生命同樣重要：《藍(lán)》與《甜蜜的土地》讓代表性不足的故事有機(jī)會(huì)發(fā)聲

司馬勤

在繞著停車場走時(shí)，我有點(diǎn)恍惚。我記得自己把車泊在了第二層——那一層是綠色，又名“波希米亞人”——車位號(hào)碼是414。這個(gè)數(shù)字用中文讀起來就像是“死一死”，對(duì)于《波希米亞人》這部歌劇來說，相當(dāng)貼切，雖然把這個(gè)號(hào)碼放去車庫的棕色第一層（“阿依達(dá)”）或紅色的第三層（“卡門”）也同樣應(yīng)景。

離劇院只有一街之隔的底特律歌劇院停車中心（Detroit Opera House Parking Center），每一個(gè)樓層除了用顏色標(biāo)記以外，還配上了經(jīng)典劇目的名字——大部分都是歌劇，也有一些特意分配給了音樂?。ǔ壬牡谖鍖泳兔麨椤鞍彼保础柏惵》蛉恕保┡c芭蕾舞?。ㄋ{(lán)色的第四層是“堂吉訶德”、黃色的第七層是“吉賽爾”）。我找來找去，發(fā)現(xiàn)整棟樓都沒有任何與瓦格納相關(guān)的名稱。這一“空缺”引人注意，因?yàn)檫@個(gè)停車中心去年曾改頭換面，當(dāng)時(shí)自上而下隨處可見瓦格納的元素。

去年，當(dāng)反傳統(tǒng)導(dǎo)演尤瓦爾·沙倫（Yuval Sharon）——我有點(diǎn)猶豫該如何定義他，稱其為“舞臺(tái)導(dǎo)演”并不合適，因?yàn)樗麍?zhí)導(dǎo)的制作可能出現(xiàn)在大倉庫，甚至在空曠的田野里——接任密歇根歌劇院（Michigan Opera Theatre）藝術(shù)總監(jiān)一職后，他操刀的首個(gè)制作，將《眾神的黃昏》刪減至只有一個(gè)小時(shí)時(shí)長，創(chuàng)意滿溢，更把劇名縮短為《黃昏：諸神》（Twilight： Gods）。事實(shí)上，這個(gè)制作成為密歇根歌劇院——以至美國全國——“后新冠時(shí)代”回歸現(xiàn)場演出的先例，演出條件與措施都符合防疫要求。重要的是，演出地點(diǎn)就是這個(gè)停車中心。

我看過評(píng)論，里面特意提及了女高音克里斯汀·格爾克（Christine Goerke）飾演的布倫希爾德所騎的飛馬是一部福特“野馬”（Ford Mustang）。其他的評(píng)論褒貶不一，也有人揶揄歌劇院創(chuàng)辦了“汽車歌劇”，將院方停車場（那是歌劇院自家物業(yè)，當(dāng)年歌劇院的董事局主席是個(gè)地產(chǎn)大亨，他真有遠(yuǎn)見）改造為新冠疫情時(shí)期的拜羅伊特節(jié)日歌劇院。我在網(wǎng)上也看過沙倫專門錄制的視頻，為觀眾介紹駕車進(jìn)入停車場欣賞這部歌劇需要注意的事項(xiàng)：戴著綠色口罩的工作人員會(huì)指示車輛停泊的位置，并指導(dǎo)他們?cè)鯓诱{(diào)整汽車的收音設(shè)備至某個(gè)FM頻道以收聽演出。

直至我自己身處停車中心，我才明白把車開至另一層樓就可以看下一場演出的概念：通過一層看一場戲的觀演體驗(yàn)奔向世界末日。但是，我還是沒搞清楚演出的實(shí)況及效果。在某種意義上，將停車場與拜羅伊特相提并論的評(píng)論很恰當(dāng)。有沒有看過演出都無所謂，能在這個(gè)傳奇性的停車中心走一走，就覺得自己是在朝圣。我已經(jīng)心滿意足了。

***

可惜的是，我先要捱到《藍(lán)》（Blue）結(jié)束。過去幾年，包括我在內(nèi)的眾多樂評(píng)人盡管沒有看過《藍(lán)》的演出，卻發(fā)表了不少關(guān)于這部作品的論述，這很快成了關(guān)注重點(diǎn)。珍妮·特索里（Jeanine Tesori）與塔澤維爾·湯普森（Tazewell Thompson）聯(lián)手創(chuàng)作的這部歌劇，在2019年夏季的格里莫格拉斯歌劇節(jié)（Glimmerglass Festival）備受矚目。北美音樂評(píng)論家協(xié)會(huì)（Music Critics Association of North America）當(dāng)年更授予該劇年度最佳美國歌劇大獎(jiǎng)。這部歌劇于2020年的巡演計(jì)劃早已安排就緒，巡演地包括紐約、芝加哥與華盛頓，大家對(duì)此十分期待、十分雀躍。

然后……一切落空，巡演的每一站都因?yàn)樾鹿谝咔槎黄热∠?。更具諷刺意味的是，劇情說的是圍繞種族問題衍生出的警暴悲劇，而這個(gè)議題變成了去年第二波“疫情”引發(fā)美國多個(gè)大城市舉行示威游行?？上У氖?，這部最切題的歌劇作品與公眾卻失之交臂。很有可能，《藍(lán)》這部歌劇正因?yàn)槿毕宋枧_(tái)而更吸引媒體注意。

于是，密歇根歌劇院隆重登場，選取了《藍(lán)》作為2021-2022演出季的第一炮。北美音樂評(píng)論家協(xié)會(huì)每年都會(huì)精心挑選重要制作作為會(huì)員周年大會(huì)的主軸。前一陣，協(xié)會(huì)宣布將舉行自2019年來的首次線下聚會(huì)，會(huì)員將聚焦《藍(lán)》這部歌劇。會(huì)議上還將談及表演藝術(shù)于疫情時(shí)期所面對(duì)的各種挑戰(zhàn)，以及將來劇院重開大門后，現(xiàn)下疫情期間發(fā)展出的新形式中有什么值得保留、值得借鑒。

會(huì)議的核心主題是《藍(lán)》。歌劇院為了這個(gè)新制作找來了女導(dǎo)演卡內(nèi)扎·莎爾（Kaneza Schaal），而演員陣容中，所有的男演員都曾參與過該劇在格里莫格拉斯歌劇節(jié)的世界首演，女演員則全都換上新人。歌劇院強(qiáng)調(diào)藝術(shù)的重要使命是公民責(zé)任，選擇的演出場地并不是自己的歌劇院（直至今日，因?yàn)橐咔閲?yán)峻，任何公眾活動(dòng)都不能在那里舉行），而是城中擁有6000座位的艾瑞莎·弗蘭克林露天圓形劇場（Aretha Franklin Amphitheatre）。依據(jù)防疫措施，每晚演出的觀眾人數(shù)限制在1200名左右。

我真的希望我能為這部作品送上一些正面的評(píng)語——但我無法客觀地衡量演出，因?yàn)楦鞣N客觀條件每時(shí)每刻都在阻撓我的觀戲體驗(yàn)。一開始，導(dǎo)演莎爾故意為家中舉行的、本來溫馨的準(zhǔn)媽媽派對(duì)添上了古希臘悲劇色彩：準(zhǔn)媽媽的三個(gè)閨蜜就像現(xiàn)代版的命運(yùn)三女神，她們談?wù)撝谌四泻⒌奈磥?，字里行間都顯現(xiàn)出不祥的預(yù)兆。除此以外，我沒有找到其他的暗示點(diǎn)。馬克·格雷（Mark Grey）負(fù)責(zé)音響（這些年來，他是約翰·亞當(dāng)斯的御用音響設(shè)計(jì)），但大部分音效聽上去就像一團(tuán)模糊不清的噪音，我無法辨認(rèn)個(gè)別樂器的音色或演員唱出的歌詞。盡管布景相當(dāng)搶眼，但卻忽略了投影字幕的制作（投影設(shè)計(jì)卻包括其他文字）?！饵S昏：諸神》演出期間有專人負(fù)責(zé)引導(dǎo)觀眾（尤其是尋找收聽頻道），這次卻沒有人在《藍(lán)》演出前向觀眾示范手機(jī)字幕程序的用法。節(jié)目冊(cè)中有一頁提供下載字幕程序的二維碼，也包括粗略的應(yīng)用指南，但我直到中場休息時(shí)才找到一本冊(cè)子。

莎爾的導(dǎo)演概念還包括讓一群舞者在臺(tái)上跳底特律快舞（Detroit Jit，是一種改編自非洲舞蹈風(fēng)格的本地街舞，由鼓樂與吉他伴奏）?？墒牵切┹p快律動(dòng)跟特索里的音樂格格不入，也建立不了什么對(duì)位效果。舞蹈的演出甚至削弱了感情凝重的唱詞的戲劇內(nèi)涵。更糟糕的是，那些舞者剛好擋住了我的視線，在第一幕足足困擾了我30多分鐘。

中場休息過后，我終于在手機(jī)里找到了相應(yīng)的字幕，也換去了較好的座位（面對(duì)舞臺(tái)正中間），這和上半場觀賞《藍(lán)》的體驗(yàn)，截然不同。雖然音響還是不盡如人意，但比一開場坐在后排忍受回聲蕩漾的境況要好得多。其中一場激烈的爭論中，肯尼斯·凱羅格（Kenneth Kellogg）飾演的父親與戈登·霍金斯（Gordon Hawkins）飾演的牧師針鋒相對(duì)，因?yàn)楦赣H拒絕了神職人員的安慰，他當(dāng)時(shí)怒氣沖天。到了最后一場，父母兩人（母親一角由克勒斯提·斯瓦尼，Krysty Swann飾演）共餐，死去兒子（由阿倫·克勞奇，Aaron Crouch飾演）的影子在舞臺(tái)上若隱若現(xiàn)，讓觀眾得以捕捉到喪失兒女的悲情與矛盾。

總的說來，當(dāng)晚的整體演出問題重重，所以到了第二天早上，歌劇院總裁與首席執(zhí)行官韋恩·布朗（Wayne Brown）在論壇發(fā)言時(shí)，親自向樂評(píng)人致歉。他更答應(yīng)第二晚的演出（如果我們?cè)敢庠诘滋芈啥嗔粢惶斓脑挘⒂兴纳?。是的，首演往往都帶有冒險(xiǎn)性，樂評(píng)人見怪不怪。歌劇院需要真正道歉的對(duì)象應(yīng)該是其他1250位觀眾，尤其那些坐在較差座位，不能正對(duì)舞臺(tái)的人。

但有，值得一提的一點(diǎn)是，艾瑞莎·弗蘭克林露天圓形劇場凸顯了疫情所衍生的，不同機(jī)構(gòu)探索合作模式的個(gè)案。疫情對(duì)工作條件產(chǎn)生了深刻的影響，但演藝團(tuán)體卻熱切地渴望跟新的觀眾群建立連接。于是，某些合作伙伴關(guān)系未必完全妥當(dāng)，或彼此在分擔(dān)責(zé)任方面又搞不清狀況。如果成功，一切升華，令人振奮；但失敗卻會(huì)令整個(gè)項(xiàng)目和全體員工丟臉。

天知道當(dāng)晚那些首次接觸歌劇的觀眾有何感想，但我對(duì)露天劇場的評(píng)價(jià)如下：那是一個(gè)舉辦流行音樂演出的上好場地，但要搬演歌劇就連停車場都不如。

***

北美音樂評(píng)論家協(xié)會(huì)選取《藍(lán)》作為2020年度最佳美國歌劇，除了社會(huì)時(shí)效性以外，還考慮到它因疫情被取消巡演的多舛命運(yùn)，以及尤瓦爾·沙倫的藝術(shù)精神。沙倫把《藍(lán)》引進(jìn)底特律，他只不過扮演著“主辦方”的角色。《甜蜜的土地》（Sweet Land）是他多年擔(dān)任藝術(shù)總監(jiān)，位于洛杉磯的“工業(yè)藝團(tuán)”（The Industry）的制作，因此他是“媒人”又是“證婚人”和“接生婆”。

創(chuàng)作《甜蜜的土地》的原委，是美國2016年的總統(tǒng)大選引致移民與身份這兩個(gè)議題變得兩極化。沙倫組織了一個(gè)團(tuán)隊(duì)，一起探索美國建國的神話，團(tuán)隊(duì)集合了兩位作曲家、兩位導(dǎo)演以及兩位指揮；他們敘述相同的場景，但用以完全不同的角度。這部作品在2020年2月底首次亮相，上演了四場之后，因?yàn)樾鹿谝咔橐磺薪型！＿€好，制作團(tuán)隊(duì)錄制了現(xiàn)場的演出，后來更補(bǔ)拍了不同段落。剪輯好的成品上傳在工業(yè)藝團(tuán)的網(wǎng)站上。

從架構(gòu)上來看，《甜蜜的土地》分為兩大部分：“盛宴”（可以說是利用神話方式重構(gòu)美國感恩節(jié)）與“火車”（建設(shè)橫貫美國大陸鐵路的歷史）。角色之間的沖突當(dāng)然有，主要分為原住民與殖民者兩幫人。首演的演出場地是洛杉磯州立歷史公園（Los Angeles State Historic Park），這個(gè)地方過去曾是印第安人的村落，后來被夷平為橫貫鐵路的車站。

六位主創(chuàng)之中有五位在北美音樂評(píng)論家協(xié)會(huì)最后一天的會(huì)議中到場領(lǐng)獎(jiǎng)并參加論壇，為大家提供了關(guān)于工作過程的一些觀點(diǎn)。道格拉斯·卡尼（Douglas Kearney，非裔美國人）與阿加埃·庫喬斯·鄧肯（Aja Couchois Duncan，混血原住民）兩人負(fù)責(zé)劇本，分別撰寫了各自獨(dú)立但相互關(guān)聯(lián)的故事。而作曲家杜韻與拉文·查孔（Raven Chacon）彼此挑選他們感到最有共鳴的段落，但編劇與作曲就不同場次自由配搭?！拔也幌氡焕г谠∶褚魳返目蚩蚶??！鄙頌樵∶竦牟榭渍f；“作為移民，我既不是原住民也不是殖民者。”在中國出生的杜韻說。

某些合作伙伴——最令人矚目的是聯(lián)合導(dǎo)演、原住民卡努帕·漢斯卡·盧格（Cannupa Hanska Luger）——在歌劇范疇初試啼聲。正因沒有先入為主的經(jīng)驗(yàn)主義，他們的參與讓整體制作得以擴(kuò)張而不是束手束腳。音樂元素包括無調(diào)性段落，也有扎根于民間音樂的電子音響（還有路過的火車與電車造出的不確定性的噪音）。雖然兩位作曲家都保留自己獨(dú)特的風(fēng)格，兩人處理電子音樂與當(dāng)代聲樂技巧非常出色，讓整套音樂聽起來無縫銜接，令人驚訝。他們想要清晰地表現(xiàn)出：只用一個(gè)敘述方式描述建國歷史不但荒謬，簡直就是背棄道德。

整個(gè)周末，揮之不去的問題都拋向沙倫。在一個(gè)毫無歉意的實(shí)驗(yàn)性環(huán)境中（比如工業(yè)藝團(tuán)）取得巨大成功的創(chuàng)意藝術(shù)家，接任相對(duì)傳統(tǒng)的密歇根歌劇院藝術(shù)總監(jiān)，是怎么一回事？答案來自聘請(qǐng)沙倫的歌劇院總裁韋恩·布朗先生。

Not until I was in the space， though， did I get a sense of how it would feel to experience the end of the world scene by scene simply by moving your car from one level to the next. Im still a bit unclear about the performance itself. In one sense， though， even the detractors were right about comparisons to Bayreuth. I didnt even need to see the show. Simply walking through the space became something of a pilgrimage. I couldve already gone home content.

***

Unfortunately， I first had to sit through Blue. Many critics， myself included， have written about this opera without actually seeing it， which soon become the point. Jeanine Tesori and Tazewell Thompsons stage work about a black policeman whose son is killed by a white colleague made a big impression at its summer 2019 premiere at Glimmerglass Opera. The Music Critics Association of North America awarded it Best American Opera of the year and subsequent productions for 2020 quickly generated buzz in New York， Chicago and Washington， DC.

Then…nothing， as each subsequent appearance fell victim to Covid cancellations. The bitter irony is that as racially motivated police violence became virtually a second pandemic in the US， with public protests erupting in most of the countrys urban centers， the one opera dealing most specifically and powerfully with that subject could not find an audience. Its likely that Blue got more attention in the press for not being presented that wouldve gotten if it had actually appeared on stage.

Now enter Michigan Opera Theatre， where Blue opened the 2021-22 season. The Music Critics Association， always on the lookout for significant events to muster its members， announced its first live conference in two years， with additional discussions concerning the performing arts under pandemic conditions and what from this era， if anything， will remain once the doors fully reopen.

At the core of this discussion was Blue， with a new production by Kaneza Schaal reuniting the men from the Glimmerglass cast with a new lineup of women performers. Stressing the point about the arts as a civic duty， the company staged performances not in their own opera house （which still remains closed for public events） but at Detroits 6000-seat Aretha Franklin Amphitheatre， with pandemic seating limited to around 1200 per night.

I wish I had good things to say about the production—I wish I couldve assessed anything about it at all—but the performance conditions thwarted me at every turn. Schaal highlighted the domestic intimacy of a baby shower with classical Greek overtones， where three friends of the mother become modern incarnations of the Fates ominously pondering the future of black male baby. Beyond that， I could discern very little. A sound design by Mark Grey （whos brilliantly amplified nearly every performance Ive ever seen of John Adamswork） emerged as a solid sonic blob where neither instrumental tone colors nor a single recognizable word of the text came through. Despite its extroverted visual sensibility， no one in the production thought to include surtitles （although the projections incorporated other text）. Where Twilight： Gods had guides on hand to help audience members navigate the production， no one at Blue explained to people how to activate the surtitles on their mobile phones. A page in the program book provided a QR code and vaguely explained the process， but I didnt find a program book until intermission.

Beyond the text， Schaals directorial concept integrated a troupe of dancers performing Detroit Jit， a local derivation of African dance styles usually accompanied by drums and guitar. But the rhythmic motions neither fit smoothly nor established proper counterpoint with Tesoris score and often seemed to trivialize the emotional severity of Tazewells text. Worse still， the dancers were placed directly in my line of vision， blocking my view of anything else on stage for about 30 minutes.

After intermission， finally armed with the text on my phone and relocated to a seat down front and center， Blue became an entirely different experience. Sound was still not optimal， but much improved over the echoey rear of the house where my evening began. The scene where The Father （Kenneth Kellogg） lashes in anger at The Reverend （Gordon Hawkins）， fully rejecting religious pleas for consolation， erupted in untempered fury； the final domestic scene with The Mother （Krysty Swann） and Kelloggs Father at the dining table with The Son （Aaron Crouch） present yet not present poignantly captured the paradox of parental loss.

As a whole， the evening had become so problematic that the companys president and CEO Wayne Brown came to the next mornings panel session to apologize to the critics personally， promising that the second performance （if anyone could stay an extra day） would be considerably better. Well， yes， thats the peril of opening nights； music critics of all people understand that part. The ones who really deserved the apology were the other 1250 in the audience， especially those not seated directly in front of the stage.

More successfully， the Aretha Franklin Amphitheatre highlighted all the hazards of pandemic collaborations， when limitations in working conditions meets a burning desire to connect with new audiences， resulting in unlikely partnerships where no one is entirely comfortable or fully in charge. When it works （usually in smaller， more easily controlled environments）， the results can be transcendent； when it fails， everything and everyone involved in the experience is degraded.

God only knows what the people that night who were attending their first opera were thinking， but my own feelings were pretty clear. The Amphitheatre may be a fine facility for pop events， but as an opera venue its no parking garage.

***

The only things that the Music Critics Associations Best New Opera of 2020 shared with Blue， besides its social timeliness， was its Covid cancellation and the general spirit of Yuval Sharon. But in presenting Blue in Detroit， Sharon was merely the host. With Sweet Land， as artistic director of the intrepid Los Angelesbased multidisciplinary company The Industry， he was matchmaker， collaborator and midwife.

Largely inspired by the 2016 US presidential election and its polarizing effect on immigration and identity， Sharon set out to create a collaborative rumination on the idea of national myth， where two composers， two librettists， two directors and two conductors would present essentially the same situations from entirely different perspectives. After its premiere in late February 2020， Sweet Land had three more performances before Covid hit； the producers， however， managed to film segments of the production not already captured in archival performance footage. The edited results are currently screening on The Industrys website.

Structurally， Sweet Land divides into two key parts： “Feast” （more or less a mythical retelling of American Thanksgiving）， and “Train” （recounting the construction of the Transcontinental Railroad）. Conflict is embedded not only in the characters， which divide neatly into Natives and Colonizers， but also in the original performance site at Los Angeles State Historic Park， a former Native American village later co-opted as a cross-country train terminus.

Accepting their award during the last session of the conference， five of the six creators were there to offer critics a few insights into their working process. Librettists Douglas Kearney （an African American） and Aja Couchois Duncan （a mixed-race Native American） penned separate but interconnected accounts， while composers Du Yun and Raven Chacon set the stories that resonated with them most strongly， with collaborators swapping freely from scene to scene.（“I didnt want to pigeonholed into writing only the indigenous music，” said Chacon， himself a Native American. “As a recent immigrant to America， I was neither a Native nor a Colonizer，” said the Chineseborn Du Yun.）

Some of the collaborators—most notably Sharons Native American co-director Cannupa Hanska Luger—were entirely new to opera. And yet， their inexperience wound up augmenting the form rather than limiting it. Music unfolds in a mélange of atonality and folk-rooted vocalism in an electroacoustic soundscape（with occasional aleatoric noise from a passing train or trolley）. Though Du and Chacon retain strongly individual voices， their mutual prowess in electronica and extended vocal techniques render the score surprisingly seamless. The point was blisteringly clear： imposing a single narrative for a nation is not only absurd but fundamentally immoral.

The lingering question of the weekend was lobbed at Sharon： How will a creator who has thrived so brilliantly in an unapologetically experimental environment like The Industry ultimately fare in a more traditional house like Michigan Opera Theatre？ The answer came directly from Wayne Brown， whod hired Sharon in the first place.

Shortly after his effusive apology for the opening night of Blue， the companys CEO let the critics in attendance know that， once Michigan Opera Theatre gets fully back on its feet， Sweet Land will be coming to a public space in Detroit. Exactly when and where are still to be determined， however， so he insisted that in no way was this a pubic announcement.

Dont worry， Wayne. Your secrets safe with us.