添加到我的博客朱丽、项强《狮子舞》
项强《小姐送上俊脸蛋》
朱丽之死
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国家一级演员、上海戏剧学院MFA导演在读。主攻京剧青衣、昆曲闺门旦。曾在中国文化部主办的中青年京剧演员评比展演上夺得一等奖；在中国中央电视台主办的京剧电视大奖赛上获得青衣组金奖。
赵群担任女主角的新创剧目有：上海京剧院排演的《宝莲灯》中前饰三圣母后演王桂英；在上海昆剧团创排的新编京昆合演剧目《桃花扇》中饰演李香君；在台北新剧团创排的新编京剧《试妻大劈棺》中饰演田氏；在台北新剧团改编自意大利歌剧《弄臣》的京剧《弄臣》中饰演弄臣之女黎吉儿。
常演的传统京剧有《西厢记》、《贵妃醉酒》、《霸王别姬》及昆曲《牡丹亭．游园》、《孽海记．思凡》等。赵群主演的《贵妃醉酒》和《中国贵妃．梨花颂》先后出访港澳台，日本、新加坡、西班牙、加拿大等国家。出版有《姹紫嫣红——赵群．京剧》、《状元媒》、《西厢记》、《望江亭》等京剧专辑。
Zhao Qun，National Rank One Actor, MFA student in directing atShanghai Theatre Academy, specializes in dignified female roles inBeijing opera and Kun opera. She many prizes includ Gold Prize inDignified Female Type at the National Beijing Opera Actors TVContest; First Prize at the National Young Beijing Opera ActorsContest. Operas in which she played leading roles includeLotusLantern(Shanghai),Peach Blossom Fan(Kunopera),Zhuangzi Tests HisWife(Taipei),Rigoletto(Taipei),The WestChamber,Drunken Beauty,Farewell MyConcubine,The Peony Pavilion. She has published fourCD’s such asZhao Qun’s Colorful Beijing Opera,The WestChamber.
编剧：孙惠柱、费春放
旅居北美十五年，在北美大学教授世界戏剧十年，1999年回国。孙现为上海戏剧学院教授、博导、副院长；费现为华东师范大学英语系教授、博导、美国研究中心主任。合作的中英文剧作曾在中、美、新、日、挪、法、德、印等国演出，包括：《中国梦》、《中国孤儿汉雷》、《生日谋杀案》、《秋千情人》、音乐剧《香格里拉传真》、越剧《心比天高》，正为挪威易卜生剧院和杭州越剧院创作《海上夫人》。孙惠柱还写了《挂在墙上的老B》、《明日就要出山》、《神仙与好女人》、《天慈和子韩》、《涌泉花园》、京剧《王者俄狄》，导演了《贵妇还乡》、《排队》、《异教山沟》、《美狄亚》、《高加索灰阑记》。近著有《第四堵墙：戏剧的结构与解构》、《谁的蝴蝶夫人：戏剧冲突与文明冲突》、《摹仿什么？表现什么？》、《社会表演学》。费春放的英文著作《中国戏剧理论：从孔子到当代》被多所欧美大学用作教材。
Dr. Faye Chunfang Fei（playwright）, Professor ofEnglish and Drama, Director of American Studies, ECNU. Taughttheatre in the US for nine years. Publications includeChineseTheories of Theatre and Performance from Confucius to thePresent(University of Michigan Press). Had fellowships from NEH(USA), British Academy, and ALFP (Japan). Dr. William Huizhu Sun(playwright), professor and vice president, STA; editor,TheatreArts; contributing editor,TDR; director, Asia PacificBureau of Theatre Schools, UNESCO Chair ITI. Taught in NorthAmerica for ten years. Recent books:Theatre in Construction andDeconstruction,Conflicts on Stage and Clash ofCivilizations,What to Imitate? What toExpress?andSocial Performance Studies.
They wroteChina Dream,BirthdayMurder,Swing,musicalFax Shangri-La,YueoperaHedda Gabler; staged in China, USA, Japan, Singapore,Norway, France, Germany and India. They are writing YueoperaLady from the Sea. Sun also wroteOld B Hanging onthe Wall, Tomorrow He’ll Be Out of the Mountains, Gods and the GoodWoman,Tianci and Zihan(afterAntigone) and BeijingoperaKing Oedipus. Directing credits:Caucasian ChalkCircle,Medea,LineandThe Visit.
徐佳丽
毕业于上海戏剧学院戏曲分院，主攻京剧青衣、刀马旦。曾在上海京剧院担任演员两年半,常演剧目有《杨门女将》，《昭君出塞》和《失子惊疯》等。在校期间曾获京剧宝钢杯希望奖（1994），上海有线电视勤学苦练奖（1999）胡楚南优秀学生奖（2000）等等。2003年她获得全额奖学金赴新加坡进修三年剧场训练与研究课程，其间曾受教于以色列特拉维夫大学戏剧艺术系教授大卫·信达，前新西兰戏剧学院院长罗宾·佩恩、观世九皋会的理事会成员观世喜正、上海戏剧学院教授孙惠柱、曹路生等。除表演外还改编和导演了达里奥·福的《MicheleLu Lanzone》，自编自导自演了讽刺剧《卡拉OK美狄亚》，结合中国京剧与印度梵语戏剧 Kutiyattom改编、导演及表演了《沙恭达罗》。回国后在上海新加坡国际学校教授戏剧和京剧表演，负责学校中国文化馆的建设与活动组织。2009年获得英国伦敦艺术大学创意艺术的经营与管理的硕士学位。
傅希如
上海京剧院国家一级演员。曾获得全国青年京剧电视大赛老生组金奖榜首、第一届“红梅大奖”榜首、“第十五届白玉兰戏剧艺术新人主角奖”，获得“上海优秀文艺家”称号。领衔主演新编古装京剧音乐剧《广陵散》，获得湖南省艺术节金奖。领衔主演新编京剧《王子复仇记》多次赴丹麦、德国、法国、西班牙、荷兰等国家访问演出。出版有《傅希如唱腔精选》、《王子复仇记》等光盘。
常演剧目《四郎探母》、《上天台、打金砖》、《乌盆记》、《西游记．沙桥饯别》、《隋唐演义．秦琼观阵》、《挑华车》、《三国演义．长坂坡、汉津口》、《杨家将》、《野猪林》、《水浒．林冲夜奔》等。
Fu Xiru (Xiang Qiang - Jean), National Rank One Actor, works atShanghai Beijing Opera Company. His prizes includ Gold Prize in OldMale Type at the National Young Beijing Opera Actors TV Contest;First Prize at the First“Red Plum Contest;” New Leading Actor’sPrize of the 15thMagnolia Prizes; the title of“ExcellentShanghai Artist” issued by the municipal government. Beijing operasin which he has played leading roles includeGuanglingSan(Gold Prize at Hunan Provincial ArtsFestival),Hamlet(toured to Denmark, Germany, France, Spain,Netherlands),Fourth Son Visits Mother,SwineWoods,Lin Chong’s Night Escape, among others. He haspublished such CD’s asHamletandFu Xiru’s SelectedArias.
肖健
毕业于上海戏剧学院戏曲分院,主攻京剧丑角。曾获“宝钢杯”全国优秀儿童京剧大奖赛“表演奖”、全国戏曲大奖赛“集体银奖”、中央电视台“哈药六杯”全国青年京剧大赛“表演奖”。在上海京剧院工作一年之后,肖健于2002年获得新加坡实践表演艺术学院全额奖学金赴新加坡留学,主修西方戏剧。所创作的作品“我秀”在新加坡及香港上演,并受到国际知名艺术家尤金·巴尔巴的赞誉。2006年上海美国学校诚聘肖健为美国学校艺术中心经理,全面负责该艺术中心的艺术管理工作。
他也是以下国际组织的会员:
美国国际表演学协会会员(PSi)
美国国际剧院科技联盟会员(USITT)。
Xiao Jian (Gui Sidi - Kristin), a graduate ofChinese Opera School, Shanghai Theatre Academy, specializes inclown. Prizes: National Children’ s Beijing Opera Contest (ActingPrize), National Chinese Opera Contest (Group Silver Prize), CCTVNational Youth Beijing Opera Contest (Acting Prize). After a yearat Shanghai Beijing Opera Company, Mr. Xiao went to Singapore tostudy at Theatre Training and Research Program with a fullscholarship. His one-man showMe Showingtoured in Singaporeand Hong Kong and was praised by Eugenio Barba. He is now managerof American International School’s Arts Center. Xiao is a member ofPSi and USITT.
齐欢
国家二级演奏员，上海戏剧学院青年教师。毕业于中国戏曲学院,硕士研究生。2001年在辽宁省第五届艺术节演奏京胡协奏曲《皮黄印象》获优秀演奏奖（金奖）；2007年在全国首届京胡北京邀请赛中荣获金奖。2004年第四届“中国京剧艺术节”担任京剧《百草泉》作曲；2006年“中国大学生戏剧节展演”担任京剧《我们俩》作曲；2008年担任动画京剧《三个和尚》作曲；2009年为京歌《世博大舞台》作曲；2009年担任大型新编京剧《死水微澜》唱腔设计。
Qi Huan (aria composer), National Rank Two Musician and MA inmusic composition from the National Academy of Chinese Theatre Art,Beijing, teaches at the Chinese Opera School, Shanghai TheatreAcademy. She won Gold Prize, with her jinghu concerto performanceofPihuang Impression, at the 5thLiaoning ArtsFestival, 2001; and Gold Prize at Beijing’s National JinghuPerformance Contest, 2007. She composed for Beijing operaSpringof Hundred Herbs, China Beijing Opera Festival, 2004; forBeijing operaThe Two of Us, China University Student TheatreFestival, 2006; for cartoon Beijing operaThree Monks, 2008;for Beijing opera-styled songStage of the World Expo, 2009;for Beijing operaStill Water Rippling,2009.
林源
自幼学习圆号，现任上海京剧院司鼓。１９９８年毕业于上海戏曲学校打击乐专业，２００６年由上海京剧院保送进入上海音乐学院学习作曲。２００７年为东视“非常有戏”特别节目“霸王别姬”（电声版本）的唱腔设计录音、以及节目策划。为东视“盛世和风颂雅韵”舞蹈音乐作曲以及midi制作。2008年在上海国际艺术节参展作品－由上海京剧院创编《圣母院》中担任作曲配器以及midi制作。
Lin Yuan (music arrangements), French horn player sincechildhood, is a drummer at Shanghai Beijing Opera Company. Agraduate in percussion music from Shanghai School of Chinese Operain 1998, he began composing while at school and was sent by SBOC tostudy composition at Shanghai Music Conservatory in 2006. Maincredits:Farewell My Concubinefor Oriental TV’s TheatreChannel, 2007; Beijing operaNotre Dame, ShanghaiInternational Arts Festival, 2008.
林佳
上海京剧院舞美中心造型设计、化妆师。毕业于上海戏剧学院人物造型设计专业。主要作品：实验京剧《惑》服装造型设计；京剧《王子复仇记》服装造型设计；越剧《蛇恋》化妆造型设计；话剧《拒葬》服装造型设计；话剧《黑暗中的喜剧》化妆造型设计；京剧电影《廉吏于成龙》化妆造型
Lin Jia (costume/makeup), agraduate of the Costume/Makeup Program at Shanghai Theatre Academy,is resident costume/makeup artist at Shanghai Beijing OperaCompany. Main credits: experimental Beijing opera Confusion,Beijing opera Hamlet, Yue opera Snake Love, drama No Burial, dramaBlack Comedy, Beijing opera film Incorruptible Official YuChenglong.
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You are welcomed to join us on March7th，8th
标签：
杂谈 |
朱丽、项强《狮子舞》
项强《小姐送上俊脸蛋》
朱丽之死
标签：
杂谈 |
自3月7日《朱丽小姐》初次登台至今，我们不仅获得了戏曲戏剧界各位前辈同行的肯定和支持，同时也在报章媒体等传播领域受到了各位媒体朋友的热烈响应。
3月12日出版的《东方早报》上，我们惊喜地发现了关于本场演出的报道，《新民晚报》网络版也用一整版配图的评论文章回应了《朱丽小姐》。《外滩画报》在观摩了我们的演出之后，也把他们对京剧艺术的关心和热爱体现在即将出版的下一期刊物中。另外，各种主流网络纷纷跟踪报道、新浪搜狐大量转载也使《朱丽小姐》的影响力逐渐扩大！
在这里，我们要真诚地向所有关心、关注我们的各界朋友们表示我们的感谢，大家对我们的无私帮助以及对京剧艺术的支持是我们坚持下去的动力，谢谢！
本版除了用于表达《朱丽小姐》剧组对各位的感谢之外，也是一份网络简报，我们将尽可能收集一切关于《朱丽小姐》的报道，让更多人爱上《朱丽小姐》，爱上京剧艺术！
·《东方早报》的网络报道
·《东方早报》的电子版报道
·搜狐娱乐即可转载
·新浪上品迅即转载
·《新民晚报》报道也被多家网站转载
《朱丽小姐》剧组这个大家庭，在导演赵群的安排下，开始了充满好奇的神秘之旅！（PS：我们剧组庆功的地方有三处可供选择，很幸福吧！直到上车前我们还保持着这份神秘，超有趣~哈哈！）最后我们来到了朱丽小姐的“娘家”——朱家角，大家不仅被这里的美景美食所吸引，想赖着不走，更为这里所积淀的古迹文化所震撼，为我们剧组大大地采了一次风！
我们参观了位于朱家角北首西井街的课植园，它建于清末，在朱家角老辈人口里，课植园被称为马家花园，那是因为这里原先是大地主马文卿的私家庄园。“课经书学千悟万，植稻麦耕九余千”这是挂在马文卿家客厅的一幅对联，文面上的意思是：读书学习，学一千能悟出一万个道理，种稻种麦，劳作九个月应休息三个月，用我们现在的话来讲，就是既要读书学习、又不能做书呆子；既要动脑、又要动手；既要拼搏、又要休闲享受。这是马文卿的家训，也是课植园的来历。
在课植园，我们意外地发现，那不就是朱丽的私家花园吗？我们找到了许多剧本中的“真实的取景地”。千折百回的曲桥上，朱丽轻移云步的婀娜多姿；小姐的闺房中，朱丽弹着古筝，拂琴听风的意境；姹紫嫣红的花园中，朱丽与金丝雀灵歌的玩笑嬉戏；回廊里，朱丽和项强的相视而笑。大家一起在课植园里，幻想着朱丽与项强的每一次相遇，他们的言谈举止，一颦一笑，也不时四下打探着，桂思娣会在哪里冒出来捣乱。剧组上上下下所有人，都在唱着，演着，时而以兰花指拈花，时而翻云手在空中比划。园中，回荡着那些熟悉的台词和曲调，“老爷回来了！”“这是什么所在？在下的卧房！-如此龌龊！”“小姐送上俊脸蛋......”我们还天才地想到，要来马府演上一场《朱丽小姐》，给马家的三千金进行一下“道德教育”，相信马老爷一定也会觉得这是一个不错的idea！
接下来嘛！大餐！大餐！我们来咯！欲知我们大家庭的幸福生活，请继续关注我们！敬请期待，《朱丽小姐》的再次出山吧！
导演的话
作为导演的初学者，我缺乏经验却充满激情，丰富的舞台表演积累是我自信的源泉！传统戏曲博大精深的表现手段激发出无数的灵光闪现……
一把木椅在空旷的舞台上，时而是厨房灼热的灶台，时而是卧室虚掩的房门，时而亦或是后花园中的假山、浮桥——虚拟夸张的表现形式将带您零距离品味中国传统戏曲艺术的独特魅力。
Director's Note
Being a new director, I have little experience but a great deal of passion. My confidence comes from my abundant acting experiences. Chinese opera's deep and rich reservoir of powerful and colorful expression_r_rs keeps giving me endless inpirations and excitement...
A chair on an empty stage. Ir indicates now a stove in a humid kitchen, then a bedroom door, then a rock hill or a bridge in a garden. Suggestive stylization will lead you to appreciate the unique charm of traditional Chinese theatre.
标签：
文化 |
戏曲演绎西方经典的意义
这方面我们的第一次经验来自1994年，那时我们在波士顿的大学教授西方戏剧，请了戏曲科班出身的上戏表演系老师范益松去那里教美国学生一些京剧的基本动作程式，和孙惠柱一起排了个京剧风格的《奥塞罗》。参加和观看演出的教授和学生们都认为，中国戏曲的风格化动作比流行的自然主义表演远更富有表现力，反而更接近莎士比亚戏剧的精神，那些只知“方法”派的美国演员很有必要用这样的“新方法”来丰富他们的手段。参加这个工作坊的几位博士生在成为戏剧教授以后，把戏曲风格化表演的精神用到了他们的教学中去。近年来我们跟国内戏曲艺术家们搞的越剧《心比天高》、京剧《朱丽小姐》和正在为挪威易卜生剧院和杭州越剧院写的越剧《海上夫人》则让我们发现了这种嫁接的另一层意义：用更具现实社会意义的故事和更富有心理层次的新型角色来拓宽传统戏曲的视界。海达和朱丽这样的现代性人物在老戏中很难看到，比起杜丽娘、崔莺莺等中精美的经典形象，更能引起当代青年人的共鸣和反思。《朱丽小姐》以朱丽和项强这样两个阶层的人物作男女主角，在传统戏曲中是几乎不可能的，但在现实生活中却有相当的现实意义。在中国国力日益强大的今天，戏曲演绎西方经典又增加了一层超越表演方法的意义：这是把中国文化艺术推向世界的一条捷径。因为那些名著在西方耳熟能详，观众看的时候更注意的是极富表现力的中国式演绎方法，而戏曲的程式化动作往往能传达出其中积淀着的中国美学的精髓，吸引更多的外国人来进一步了解中国文化。
Why Do Western Classics Through Chinese Opera?
Our experience with this approach began in 1994, when we were teaching western theatre at Tufts University in Boston. William invited Fan Yisong, a professionally trained Beijing opera actor-turned professor of Shanghai Theatre Academy, to teach American students some basic Beijing opera movement patterns in a summer institute. Then they directed a one-hour version of Othello in Beijing opera style. Many colleagues as well as the actors and audience members believed that the stylized movement of Chinese opera was far more expressive than naturalistic acting, and in fact closer to Shakespearean theatre in spirit. For those actors who knew only the prevailing American Method, and who needed to expand their horizon, Beijing opera seemed to offer very good new alternatives. Several PhD students in that project later adopted stylized movements in their careers of teaching and/or directing. More recently we’ve worked with professional Chinese opera artists in productions like Yue opera Hedda Gabler and Beijing opera Miss Julie, and are writing Yue opera Lady from the Sea, commissioned by Norway’s Ibsen Theatre and Hangzhou Yue Opera Company. There seems to be another benefit resulting from this type of intercultural hybridism: to enrich the repertoire of traditional Chinese opera with more socially relevant stories, and with more psychologically complex characters. It is hard to find characters like Hedda Gabler or Miss Julie in Chinese operas. Compared to such exquisite classical roles like Du Liniang and Cui Yingying, they are more likely to resonate with today’s young people and to make them reflect on their own lives. Miss Julie gives us two leading roles-- a female aristocrat and a male servant--as they enact a battle of the sexes as well as classes. This would be unthinkable in a traditional Chinese opera, but it rings true to today's audiences. In addition, in the wake of China’s recent rise as an economic power, doing western classics through Chinese opera appears to serve yet another function: to help Chinese arts and culture go abroad. When theatergoers in the west see their classics adapted by Chinese artists, they would naturally pay more attention to the unique Chinese ways in which their familiar stories/characters are presented. The richness of Chinese theatrical imagination and means of expression_r_r_r will not only excite them to see their classics in a different light, but also entice them to learn more about the aesthetics and cultural values behind them.
上图：编剧孙惠柱接受外语频道记者采访；
The reporter from ICS is interviewing Mr.Sun.
上图：孙惠柱老师邀请英国戏剧人士观摩《朱丽小姐》排练；
Friends of theatrical circles from Britain is invited to the rehearsal.
