栗子

知名舞蹈家劉福洋手執(zhí)湖筆，舞步行云流水，把王羲之書法藝術(shù)的璀璨成就與仕途的黯淡落寞平行錯(cuò)位展示，獨(dú)具風(fēng)韻。

Liu Fuyang， a top-notch dancer， romanticizes Wang Xizhi as a passionate calligrapher and a failed government official.

2013年12月4日，浙江歌舞劇院用舞蹈的語言首次將書圣王羲之的一生搬上了舞臺。當(dāng)晚，杭州大劇院星光璀璨，熱情的觀眾競相見證“舞劇發(fā)展的里程碑式作品” —大型原創(chuàng)舞劇《王羲之》。

精彩紛呈的舞劇《王羲之》展現(xiàn)東方文人的獨(dú)特風(fēng)韻

許多人都會(huì)用“龍飛鳳舞”來形容優(yōu)秀的書法作品，而觀看舞劇《王羲之》也讓人情不自禁想到這個(gè)詞。

舞劇《王羲之》分八幕，全長兩個(gè)半小時(shí)，它以王羲之 “人生之景”照應(yīng)“家國命運(yùn)之景”，以“生活之悟”照應(yīng)“中華書法之悟”，在大開大闔的劇情延展和追根探源的書法語言中，勾勒出一代書圣王羲之的血肉形象和魏晉風(fēng)度，并由此折射中華書法文化和人文精神的洋洋大觀。像主人公少年時(shí)向女書法家衛(wèi)夫人學(xué)習(xí)書法、青年時(shí)袒腹東床被太尉郗鑒招為佳婿、中年仕途失意書藝飛躍等重要的歷史情節(jié)，都得到了藝術(shù)化的再現(xiàn)。

大幕拉開，燈光定格 —舞臺中央，知名舞蹈家劉福洋一襲黑衣，舞步如行云流水。

暮春之時(shí)，曲水流觴，書圣王羲之從遙遠(yuǎn)的蘭亭向我們走來，長發(fā)、白須、仙袍，伴隨清風(fēng)翩翩起舞，潑墨如注，天人渾然合一。在一個(gè)多小時(shí)的時(shí)空里，舞臺上衣袂翻飛，一段又一段舞蹈，書法之美與舞蹈之美交相輝映。

在中國書法史和舞蹈史上有一段佳話：唐代“草圣”張旭觀看公孫大娘劍器舞后，草書功力大增。浙江歌舞劇院副院長嚴(yán)圣民表示，創(chuàng)作這部作品也是考慮到書法語言與舞蹈語言的共通點(diǎn)。

《王羲之》側(cè)重于人物塑造，講述了為什么偏偏是王羲之這個(gè)人，成為了“一代書圣”。但團(tuán)隊(duì)在創(chuàng)作此劇時(shí)，翻遍《晉書》，能找到的關(guān)于王羲之本人的描寫只有寥寥幾句話?？倢?dǎo)演蘇時(shí)進(jìn)說，這

真是給創(chuàng)作團(tuán)隊(duì)出了個(gè)大難題：“王羲之既沒有特別跌宕起伏的愛情故事，也沒有牽扯進(jìn)波瀾壯闊的權(quán)力斗爭，而舞劇又是特別需要戲劇性沖突的?！?/p>

怎么辦呢？最后想出的辦法是：把王羲之書法藝術(shù)的璀璨成就與仕途的黯淡落寞結(jié)合起來，在舞臺上平行錯(cuò)位展示。該劇創(chuàng)意地將王羲之心靈變化和中華書法發(fā)展兩者歷程進(jìn)行了巧構(gòu)和融匯，從而勾勒王羲之的心靈境界，展現(xiàn)東方文人的古典風(fēng)骨。

舞蹈，取書法之形韻，抒現(xiàn)實(shí)之情懷。音樂，集傳統(tǒng)元素，融當(dāng)代音樂。劇中的63名演員換了將近500套衣服。除特定的演員外，所有舞者的服飾都采用黑白兩色，與舞美創(chuàng)意上追求純粹黑白的創(chuàng)作手法相協(xié)調(diào)。簡約，可以讓觀眾看得更真切。

《王羲之》在舞美上追求了純粹黑白，并用鏡面地膠折射舞姿，從而展示人物內(nèi)心的多層次，就連與之互動(dòng)的視頻設(shè)計(jì)也采用中國傳統(tǒng)書法的墨色和傳統(tǒng)繪畫語匯的留白。蘇時(shí)進(jìn)表示，通過寫實(shí)的舞蹈場景、視頻的大寫意，兩者互動(dòng)，舞臺的正常節(jié)奏和視頻的美學(xué)節(jié)奏，讓人心理視覺空間放大、夸張、寫意。

這是一部承載著浙江歌舞劇院50多年創(chuàng)優(yōu)創(chuàng)新精神的舞劇，這是一臺被浙江省委宣傳部列入2013年浙江省文化藝術(shù)精品扶持工程的精品?！锻豸酥返膭?chuàng)作歷時(shí)兩年時(shí)間。

為了將這部舞劇打造成真正的精品，浙江歌舞劇院傾注了極大的心血。在浙江歌舞劇院二樓排練大廳經(jīng)常能看到，63名身著練功服的男女演員，有的打著綁帶、涂著膏藥，一遍又一遍地旋轉(zhuǎn)、飛躍，對每一個(gè)動(dòng)作都精打細(xì)磨，才有了首演的舞臺精彩。

《王羲之》最大的看點(diǎn)是集觀賞性和技巧性于一體的舞蹈編排。翻、旋、轉(zhuǎn)、跳 —王羲之扮演者劉福洋在劇中時(shí)時(shí)要完成這一系列動(dòng)作的無縫銜接。有時(shí)候單單一幕舞蹈表演，劉福洋就運(yùn)用了十幾個(gè)技巧。就“旋轉(zhuǎn)”這一技巧來說，專業(yè)芭蕾舞者旋轉(zhuǎn)的次數(shù)一般最多只能達(dá)到八九次，而主演劉福洋用自己的“獨(dú)門絕技”能夠旋轉(zhuǎn)二十多次。

出演一介書法傳奇人物，讓即便是擁有20多部舞劇表演

大型原創(chuàng)舞劇《王羲之》在杭首演，圖為導(dǎo)演和演員謝幕情景。

Dancing artists and director of the dance drama make curtain calls at the end of the debut on the evening of December 4， 2013.

劇中王羲之和夫人（朱潔靜飾演）共舞。

The duet dance displays the love of Wang Xizhi and his wife （acted by Zhu Jiejing）.

經(jīng)驗(yàn)，曾多次獲國家級大獎(jiǎng)，被譽(yù)為“中國舞劇男一號”的劉福洋也深感壓力山大?！澳蔷褪且粋€(gè)光環(huán)一樣的存在，舞劇要表現(xiàn)的則是一個(gè)有血有肉的人，不單單是書圣的名字，首先要了解魏晉時(shí)期的各種背景，特別是王羲之作為一個(gè)文人，氣度要符合那個(gè)時(shí)代的儒雅。 ”劉福洋透露，先前他為此劇下足了工夫進(jìn)行采風(fēng)和歷史研究。事實(shí)上，該劇也是劉福洋作為浙江省文化廳首批省屬舞臺藝術(shù)“拔尖人才”的新的藝術(shù)成果展示。

5年前浙江歌舞劇院曾推出一部舞劇《李叔同》，不僅讓浙歌驚艷中國舞壇，而且還促成了當(dāng)時(shí)還是東方歌舞團(tuán)演員的劉福洋與浙歌的緣分。就是因?yàn)橄矚g浙歌的工作氛圍，劉福洋最長的4分鐘，短則1分鐘。導(dǎo)演蘇時(shí)進(jìn)用魚和水來形容兩人的合作，“只要對方一動(dòng)，另一方立刻主動(dòng)貼上；這邊一個(gè)眼神，那邊馬上就對上了。 ”高難度和極具挑戰(zhàn)性的動(dòng)作，在兩位青年舞蹈家的默契中得到了完美的詮釋。

“舞劇《王羲之》很棒很棒，那個(gè)朝代，心向往之；那個(gè)舞臺，心向往之。 ”當(dāng)看完浙江歌舞劇院舞劇《王羲之》的彩排之后，有網(wǎng)友忍不住在微信朋友圈發(fā)出如此感慨。

浙江歌舞劇院院長董蘭興表示，真正的精品必然是有生命力的，好比《茶花女》，演了這么多年，人們依然爭相觀賞?！罢愀鑼Α锻豸酥返亩ㄎ徊皇桥艂€(gè)劇拿個(gè)獎(jiǎng)就算了，我們的目標(biāo)是做出最精最好的舞劇。 ”正如該劇編劇、中國舞蹈家協(xié)會(huì)秘書長羅斌所評論：“我看到了一艘藝術(shù)航母的啟航：此劇所追求的藝術(shù)風(fēng)格將會(huì)成為古典和現(xiàn)代間的橋梁，并將成為未來舞劇發(fā)展的里程碑式作品。 ”□

Dance Drama Dedicated to Chinas Master Calligrapher

By Li Zi

On December 4， 2013， Zhejiang Song and Dance Troupe staged the dramatized life of Wang Xizhi （321-379）， widely celebrated as one of the greatest of Chinese calligraphers， at Hangzhou Grand Theater. Local audience was fortunate to witness a milestone in the history of dance dramas in China.

The 8-act， 2.5-hour-long dance drama， simply named as Wang Xizhi， portrays the masters life and art and explores what he experienced as a

government official and how he grew up to be a calligrapher. “Flying dragons and dancing phoenixes” is one of the metaphors

Chinese people use to laud the wonders of a calligraphy artwork. The vivid images convey the splendor， elegance， and dynamics of words written in ink and with a brush pen. Many who have seen the drama dance are willing to use the metaphor to describe their im-pression of the performance.

左圖為精彩的舞蹈首次將書圣王羲之的一生在舞臺上盡情演繹。

The dance drama interprets the life and art of the master calligra-pher for the first time in the history of China.

右圖為曾多次獲國家級大獎(jiǎng)的劉福洋為此劇做足了功夫，光“旋轉(zhuǎn)”這一技巧，劉福洋用自己的“獨(dú)門絕技”能轉(zhuǎn)20多次。

Liu Fuyang performs his unique pirouettes， displaying the beauty and charm of dance and calligra-phy in the dance drama.

Liu Fuyang， a dancer of national renown who characterizes the master on the stage， shows “flying

dragons and dancing phoenixes” aptly defines both calligraphy and dance.

And the show at the grand theater was certainly not the first time calligraphy and dance came together. Back to the Tang Dynasty （618-907）， calligrapher Zhang Xu famed for his cursive style felt his calligraphy improved dramatically after watching a woman dancer did a sword stunt. Yan Shenghua， vice director of Zhejiang Song and Dance Troupe， revealed that they considered what cal-ligraphy and dance have in common between while creating and choreographing the drama.

The dance drama tries to figure out why it was that Wang Xizhi became Chinas first hall-of-famer of calligrapher. History gives few clues about him as a man and a calligrapher. No， he was neither in any epic romance nor in any complex court infighting. There was nothing for a drama on the stage. The scriptwriter finally decided to make a man who failed to find a satisfying government career turned his creativity and passion to the art of calligraphy. The dance drama tries to show how Wangs spiritual journey helped his calligraphy.

The dance drama spares no efforts to look effective and fitting.

Music and costume are two important factors that contribute to the success. The 63 dancers change altogether nearly 500 times. Some main characters on the stage have their special costumes but the

rest appear in white and black in a sharp contrast， the quintessential

colors of Chinese calligraphy. There are video clips that accompany the dance drama. The video scenes are also designed in the style of calligraphy， displaying ink and white blank. A perfect rhythm and interaction between the stage dance and the video all give audience a visual delight.

Behind the success of the drama were efforts of two years. Re-peated rehearsals， modified choreography all contributed to the beauty and wonder of the dancing on the stage.

An audience member commented online after attending the show on the evening of December 4 that his heart went all out back to the spirit of the dynasty and his memory brought him back again and again to the dazzling dance movements of the night.

Dong Langfan， the director of Zhejiang Song and Dance Troupe， says that a mas-terpiece should be full of life and people still want to see it after many years. The troupe has ambition for the dance drama. It should be more than a gold-medal win-

ner from a competition. She says， “We

want to make it the best dance drama in

the country.”

Luo Bin， the scriptwriter of the drama and secretary-general of China Danc-

ers Association， comments： “The dance

drama pursues a style that bridges the classic and the modern. We intend it to be

a milestone for future dance dramas.”