認(rèn)識(shí)一下，東歐戲劇

卡莉娜·斯蒂芬諾娃（保加利亞）

近年來，東歐戲劇陸續(xù)進(jìn)入中國，它與英美戲劇差異巨大。東歐戲劇繼承與革新了來自俄羅斯斯坦尼斯拉夫斯基、梅耶荷德與契訶夫一脈的演劇體系，一直走在藝術(shù)先鋒和探索的前沿。

來自波蘭的劇場導(dǎo)演克里斯蒂安·陸帕，他的多部作品都曾進(jìn)入中國——《假面·瑪麗蓮》《伐木》《英雄廣場》，去年他還根據(jù)史鐵生的作品改編上演了《酗酒者莫非》;波蘭楊·克拉特導(dǎo)演的《人民公敵》、立陶宛OKT劇院奧斯卡·科爾蘇諾夫?qū)а萜踉X夫的《海鷗》、里瑪斯·圖米納斯的《葉甫蓋尼·奧涅金》前兩年都來到浙江烏鎮(zhèn)演出，好評(píng)如潮。之前還有保加利亞的克瑞都劇團(tuán)在上海國際小劇場戲劇節(jié)演出《外套》。

類似的演出正在不斷進(jìn)入中國觀眾的視野，我們應(yīng)該如何看待東歐戲劇給我們帶來的全新觀感呢？

來自保加利亞國立戲劇與電影藝術(shù)學(xué)院戲劇藝術(shù)系的卡莉娜·斯蒂芬諾娃教授日前來到杭州進(jìn)行文化交流活動(dòng)，在浙江大學(xué)傳媒與國際文化學(xué)院舉辦了題為《〈哈姆雷特〉中的鏡像——東歐戲劇的一瞥》的講座。她同時(shí)也是保加利亞國家戲劇評(píng)論家協(xié)會(huì)副主席，主要從事戲劇理論與批評(píng)研究工作，在國際上很有名望。她以她的視角為我們展現(xiàn)了當(dāng)代的東歐戲劇。

——胡志毅（浙江大學(xué)傳媒與國際文化學(xué)院教授、博士生導(dǎo)師，中國話劇理論與歷史研究會(huì)會(huì)長）

前年來過浙江烏鎮(zhèn)的里瑪斯·圖米納斯導(dǎo)演是一位非常優(yōu)秀的劇場導(dǎo)演，《葉鋪蓋尼·奧涅金》是一部杰作，如果你看過，你就絕對(duì)不會(huì)忘記它。

在東歐，我們有許多劇場導(dǎo)演并不是從傳統(tǒng)戲劇的培養(yǎng)體系中成長起來的，有許多導(dǎo)演有傀儡戲的背景。因此東歐戲劇中也常會(huì)有傀儡戲的元素。這些作品不是將傀儡戲與話劇進(jìn)行生硬的結(jié)合，而是將玩偶元素作為道具或者象征引入到戲劇的表演模式中。當(dāng)代的東歐戲劇的確有它的特殊魅力。

“Mirror”即“鏡像”，它有兩個(gè)含義。其一是指現(xiàn)實(shí)意義上的可見的鏡子，我們可以在舞臺(tái)上看到它們;其二是比喻意義上的鏡子——《哈姆雷特》就像是一面對(duì)現(xiàn)實(shí)世界進(jìn)行反射的鏡子，表現(xiàn)了精神意義上的內(nèi)涵，而反射的現(xiàn)實(shí)世界更多是人的內(nèi)心世界。

我們通過解讀《哈姆雷特》作品，去感受東歐劇場經(jīng)典的莎士比亞與《哈姆雷特》是如何被一再上演的。

導(dǎo)演楊·克拉塔被稱為“波蘭的弗蘭克·卡斯托夫”（注：2016年，他帶著自己執(zhí)導(dǎo)的戲劇《人民公敵》來到烏鎮(zhèn)）。

他的演劇有兩個(gè)非常突出的特點(diǎn)——

一是拓寬了劇場概念，演出不再局限于傳統(tǒng)的戲劇舞臺(tái)，而是走向了劇場外的空間。如果說我們以前都是安靜地坐在劇場里面看戲，那么如今則走向了更廣闊的外部世界。他的戲劇演出場景十分真實(shí)，演員跳河就是跳真的河，不是象征性的、虛幻的動(dòng)作。

在歐洲，這樣的劇場實(shí)驗(yàn)是非常多的。比如有一位在歐洲非?；钴S的南非導(dǎo)演，布雷頓·比爾利，他幾乎每一部作品都是在傳統(tǒng)劇場舞臺(tái)之外進(jìn)行表演的，比如在廢棄的工廠，或是在田野里演出。還有位波蘭導(dǎo)演杰格羅斯·布拉爾，他的《哈姆雷特》就是在一個(gè)由前修道院改造成的劇場里演出的。

二是流行音樂的運(yùn)用，比如戲劇一開場就用到了21世紀(jì)后出現(xiàn)的波蘭流行音樂。

楊·克拉塔嘗試把《哈姆雷特》命名《H.》，并于2004年在格但斯克造船廠演出。觀眾跟隨演員在42號(hào)倉庫的不同部分行動(dòng)，包括奧菲莉亞溺水附近的運(yùn)河。這次創(chuàng)作探索空間象征意義的最大化：這里曾被認(rèn)為是團(tuán)結(jié)工會(huì)運(yùn)動(dòng)的誕生地，然后造船廠關(guān)閉，隨后的失業(yè)帶來了絕望，最后是巨大、通風(fēng)、寒冷的建筑散發(fā)出的明顯的寒冷、孤獨(dú)和凄涼的感覺。

在東歐戲劇中，象征元素是非常重要的，這非常不同于英美導(dǎo)演對(duì)文本或臺(tái)詞以及潛臺(tái)詞的重視。在這個(gè)版本的哈姆雷特中，哈姆雷特手中拿著的那本書是波蘭天主教徒用于祈禱的書，這個(gè)關(guān)鍵的道具隱含一種深刻的含義，也即哈姆雷特應(yīng)該選擇復(fù)仇還是寬恕。

非常有意思的是，在他的戲劇中，“To be or not to be”這句經(jīng)典臺(tái)詞不是由演員在現(xiàn)場表演中說出，而是在前期錄制好之后在現(xiàn)場用同期聲播放的。

另外，奧菲莉亞的結(jié)局是被拖到造船廠旁邊的運(yùn)河里溺死。還有一個(gè)細(xì)節(jié)是，人物有一部分說波蘭語，有一部分說法語，導(dǎo)演運(yùn)用兩種不同語言的對(duì)白是為了表現(xiàn)波蘭上流社會(huì)的墮落，是一種現(xiàn)代的政治性隱喻。

就音樂的使用而言，這是一部非常具有議題性的作品，就像克拉塔常用在的其他作品上一樣：辛酸的、侵入的、強(qiáng)迫的、令人沮喪的，“骯臟的音樂不容易聽”。

簡而言之，這部作品不僅充滿了清晰的政治陳述風(fēng)格，它本身就是清晰的政治陳述——這再次體現(xiàn)了克拉塔的典型風(fēng)格，他以“對(duì)經(jīng)典著作勇敢的先驅(qū)解讀，以及對(duì)波蘭現(xiàn)實(shí)熱情而不懈的診斷”而聞名。然而，這是一個(gè)非常平和的哈姆雷特：他與其他角色和世界的關(guān)系沒有任何明顯的發(fā)展——一個(gè)悲傷的、受傷的，但主要是憤怒、憤怒、憤怒的年輕人從一開始就“與所有人戰(zhàn)斗”。正如演出的第一句話：“我要和他們戰(zhàn)斗！”

楊·克拉塔認(rèn)為，關(guān)鍵是找到一個(gè)場所來適應(yīng)你所想要展示的文本，這不是傳統(tǒng)劇院可以代替的。傳統(tǒng)劇院難以展現(xiàn)我們的激烈情緒，它只能供人們進(jìn)行理性的討論，因此應(yīng)該拓寬戲劇表演的場所。我們一直以來過分崇拜戲劇文本，過分遵循莎士比亞的劇本程序，這反倒破壞了莎士比亞戲劇中的精髓。莎士比亞無愧為天才，他的戲劇向我們傳達(dá)著永恒的真理。

現(xiàn)在的東歐戲劇有一種打破傳統(tǒng)藝術(shù)邊界的融合趨勢(shì)，并且產(chǎn)生了一股叫做“新劇場現(xiàn)實(shí)”的潮流。就我所知，至少有十四個(gè)這樣的導(dǎo)演，尼克魯休斯、科爾蘇諾瓦斯、楊·克拉塔都屬此列。

（本文節(jié)選自作者的講座，標(biāo)題為編者所加）

Directors and artists from Eastern European countries have brought some of their best theater performances to China in recent years. The performances they give are essentially different from those by troupes from the United Kingdom and the United States because directors and artists of Eastern European countries are largely disciples of Konstantin Stanislavsky， Anton Chekov， and Vsevolod Emilevich Meyerhold. Moreover， they dare to experiment and explore different styles such as avant-garde. The best known plays by these directors and artists are probablyWoodcutters by directed by Krystian Lupa of Poland，The Sea Gulldirected by Oskaras Kor?unovas of Lithuania， andEugene Onegindirected by Rimas Tuminas of Lithuania. Over the past few years， troupes from Eastern Europe have performed in Beijing， Shanghai， as well as Wuzhen， a canal town where a theater festival takes place in autumn every year.

As Eastern Europe is bringing more of its plays to Chinese theaters， how do we Chinese theatergoers take the brand-new theater phenomenon from Eastern Europe？

The other day， Kalina Stefanova， a Bulgarian professor engaged in theater studies， gave a lecture in Hangzhou addressing the topic of Eastern European plays. The following is an excerpt of the lecture.

----- Hu Zhiyi， a professor of Media and International Culture College， Zhejiang University， doctoral supervisor， director of the Association of Theoretical and Historical Studies of Theater

A Glimpse into Eastern European Plays

By Kalina Stefanova

Rimas Tuminas who visited Wuzhen a few years back is an excellent theater director. If you have watched? Rimas Tuminas directed， you wouldnt forget the masterpiece.

Many theater directors in Eastern Europe are not bred by the traditional theater education system. They have their career roots in puppet shows. Thats why you often see the puppet show elements in Eastern European plays. However， these plays do not present awkward integration of puppet show and drama. The puppet show elements are often introduced as stage sets or symbols into drama. Thats why Eastern Europe plays offer a special charm.

Mirror has two meanings. The first refers to the real tangible mirror. We can see mirrors on the theater stage. The second is a figurative mirror.? resembles a mirror that reflects the real world， presenting the spiritual content. The real world it reflects is largely about the inner world.

By reading ， we can understand why Shakespeares classics such as? are staged again and again.

Jan Klata is a director with a strong sense of politics. His works are often regarded as political fables.

Two features stand out in the shows he directs： first， he broadens what a theater is. His shows are no longer confined to the traditional theater stage. They extend to the space beyond theaters. If we used to sit in a theater and watch a performance， nowadays we are in the broader world outside the traditional theater. The setting for his shows is real. If an actor jumps into a river， then it is a real river. What the performer does is no longer a symbolic and virtual jump. Second， he uses pop music. For example，? directed by Jan Klata starts with a pop song which appeared in the 21st-century Poland.

presented at Gdansk Shipyard in 2004 is unforgettable. The audiences followed the performers to different parts of Warehouse 42， including to a nearby canal in which Ophelia drowned. The creation explored the significance of the shipyard： Solidarity was founded there in 1980 before it overwhelmed the country. The shipyard went under later. Unemployment brought out despair. The cavernous， draughty and cold warehouse emphasized coldness， solitude， and desolation.

Plays in Eastern Europe give a top priority to symbols whereas directors in the UK and the USA give special attention to lines and unspoken words. In directed by Jan Klata， the prayer book in the hand of Hamlet was the very one usually used by Catholics in Poland. The item suggests a question Hamlet faces： should he choose revenge or forgiveness？ Interestingly enough， Hamlet didnt speak the famous “to be or not to be” soliloquy in the play. Instead， the audience heard the playback of a record previously recorded. As for Ophelia， she was drawn to the canal by the shipyard and drowned there. Another distinct difference in the show was that some characters spoke the Polish whereas some other characters spoke the French. A dialogue interwoven in two languages was designed to serve as a political metaphor about the downfall of the upper class in modern Poland. In terms of music，? trigged a lot of discussion. The music used in this play was so “dirty” that it posted a challenge to the ears.

In short， this production makes a clear-cut political statement， which is typical of Jan Klata， famed for boldly interpreting classics in an avant-garde style and for passionately and unswervingly diagnosing Polands reality.

According to Jan Klata， the key is to find a venue appropriate for a text you intend to display. A traditional theater will not make it. A traditional theater has difficulty displaying our vehement sentiments; it is good only for a rational dialogue. Therefore we need to find broader venues for theater production. We have overly worshipped Shakespeares texts and faithfully followed the play programs set by Shakespeare. What we have done damages the essence of Shakespeare， a genius whose works convey eternal truth to us.

Eastern European theaters now combine to break down the limits of traditional arts and integrate them， thus producing “a new theater reality”. As far as I know， there are at least fourteen directors engaged in this trend. Jan Klata is one of them.