“费加罗的婚礼”舞台装置

  • 来源:建筑创作
  • 关键字:费加罗,婚礼,舞台
  • 发布时间:2014-04-11 15:59

  每年夏天,长野县松本市都要举办“斋藤纪念音乐节”。该活动的中心人物不用说,自然就是小泽征尔。为响应小泽先生的召唤,从世界各地聚集而来的演奏家,以及小泽先生主持的音乐学堂的年轻人,在大概1个月时间里,举办各种各样的音乐会。2005年,作为其中的一项活动,由我们设计的、前一年才刚刚开放的“松本市民艺术馆”,上演了面向青少年的歌剧“费加罗的婚礼”。虽然说是歌剧,其实就是由歌手们演唱一些著名的歌曲,其间夹杂着男女两位演员的表演而已。该歌剧由串田和美馆长演出,大约3个小时的歌剧被缩短为1幕1个半小时。对象是近郊的初中1年级学生。为了让即使是第一次看歌剧的学生,也能非常轻松地欣赏歌剧,串田委托我们设计3这个舞台。本来舞台上呈现的是18 世纪的西班牙伯爵家的室内以及花园。串田建议我们采用与此无关的,抽象的空间,据此我们描绘出宛如“莫比乌斯之环”的空间。将柳安木胶合板弯曲,制成一条弯弯的路,将舞台深处和观众席相连。一部分降落到乐池中,歌手和演员的所有表演都在这条道的空间上及其周边进行。这条路既是歌剧的舞台,同时也是歌舞伎的花道,也可以起到“能”(日本能剧)里面的桥梁作用。小泽先生以及乐队的所有演奏家和歌手、演员们都从舞台深处走这条路,进行登场和退场。演员有时还出现在乐池和观众席中。虽然是很简朴的柳安木胶合板舞台,但是舞台和乐池、观众席之间的距离,通过这条路一下子就缩短了。这是我们“消除内和外、表和里关系”的建筑主题的一个小小的典范。

  The “Saito Kinen Festival” is held in Nagano of Matsumoto every summer. Needless to say, the key man of the event is Seiji Ozawa. In response to the call of Mr. Seiji Ozawa, various concerts are given by performers coming from all over the world and youngsters withinalmost a month in the music school which was established by Mr. Seiji Ozawa. As a part of the concert, an opera named “LE NOZZE DI FIGARO” for youngsters was put on the stage in 2005 at “Matsumoto Performing Arts Center”, which was designed by us and just open tothe public a year ago. It seemed to be an opera, but in fact, it was some famous songs sung by singers with performance of one actor andone actress in between. The opera, which was reduced to one act and lasted for only one and half an hour from nearly three hours, wasshowed by Kazuyoshi Kushida with the audience of junior high school students at grade 1 in the outskirt. We were engaged by KazuyoshiKushida to design the stage in order to ensure the student can enjoy the opera with ease even when they had never seen an opera before.The stage was to present indoor scene and garden in the home of Spanish earl in the 18th century. Kazuyoshi Kushida advised us toadopt the abstract space which is irrelevant to the earl scenario and accordingly, we depicted such space like the “Mobius ring”. Lauanplywood was bent to create a curved path, which led the auditorium to deep into the stage. A part of the path was sunk to the orchestrapit. Performance of the singers and players were conducted within the space of the path and around it. The path was both the stage forthe opera and ikebana for the kabuki and could serve as a bridge in Noh as well. All performers, singers and Mr. Seiji Ozawa came on andwalked off through the path from deep of the stage. Sometimes, players could appear in the orchestra pit and auditorium. The distanceamong the stage, orchestra pit and the auditorium was greatly shortened only by the simple lauan plywood path. This is a moderateparagon of the construction theme to “eliminate unnatural connection between the inside and the outside, and exterior and the interior”.

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