, losing their musical references, realize their moves in a rhythm from their memories.

 

N°5“成功地摔了一跤”,A区

 

两位业余演员在A区上台。两人的身边各有一摞书本,书本的书名全部带有“成功”两字。他们分别自我介绍后轮流念书名并依次将书本垫在自己的脚下。演员时而翻书随机截取某页的某段朗读。脚下书本逐渐累积增高。演员一遍朗诵一遍掌握平衡,直到”成功地摔了一跤。

 

Performance N°5  March towards the New Age

 

Five amateur dancers in their fifties, all dressed in red sweaters and white pants, appear on stage A. Like many other women of their age, these amateur dancers, who are from the same neighborhood in Beijng, dance in public spaces regularly. Inherited with the popular disco music and propaganda choreography of the 60s, they are now part of China’s urban landscape. The performance flows in three sequences, a same piece of music is played repeatedly in three different rhythms. The titles are announced respectively as: “Marche towards the New Age,” “March towards the New Age, half the pace,” “March towards the New Age, 1/10 of the pace.” The cheerful communist music, exalted by the enthusiasm of the Party, gradually becomes heavy, ridiculous, and eventually unrecognizable in the end. It plunges the audience into a world of extravagant and terrifying sounds. The dancers, losing their musical references, realize their moves in a rhythm from their memories.

 

N°6旋转的自我,C区

 

从行为N°1的时候,京剧花旦演员就已经在缓存空间的入口侧门开始化妆了。画完了妆后,演员在B区拨了一通视频通话给控制台,她的手机自拍影像被实时投影在A 区的投影布上。15米长的充电延长线从楼上的控制台悬挂下来。花旦不停地程式化地旋转,一边自拍一边用手机线试着把自己缠绕起来然后反向旋转解开。

 

Performance N°6 The selfie rotation

 

A Peking Opera singer starts to put on makeups at the entrance of the room at the beginning of the first performance. When her makeup is completed, she enters on stage B. The singer rotates in a codified way with a smartphone in hand to take selfies, of which the smartphone is connected with a 15-meter-long cable linked to the control room upstairs. Footages from a video call through WeChat (the Chinese equivalent of Skype) are projected simultaneously onto a screen on stage A. The singer rotates to get herself tied with and freed from the cable again and again. The images from the smartphone illustrates her movements, filled with the normative Peking Opera gestures as well as the gestures of using a smartphone. 

N°7“我真的很不错

 

励志神曲“我真的很不错”响起。演员将一个音箱搬到舞台中间。他用一个木锯子将正在播放音乐的音箱锯开。锯子的噪音干扰音乐的音乐的旋律,在副歌部分又试图和音乐的节奏合拍。音箱被锯掉,音乐戛然而止。

                          

Performance N°7 “I am awesome”

 

The sound of music “I am awesome” emerges. An actor moves a loudspeaker onto stage A and puts it on two stools. As the rhythm of the music goes, he begins to saw the loudspeaker apart. The noise of destruction is mixed with the music coming out of the speaker; the music stops when the box is eventually cut into two pieces. End of the action.

N°8 鼓掌团

 

观众席自发地响起了鼓掌声和叫好声。这种自发的鼓掌声渐渐奚落,转而被一阵有节奏的整齐划一的鼓掌声替代。埋伏在B区观众席的7人鼓掌团以« x-x, x-x,xxx,xxx »的节奏鼓掌,喝彩员每个鼓掌节拍后都会说一声“好!”。鼓掌员的演员身份逐渐清晰,鼓掌声变得整齐划一。鼓掌团从观众区进入A区,所有的观众都跟着节拍鼓掌。

 

Performance N°8 . The clappers

 

The audience bursts into applause. The sound of this spontaneous applause diminishes and is gradually replaced by a rhythmic applause. Seven “clappers” are hidden in the crowd clapping in rhythm, while two cheerleaders shout “Great!” after each beat. The clappers become more and more recognizable, they enter stage A in the end.

N°9 审批了没有?

 

这时候,一个国保便衣冲进来大吼一声“怎么回事”,“审批了没有?”,“谁是负责人?”他将观众驱离现场。终。

Performance N°9 . The last intervention: Is it authorized?

 

A National Security officer rushes into the room, shouting, “Is the performance authorized?” “Who is the manager?” “Get out!” He evicts the audience out of the room. A silence occurs, the audience is in shock. They are informed that this intervention is the last piece of the show.

​感谢北京缓存空间和魔金石空间对本项目的支持

The English text will be done very soon.  please

contact me for more informations about this work: yaoqingmei@hotmail.com

©YAO Qingmei 2018

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