舞劇《藍花花》音樂背後 The Music Behind Plateau Bluebell (15-Aug-2012) 「舞蹈音樂」，就像「雞和雞蛋」，究竟是先有了舞蹈才有音樂？還是相反呢？舞者都說，音樂是舞蹈的靈魂和支柱，驅動整個劇情和情緒的起伏，還有舞者的投入感，都是由音樂一力承擔。但現場演奏的音樂家，卻沒有像交響樂音樂會那樣風風光光地在台上享受觀眾的注目。畢竟，主角還是那讓人看得熱血沸騰，扣人心弦和長驅直入感觀的舞劇。所以，這次《藍花花》還是跟上次《雙燕 ─ 吳冠中名畫隨想》一樣，先有了整體大概的音樂，再去創作舞蹈的動作和整個劇的編排。 但音樂出來後又須按照舞蹈團梁國城藝術總監的舞蹈概念和方向，因而作出無數次的修改，甚至整個推翻重做。到最後完成的，可能跟原來的構思已經面目全非。這個過程中不免發生很多拍桌子的堅持和怒髮衝冠的懊惱。或者，這就是藝術創作最為吸引和玄妙的地方。因為擦出火花後出來的結果，很多時卻是雙方從來沒有想過的想法和效果。除了興奮之餘，也為不厭其煩和改完又改的作曲家李哲藝歡呼。 這次《藍花花》的音樂創作，最大的挑戰和膠著，就是如何用現代的曲風和效果去呈現濃厚又強烈的陝北原生態音樂。當把現代和傳統擺在一起，那是多麼大的矛盾和衝突啊！尤其是接觸到極端的民族風格，無論對舞蹈和音樂的創作，相信都是莫大的折騰。關鍵就在無邊無際的自我超越和創作的藝術領域裡，卻不能忽視原劇的民族精髓，更何況那更是整個舞劇的靈魂。於是一來，現代與民族的結合，又使舞蹈總監、作曲家李哲藝和我陷入更深層次的拉鋸。 原因還是出發點的認知極為不同，而雙方都有強烈的依據和考量，還有最終是為了自己的專業而有所堅持。舞蹈團的梁國城總監肩負著全劇的編舞和總導演，理所當然地將所有的專注都放在舞蹈的每一個細節上。當音樂偏重現代主義時，他就以民族英雄式的為陝北民謠大聲疾呼；而當音樂浸淫在鄉土旋律的美妙中，他卻搖身一變成為當代音樂的先驅，為了堅持現代的原素而衝鋒陷陣。可以想像，我們三人在同一個點上爭持是如此的精彩絕倫！ 音樂家無他的，音樂的創作當然是集中在優美的旋律，幻變的和聲，意想不到的效果和呈現獨特的個人風格。當想到音樂還需要現場演奏時，以上的原素就算是在舞劇內容的框架裡，也凌駕在整個創作的想法之上。畢竟最大的原因，是《藍花花》這舞劇，不是在描述風景或畫作的內容，而是在深刻地表現人的情感和慾望。而更難掌握的，是在刻劃人在貧窮中對生活和愛的渴望，對暴力和壓迫的反抗，以及對愛情的追求和忠貞。整個劇從舞蹈到音樂的創作，都離不開人們苦中帶樂，笑中含淚的複雜情感，而當中又要呈現大氣磅礡的陝北，還有那粗獷豪邁和撕裂亢奮的黃土情懷。 又是多少個小時的腦激盪，發現大家的堅持都有點變了質，卻是不約而同地朝着一個方向，都希望最終公演的舞劇，不是只有單純地把一個悲劇的愛情故事呈現出來，而是通過舞蹈和音樂創造出一個新的視覺和意念，呼喊出一種新的信息，希望重新燃點人們對人性和生活的認知，體會人與人之間的價值和尊重，還有那與生俱來最原始的愛。 畢竟，創作源於生活，生活離不開愛！ 梁建楓 香港舞蹈團大型舞劇《藍花花》音樂總監 香港管弦樂團第一副團長 "Dance music" is a "chicken and egg" question - does dance come first before music? Or the other way round? For dancers, music is the soul and sole support of dance; it propels the drama and emotions forward. Music also leads dancers into and inside dance. All of these, music must achieve by itself. But for the musicians providing live accompaniment, they do not receive the same attention from the audience as they would on a concert stage. After all, the protagonist is dance. Like its predecessor Two Swallow - Ode to Wu Guanzhong, we created a musical concept for Plateau Bluebell before working on the movement and dance sequence. But then, the music will need to be revised, sometimes demolished, over and over again, in order to represent the vision of the production's choreographer and director, Leung Kwok Shing, who is also Hong Kong Dance Company's Artistic Director. By the end, the music may bear no resemblance to the original concept. During the process, it is inevitable that there would be table-smacking stubbornness and fiery disagreements. Perhaps, this is the awe and magic of artistic creation: from the sparks of disagreements grow ideas and end results that none has thought of. While we reel in the excitement of creation, we must also give three cheers to our tireless and patient composer Lee Che-yi. The greatest challenge and sticking point during the development of the score for Plateau Bluebell was attempting to realise the raw richness of Shanbei's vernacular music with modern musical style and effects. When you put the modern with the traditional, there is such enormous contrast and conflict. Especially when it involves an incomparable folk style, it was frankly torturous for the creation of both dance and music. The key is, in the boundless self-surpassing realm of creation, one mustn't lose touch with the spirit of the origin - the soul of the dance. So the union of modern and traditional put the choreographer, composer and me into deeper conflict. We disagreed because we started from different perspectives. Each of us had thought long and hard about our stands and fought fearlessly for our professions. Leung Kwok-Shing is the choreographer and director for the work, naturally, he is consumed by every detail of the dance. When the music leant towards modernism, he would become a defender of the Shanbei ethnic style and when the music turned toward the melodic pastoral, he would become the embodiment of modern sounds, insisting that modernist elements much be in the forefront. You can imagine how fierce and invigorating our debates were! For musicians, the creation of music is nothing but focusing on the elegant melody, its variation and harmony, unexpected combinations topped with a distinctive personal style. Even when one considers the live performance of the music, the aforementioned elements, even within the framework of a dance drama, still ride above the whole creative concept. After all, Plateau Bluebell is a dance drama, it portrays human emotions and desires, it does not simply sketch out a view or describe the content of a painting. What is even more challenging, is the portrayal of the great desire for life and love even amid poverty and destitution, the fight against violence and oppression, and the longing for and steadfastness in love. The dance drama - be it the choreography or the score - never strays away from the complex emotions of one finding happiness amid difficulties, finding tears amid laughter. And throughout, we need to realise the mighty, majestic Shanbei and that rough, expansive, defiant feeling that runs through the yellow earth. After many more hours of cerebral collision, we suddenly realised our stances have shifted somewhat, that we were all heading down the same direction without prior agreement. We all hope that the final dance drama will tell more than a tragic love story. Through dance and music, we hope to create a new kind of visual concept and impact, we hope to shout out a new message, to reignite our understanding of humanity and life, to respect and value human relationships, and to experience that primitive, original love that we are all born with. After all, creativity comes from life, and life is inseparable from love! Leung Kin-fung Music Director, Plateau Bluebell First Associate Concertmaster Name: Email: Comment: