文胡毓堃 Hu Yukun 譯曹宇光Cao Yuguangg

中國(guó)雜技國(guó)際交流贏得開(kāi)門(mén)紅
——中國(guó)雜技參加三大國(guó)際馬戲節(jié)屢獲佳績(jī)的啟示

Behind the Good Beginning for 2017 International Exchange of Chinese Acrobatics——Reviews of China’s Excellent Achievement in the Three Top International Circus Festivals

文胡毓堃 Hu Yukun 譯曹宇光Cao Yuguangg

正值歡度春節(jié)之際，中國(guó)雜技健兒踏上遠(yuǎn)赴歐洲的征程，前往摩納哥、法國(guó)參加世界頂級(jí)馬戲賽事——第41屆蒙特卡洛國(guó)際馬戲節(jié)、第38屆法國(guó)“明日”世界馬戲節(jié)、第6屆摩納哥“新一代”國(guó)際青少年馬戲節(jié)，并取得一個(gè)金獎(jiǎng)、兩個(gè)銀獎(jiǎng)的優(yōu)異成績(jī)，為中國(guó)雜技2017年國(guó)際交流贏得了開(kāi)門(mén)紅。

這三大馬戲節(jié)，分別代表著傳統(tǒng)馬戲、新馬戲和青少年馬戲比賽的最高水平，是世界各地雜技、馬戲藝術(shù)家心中的最高殿堂。中國(guó)雜技節(jié)目在三大國(guó)際馬戲節(jié)摘金奪銀，持續(xù)取得優(yōu)異成績(jī)，進(jìn)一步提高了中國(guó)雜技在國(guó)際馬戲界的知名度和影響力；更讓公眾關(guān)心的是，中國(guó)雜技緣何屢獲國(guó)際大獎(jiǎng)？其中的“秘訣”有哪些？

屢獲大獎(jiǎng)，擴(kuò)大中國(guó)雜技國(guó)際影響力

新疆生產(chǎn)建設(shè)兵團(tuán)節(jié)目《向太陽(yáng)——繩技》The Acrobatic Program Lasso by Xinjiang Production and Construction Corps Acrobatic Troupe

1月19日至29日，第41屆蒙特卡洛國(guó)際馬戲節(jié)在摩納哥大公國(guó)舉行。蒙特卡洛國(guó)際馬戲節(jié)是世界上第一個(gè)國(guó)際馬戲節(jié)，1974年由時(shí)任摩納哥大公的雷尼埃三世親自創(chuàng)辦。蒙特卡洛國(guó)際馬戲節(jié)因其參賽節(jié)目種類多樣化和大型化以及王室成員的支持（摩納哥大公國(guó)斯黛芬妮公主為蒙特卡洛國(guó)際馬戲節(jié)主席），使其被業(yè)內(nèi)人士稱為“馬戲界的奧林匹克”；該節(jié)的最高獎(jiǎng)“金小丑獎(jiǎng)”被譽(yù)為“馬戲界的奧斯卡獎(jiǎng)”。中國(guó)自1981年首次參加蒙特卡洛國(guó)際馬戲節(jié)至今，共獲得14尊“金小丑”。馬戲節(jié)每年舉辦一屆，迄今已經(jīng)成功舉辦了41屆。2016年適逢蒙特卡洛國(guó)際馬戲節(jié)的第40屆大慶，匯集了來(lái)自世界各國(guó)各年度的金獎(jiǎng)節(jié)目進(jìn)行展演。本屆馬戲節(jié)共有來(lái)自俄羅斯、中國(guó)、巴西、埃塞俄比亞、法國(guó)、美國(guó)、西班牙、德國(guó)、捷克、烏克蘭、加拿大、烏茲別克斯坦等17個(gè)國(guó)家的39個(gè)節(jié)目參賽，地域范圍涵蓋五大洲，節(jié)目種類包括高空雜技、地面雜技、馬戲、滑稽、魔術(shù)，其中不乏曾多次參加蒙特卡洛國(guó)際馬戲節(jié)或在其它國(guó)際馬戲節(jié)摘金奪銀的優(yōu)秀節(jié)目。

應(yīng)蒙特卡洛國(guó)際馬戲節(jié)組委會(huì)邀請(qǐng)，中國(guó)雜協(xié)選送的新疆生產(chǎn)建設(shè)兵團(tuán)雜技團(tuán)優(yōu)秀節(jié)目《生命之旅——男子倒立技巧》《向太陽(yáng)——繩技》參加了本屆馬戲節(jié)比賽和展演。在本屆馬戲節(jié)比賽和展演中，《生命之旅——男子倒立技巧》用優(yōu)美、抒情的音樂(lè)配樂(lè)，將芭蕾舞的舞蹈元素融入“三角支撐群頂”“雙飛群頂”“牌樓群頂”“三人單臂舉群頂”等諸多高難度的疊摞技巧中，每場(chǎng)比賽和演出均贏得摩納哥王室成員、評(píng)委、嘉賓和觀眾的一致好評(píng)和起立鼓掌；《向太陽(yáng)——繩技》則展現(xiàn)了一群陽(yáng)光少年手舞長(zhǎng)繩，通過(guò)翻騰、小花繩、雙立繩等技巧，在空中“畫(huà)”出絢麗圖畫(huà)，展現(xiàn)了年輕人陽(yáng)光、自信、拼搏的可愛(ài)形象，在比賽和專場(chǎng)演出中贏得全場(chǎng)觀眾的喝彩。最終，兩個(gè)節(jié)目以精彩的表現(xiàn)雙雙獲得本屆馬戲節(jié)“銀小丑”獎(jiǎng)。摩納哥國(guó)家元首阿爾貝二世親王出席了開(kāi)幕式和頒獎(jiǎng)晚會(huì)，并親自為新疆生產(chǎn)建設(shè)兵團(tuán)雜技團(tuán)的獲獎(jiǎng)演員們頒獎(jiǎng)。

1月26日至29日，第38屆法國(guó)“明日”世界馬戲節(jié)在法國(guó)巴黎“鳳凰”馬戲棚舉行。法國(guó)“明日”世界馬戲節(jié)創(chuàng)辦于1977年，每年舉辦一屆，迄今已經(jīng)成功舉辦了38屆。我國(guó)自1981年開(kāi)始參加“明日”馬戲節(jié)比賽至今已35年，是國(guó)際馬戲節(jié)公認(rèn)的獲獎(jiǎng)大戶。中國(guó)雜協(xié)自2011年起，連續(xù)多年選派代表中國(guó)的高質(zhì)量節(jié)目參賽，并多次取得優(yōu)異成績(jī)。本屆馬戲節(jié)共有來(lái)自法國(guó)、瑞士、阿根廷、中國(guó)、英國(guó)、德國(guó)、伊朗等22個(gè)國(guó)家的24個(gè)優(yōu)秀節(jié)目參加比賽，地域范圍涵蓋四大洲，節(jié)目種類包括高空雜技、地面雜技、滑稽，展現(xiàn)了新馬戲藝術(shù)的精華，其中不少節(jié)目曾在其它國(guó)際馬戲節(jié)上摘金奪銀。

中國(guó)雜協(xié)選送的浙江省雜技曲藝總團(tuán)優(yōu)秀節(jié)目《白蛇傳說(shuō)·蹬傘》和《幻相金剛·頭頂技巧》參加了本屆馬戲節(jié)比賽?！懊魅铡笔澜珩R戲節(jié)注重創(chuàng)新，兩個(gè)參賽節(jié)目也都為本次馬戲節(jié)對(duì)節(jié)目的結(jié)構(gòu)、技巧、音樂(lè)、服裝、道具等進(jìn)行了全面的革新，既展現(xiàn)了節(jié)目難度技巧，又體現(xiàn)了中國(guó)悠久深厚的文化底蘊(yùn)。其中，《白蛇傳說(shuō)·蹬傘》取材于中國(guó)民間傳統(tǒng)故事《白蛇傳》，借助國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)——油紙傘為道具，添加精心原創(chuàng)的配樂(lè)和帶有京劇元素的現(xiàn)代妝容，演員在肩上和頭頂?shù)潘！伣?把傘和1把扇子，憑借地域性強(qiáng)的傳統(tǒng)文化精髓和技巧難度的突破贏得了馬戲節(jié)組委會(huì)、評(píng)委和全場(chǎng)觀眾的贊嘆和自發(fā)起立鼓掌，最終脫穎而出，榮獲銀獎(jiǎng)。

上海雜技團(tuán)攜《秦俑情——抖杠》參加第15屆莫斯科國(guó)際馬戲藝術(shù)節(jié)The Program Feelings of Terra Cotta—Russian Bars by Shanghai Acrobatic Troupe in the 15thMoscow International Youth Festival-Contest in Circus Art

2月4日至5日，第6屆摩納哥“新一代”國(guó)際青少年馬戲節(jié)在摩納哥大公國(guó)舉行。摩納哥“新一代”國(guó)際青少年馬戲節(jié)創(chuàng)辦于2012年，是第二個(gè)由摩納哥王室創(chuàng)辦的國(guó)際馬戲節(jié)（蒙特卡洛國(guó)際馬戲節(jié)主席斯黛芬妮公主的女兒保琳·杜克魯特公主為摩納哥“新一代”國(guó)際青少年馬戲節(jié)主席），旨在為全世界最優(yōu)秀的青少年雜技演員提供展示才藝的平臺(tái)。馬戲節(jié)每年舉辦一屆，迄今已經(jīng)成功舉辦了6屆。馬戲節(jié)匯聚了世界各國(guó)優(yōu)秀的青少年雜技、馬戲和魔術(shù)演員，展現(xiàn)了高超的競(jìng)技水準(zhǔn)。中國(guó)自2012年起開(kāi)始參加“新一代”國(guó)際青少年馬戲節(jié)，多次取得優(yōu)異成績(jī)，并在2015年第4屆“新一代”國(guó)際青少年馬戲節(jié)首次獲得金獎(jiǎng)。本屆馬戲節(jié)共有來(lái)自摩納哥、德國(guó)、法國(guó)、俄羅斯、中國(guó)、智利、瑞士等11個(gè)國(guó)家的19個(gè)優(yōu)秀青少年節(jié)目參加比賽，包括高空雜技、地面雜技、馬戲和滑稽。中國(guó)雜協(xié)選送的上海市馬戲?qū)W校新疆班優(yōu)秀抖杠節(jié)目《擔(dān)當(dāng)》參加了本屆馬戲節(jié)比賽。該節(jié)目為上海市馬戲?qū)W校原創(chuàng)，演員為上海市馬戲?qū)W校委托培養(yǎng)的新疆雜技團(tuán)學(xué)生。抖杠節(jié)目表演形式源自俄羅斯，觀賞性強(qiáng)、技巧要求高、難度大，是國(guó)際馬戲界的優(yōu)秀保留節(jié)目。上海馬校所編排的《擔(dān)當(dāng)》以“雪山雄鷹”為主題，結(jié)合新疆班學(xué)生能歌善舞的特點(diǎn)創(chuàng)作了具有濃郁中國(guó)新疆民族音樂(lè)特色的伴奏，在服裝和造型設(shè)計(jì)也凸顯了這一主題，獲得了一致認(rèn)可。比賽中，四名首次參加國(guó)際馬戲比賽的新疆維吾爾族少年表演輕盈飄逸、瀟灑自如，非常出色地完成了“兩個(gè)雙人雙翻”“三個(gè)1080度轉(zhuǎn)體翻騰”“團(tuán)身后空翻三周”等一系列高難度技巧動(dòng)作。兩場(chǎng)比賽和頒獎(jiǎng)演出中，表演結(jié)束演員尚未謝幕時(shí)，斯黛芬妮公主和保琳·杜克魯特公主便率領(lǐng)評(píng)委、嘉賓和全場(chǎng)觀眾長(zhǎng)時(shí)間起立鼓掌，這也成為本屆馬戲節(jié)唯一一個(gè)獲此殊榮的節(jié)目。憑借著穩(wěn)定的發(fā)揮和精彩的表演，該節(jié)目當(dāng)之無(wú)愧地榮獲本屆馬戲節(jié)唯一金獎(jiǎng)，這也是該馬戲節(jié)成立以來(lái)中國(guó)節(jié)目第二次獲得金獎(jiǎng)。斯黛芬妮公主和保琳·杜克魯特公主在頒獎(jiǎng)典禮上共同為上海市馬戲?qū)W校新疆班的獲獎(jiǎng)演員們頒獎(jiǎng)。

摘金奪銀，堅(jiān)持創(chuàng)新是核心源泉

自1981年起，中國(guó)優(yōu)秀雜技節(jié)目多年來(lái)持續(xù)參加三大國(guó)際馬戲節(jié)，斬獲無(wú)數(shù)榮譽(yù)，成為獲獎(jiǎng)最多的國(guó)家之一。摘金奪銀的背后，既有演員精彩絕倫的表演，也有中國(guó)雜技多年來(lái)積極探索、與時(shí)俱進(jìn)的重要影響。

文化部和各級(jí)政府的大力支持為中國(guó)雜技節(jié)目參加國(guó)際馬戲節(jié)提供了有力保障和激勵(lì)。從節(jié)目編排、籌備參賽、激勵(lì)機(jī)制到日常訓(xùn)練、人才培養(yǎng)，各雜技院團(tuán)參加國(guó)際馬戲節(jié)的各項(xiàng)準(zhǔn)備工作都離不開(kāi)各級(jí)政府的財(cái)政支持和工作指導(dǎo)。縱觀世界馬戲界發(fā)展動(dòng)態(tài)，同為雜技大國(guó)的俄羅斯和金牌大戶的朝鮮更是以政府扶持的表演團(tuán)隊(duì)為主體，無(wú)疑是這些國(guó)家持續(xù)穩(wěn)定地在各大馬戲節(jié)賽場(chǎng)摘金奪銀的重要因素。

深化文化體制改革、堅(jiān)持市場(chǎng)化的發(fā)展道路是持續(xù)推出優(yōu)秀參賽作品的動(dòng)力。今年三大國(guó)際馬戲節(jié)的中國(guó)參賽節(jié)目便是典型代表：新疆生產(chǎn)建設(shè)兵團(tuán)雜技團(tuán)的《生命之旅——男子倒立技巧》和《向太陽(yáng)——繩技》在參加本屆蒙特卡洛國(guó)際馬戲節(jié)開(kāi)幕之前，剛剛結(jié)束在德國(guó)為期兩個(gè)月的商業(yè)演出，而在馬戲節(jié)結(jié)束的一個(gè)月之后便將趕赴瑞士繼續(xù)參加商業(yè)演出；而浙江省雜技曲藝總團(tuán)的兩個(gè)參賽節(jié)目更早已是歐洲演出商眼中的“老面孔”了，在歐洲早已有多年的商業(yè)演出經(jīng)歷。這些優(yōu)秀節(jié)目經(jīng)過(guò)國(guó)際市場(chǎng)和觀眾的檢驗(yàn)與認(rèn)可，并順應(yīng)市場(chǎng)需求不斷改進(jìn)提高，在世界頂級(jí)的馬戲賽場(chǎng)獲得優(yōu)異成績(jī)也是水到渠成。

更重要的原因是，堅(jiān)持創(chuàng)新是中國(guó)雜技持續(xù)推出優(yōu)秀節(jié)目的源泉。無(wú)論是在注重本體技巧的蒙特卡洛國(guó)際馬戲節(jié)，還是在引領(lǐng)創(chuàng)新的法國(guó)“明日”世界馬戲節(jié)，故步自封、因循守舊的節(jié)目最終都會(huì)失去魅力，被時(shí)代淘汰。新疆生產(chǎn)建設(shè)兵團(tuán)雜技團(tuán)的《生命之旅——男子倒立技巧》、浙江省雜技曲藝總團(tuán)的《白蛇傳說(shuō)·蹬傘》和《幻相金剛·頭頂技巧》都曾多次參加國(guó)內(nèi)外馬戲節(jié)比賽和雜技表演，今年的馬戲節(jié)所呈現(xiàn)的，均是全新的主題和藝術(shù)表現(xiàn)形式，并在技巧難度上實(shí)現(xiàn)了新的突破，給觀眾耳目一新的感覺(jué)；而上海市馬戲?qū)W校新疆班的《擔(dān)當(dāng)》從技巧動(dòng)作到主題和藝術(shù)表現(xiàn)形式完全是原創(chuàng)節(jié)目，與傳統(tǒng)的俄羅斯抖杠技巧截然不同。在創(chuàng)新的過(guò)程中，這些節(jié)目立足中國(guó)本土，將獨(dú)特的中國(guó)地域文化元素融入到雜技本體技巧和藝術(shù)表現(xiàn)形式中，獲得了評(píng)委和觀眾的肯定。今年的三大國(guó)際馬戲節(jié)上，各國(guó)評(píng)委不僅折服于中國(guó)節(jié)目的高難技巧，也贊嘆節(jié)目中的音樂(lè)、服裝和演員造型。

此外，學(xué)校教育對(duì)培養(yǎng)優(yōu)秀雜技人才、推出優(yōu)秀雜技節(jié)目的作用也越發(fā)不可小覷。與傳統(tǒng)的雜技院團(tuán)人才培養(yǎng)模式不同，今年參加摩納哥“新一代”國(guó)際青少年馬戲節(jié)的中國(guó)節(jié)目是上海市馬戲?qū)W校全日制新疆班教育培養(yǎng)的優(yōu)秀成果。參演的四名演員都是上海市馬戲?qū)W校的在讀學(xué)生，平時(shí)既接受文化課教育也進(jìn)行日常雜技訓(xùn)練，已在學(xué)校學(xué)習(xí)了七年。學(xué)校教育不僅使他們從完全不懂雜技的孩子成長(zhǎng)為優(yōu)秀的青少年雜技藝術(shù)家，更提高了他們的文化素養(yǎng)和學(xué)習(xí)能力。由于上海市馬戲?qū)W校注重培養(yǎng)學(xué)生的藝術(shù)素養(yǎng)，開(kāi)設(shè)音樂(lè)、舞蹈等課程，這些參賽演員經(jīng)過(guò)學(xué)習(xí)，不僅能做出高難技巧，還能在比賽中呈現(xiàn)瀟灑飄逸的舞姿，將中國(guó)雜技節(jié)目的“驚、險(xiǎn)、奇、美”展現(xiàn)得淋漓盡致。

On the occasion of celebrating the traditional Chinese Spring Festival, Chinese acrobats set off on their journey to Europe to participate in the three top world circus events in France and Monaco, namely the 41stMonte-Carlo International Circus Festival (MCICF), the 38th“Tomorrow” World Circus Festival (TWCF) in France and the 6th“New Generation” Circus Competition for Young Artists (NGCCYA) in Monaco. Their excellent achievement of one golden prize and two silver prizes has made a good beginning for the international exchange of Chinese acrobatics in 2017.

Representing the top level of traditional circus, new circus and circus competition for teenagers and youngsters in the world, those three circus festivals have become the global sanctuaries in the hearts of acrobats and circus artists. Such constant achievement of excellence as one golden prize and two silver prizes made by Chinese acrobatic programs in those festivals has further enhanced the prestige and influence of Chinese acrobatics in the international arena and aroused the public’s curiosity to know the reason and secret of such success.

Constant Grand Prize Winning Expanded International Inf uence of Chinese Acrobatics

From January 19 till 29, the 41stMCICF took place in the Principality of Monaco. As the first international circus festival in the World, MCICF was initiated by Prince Rainier III of Monaco in 1974. Thanks to the variety and large-scale feature in participant programs as well as great support from the royal family (Princess Stephanie of Monaco as president of MCICF), MCICF is reputed as “Olympiad of Circus” by professionals in circus and its prime prize “Golden Clown” as “Oscar Award of Circus” as well. Ever since 1981 when China participated in MCICF for the first time, altogether 14 Golden Clowns have been achieved among the total 41 sessions of this annual festival. As the year 2016 coincided with the 40thanniversary of MCICF, all the golden prize-winning programs of previous sessions from all over the world witnessed a reunion. 39 programs from 17 countries such as China, Brazil, Ethiopia, France, USA, Spain, Germany, Czech Republic, Ukraine, Canada and Uzbekistan presented a geographic coverage of five continents and involved aerial acts, ground acts, animal acts, comic acts and magic, among which there were lots of outstanding programs as prize winners in MCICF and other international circus festivals.

At the invitation of the organizing committee of MCICF, China Acrobats Association (CAA) recommended two wonderful programs from Xinjiang Production and Construction Corps Acrobatic Troupe (XPCCAT) to the competition and show of this session of MCICF. During the competition and performance of MCICF, the program Swanmen—Human Pyramids adopted lyric and melodious arrangement in music and integrated some elements of dance into such human stacking of high difficulty as group hand balance in triangle, ground hand balance, ground hand balance as decorated arch and trio hand balance with single arm. In every and each performance and competition, this program would invariably win the unanimous recognition and applauses in standing from royal members, jury, guests and audiences in Monaco. The other program Lasso demonstrated a group of lively youngsters who held lassos in hand and painted a beautiful outline with such techniqueas rolling lasso, fancy lasso and double erects lassos. Their adorable images of sunshine, self-confidence and perseverance won heartfelt cheers of the entire audience. Finally, both programs of excellent artistry won Silver Clown prize, and Prince Albert II of Monaco, who attended the opening ceremony and award evening, conferred the performers from XPCCAT with precious prize.

全體獲獎(jiǎng)選手與評(píng)委、嘉賓合影Group Photo of Award Winners, Jury and Distinguished Guests

From January 26 till 29, the 38thTWCF took place in the Phoenix Circus at Paris, France. Initiated in 1977, TWCF has witnessed its 38 sessions so far as an annual festival. From the year 1981, China has participated in TWCF for 35 years in succession and is commonly recognized as the main winner country by international circus community. Ever since 2011, CAA has recommended some selected acrobatic programs as China’s representative and won excellent achievement consecutively. For this latest session, 24 outstanding programs from 22 countries including France, Switzerland, Argentina, China, UK, Germany and Iran made a geographic coverage of four continents and involved such categories as aerial acts, ground acts and comic acts. Among this essenceof New Circus art, plenty of programs had won prizes in other international circus festivals.

As CAA recommended, two excellent programs Icarians & Headstand and Antipodism from Zhejiang Folk Art & Acrobatics General Troupe (ZFAAGT) participated in the latest session of TWCF. Since TWCF stresses on innovation, an all-round innovation was implemented in the respects of structure, technique, music, costume and props of both participant programs so that unique technique of high difficulty as well as profound deposit of Chinese culture were fully illustrated. In particular, the program Icarians & Headstand drew its plot from the folkloric legend White Snake Lady, introduced oil paper umbrella, intangible cultural heritage of China, as leading props and adopted original accompaniment as well as contemporary make-up of Peking Opera elements. Six umbrellas and one fan were thrown and juggled on actors’shoulders and tops of their heads, and such a breakthrough in both technique difficulty and traditional cultural essence of distinct locality won spontaneous acclamation and applause from the organizing committee, jury and whole audience of TWCF and became the silver prize winner among other programs.

From February 4 till 5, the 6thNGCCYA was held in the Principality of Monaco. Initiated in 2012, NGCCYA is the second international circus festival created by the royal family members from Monaco (Its president is Princess Pauline Ducruet, daughter of Princess Stephanie of Monaco who is president of MCICF) in order to provide a platform for the most excellent young acrobats in the world to showcase their talents. This annual circus festival has witnessed success of 6 sessions so far. NGCCYA has gathered excellent artists in acrobatics, circus and magic from all over the world and demonstrated advanced skills in competition. Ever since 2012, China has participated into NGCCYA and achieved outstanding scores on many occasions and for the first time, won golden prize in the 4thsession in 2015. For the current session, 19 teenager and youngster programs of excellent quality from 11 countries such as Monaco, Germany, France, Russia, China, Chile and Switzerland were invited, including aerial acts, ground acts, animal acts and comic acts. As CAA recommended, the excellent program of Barre Russe Holding by Class of Xinjiang, Shanghai Circus School (SCS) participated in this NGCCYA. This program is originally choreographed by SCS and involved trainees from Xinjiang Acrobatic Troupe under the sponsored training of SCS. Barre Russe has its source back to Russia and becomes the repertoire in the international circus thanks to its high demand of technique, great difficulty and strong sense of appreciation. As all the trainees from Xinjiang can sing and dance in a perfect way, this program was specially equipped with the musical accompaniment as well as national costume of distinct feature in Xinjiang ethnic groups to highlight the theme of “Eagles in the Snow-capped Mountain”, which was proved to be a good choice in the performance. During the competition, four youngsters of Uygur ethnic group, though for the first time in the international arena, presented a graceful and unrestrained performance and fulfilled a series of skills of high difficulty such as two “duo double somersaults”, three “1080 degree somersaults with twists” and one “triple full-back somersault”. In the two competitions and award performance, before actors responded to the curtain call at the end of their performance, Princess Stephanie and Princess Pauline Ducret would invariably lead the jury, distinguished guests and all the audiences to applaud while standing for quite a long time, which became an exclusive award during this session of NGCCYA. With a stable presentation and excellent performance, this program won the only golden prize as it fully deserved this honor, and it was the second time that Chinese program had won the golden prize in NGCCYA. Both honorable Princesses jointly conferred the prize to the winners from Class of Xinjiang, SCS at the award ceremony.

Adherence to Innovation is Core Source of Prize Achievement

Ever since 1981, Chinese excellent acrobatic programs have participated in the above three international circus festivals for years with numerous awards and prizes. Thus China has become one of the countries who have won most awards. Such success lies in outstanding performance from Chinese actors and actresses as well as the significant influence out of constant active exploration and timely endeavor by Chinese acrobatic circle.

Great support from Ministry of Culture and local governments of all levels has provided powerful safeguard and stimulation for Chinese acrobatic programs to participate in the international circus festivals. All the preparatory parts for international participation from program choreography, preliminary preparation and stimulus system to daily training and talent recruitment mainly rely on the financial support and working guidance from governments of all levels. In an overview of the global circus development, Russia and DPRK, as big power and golden medal dominator in acrobatics, mainly boast on those companies funded by government, which undoubtedly prove to be their national key factors to ensure a stable harvest of golden or silver prize in various circus competitions.

《白蛇傳說(shuō)·蹬傘》劇照 Stage Photo of the Program Icarians & Headstand

The in-depth reform on cultural system with the development approach in adherence to marketization is the constant motivation to present excellent programs for participation, which was testified through those typical programs in the three festivals. The two programs by XPCCAT had completed two months’ commercial performance tour in Germany soon before their participation in MCICF and would continue their commercial tour in Switzerland only one month after MCICF. As to the two programs by ZFAAGT, they had experienced years of commercial tour in Europe and thus achieved familiarity in the eyes of those European agents of performance. All those excellent Chinese acrobatic programs have achieved recognition from local audience and experience in the international market, and fulfilled unceasing improvement in accordance with the marketing requirement. In this sense, their outstanding score in the top circus arena in the world is a natural result.

More importantly, adherence to innovation is the core source of constant excellent programs in Chinese acrobatics. No matter in MCICF with emphasis on technique or in TWCF with advocacy in innovation, those conservative programs without innovation would eventually lose their charm and get eliminated by the tide of time. Though the program Swanmen—Human Pyramids by XPCCAT and the two programs Icarians & Headstand and Antipodism by ZFAAGT had participated in many circus competitions and acrobatic performances, a brand new theme, art expression and breakthrough on technique difficulty were presented in this year’s sessions, which gave European audience a refreshing surprise. As to the program Holding by Class of Xinjiang of SCS, the complete originality was fully demonstrated in acts, techniques and artistic expression on theme, which showed a totally different artistry from the traditional Barre Russe. In the course of innovation, the unique element of Chinese culture was integrated into the acrobatic technique and art expressions, which gained recognition from jury and audiences. In the three international circus festivals of this year, jury not only admired the high difficulty of Chinese programs but also amazed at their music, costume and art design.

Besides, school education has played an increasingly important role in fostering excellent acrobatic talents and creating wonderful acrobatic programs. Different from the traditional system of fostering actors in acrobatics, the excellent Chinese acrobatic program in NGCCYA this year was the outcome of fulltime Class of Xinjiang of SCS. As pupils of SCS for seven years, the four actors in this program have undertaken general knowledge classes as well as daily acrobatic training. School education has not only brought them from a group of kids who have no ideas about acrobatics at all into excellent young acrobats, but also greatly enhanced their cultural temperament and learning capability. As SCS offers such courses as music and dance to better pupils’ artistic sense, its pupils, capable of elegant gestures of dance in addition to acrobatic skills of high difficulty, succeeded in sufficient presentation of amazingly beauty in Chinese acrobatic programs.