文魯克米妮·查特吉（印度）Rukmini Chatterjee

《天鵝湖》劇照 Stills of Swan Lake

2月的德里已是冬天，傍晚分外涼爽，當(dāng)?shù)厝岁懤m(xù)成群結(jié)隊地來到西里堡劇場，觀看廣州芭蕾舞團(tuán)的演出。該演出是“今日中國”藝術(shù)周的一個重要板塊。演出開始前半小時我就到了劇場，原本以為自己會是第一批抵達(dá)的觀眾，可令我非常驚訝的是，劇場大廳幾乎全被熱情的觀眾占據(jù)，因為我們印度觀眾很少有機(jī)會在這里看到中國舞蹈團(tuán)的演出。大廳里的觀眾們都滿懷期待，這種期待不斷在人們的心中累積，直到舞臺大幕升起。

美麗的中國舞者們以《天鵝湖》第二幕的第一章節(jié)開場，他們鎮(zhèn)定自若的表演和嫻熟的藝術(shù)技巧深深吸引著觀眾?；蛟S因為我自己就是舞蹈編導(dǎo)兼舞者，我也注意到了什么——沒錯，我發(fā)現(xiàn)舞臺的木地板上居然沒有鋪設(shè)芭蕾必須的地膠！因此，中國舞蹈家們的專業(yè)精神、高超的技巧以及在沒有地膠情況下所展現(xiàn)的精湛技藝都給我留下了分外深刻的印象。之后的《古典大雙人舞》、中國芭蕾《舞越瀟湘》和爵士芭蕾《千頭萬緒》等節(jié)目又讓觀眾們領(lǐng)略了該舞團(tuán)擅長駕馭的藝術(shù)審美和多樣的舞蹈風(fēng)格。對我而言，法國人最推崇的“重頭戲”（pièce de résistance）是下半場的中國交響芭蕾舞劇《梁?！?。這不僅是一個動人的愛情故事，同時也以鮮明的風(fēng)格和強(qiáng)烈的情感讓印度觀眾一睹中國古典舞的風(fēng)采。伴奏的音樂無疑也帶來了更美好的欣賞體驗。相信許多觀眾也有我同樣的感受，因為演出后現(xiàn)場響起了雷鳴般的掌聲。

我不禁回想起北京舞蹈學(xué)院和其開設(shè)的中國古典舞訓(xùn)練課程。2017年11月，北舞畢業(yè)匯報演出的那一天，我在學(xué)院里親眼領(lǐng)略了這種舞蹈風(fēng)格。那一天學(xué)生們首先要進(jìn)行表演中國古典舞必要的練功，之后逐漸展示這種舞蹈不同的編排效果。我不僅為舞者和他們的刻苦訓(xùn)練所傾倒，而且這種舞蹈形態(tài)激發(fā)了我更多奇妙的靈感。那一天，我體會到印地語中所說的“Nriita”（純舞蹈動作）、“Nritya”（情感與情緒）以及“Natya”（敘事方式），都在這種舞蹈形式中和諧地結(jié)合在一起。我非常希望在印度的舞者們也能學(xué)習(xí)中國古典舞，因為在我看來，他們接受這種舞蹈訓(xùn)練有助于豐富他們自己的舞蹈風(fēng)格。

說到舞蹈合作，就不得不提及《貝瑪·蓮》，一部將中國現(xiàn)代舞和印度古典舞相結(jié)合的中印聯(lián)合編創(chuàng)舞劇，2017年11月在北京首演?！敦惉敗ど彙肥且粋€簡單卻感人的愛情故事，主要演員共10人，其中3位是印度的女舞者，7位是中國的男舞者。他們的表演帶領(lǐng)人們探索欲望、激情、嫉妒、憤怒、愛情和最終融合的不同側(cè)面。中印兩大古代文明有許多共同之處，這些共同點在這場表演中被推向極致，這也是對人類共性的一種追求。兩種文明都以各自的方式尋求平衡與和諧，而這恰恰是《貝瑪·蓮》的主旨。

自《貝瑪·蓮》在北京首演后，在中國和印度不斷被看過的觀眾接受和贊賞。對于我、北京城市當(dāng)代舞蹈團(tuán)團(tuán)長滕愛民先生、中國舞協(xié)以及《貝瑪·蓮》的各位協(xié)作者、指導(dǎo)者和制作人來說，都是一份美妙的禮物和難忘的經(jīng)歷。中國舞協(xié)主席馮雙白先生、駐會副主席羅斌先生和外聯(lián)部的張秋瓏女士不僅從初期設(shè)想時就對這一合作項目充滿信心，而且在整個創(chuàng)作過程中一直熱心參與，并主動促成我們的合作，幫助我們實現(xiàn)了這一創(chuàng)作。

2016年11月，我第一次在德里欣賞到北京城市當(dāng)代舞蹈團(tuán)的演出。當(dāng)時我的直覺立刻確信，我們可以一起創(chuàng)作出美妙的作品。演出當(dāng)晚，我就向他們大膽提議合作編創(chuàng)，中國舞協(xié)和滕愛民先生也對我的建議也積極回應(yīng)。這個想法也得到了印度斯里拉姆表演藝術(shù)中心的支持。就這樣，《貝瑪·蓮》應(yīng)運而生。

2016年至2017年間，我們幾度會面，一直就這一復(fù)雜的藝術(shù)編創(chuàng)過程中藝術(shù)以及現(xiàn)實的方方面面共同努力，包括許多次集思廣益的頭腦風(fēng)暴。最終在2017年11月，我們把中印兩國所有的舞者聚集在北京排練了五個星期，將我們的夢想變成現(xiàn)實。

當(dāng)然，在創(chuàng)作過程中的各個時期，我們的工作方式也不盡相同。無論是藝術(shù)背景還是創(chuàng)作理念上，滕愛民先生和我也存在差異。但是，我們真誠地團(tuán)結(jié)在一起，創(chuàng)造出具有世界性意義的作品這一強(qiáng)烈的共同愿望使我們更加包容地看待彼此之間的差異，并促使我們發(fā)揮各自的長處。對我來說，這也是一次很好的學(xué)習(xí)經(jīng)歷。

我希望在不久的將來類似這樣兩國藝術(shù)家之間交流合作的項目可以越來越多，可以增加彼此的相互理解和尊重，又會為我們創(chuàng)造一個更加和諧的生活環(huán)境，這才是我們這個時代必不可少的要素。

On a cold winter evening Delhiites came in large numbers to the Siri Fort Audi torium to see the Guangzhou Ballet perform. This was part of the “Today China”Arts Week. I arrived half an hour before the performance thinking I would be amongst the first. To my great surprise the hall was almost full. It is rare that we Indian audiences get to see Chinese dance companies perform here. There was a sense of expectation in the hall and it kept building up until the curtain went up.

Beautiful dancers graced the stage for the first piece ofSwan LakeAct 2. They charmed the audience with their poise and skilfulness. But what also grabbed my attention, maybe because I am a choreographer and dancer, is that there was no dance carpet to cover the wooden stage floor! Therefore I was doubly impressed with the dancers, their professionalism,their technique their mastery in doing without it. A grand pas de deux followed by Chinese balletNatural Melodyand jazz balletMoody Moves, gave the audience a taste of the artistry and the multiplicity of dance styles the company is capable of. For me the pièce de résistance was the Chinese symphony balletButterfly Lovers. Not only was it a moving love story, but it also gave the Indian audience a glimpse of classical Chinese dance, with its powerful style and emotions. The accompanying music enhanced the experience. Many in the audience probably felt the same way because the applause after this piece was thunderous.

This takes me back to the Beijing Dance Academy and its classical Chinese dance training program. I witnessed this style for half a day last November at the Academy, the day they presented their last-year students to the public. The day started with body training required to perform this dance form and little by little the program showcased the different choreographic possibilities of this dance style. I was mesmerized not just by the dancers and their training,but also by the fantastic impressions that this dance style evoked in me. I felt that day that, “Nriita”, pure dance movements,“Nritya”, sentiments and moods, and “Natya”, the way in which a story is told, all came together very harmoniously in this form. I would very much like Chinese classical dance to be taught in India because I think our dancers could hugely enrich their own styles if they were given this body training.

Talking about dance collaborations, here I would like to mentionShiv Yin, the performance that brought contemporary Chinese dance and Indian classical dance together on the same stage last November in Beijing.Shiv Yinis a simple yet touching love story where the protagonists, 10 in all, 3 female Indian classical dancers and 7 male Chinese contemporary dancers, take us on a journey exploring the different facets of desire, passion, jealousy, anger,love and finally ultimate union. These two ancient civilizations have a lot in common and these commonalities are brought to the forefront in this performance. It is a quest for the universal in Man. Both these civilizations in their own ways have always been searching for balance and harmony and these aspects are a leitmotif ofShiv Yin.

Since its première in Beijing it has been performed to receptive and appreciative audiences in both China and India. This has been a wonderful gift and experience for me, Mr TENG Aimin and the China Dancers Association, the artistic directors, co-coreographers and producers ofShiv Yin. Mr Shuangbai Feng, Mr Bin Luo and Ms Qiulong Zhang from the CDA not only believed in this project from the word go, but were instrumental in making it happen by being very present during the whole creative process and by positively reinforcing all the strengths of this collaboration.

I saw the Beijing City Contemporary Dance Company perform in Delhi in November 2016 and I was intuitively and immediately convinced that together we could create something wonderful.The CDA and Mr. TENG Aimin both reacted very positively to my proposition of doing a collaborative work, as soon as I mentioned it to them that same evening after the performance. The idea was also very well received in India by the Shri Ram Center for Performing Arts, Delhi, and thereforeShiv Yinwas born.

We all met up a few times during the year 2016/2017 to work on the artistic and practical aspects of putting this complex production together. There were many brainstorming sessions.Then in November 2017 we brought all the Chinese and Indian dancers together in Beijing for five weeks to make our dream become reality.

Of course, there were differences in our approach to the work at different times during the creative process. Mr. TENG Aimin and I come from very different backgrounds artistically and mentally.But our profound desire of truly coming together and creating something meaningful for audiences around the world, made us see our differences in a more balanced manner and made us emphasize our common strengths. It has been a great learning experience for me.

I hope many more people-to-people projects happen in the near future so that our understanding and respect for each other increases and that this in turn creates a more harmonious environment for us to live in, a great necessity for our times.

廣州芭蕾舞團(tuán)演員在排練中Performers of Guangzhou Ballet in Rehearsal