「今日辽宁」英文名称

COMPILED BY LIAONING PROVINCAL ASSOCIATION FOR CULTURAL EXCHANGE WITH FOREIGN COUNTRIES 辽宁省对外文化交流协会 主办 编辑出版:《今日辽宁》杂志社 地址: 沈阳市和平南大街45号 电话: 86-24-23854185 23854179 邮政编码: 110006 总编辑: 伊忱 副总编辑: 田间 韩宝英 英文译者: 周宝 罗伯特·哈里森 刊 号: CN21-1433/Z 广告登记号: 辽宁省工商广字10-38 国内总发行: 沈阳市邮局 邮发代号: 8-14 印刷装订: 沈阳新华印刷厂 本刊广告价格: 封面2.5万元 封底1.5万元 封二(三)各1万元 内页每版6000元 定价: 10元 北国文化 24 月缺月圆话“二泉” 方 可 ● 江泽民总书记接见剧组人员(摄影 一善) General secretary Jiang Zemin with the actors and staff. (photo by Yi Pu) 月缺月圆话“二泉” 方可 在深情、悲怆、凄美、悠扬的乐声中,芭蕾舞剧《二泉映月The Moon Reflected in Erquan Spring》拉开了帷幕。画面把观众带到了20世纪初,中国江南的小镇上。 一弯新月悬挂中天,泉哥Brother Quan正在向老琴师学艺,琴师的女儿月儿陪伴中间。随着时间的推移,泉哥与月儿互生爱慕之情。然而,当地恶霸古四爷贪恋美色,抢走了月儿。逃出古府与泉哥相会的月儿,又被古府家丁捉住。古四爷声称泉哥若跪奏一曲,便可放人。泉哥欲跪不能,拒绝又不忍,犹豫中,月儿为保爱人名节,以死抗争。月儿被沉入深湖。悲痛欲绝的泉哥因痛恨那个黑暗的社会,自残双目,让美丽的月儿永存心间。 剧中充分利用单人舞、双人舞及群舞等各种不同表现形式,展示了一对恋人的悲欢离合。月儿舞姿轻盈如蜻蜓点水,泉哥跳转刚劲似暴雨狂风。他们舞出了多少柔情多少泪,舞出了几许沧桑几许愁。尤其剧近尾声时,场上飞雪飘零,泉哥在无限痛苦之中,此时音乐再起,如泣如诉,观众忍不住潸然泪下。整台舞剧把具有民族色彩的舞姿恰如其分地融入到芭蕾中,用足尖舞出了一场荡气回肠,至死不渝的爱情故事。 以中国名曲《二泉映月》做主旋律,以人类永恒的爱情为题材,将伟大的民族音乐与西方传统的芭蕾完美地结合,预示了这幕芭蕾舞剧成功的必然走势。 芭蕾舞剧《二泉映月The Moon Reflected in Erquan Spring》从1997年一问世,便显示了它特有的艺术魅力。当年就在全国舞剧调演中一举囊括了优秀剧目、编导、优秀演员、作曲、舞美、灯光等全部奖项,随后又获中国戏剧节金奖、辽宁省艺术节金奖,成为继《红色娘子军》和《白毛女》之后又一部民族芭蕾舞剧力作。专家们说,该剧优美的旋律、东方式的美感、深厚的内在意蕴,使它具有超越民族与国界的音乐品格和感人至深的艺术魅力。今年6月,辽宁芭蕾舞团在北京中国剧院演出舞剧《二泉映月》,引起了巨大轰动。与来自世界各地的20多个芭蕾舞团在京同期演出,并与他们相媲美,《二泉映月》成为国人的骄傲。江泽民总书记看后高兴地与演员合影留念。国务院副总理李岚清说:“这部舞剧非常成功,经过一段磨练,可以成为一部非常好的保留剧目。” 几年来,《二泉映月The Moon Reflected in Erquan Spring》在国内演出40多场,场场爆满。各地演出商争相与辽芭签订合同,目前,全年的演出计划也已排满,这在中国芭蕾舞的历史上是绝无仅有的。 芭蕾,作为西方传统的高雅艺术,在中国仅有40年的历史,能让它活跃在中国的舞台上,是一件多么不易的事。然而,只有20岁的辽宁芭蕾舞团做到了。从建团伊始,辽芭就坚持“两条腿走路”的方针,既将国外的芭蕾精典之作展示给中国观众的同时,又积极创作有中国特色的芭蕾作品。先后排演了《天鹅湖》、《海盗》、《关不住的女儿》等世界公认的古典芭蕾精品,又创作了一批为广大观众所喜闻乐见的有民族特色的新作,如《梁山伯与祝英台》、《嘎达梅林》、《孔雀胆》、《家》等大型剧目。多年的沉积,辽芭终于迎来了把《二泉映月》成功地搬上舞台,让民族舞蹈艺术与西方芭蕾艺术成功结合的这一天。 泉哥与月儿的梦残了,辽芭却满载希望开始扬帆。 (责任编辑 孙晓俄) Liaoning Today | 2000 第四期

Compiled by Liaoning Provincial Association for Cultural Exchange with Foreign Countries Edited and published by: Liaoning Today Magazine Agency Address: No. 45, Heping South Street, Shenyang Tel: 86-24-23854185 23854179 Postal code: 110006 Editor-in-chief: YI Chen Deputy Editor-in-chief: TIAN Jian, HAN Baoying English translators: ZHOU Bao, Robert Harrison Publication number: CN21-1433/Z Advertising registration number: Liaoning Provincial Administration for Industry and Commerce Guangzi 10-38 National general distribution: Shenyang Post Office Postal distribution code: 8-14 Printing and binding: Shenyang Xinhua Printing Factory Advertising price: Front cover RMB Twenty-five Thousand Back cover RMB Fifteen Thousand Inside front (back) cover each RMB Ten Thousand Each inside page RMB Six Thousand Price: RMB Ten Northern Culture 24 From Crescent to Full Moon: Talking About 'Erquan' Fang Ke Liaoning Today Northern Culture General secretary JIANG Zemin with the actors and staff. (photo by Yi Pu) From Crescent to Full Moon: Talking About 'Erquan' FANG Ke To the deeply moving, sorrowful, and hauntingly beautiful strains of music, the ballet The Moon Reflected in Erquan Spring (Erquan Yingyue) unfolds. The stage transports the audience to a small town in southern China at the beginning of the 20th century. A crescent moon hangs high in the sky as Brother Quan studies music under the guidance of the old musician, accompanied by the musician’s daughter, Yue’er. Over time, affection blossoms between Brother Quan and Yue’er. However, the local tyrant Gu Siye, lusting after Yue’er’s beauty, abducts her. Yue’er escapes from the Gu Mansion to reunite with Brother Quan, only to be captured again by the mansion’s servants. Gu Siye declares that if Brother Quan kneels and plays a piece, Yue’er will be released. Torn between obedience and conscience, Brother Quan hesitates. To protect her lover’s honor, Yue’er bravely resists, choosing death rather than submission, and is drowned in the deep lake. Overcome with grief and hatred for this dark society, Brother Quan blinds himself, forever preserving the image of the beautiful Yue’er in his heart. The ballet employs a rich variety of performance forms, including solos, duets, and ensemble dances, to depict the joys and sorrows of the lovers. Yue’er’s movements are light and delicate, like a dragonfly skimming the water, while Brother Quan’s leaps and turns are powerful, like a violent storm. Their dance expresses tenderness and tears, the passage of time, and the weight of sorrow. Near the finale, as snow drifts across the stage, Brother Quan, in unbearable anguish, dances to music that rises again, lamenting and pleading, moving the audience to tears. The production masterfully integrates Chinese ethnic dance elements into classical ballet, using pointe work to tell an unforgettable story of love that endures to the death. With the famous Chinese melody Erquan Yingyue as its main theme and the timeless subject of human love, the ballet perfectly combines the grandeur of national music with Western classical ballet, signaling the inevitable success of this extraordinary production. Since its debut in 1997, the ballet The Moon Reflected in Erquan Spring (Erquan Yingyue) has demonstrated its unique artistic charm. In the same year, it swept all the top awards at the national ballet rehearsal competition, including Best Production, Best Choreography, Best Performer, Best Composition, Best Stage Design, and Best Lighting. It subsequently won the Gold Award at the China Drama Festival and the Gold Award at the Liaoning Arts Festival, becoming, after The Red Detachment of Women and The White-Haired Girl, another landmark work in Chinese national ballet. Experts have noted that the ballet’s beautiful melodies, its Eastern aesthetic, and its profound inner meaning give it a musical character and artistic appeal that transcend nationality and borders. In June of this year, when the Liaoning Ballet Troupe performed The Moon Reflected in Erquan Spring at the China Theatre in Beijing, it caused a tremendous sensation. Competing alongside more than 20 ballet companies from around the world performing in Beijing at the same time, The Moon Reflected in Erquan Spring matched their performances and became a source of national pride. General Secretary Jiang Zemin, delighted by the performance, took photos with the dancers. Vice Premier Li Lanqing remarked, “This ballet is extremely successful. After some further refinement, it can become a classic repertoire piece.” Over the years, The Moon Reflected in Erquan Spring has been performed more than 40 times across China, with every performance sold out. Theater operators nationwide have eagerly competed to sign contracts with the Liaoning Ballet Troupe. Currently, the troupe’s annual performance schedule is fully booked—a feat unprecedented in the history of Chinese ballet. Ballet, as a traditional Western art of high culture, has only a forty-year history in China, and it is no small feat to bring it alive on Chinese stages. Yet the twenty-year-old Liaoning Ballet Troupe has achieved exactly that. From its founding, the troupe has adhered to a “dual-track” approach: while presenting classic foreign ballets to Chinese audiences, it has also actively created ballets with distinct Chinese characteristics. It has successively staged world-renowned classical ballet masterpieces such as "Swan Lake," "The Pirates," and "The Uncontainable Daughter," and has also created a number of new works with national characteristics that are popular among audiences, such as "The Butterfly Lovers," "Gadamerlin," "The Peacock's Courage," and "Home." After years of accumulation, Liaoning Ballet has finally welcomed the day when "The Moon Reflected in Erquan Spring" was successfully brought to the stage, achieving a successful integration of national dance art and Western ballet. The dream of Brother Quan and Yue Er was shattered, but Liaoning Ballet set sail full of hope. (Editor-in-chief: SUN Xiao'e)