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2015国家大剧院舞蹈节 舞剧《莲花》 [已结束]

2015国家大剧院舞蹈节 舞剧《莲花》






2015.11.09 - 2015.11.10








A story inspired by the painters and sculptors of Dunhuang’sMogao Grottoes adapted into a dance drama.




The dance drama tells the story of a clay modeler at the Dunhuang Mogao Grottoes, who after perceiving the beauty and sincerity of the ‘Lotus’ (a sacred image in Buddhist poetry), creates a painted statue for the Dunhuang caves. Choreographer Zhao Xiaogang borrows the exquisite body language of the Dunhuang wall murals and Buddhist statuary to tell the story of this clay modeler’s journey of cultivation and learning, searching for the origin of life, as he carries his sculpture great distances across land and sea. It celebrates humanity’s persistent search for true love, goodness, and cherished wishes.

通过故事线依次呈现:泥沙环绕的月牙泉舞,眼睛与手表演的蓝莲花舞(借鉴北魏与西魏时期壁画伎乐菩萨手姿手位) ,诙谐顿挫的供养人舞(借鉴初唐莲花童子壁画),安静委婉的小鱼儿舞,手足缠绕的并蒂莲舞(借鉴465窟密宗壁画造型),如意自在的金刚罗汉舞(借鉴榆林窟西夏金刚彩塑),刚柔相济的飞天舞(借鉴西魏飞天羽人壁画造型),撼人心魄的俗世舞(借鉴晚唐五代“借经人”原形),最后一段取材敦煌220窟歌舞伎乐的七宝莲池舞,将美好与祝福通过柔和的肢体节奏并伴随国乐二胡的悠扬曲调,缓缓带给感悟莲花之美好的观众。

Through the story, we are introduced successively to the following images: revolving mud crescent-moon spring dance, blue lotus danced with eyes and hands (based on the mudras of performing Bodhisattvas found in wall murals of the fifth and sixth centuries), the comical rhythmic dance of the stone lotus (based on early Tang Dynasty ‘lotus child’ frescos), the quiet and delicate brocade fish dance, bounded hand and feet joined bud lotus dance (based on the ‘Mizong’ images found in Dunhuang cave 465), the unrestrained warrior Buddhist saint dance (based on the Tangut warrior saint statues at Yulin Grottoes), the red lotus dance that combines strength and suppleness (based on the sixth century murals of Apsara immortals), the soul shaking white lotus dance (based on the tenth century prototype of the figure of ‘Dao Zhen’). The last section draws on the music and dancing imagery of the murals in Dunhuang cave 220, including the lotus pond dance of the seven auspicious immortals. The delicate body rhythms of the dancers and bowed string melodies of the erhu bring blessings and happiness to all those who truly know the beauty of the Lotus.        

最终 “塑匠”将彩塑放入敦煌石窟的时候,向陪伴自己生命旅程的彩塑挥手道别,编者以现代人的视觉感知,侧身于艺术工作者的角度诠释“艺术源于生活又高于生活”的本质,艺术品和创造者之间,“从属却高于”的微妙关系.

At the end of the story, when the clay modeler places his painted statue inside the Dunhuang stone cave, he cannot help but say goodbye to this figure that has accompanied him through his life’s journeys. The choreographer uses the visual effect and feeling of modern dance to express the clay modeler’s vision of art as ‘coming from life but exceeding life,’ as well as this statue’s relationship to him as ‘coming from but surpassing.’


十一岁开始学习敦煌舞蹈,二十几年来似乎从没真正离开过。也曾感受到现代舞蹈的视觉冲击,试图脱离敦煌的限制,却原来先祖留下的宝贵遗产已经化作一根筋骨长在了我的躯体深处。现在,走过了这许多的创作,方觉大美集于方寸一处,起始于原点又回到了原点。“莲花”这一诗化的主题意象,我借由当代中国舞的表现形式,加以诠释和升华。 在特定的时空设定之下,把“壁画彩塑”和“莲花”这两种具体形象相互幻化,来折射人性之中最本真的善意和美好。而传统中国文化之中,莲花出淤泥而不染的洁净脱俗、叶花实并存的稳固周全,正与东方式哲学的意旨相契合。临近莲花,也如同临近敦煌壁画一样,都能使人深觉平静与喜乐。感谢老师们给予我的一技之长,就让莲花带着我们一起,跟随着“塑匠”的脚印穿越过人世间,翱翔在莲花盛开的敦煌壁画长廊,徜徉在舞蹈肢体语汇中,领悟人世的真善美。


From the choreographer:I started studying Dunhuang dance when I was eleven years old, and in the past more than twenty years I’ve never left it. At one time, experiencing the visual excitement of modern dance, I tried to escape the limitations of Dunhuang; yet, the precious inheritance of the ancestors had already turned into muscle and bone growing in my body’s deepest places. Now, after so many creations, I’ve realized that the beauty of the whole is in its parts, and returned to the very place that I began. To the poetic image of the ‘Lotus’ and the expressive medium of contemporary Chinese dance, I offer my own interpretation and refinement. In a specified time and space, using the concrete images of the ‘clay modeler’ and the ‘lotus’ and their mutual fantasies, I explore life’s most basic elements of sincerity and goodness. In traditional Chinese culture, the purity of the lotus flower emerging with its petals and leaves complete and untarnished from the mud is consistent with the basic philosophical principles of Eastern thought. Just like the experience of coming close to the Dunhuang murals, it can give people a feeling of quiet and happiness. I thank my teachers for giving me a special skill, which allows the Lotus to take us together, following the steps of the ‘clay modeler’ across the human world, hovering in the hallways of Dunhuang filled with images of lotus flowers in full bloom, wandering among the dance imagery, to reflect on the beauty and sincerity of human life.XiaoGang Zhao

壹 塑

Act One, Sculpt


Crescent moon spring nestles in the bosom of sounding stones mountainThe clay modeler wanders to this place, nebula swirl in the beautiful reflections of heavenWaves churn the spring’s water, like lotus flowers in full bloomThe clay modeler decides to sculpt a painted statueThe lithe and graceful lotus murmurs a blessing for himThe stone lotuses bring mud, sand, cotton and wheatgrass to build the statueEven the fish in the spring sense the clay modeler’s lotus-like intention and chant softly

贰 行

Act Two, Travel


The clay modeler packed the statue onto his back and began a journeyThey saw the devoted married couples brightly blossom and then buriedHeard the Buddha warrior attendant saint with lotus chanting scriptures, shaking sleeves in displeasure, taking tiny stepsImmortals and flying apsaras on the painted walls of the great edifice like a red lotus,Recounting to them the truth and sincerity of the world

叁 别

Act Three, Farewell


Greed, anger, and madness of the secular worldUtterly destroy the sincere respect of the natural universeThe clay modeler entrusts his hope and wishes to the painted sculptureand places it inside the stone cave of DunhuangAs he waves his hand farewellthe painted statue seems to shed a tear, glittering and transluscent as a lotus flower


xiarihonglei 提问:
2015-10-08 15:33:12     来自 Android客户端



永乐客服 回答于: 2015-10-08 15:34:24

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2015国家大剧院舞蹈节 舞剧《莲花》



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