Folk dances from all over the world 舞 者 沈 蓓 （六）

International cultural exchanges were very frequent at that time. Shanghai, an international metropolis, is even busier. Every year, the Opera House has the task of receiving a large number of foreign guests. In addition to observing, all foreign art troupes must learn the most representative outstanding dances of the other country and conduct substantive exchanges. This certain rule provides us with a shortcut for learning.

The visiting art delegations are all very high-level. Especially the Soviet Union and some Eastern European countries. For example, the “Little White Birch Model Dance Company” (Note), the scene they performed, even though it has passed by, is still in front of them as they were yesterday-a group of girls in typical Russian national costumes filed in and they did not seem to have “Hands dancing and dancing” seems to be attracted to each other only because of the power of nature and the call of mutual hearts.

The dignified, pure, broad statues of Russian girls flowed and changed. They have a variety of weather, and the harmony and tacit understanding in the cruising make the combination of the extraordinary beauty of form and the presentation of the national spirit seamless. The people’s artist of the former Soviet Union, Rejie Zhijinna, creatively brought the ring dance inherent in Russian folk to the extreme with extraordinary imagination and gave new life to it.

That time, we went to the Cultural Square to watch them rehearse. This stage is two or three times larger than usual, which makes the time-space relationship of dance very different from usual. It must be adjusted accordingly. Therefore, an appearance of less than half a minute was queued for more than half an hour, requiring each actor to pass through. The adjusted new flow rate is not badly mastered, making the changes of the stage screen like geometric figures or gears absolutely accurate and its rigor I will never forget.

In “Swan”, Na. Ritzkina has created a group of swans full of Russian sentiment that are totally different from the ballet “Swan Lake”. The girls wore white dresses and blue skirts flowing on the stage, vividly expressing the purity and freedom of swan swimming in the water, especially the use of the unique big white sleeves and ruby ​​rings of Russian clothing to show that they resemble “swans” and are better than “swans”. “The image of the group. All kinds of finishing touches are amazing. Such examples are too numerous to list, such as “Necklace”, “Cranberry Blossom” and so on. Although the works of “Little White Birch Dance Troupe” all have the uniform style of Russian ring dance, each show has its own personality and is absolutely not the same. The ingenious changes in the formation are unforgettable and breathtaking. Through the study of this program, I understand that the world of artistic creation is endless.

“Little White Birch Model Dance Troupe” is just a typical example. In fact, there are many others like this, such as the “Saber Dance” by the Soviet “Moisayev Folk Dance Troupe”, “You can cover the front and back!” (borrow from Bai Juyi Praise the sentence “Neon Feather Dance”.)…a group of cavalry in Cossack cloak, in the sound of orderly answering horse hooves, they came in, some of them were meditating, some were chatting and laughing, even, some While dozing off, suddenly, at the sound of the whistle, an encounter broke out. The big cloak flicked, the sword was unsheathed, the horse Feiteng, life and death fight, bloody battle, all happened in an instant, on the empty stage, so real, so vivid, so exciting, and breathtaking. The performances of this dance company are extremely rich and colorful, and Moysayif’s endless whims and ideas are dazzling, such as “Wrestling” in which an actor turns into a duo, and “The Clearing in the Woods”, all of his masterpieces.

In addition to the Soviet Union, other Asian, African and Latin American countries such as Poland, Hungary, Czechoslovakia, Romania, Bulgaria, and East Germany, as well as Japan, North Korea, Mexico, and Congo. The repertoires I studied and performed included “Ukrainian Dance”, “Vase Dance”, “Bavaria”, “Obelik”, “Russia”, “Madroka”, “Glade in the Forest” and so on.

Note: In 1948, the Russian people’s actor HC Nadezhina founded the “Little White Birch” dance art troupe. It is based on Russian traditional folk dance, drawing on folk legends, combining with classical ballet techniques, and creating a unique dance art style In the classic “Little White Birch”, the slender and dignified female dancer steps on light clouds, like a spring breeze passing by on the stage; everyone is dancing with white birch branches in their hands, and there are rustling green leaves on the tops of the branches.

The stage revolves around them, reminding people of Russia’s endless birch forest. These beautiful female images fully express the pure, simple and elegant beauty of Russian women, interpret the nation’s highest praise for beautiful and tough women, and present the soul of a nation. From then on, it has become unique on the international stage and has its footprints all over the world. More than 100 countries on five continents are known as “Russia’s most beautiful business card”.

East Asian Dance

In the 1950s, when the Shanghai Opera House followed Premier Chen Yifu’s visit to Southeast Asia, India, Thailand, Cambodia and other ancient civilizations with highly developed music and dance, they also learned many exquisite programs and brought them back, such as “Ajina Dream” and “Alari Bodhisattva”. “, “Umbrella Dance” and so on. These have become popular dance works of the opera house. The craze for oriental dance was aroused throughout the country.

In short, extensive contact and continuous learning have made our accumulated repertoire more and more abundant. The splendid dance art of the world takes turns to compete with each other, which makes us “informed.”

Ballet

Hungarian Dance in the second scene of Swan Lake

The open attitude allows us to refuse to come. As early as 1954, we studied and participated in the performance of the world classic dance drama “Swan Lake” (they learned “Red Silk Dance”).

Theaterization, regularization, and professionalization, I think, the most important thing is the change from the concept of a political propaganda team to the construction of a world-class Chinese dance culture. I have already said that when I was a child, the term “artist” was almost synonymous with “beggar”. Even when Chinese drama reached the pinnacle of art due to its collection of great achievements, the outstanding artist would still be nothing more than a tribute to dignitaries. The “actress” who enjoys entertainment while chatting and laughing. Suddenly, the artist was given the title of “engineer of the human soul”. A sense of pride rose suddenly. Compared with the period of the cultural and industrial troupe, the theater-oriented, regularized and professionalized opera house is filled with a strong artistic atmosphere. Everyone has a great increase in artistic consciousness and has a strong sense of professionalism to become an “opera man”. One of the major features. There have been many outstanding dance artists, such as Shu Qiao, Zhang Jun, Li Zhonglin and so on.

At that time, everyone in the opera house focused on their careers, and it became common practice to study hard. When the actress stands on the shoulders of the actor in “Huagu Lantern”, even if she is only one person tall and there is no support on the side, she has to run like flying, and her legs are really weak at first. So, as soon as he was free, the boy took the initiative to pat his shoulder and said, come! stand on. Later, during the cleanup, the rehearsal hall of the opera dance team was as high as two people, but we never used ladders. Girls stood on the shoulders of the boys, working together. They both practiced and worked. As time passed, they became flat on the ground.

“Lotus Dance” is even more so, stepping on the steel ring that is equal to the ankle, not only does it fall by itself, but also has a domino rear-end effect. The whole stage falls down a blockbuster, and you can’t climb up, and you make a fool of yourself. Big. In the duet dance “Flying Heaven”, two long silks have to be popped out by the hand bowl with four or two twists, and the force reaches the end of the silk. It is neither over nor insufficient. If the silk is not good, it will give you a head and brain, and you will be embarrassed. In short, any excellent drama has its own unique tricks. The highlight is often its difficulty. To do what others cannot do requires double the sweat.

“Fan Dance” in North Korea does not seem to have any difficult skills, but it is not so easy to control the breath from beginning to end. It is not so easy to perform in a cultural square that is more than twice the size of a normal theater that year, and the movements must also be enlarged. Doubled, but at the same time the breath still has to maintain the gentle and smooth characteristics of Korean dance, which is equivalent to playing Tai Chi, the slower the lower, the deeper the kung fu, the more difficult it is. After a performance, all of them get down, say a hundred times. Somersaults are still tired. There is also the Hungarian “Bottle Dance”, which is lively and humorous, featuring dancing with a bottle of wine over the head.

In order to overcome this special technical difficulty, another landscape appeared in the opera house during that time-a group of girls with things on their heads could be seen everywhere, and they even put bowls on their heads when they went to the cafeteria to eat in line, “Kung Fu It’s worth it.” Later, each person filled a beautiful glass bottle with red water (replacement of wine), and stood on the stage, singing and dancing, leisurely and contentedly, even if it spins fast. Once, there were twelve programs in a party and eight of them were only me. As soon as the curtain closed, while running down, he pulled the zipper to change clothes, while others pulled the hair and changed the hairstyle. Up and down the next minute without stopping, despite this, still meticulous, there are a lot of necklaces and earrings, the jumping and spinning are accurately completed, enthusiasm, and full of emotions. After the last “Peacock Dance”, I insisted on the curtain call, but the curtain was just pulled. It fell to the ground and couldn’t get up. This is the spirit. If the curtain is not closed, it will not fall.

Under the influence of the great artistic dyeing vat of the opera house, I was gradually trained.

 那时国际文化交流非常频繁。上海这个国际大都市更其繁忙，每年歌剧院都有大量接待外宾的任务。而凡是外国艺术团来访，除观摩外，都要学习对方国家最有代表性的优秀舞蹈，进行实质性的交流，这一定之规，为我们提供了学习的捷径。


Hungarian Bottle Dance
匈牙利《瓶舞》

来访的艺术代表团，水平都非常高。特别是苏联和一些东欧国家。如“小白桦模范舞蹈团”（注），她们演出的情景，虽已过去一个甲子，宛如昨天般仍在眼前——一群身着典型俄罗斯民族服装的少女们，鱼贯而来，她们看起来没有“手舞足蹈”，似乎只是由于大自然的力量和相互心灵的召唤，才被吸引到一起。

那一座座俄罗斯少女凝重，纯净，宽广的雕像流动着，变换着。她们气象万千，游弋中的和谐与默契，使超凡脱俗的形式美和民族精神的呈现结合得天衣无缝。前苏联人民艺术家哪、热捷日金娜，以非凡的想象力，创造性地将俄罗斯民间固有的环舞发挥到极致，赋予全新的生命。

那次，我们去文化广场看她们排练。这个舞台比通常的要大二三倍，使舞蹈的时空关系与平时大相径庭，必须作相应的调整，于是，一个不到半分钟的出场，竟排了半个多小时，要求每个演员将经过调整后的新流速掌握得不差毫厘，使舞台画面的变化像几何图形或齿轮一样，绝对精准，其严谨我终生难忘。

在《天鹅》中，娜。日捷斯金娜又创造出一群全然逥异与芭蕾《天鹅湖》的，充满俄罗斯情调的天鹅。少女们穿着白衣蓝裙在台上流动，淋漓尽致的表现了天鹅在水中游曳时的纯洁、自由，特别是利用俄罗斯服装特有的大白袖子和红宝石大戒指，展现出酷似“天鹅”，胜似“天鹅”的群体形象。种种画龙点睛之笔，令人拍案叫绝。这样的例子不胜枚举，如《项链》、《红莓花开》等。“小白桦舞蹈团”的作品，虽然都有俄罗斯环舞的统一风格，但每一个节目又各具个性，绝不雷同，队形变化之巧妙让人过目难忘，叹为观止。通过这一个节目的学习，使我明白，艺术创造的天地是无穷尽的。

Zhongnanhai Show Curtain Call
中南海演出谢幕

《小白桦模范舞蹈团》只是一个典型而已，事实上像这样的还有许多许多，如苏联的“莫伊赛也夫民间舞蹈团”的 《马刀舞》，“可掩前后！”（借用白居易赞“霓裳羽衣舞”句。）……一群穿着哥萨克大氅的骑兵，在的答有序的马蹄声中，款款而来，他们有的在冥想，有的在低声说笑，甚至，有的在打瞌睡，突然，哨声响处，一场遭遇战突发。大氅一甩，刀出鞘，马飞腾，生死搏杀，浴血奋战，都发生在一瞬间，发生在那空无一物的舞台上，那么的真实，那么的传神，那么的扣人心弦，令人屏息。这个舞团的节目极其丰富多彩，莫也赛伊夫层出不穷的奇思妙想，叫人眼花缭乱，譬如一个演员变身双人的《摔跤》，还有《林中空地》，都是他的杰作。

除了苏联外，其他如波兰、匈牙利、捷克斯洛伐克，罗马尼亚，保加利亚、东德，还包括日本、朝鲜、墨西哥、刚果等许多亚非拉国家。我学习并演出的剧目有《乌克兰舞》、《瓶舞》、《芭瓦利亚》、《奥别力克》、《俄罗斯》、《玛卓卡》、《林中空地》等等。

Little White Birch Model Dance Group
《小白桦模范舞蹈团》

(注) 《小白桦模范舞蹈团》

1948年俄罗斯人民演员H.C.娜杰日季娜创立了“小白桦”舞蹈艺术团。它以俄罗斯传统民间舞蹈为基础，取材民间传说，与古典芭蕾技艺结合，开创了独特的舞蹈艺术风格。在经典之作《小白桦》中，修长端庄的女舞者，踏着轻盈的云步，如同春风在舞台掠过；每个人手里舞动着白桦树枝，树枝顶端还有沙沙作响的绿叶。

舞台以她们为中心转动，使人不禁想起俄罗斯那连绵起伏、一望无际的白桦林。这些优美的女性形象充分表现了俄罗斯女性内在的纯洁、朴素而优雅的美、诠释着这个民族对于美好而坚韧的女性的最高礼赞，呈现出一个民族的灵魂，从此在国际舞台上独树一帜，足迹遍布五大洲的100多个国家，被誉为“俄罗斯最美的名片”。

东亚舞蹈

另外，50年代上海歌剧院跟随陈毅付总理出访东南亚印度、泰国、柬埔寨等音乐舞蹈高度发达的文明古国时，又学了许多精美的节目带回来，如《阿健达梦幻》、《阿拉瑞菩》、《伞舞》等等。这些都成为歌剧院的叫座舞作。在全国掀起了东方舞热。


Indian Dance
《印度舞》

总之广泛的接触，不断的学习，使我们积累的剧目越来越丰富。异彩纷呈的世界舞蹈艺术轮番争奇斗艳，使我们“见多识广”。

芭蕾



开放的姿态让我们来者不拒。早在1954年，我们就学习并参加了世界经典舞剧《天鹅湖》的演出（他们学的是《红绸舞》)。

《天鹅湖》第二场的《匈牙利舞》

剧院化、正规化、专业化，我觉得，最最重要是从政治宣传工作队到建设世界一流的中国舞蹈文化这个观念的改变。我已说过，在我小时候，“艺人”一词已几乎同义于“乞丐”，就算中国戏剧因集大成而登上艺术的巅峰时，再出类拔萃的艺术家也仍然不过是个供达官贵人在嗑瓜子喧哗谈笑之余玩赏的“戏子”。忽然一日，艺术工作者被赋予了“人类灵魂工程师”的称号。自豪感骤然升起。与文工团时期相比，剧院化、正规化、专业化后的歌剧院到处弥漫着浓浓的艺术气息，每个人在艺术上攀登的自觉大增，有强烈的事业心成了“歌剧院人”的一大特点。涌现了许多出类拔萃的舞蹈艺术家，如舒巧、张均、李仲林等等。

那时的歌剧院人人一心扑在事业上，勤学苦练蔚然成风。《花鼓灯》中出场时女演员站在男演员的肩上的动作，别看只有一人高，边上什么扶的都没有，还要奔跑如飞，一开始还真的腿发软。于是，一有空，男孩子就主动拍着肩膀说，来！站上。后来，大扫除，歌剧院舞蹈队的排练厅有二人多高，但我们从来不用梯子，都是女孩站在男孩肩上，上下一齐动手，既练功又干活，久而久之，也就如履平地了。

《荷花舞》更是，一步没走对，踩在齐脚腕的钢圈上，不但自己摔倒，还会起骨牌追尾效应，满台倒下一大片，爬都爬不起来，洋相就出大了。双人舞《飞天》，两根长绸要靠手碗用四两拨千斤的巧劲弹出去，发力直达绸子末端，过与不足都不行，弄不好绸子就会给你来个缠头裹脑，狼狈不堪。总之，凡是优秀剧目，都有它的绝招，亮点往往正是它的难点，能为别人之不能为，要付出加倍的汗水。

朝鲜《扇舞》，看起来没有任何高难技巧，但从头至尾气息要控制得平稳舒展，也不是那么容易的事，那年在大于一般剧场二倍多的文化广场演出，动作必须也得放大一倍，而同时气息仍然要保持温柔流畅的朝鲜舞特色，等于打太极拳，越慢越低功夫越深，难度越大，一场演下来，个个全趴下，说比翻一百个筋斗还累。还有匈牙利的《瓶舞》，它活泼幽默，特色是头上顶一瓶酒跳舞。

为攻克这特殊的技巧难点，那段时间歌剧院内又出现了一道风景线——倒处都可看见一群头上顶着东西的女孩，连去食堂吃饭排队时也把碗放在头上，“功夫不负有心人”，后来，每人一只漂亮的玻璃瓶装上红水（代酒），顶着上台，边唱边跳，悠然自得，就是快速旋转也不在话下。有一次，一个晚会十二个节目八只有我。幕刚关，一面往下跑就一面扯拉链换服装，别人就帮着扯头发，换发型。上上下下一分钟不停，尽管这样，仍然一丝不苟，项链耳环一样不少，跳跃旋转精准完成，热情奔放，情绪饱满，跳完最后一只《孔雀舞》还坚持着谢幕，可大幕刚拉上就倒地起不来了。这就是精神，幕没关，就不会倒下。

在歌剧院这个艺术大染缸的熏陶下，我渐渐受到沁润。