For more than a hundred years, Stravinsky's "Duty of Spring" is full of insurmountable temptations in the field of music and modern dance, attracting countless artists to bend their waists and is also a "touchstone" for testing the height of artists' talents.
As a leading figure in Chinese national dance, Yang Liping also extended her creative hand to the "Spring Festival". This two-year adventure integrates a large number of Tibetan cultural elements on the basis of modern dance, with lions, women, and priests becoming the protagonists, and Yang Liping's representative image, the peacock, also reborn in nirvana in the play, and the rich oriental flavor comes to the face.
From October 19th to 21st, "The Charity of Spring", jointly commissioned by Yang Liping at the Shanghai International Arts Festival and the Sadler's Well Theatre in London, will be premiered worldwide at the Shanghai International Dance Center.
Yang Liping's "Charity of Spring" has had a starting point from the beginning of its creativity - reinterpreting Western classics with Eastern philosophy, Oriental wisdom and Oriental aesthetics.
In 1910, stravinsky was about to finish Firebird when he saw a solemn pagan ritual in his sleep: wise elders sat on the floor and saw a maiden dancing to death, and they wanted to sacrifice her as a sacrifice to appease the god of spring. This is the image of the ancestor worship ritual of the ancient Russian tribes in Stravinsky's fantasy. Chosen by fate and sacrificed, "The Rite of Spring" depicts mankind's worship of nature, the fear of death, and the desire for spring to come.
"In fact, our ethnic minorities also have this awareness, when spring comes, women use their most precious things to sacrifice, wa and Yi people have very similar rituals."
Yang Liping said, "The Western expression of women's sacrifice is a feeling of fear, contradiction and wandering, but among the ethnic minorities in Yunnan, there is also a sense of sacrificing oneself and redeeming everyone." This is the different consciousness of life in the East and the West. ”
Yang Liping incorporated her interpretation of the Oriental view of life in "The Rite of Spring".
The traditional version of "The Charity of Spring" shows a linear story, this time, Yang Liping proposed the concept of "reincarnation" and wanted to try a curved story: life is no longer just born to death, but from birth to death, and then to the rebirth of nirvana; women are no longer passive sacrifices, but active sacrifice.
"The Charity of Spring" also inherits Yang Liping's gorgeous, complex, and colorful stage aesthetics - the stage is filled with 999 mysterious symbols; a practitioner who exists in parallel time and space stoops to the earth, planting wheat like sowing blessings, fables, and enlightenment; dancers are immersed in it, dancing selflessly, and the joys, sorrows, sorrows, and joys of the world are placed in a grand time and space.
Love and hate, life and death, and freedom are all embodied under Yang Liping's interpretation: the lion is a metaphor for power, the old world, and inviolable rules; the woman is the victim, the awakened, and the born again; the priest symbolizes the indifferent oppressor; the peacock represents rebirth, the future, and hope.
Yang Liping is a Bai ethnic group, as early as "Impressions of Yunnan", she found her roots from the perspective of traditional culture, from the land, and found the cultural characteristics of her own ethnic group. In "Ten Faces Ambush", she tries for the first time to use the perspective and language of the world, especially modern body language, to dialogue with traditional Chinese culture.
"The Duty of Spring" and "Ten Faces Ambush" are in the same vein, "I have very deep feelings for my own culture and my own nation, and it is a very good opportunity to find a common perspective with the West and interpret Western classics with the aesthetics of the East." ”
"China is really great, as a dancer, it is my blessing to be able to inherit the national culture, and I have never given up." This time, I still use the elements of China's most cultural characteristics, and I will not copy the West or learn from others, but integrate national culture into the works that the world pays attention to. ”
Yang Liping sighed, "Many people will forget what they have, in fact, they are looking down to find the seed and let it sprout into talent." It's not that hard. Respecting your own culture is a very beautiful magic weapon. ”