劉軍：足尖上的夢(mèng)

文| 本刊記者 胡 婷 圖| 呂 兵 受訪者提供

劉軍

Liu Jun

國(guó)家一級(jí)導(dǎo)演，享受國(guó)務(wù)院特殊津貼專家，市舞蹈家協(xié)會(huì)副主席，市三八紅旗手，國(guó)家藝術(shù)基金復(fù)審驗(yàn)收評(píng)委。曾獲瑞士洛桑國(guó)際芭蕾舞比賽銀獎(jiǎng)，現(xiàn)任重慶芭蕾舞團(tuán)團(tuán)長(zhǎng)兼藝術(shù)總監(jiān)，其創(chuàng)排的雜技劇《天鵝湖》入選“國(guó)家舞臺(tái)藝術(shù)十大精品”，原創(chuàng)《追尋香格里拉》獲重慶市“五個(gè)一工程”獎(jiǎng)、第五屆全國(guó)少數(shù)民族文藝會(huì)演劇目銀獎(jiǎng)。

Liu Jun is a national first-class director, an expert enjoying special subsidies from the State Council, a vice-chairman of the Municipal Dancers Association,a municipal March 8th Red-banner Holder and a judge for review and acceptance of China National Arts Fund. She has won the Silver Award in Prix de Lausanne, Switzerland and is currently the head and artistic director of Chongqing Ballet Theater. Her acrobatic play Swan Lake was selected as the"Top Ten National Stage Arts" . Pursuing Shangri-La, her original work won the Five-One Project Awards in Chongqing and the Silver Award in drama at the 5th National Minority Art Festivals.

2013 年5 月3 日，劉軍特地來到解放碑，坐在解放碑的梯坎上，聽解放碑的鐘聲。

劉軍說，這是一次圓夢(mèng)，解放碑的孩子闊別家鄉(xiāng)多年，回到這里就想聽聽那熟悉的鐘聲。

這一天，也是《追尋香格里拉》在國(guó)泰大劇院上演的日子，它是劉軍回到重慶后創(chuàng)排的第一部原創(chuàng)現(xiàn)代芭蕾舞劇。

10 歲當(dāng)兵離開家鄉(xiāng)，33 年之后，劉軍2012 年以一個(gè)舞蹈家的身份回到重慶，成立了西部地區(qū)首個(gè)芭蕾舞團(tuán)，開始用足尖抒寫著另一個(gè)華章。

On May 3, 2013, Liu Jun came to Jiefangbei specially and sat on the stair, listening to the bell sounds.

01 劉軍在柏林國(guó)家劇院演出劇照

02 劉軍10 歲那年的軍裝照

"It is my old dream. When returned to my native place after so many years, I do want to listen to the bell sounds in Jiefangbei." Liu Jun said.

This day is also the day whenPursuing Shangri-Lais staged at Cathay Theater, which is the first original modern ballet created by Liu Jun after returning to Chongqing.

Thirty-three years ago, Liu Jun joined the army and left hometown at the age of ten. In 2012, she returned to Chongqing as a dancer and founded the first ballet company in the western region, stepping into a new brilliant life stage with ballet.

芭蕾舞者的完美要求 Ballerina’s Standard for Perfection

12 月3 日，歲尾之際，我們來到了位于南岸區(qū)煙雨路的重慶芭蕾舞團(tuán)。

推開重慶芭蕾舞團(tuán)的玻璃大門，順著木質(zhì)樓梯走下樓，一步步靠近練功房，腳尖與地板的摩擦聲，演員排練的急促呼吸聲，音樂明快的節(jié)奏聲，漸漸清晰起來。

劉軍正在指導(dǎo)演員們排練《死水微瀾》。這個(gè)重慶芭蕾舞團(tuán)的原創(chuàng)節(jié)目，早在2016 年就成為國(guó)家藝術(shù)基金大型舞臺(tái)資助項(xiàng)目。

近40 年的芭蕾舞經(jīng)歷，讓劉軍保持著優(yōu)美的體型，清瘦、挺拔。一襲黑大衣配上彩色絲巾，頭發(fā)高高挽起，化著淡妝，正是人們心目中優(yōu)雅完美的舞者形象。

盡管這個(gè)作品已日臻完善，但劉軍對(duì)演員們的要求依然一絲不茍。作為藝術(shù)總監(jiān)，她連舞臺(tái)燈光位置，音樂播放時(shí)間，甚至演員的發(fā)飾，都要求精細(xì)到極致。

極致的美，意味著絕對(duì)的嚴(yán)苛。

劉軍還記得，小時(shí)候練習(xí)芭蕾舞時(shí)腳曾經(jīng)受傷，但她還是忍著疼痛一直練習(xí)，從未缺課。后來去醫(yī)院檢查才發(fā)現(xiàn)，自己的腳發(fā)生了骨裂，而讓醫(yī)生都覺得不可思議的是，骨裂的地方已經(jīng)自動(dòng)愈合了。

On December 3, the ending of the year, we came to Chongqing Ballet Theater in Yanyu Road, Nan'an District.

Pushing open its glass gate, step by step up the wooden stairs to the training room, sound of toes rubbing against the floor, rapid breathing of actors in rehearsing and lively rhythm of music gradually became louder.

Liu Jun was guiding the dancers to rehearseRipple on StagnantWater. It is an original program of Chongqing Ballet Theater and has became a large-scale stage project funded by China National Arts Fund as early as 2016.

03 劉軍講述她的逐夢(mèng)故事

Liu Jun still has the body of ballerina, a graceful, slim and upright physique that she vigilantly maintained for nearly 40 years of ballet dancing. Dressed in a black overcoat and a colorful silk scarf, she is lightly made up and her hair is pulled up high, she has the perfect image of an elegant dancer.

Although this work has been improving day by day, Liu Jun still gives dancers meticulous guidance. As an artistic director, she even make requests on position of stage lighting, playing time of music as well as hair accessories of the dancers, so as to present the best to the audience.

Extreme beauty means absolute harshness.

Liu Jun still remembers that her foot was injured when she was practicing ballet in childhood, but she still endured the pain and practiced all the time and never missed class. Later, she went to the hospital for examination and found that her foot had a bone fracture. To the doctor's surprise, the fracture had healed automatically.

芭蕾舞夢(mèng)的艱難抉擇 The Difficult Choice of Ballet Dream

如果沒有成為一名芭蕾舞者，劉軍或許會(huì)擁有另外一種人生。

04 舞蹈練功房里，劉軍指導(dǎo)演員排練

在她辦公室的書架上，擺放著一張黑白照片。照片上，一個(gè)小女孩穿著軍裝，稚嫩的面龐透露著驕傲。

照片里的小姑娘正是劉軍，那時(shí)她10 歲，剛剛成為一名軍人。

當(dāng)一名軍人，這首先源于父親的一個(gè)夢(mèng)想。當(dāng)中學(xué)教師的父親一直對(duì)部隊(duì)有著特殊的情結(jié)，1969 年女兒出生時(shí)才有了“劉軍”這個(gè)名字。

劉軍10 歲那年，父親賣掉了自己的手表，又向親戚借了5 塊錢，帶著她坐了兩天兩夜的綠皮火車來到了北京，報(bào)考北京軍區(qū)戰(zhàn)友文工團(tuán)。

“那是我一輩子都值得驕傲的事?！背蔀槲乃嚤膭④娔昙o(jì)小，個(gè)子也小，只有1.36 米，最小的四號(hào)軍裝都穿不下，軍隊(duì)專門給她量身定做了一套軍裝。“這張照片，就是我第一次穿軍裝時(shí)拍下的，一直帶在身邊?！?/p>

在部隊(duì)，劉軍接受了專業(yè)的舞蹈訓(xùn)練。幾年后，她被選派到北京舞蹈學(xué)院附中學(xué)習(xí)古典芭蕾。

15 歲那年，附中還沒有畢業(yè)，劉軍就被英國(guó)皇家芭蕾舞學(xué)校挑中，成為了一名交換生，在英國(guó)接受最頂尖的芭蕾訓(xùn)練。

“英國(guó)皇家舞蹈學(xué)校校長(zhǎng)默爾·帕克，是我芭蕾舞學(xué)習(xí)生涯里很重要的老師。老師當(dāng)年對(duì)我說，‘你是我見過跳芭蕾最好的學(xué)生，未來一定要好好努力。’”劉軍一直把這句鼓勵(lì)記在心里。

16 歲那年劉軍學(xué)成回國(guó)，第二年成為北京舞蹈學(xué)院第一屆芭蕾舞專業(yè)的大學(xué)生，并代表中國(guó)參加了瑞士洛桑國(guó)際芭蕾舞比賽，拿到了銀獎(jiǎng)。

這是她的第一個(gè)國(guó)際大獎(jiǎng)。此時(shí)，她面臨著人生第一個(gè)十字路口：繼續(xù)在部隊(duì)當(dāng)文藝兵，還是進(jìn)一步深造。

“這是一個(gè)艱難的決定，我猶豫再三還是選擇了退伍，并申請(qǐng)到德國(guó)法蘭克福音樂和藝術(shù)大學(xué)留學(xué)。”23 歲時(shí)，劉軍成為德國(guó)柏林國(guó)家芭蕾舞團(tuán)250 年歷史中的首位亞洲籍演員。

If she hadn't become a ballet dancer, Liu Jun might have had another life.

A black-and-white photo on the bookshelf in her office is a little girl in a military uniform with a proud face.

The little girl is Liu Jun, who was 10 years old at that time and had just become a soldier.

Being a soldier first comes from her father's dream. Her father was a middle school teacher, but he always had a special interest in the military, which is why he named his daughter Liu Jun when she was born in 1969.

When Liu Jun was 10 years old, her father sold his watch and borrowed another 5 yuan from relatives, taking Liu Jun to Beijing on a green train for two days and two nights to apply for the Comrades' Art Ensemble of Beijing Military Region.

"That is something I should be proud of all my life." Liu Jun said. When she joined the army, she was young and small, only 1.36 meters. As she could not wear the smallest No.4 military uniform, the army specially tailored a military uniform for her. This photo was taken when I first put on my uniform. I carried it with me all these years."

In the army, Liu Jun received professional dance training. A few years later, she was selected to study classical ballet to The Affiliated Secondary School of Beijing Dance Academy.

At the age of 15, before graduating from the Affiliated Secondary School, Liu Jun was chosen by the Royal Academy of Dance as an exchange student and received the top ballet training in Britain.

"Merle Park, principal of the Royal School of Dance, had an important influence on my ballet career." She ever said to me, 'You are the best ballet student I have ever seen, and you must work hard in the future.'" Liu Jun imprinted this encouragement in her heart.

At the age of 16, Liu Jun returned to China after completing her studying. In the following year she became one of the first college students majoring in ballet at Beijing Dance Academy and won the silver award in Prix de Lausanne as a Chinese ballerina.

It is her first international award. At that time, she came to the first crossroad in her life: whether to stay in the army as a literary and art soldier or choose to further study.

"That was a difficult decision. After much hesitation, I decided to retire from the army and applied for the opportunity to further my studies at The Frankfurt University of Music and Performing Arts in Germany." At the age of 23, Liu Jun became the first Asian ballerina in the 250-year history of the German Berlin State Ballet.

芭蕾舞出民族情懷 National Feelings in Ballet

在德國(guó)柏林國(guó)家芭蕾舞團(tuán)跳了12年芭蕾舞，劉軍在專業(yè)上得到了很大的鍛煉和提升，但回國(guó)的念頭也越來越強(qiáng)烈。

“就算我把《天鵝湖》里的天鵝跳到極致，也只是一名舞蹈演員。對(duì)我來說，更重要的是用芭蕾這一舞蹈形式，展現(xiàn)中國(guó)人的情感、價(jià)值觀。”在德國(guó)期間，劉軍參與編導(dǎo)了廣州軍區(qū)戰(zhàn)士雜技團(tuán)的雜技芭蕾《天鵝湖》，“當(dāng)時(shí)，這場(chǎng)雜技芭蕾在德國(guó)很轟動(dòng)，站票都賣完了。”

這次經(jīng)歷，讓劉軍深受觸動(dòng)，她漸漸意識(shí)到，富有自己民族特色的芭蕾藝術(shù)才最有魅力。此后，她一直在思考，中國(guó)芭蕾舞如何從中國(guó)文化中汲取養(yǎng)分，如何用芭蕾這一西方古典藝術(shù)詮釋中華民族的故事。

2012 年，中國(guó)西部唯一的芭蕾舞團(tuán)——重慶芭蕾舞團(tuán)成立。闊別家鄉(xiāng)33 年后，劉軍回到重慶擔(dān)任了團(tuán)長(zhǎng)及藝術(shù)總監(jiān)，并編導(dǎo)了第一部原創(chuàng)劇——《追尋香格里拉》。

《追尋香格里拉》以二十世紀(jì)三十年代英國(guó)作家希爾頓的小說《消失的地平線》為創(chuàng)作靈感，講述了一個(gè)享盡世間繁華但又飽受現(xiàn)實(shí)生活壓力的青年畫家丹青，追尋香格里拉這一象征寧靜和安詳?shù)木窀叩氐膭?dòng)人故事。

“編排最大的難度就是東西方舞蹈表達(dá)上的差異。《千手觀音》《孔雀舞》等中國(guó)舞蹈，都運(yùn)用了上半身的手，符合中國(guó)東方神韻。而古典芭蕾舞非常重視腳尖的力度?！眲④娬f，為解決這個(gè)問題，在保持芭蕾腿部特色的舞蹈基礎(chǔ)上，在演員的雙手舞蹈上增加了熱巴鼓舞、弦子舞、果諧、果卓等獨(dú)具特色的藏族舞蹈，扎木聶、牛角胡、巴郎鼓等藏族彈撥、弓弦、打擊樂器。此外，劇目的背景也采用經(jīng)幡，同時(shí)在編曲、音樂、服裝上融入了藏族原生態(tài)曲調(diào)。

《追尋香格里拉》推出后引起巨大反響，目前已經(jīng)演了100 多場(chǎng)，其中有50 多場(chǎng)是在國(guó)外演出。

近年來，在劉軍的帶領(lǐng)下，重慶芭蕾舞團(tuán)佳作不斷，融入川劇戲曲元素的《死水微瀾》、結(jié)合芭蕾舞和現(xiàn)代舞的《山水重慶四部曲》等原創(chuàng)劇也在國(guó)內(nèi)外收獲好評(píng)。用西方的藝術(shù)形式講述中國(guó)故事，演繹東方美感，這就是劉軍的芭蕾夢(mèng)。

After 12 years of ballet dancing in German Berlin State Ballet, Liu Jun has received great professional training and promotion, but the idea of returning home is getting stronger.

05 重慶芭蕾舞團(tuán)的首部原創(chuàng)芭蕾舞劇《追尋香格里拉》

"Even if I have been the best swan inSwan Lake, I am just a ballerina. For me, the more important thing is to show the feelings and values of the Chinese people with the form of ballet." During her stay in Germany, Liu Jun participated in the choreography of Swan Lake, an acrobatic ballet by the Guangzhou Military Region Soldiers Acrobatic Troupe, which created a great sensation at that time, even standing tickets were sold out. "

This experience deeply touched Liu Jun. She gradually realized that ballet art with its own national characteristics is the most attractive. Since then, she has been thinking about how Chinese ballet draws nutrients from Chinese culture and how to interpret the story of the Chinese nation with ballet, the western classical art.

In 2012, Chongqing Ballet Theater, the only ballet company in western China, was established. After 33 years away from her hometown, Liu Jun returned to Chongqing as head and artistic director, and directed the first original play,Pursuing Shangri-La.

Inspired by Hilton's novel Lost Horizon in the 1930s,Pursuing Shangri-Latells a touching story of a young painter enjoyed all the prosperity in the world but suffered from the pressure of real life, to pursue Shangri-La, a spiritual highland symbolizing peace and serenity.

"The biggest difficulty in choreography is the difference in expression between eastern and western dances. Chinese dances such asThousand-Hand GuanyinandPeacock Dance, in line with the Oriental charm that China has been promoting, mainly use the hands of the upper body. However, classical ballet attaches great importance to the strength of toes." Liu Jun said. In order to solve this problem, based on the leg characteristics of ballet, unique Tibetan dances such as Reba Dance, Xianzi Dance, Guoxie and Guozhuo have been specially designed for dancers' hands. Moreover, Tibetan plucking, bowstring and percussion instruments such as Zamnie, Niujiaohu and Balang Drum also have been introduced. In addition, the background of the play also uses prayer flags, and Tibetan original ecological tunes are incorporated into the arrangement, music and clothing.

Pursuing Shangri-Lahas aroused great repercussions after its launch. At present, it has performed more than 100 performances, of which more than 50 have been performed abroad.

In recent years, under the leadership of Liu Jun, Chongqing Ballet Theater has produced more and more excellent works, their original ballets such asRipple on Stagnant WaterandTetralogy of Chongqing's Mountain and Water, which incorporated elements of Sichuan opera, have also received favorable comments at home and abroad. It is Liu Jun's ballet dream to tell Chinese stories and interpret Eastern beauty in Western artistic forms.