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日本电影《东京铁塔》里有一幕令我印象深刻:已婚熟女喜美子不甘像一个普通的家庭妇女那样生活而毅然参加了舞蹈班,学习弗拉门戈舞。学成表演的当天,她是舞台上的领舞人。她举手投足之间展现出的气质令台下所有人都为她倾倒。
舞蹈,就是有一种魔力,无论是优雅的芭蕾,刚健的弗拉门戈,奔放的桑巴,或是激情的探戈,我们都能从舞者挥洒的汗水和扭动的身姿里感受到一种生命的呐喊。这也是为什么现在的电视舞蹈节目那么受欢迎的原因。看着别人在台上尽情舞动,我们也不由得晃动一下自己的身子,动作或许难看,但是我们并不介意,因为那是生命最原始的脉动。
——Mac
Let’s call it “1)So You Think You Can Dance with the Stars of America’s Best Dance Crew.” “Burn the Floor”, the 2)electrifying Latin and 3)Ballroom dance 4)spectacular that has thrilled audiences in over 30 countries, is 5)populated with international ballroom champions. While there’s only about 15 ounces of collective body fat onstage, there’s also about 15 ounces of imagination.
“Burn the Floor” has been touring internationally for 10 years. The program, first created for 6)Elton John’s 50th birthday celebration in 1997, stormed its way onto stages around the world in 1998 and has became the biggest touring dance show in the world, selling over 3 million tickets, from the Royal Albert Hall in London, Radio City Music Hall in New York to the Great Hall of the People in Beijing. It has a 7)tacky disco ball that descends periodically from the ceiling, two8)sprawling drum sets (with live drummers) on a platform above a virtually bare stage, two singers with hand 9)mics, one saxophone player, one violinist and what sounds like a whole lot of 10)synthesizers.
On dance TV shows, tension is whipped up by competitive contestants. In nightclubs, the audience is softened up with alcohol. This means people cannot truly focus on dance. However, when it comes to “Burn the Floor”, things are different. On stage, the show, directed and 11)choreographed by Australian Jason Gilkison, takes audiences on a journey through the passionate drama of dance. The elegance of the Viennese Waltz, the 12)exuberance of 13)Jive, the intensity of the 14)Paso Doble—audiences can experience them all, as well as the 15)Tango,16)Samba, 17)Mambo, 18)Quickstep, and 19)Swing. It’s Ballroom dance with a sexy 21st century 20)edge.
The women tend to have beautiful 21)taffy22)torsos, extended limbs and backless dresses that linger lovingly over plenty of butt 23)cleavage. Long hair and 24)fringe go whipping around with the snap of push-pull partnering and the contrary-motion 25)swivels of direction.
A small but expert band of 20 dancers and, at times, a male or female singer, perform 11 different types of dance, some called standard, some Latin. They are all ballroom dances but, as Gilkison26)conceives them, they incorporate 27)balletic, 28)acrobatic and modern dance elements that no actual ballroom would even dream of.
Exactly how is the show special? First, choreographically. There are extraordinarily difficult steps, complex 29)intertwinings, unusual lifts, a woman (or sometimes a man) 30)whirled around the floor or tossed about, clinging to various parts of a partner, one 31)tumbling or sailing over the other (elegantly, not 32)clownishly), separations and rejoinings, 33)gravity-defying parallel leaps.
Next, 34)histrionically. The dancers claim among them more than 100 national or international championships, which generally go to performers who not only dance 35)superbly but also have something extra in looks, 36)bearing, ability to interact with partners and 37)ensembles. This is especially important for Gilkison, who cleverly designs matchups and groupings that have a commandingly 38)theatrical value. In one number a woman dances with six men; in another, one man with four women. Gilkison is also a master ofsuggestive mating of paired dancers to bring out specific 39)reverberations.
Third, sexually. Gilkison has clearly steered his dancers into eyeing one another in powerfully affective ways: 40)provocative, yearning, jealous, or 41)amorously 42)blissful—even if, like Damon and Rebecca Sugden, they may in truth be a long-married couple.
Lastly, it is fortunate, though perhaps 43)fortuitous, that the dancers come, by my count, from 11 different countries; it is inspiriting that whatever their ethnic differences, they are united in perfect harmony.
This show is, as Gilkison rightly calls it, dance theater. It is comic and dramatic, 44)sensual and 45)lyrical, acrobatic and romantic—in short, utterly theatrical. The production manages to be 46)slick and sexy at the same time—it’s a 47)vulgarized dance marathon, an ’80s Vegas 48)variety show. There is something for everyone. And one thing is for sure: Not just TV dance fans will flock. Ticket sales will burn just as hot as the temperatures on the floor.
让我们称之为“那么你认为你可以和美国最棒的舞蹈团体共舞了”。“燃烧的地板”这一激动人心的拉丁舞及国标舞大型演出已经使得30多个国家的观众热血沸腾了,而跻身于其中的是世界级的国标舞大奖赛冠军高手。虽然在舞台上他们身体的脂肪加起来也不过15盎司(约425克),却也带来了15盎司的想象力。
“燃烧的地板”在国际巡回演出长达十年之久。这个节目最初是在1997年为了庆贺埃尔顿·约翰50岁生日而创办的,到1998年,该表演席卷全球舞台,从伦敦的皇家爱尔伯特音乐厅、纽约的无线电城音乐厅一直到北京的人民大会堂,它成为了世界上最大型的舞蹈巡回演出,共计卖出了三百多万张门票。会场上,俗艳的的士高闪光灯球不时会从顶棚上降下来,而舞台上基本没什么布置,只是散乱地摆放着两套鼓具(配有现场鼓手),还有两名手持麦克风的歌手,一名萨克斯乐手,一名小提琴手,还有一大堆像是电子合成器的设备。
在舞蹈电视秀中,紧张的气氛被激烈的竞赛激起。在夜店里,观众则因酒精饮料而变得温和。这就意味着人们都不能真正地聚焦于舞蹈上。然而,说到“燃烧的地板”,事情就有所不同了。舞台上,这场由澳大利亚人杰森·盖尔基森指导并编排的秀带领观众体验的是一段热情洋溢的舞蹈剧之旅。维也纳华尔兹的优雅、爵士舞的活力、斗牛舞的热情——观众全都可以一一领略,还有探戈舞、桑巴舞、曼波舞、快步舞和摇摆舞。这是一场带有21世纪迷人特色的国标舞。
女舞者往往有着美丽如太妃糖般柔韧的身体,修长的四肢,她们穿着一身露背裙,低垂的裙子具有美感。她们还露出了部分股沟。而她们的长发和刘海随着舞伴的猛然推拉和反向旋转而飞舞。
这个团队由20名舞者组成,人数虽然不多却十分专业,有些时候,还会有一名男歌手或女歌手。这个小团队能够表演11种不同的舞蹈,有些是国标舞,有些是拉丁舞。他们跳的都是国标舞,但就如盖尔基森构想的那样,他们还加入了现实国标舞中人们不敢想象的芭蕾舞、杂技和现代舞元素。
那么这场秀到底特别在哪里呢?首先,在于其舞蹈编排。其中有特别难的舞步、复杂的肢体缠绕、独特的托举,一位女舞者(或有时候是一位男舞者)抓着舞伴身体的不同部位绕舞池旋转或被甩抛,一人(优雅地而非滑稽地)翻过另一人,分开再会合,反地心引力般地平行跳跃。
其次,在于其戏剧性。这些舞者们表示,他们总共获得过100多项国内或国际冠军,这些曾获奖的舞者们通常不仅舞技一流,而且长相和举止风度上也有过人之处,与舞伴和全体舞团成员的互动也相当出色。这对于盖尔基森来说特别重要,他很聪明地将舞者们配对并分组,从而带出极具气势的舞台效果。在一支舞曲中,一名女舞者与六名男舞者共舞;而在另一支舞曲中,一名男舞者与四名女舞者共舞(编者注:盖尔基森打破了“二人共舞”的常规,而是通过设计编排让“多人共舞”)。盖尔基森还精于通过舞蹈编排,暗示搭档舞者之间的“暧昧情愫”,以此带出特定的效果。
第三,在于其性感。很显然,盖尔基森驾驭着他的舞者们,让他们用饱含爱意的目光相互注视:挑逗、渴望、嫉妒、爱情带来的兴奋——即使实际上他们可能是老夫老妻了,像达蒙和丽贝卡·萨格登那样。
最后,相当幸运的一点是,虽然这或许出于偶然,但我计算过,其舞者来自于11个不同的国家,而令人振奋的是,无论种族文化有何不同,他们都情如手足,和谐至极。
这台演出,正如盖尔基森所说的那样,就是一个舞蹈剧。它具有喜感又不失生动,感官上给人以享受又不乏情感,杂技和浪漫元素包罗其中——简而言之,完完全全的戏剧舞台效果。该制作做到既花哨又性感——是一场通俗化的舞蹈马拉松、一场二十世纪八十年代的维加斯综艺秀。有一些东西是为所有人而设的。而且,有一件事是可以肯定的:不只是舞蹈电视节目的爱好者才会为此蜂拥去剧场。而票务的销售情况将会如舞池地板的温度那般火热。
舞蹈,就是有一种魔力,无论是优雅的芭蕾,刚健的弗拉门戈,奔放的桑巴,或是激情的探戈,我们都能从舞者挥洒的汗水和扭动的身姿里感受到一种生命的呐喊。这也是为什么现在的电视舞蹈节目那么受欢迎的原因。看着别人在台上尽情舞动,我们也不由得晃动一下自己的身子,动作或许难看,但是我们并不介意,因为那是生命最原始的脉动。
——Mac
Let’s call it “1)So You Think You Can Dance with the Stars of America’s Best Dance Crew.” “Burn the Floor”, the 2)electrifying Latin and 3)Ballroom dance 4)spectacular that has thrilled audiences in over 30 countries, is 5)populated with international ballroom champions. While there’s only about 15 ounces of collective body fat onstage, there’s also about 15 ounces of imagination.
“Burn the Floor” has been touring internationally for 10 years. The program, first created for 6)Elton John’s 50th birthday celebration in 1997, stormed its way onto stages around the world in 1998 and has became the biggest touring dance show in the world, selling over 3 million tickets, from the Royal Albert Hall in London, Radio City Music Hall in New York to the Great Hall of the People in Beijing. It has a 7)tacky disco ball that descends periodically from the ceiling, two8)sprawling drum sets (with live drummers) on a platform above a virtually bare stage, two singers with hand 9)mics, one saxophone player, one violinist and what sounds like a whole lot of 10)synthesizers.
On dance TV shows, tension is whipped up by competitive contestants. In nightclubs, the audience is softened up with alcohol. This means people cannot truly focus on dance. However, when it comes to “Burn the Floor”, things are different. On stage, the show, directed and 11)choreographed by Australian Jason Gilkison, takes audiences on a journey through the passionate drama of dance. The elegance of the Viennese Waltz, the 12)exuberance of 13)Jive, the intensity of the 14)Paso Doble—audiences can experience them all, as well as the 15)Tango,16)Samba, 17)Mambo, 18)Quickstep, and 19)Swing. It’s Ballroom dance with a sexy 21st century 20)edge.
The women tend to have beautiful 21)taffy22)torsos, extended limbs and backless dresses that linger lovingly over plenty of butt 23)cleavage. Long hair and 24)fringe go whipping around with the snap of push-pull partnering and the contrary-motion 25)swivels of direction.
A small but expert band of 20 dancers and, at times, a male or female singer, perform 11 different types of dance, some called standard, some Latin. They are all ballroom dances but, as Gilkison26)conceives them, they incorporate 27)balletic, 28)acrobatic and modern dance elements that no actual ballroom would even dream of.
Exactly how is the show special? First, choreographically. There are extraordinarily difficult steps, complex 29)intertwinings, unusual lifts, a woman (or sometimes a man) 30)whirled around the floor or tossed about, clinging to various parts of a partner, one 31)tumbling or sailing over the other (elegantly, not 32)clownishly), separations and rejoinings, 33)gravity-defying parallel leaps.
Next, 34)histrionically. The dancers claim among them more than 100 national or international championships, which generally go to performers who not only dance 35)superbly but also have something extra in looks, 36)bearing, ability to interact with partners and 37)ensembles. This is especially important for Gilkison, who cleverly designs matchups and groupings that have a commandingly 38)theatrical value. In one number a woman dances with six men; in another, one man with four women. Gilkison is also a master ofsuggestive mating of paired dancers to bring out specific 39)reverberations.
Third, sexually. Gilkison has clearly steered his dancers into eyeing one another in powerfully affective ways: 40)provocative, yearning, jealous, or 41)amorously 42)blissful—even if, like Damon and Rebecca Sugden, they may in truth be a long-married couple.
Lastly, it is fortunate, though perhaps 43)fortuitous, that the dancers come, by my count, from 11 different countries; it is inspiriting that whatever their ethnic differences, they are united in perfect harmony.
This show is, as Gilkison rightly calls it, dance theater. It is comic and dramatic, 44)sensual and 45)lyrical, acrobatic and romantic—in short, utterly theatrical. The production manages to be 46)slick and sexy at the same time—it’s a 47)vulgarized dance marathon, an ’80s Vegas 48)variety show. There is something for everyone. And one thing is for sure: Not just TV dance fans will flock. Ticket sales will burn just as hot as the temperatures on the floor.
让我们称之为“那么你认为你可以和美国最棒的舞蹈团体共舞了”。“燃烧的地板”这一激动人心的拉丁舞及国标舞大型演出已经使得30多个国家的观众热血沸腾了,而跻身于其中的是世界级的国标舞大奖赛冠军高手。虽然在舞台上他们身体的脂肪加起来也不过15盎司(约425克),却也带来了15盎司的想象力。
“燃烧的地板”在国际巡回演出长达十年之久。这个节目最初是在1997年为了庆贺埃尔顿·约翰50岁生日而创办的,到1998年,该表演席卷全球舞台,从伦敦的皇家爱尔伯特音乐厅、纽约的无线电城音乐厅一直到北京的人民大会堂,它成为了世界上最大型的舞蹈巡回演出,共计卖出了三百多万张门票。会场上,俗艳的的士高闪光灯球不时会从顶棚上降下来,而舞台上基本没什么布置,只是散乱地摆放着两套鼓具(配有现场鼓手),还有两名手持麦克风的歌手,一名萨克斯乐手,一名小提琴手,还有一大堆像是电子合成器的设备。
在舞蹈电视秀中,紧张的气氛被激烈的竞赛激起。在夜店里,观众则因酒精饮料而变得温和。这就意味着人们都不能真正地聚焦于舞蹈上。然而,说到“燃烧的地板”,事情就有所不同了。舞台上,这场由澳大利亚人杰森·盖尔基森指导并编排的秀带领观众体验的是一段热情洋溢的舞蹈剧之旅。维也纳华尔兹的优雅、爵士舞的活力、斗牛舞的热情——观众全都可以一一领略,还有探戈舞、桑巴舞、曼波舞、快步舞和摇摆舞。这是一场带有21世纪迷人特色的国标舞。
女舞者往往有着美丽如太妃糖般柔韧的身体,修长的四肢,她们穿着一身露背裙,低垂的裙子具有美感。她们还露出了部分股沟。而她们的长发和刘海随着舞伴的猛然推拉和反向旋转而飞舞。
这个团队由20名舞者组成,人数虽然不多却十分专业,有些时候,还会有一名男歌手或女歌手。这个小团队能够表演11种不同的舞蹈,有些是国标舞,有些是拉丁舞。他们跳的都是国标舞,但就如盖尔基森构想的那样,他们还加入了现实国标舞中人们不敢想象的芭蕾舞、杂技和现代舞元素。
那么这场秀到底特别在哪里呢?首先,在于其舞蹈编排。其中有特别难的舞步、复杂的肢体缠绕、独特的托举,一位女舞者(或有时候是一位男舞者)抓着舞伴身体的不同部位绕舞池旋转或被甩抛,一人(优雅地而非滑稽地)翻过另一人,分开再会合,反地心引力般地平行跳跃。
其次,在于其戏剧性。这些舞者们表示,他们总共获得过100多项国内或国际冠军,这些曾获奖的舞者们通常不仅舞技一流,而且长相和举止风度上也有过人之处,与舞伴和全体舞团成员的互动也相当出色。这对于盖尔基森来说特别重要,他很聪明地将舞者们配对并分组,从而带出极具气势的舞台效果。在一支舞曲中,一名女舞者与六名男舞者共舞;而在另一支舞曲中,一名男舞者与四名女舞者共舞(编者注:盖尔基森打破了“二人共舞”的常规,而是通过设计编排让“多人共舞”)。盖尔基森还精于通过舞蹈编排,暗示搭档舞者之间的“暧昧情愫”,以此带出特定的效果。
第三,在于其性感。很显然,盖尔基森驾驭着他的舞者们,让他们用饱含爱意的目光相互注视:挑逗、渴望、嫉妒、爱情带来的兴奋——即使实际上他们可能是老夫老妻了,像达蒙和丽贝卡·萨格登那样。
最后,相当幸运的一点是,虽然这或许出于偶然,但我计算过,其舞者来自于11个不同的国家,而令人振奋的是,无论种族文化有何不同,他们都情如手足,和谐至极。
这台演出,正如盖尔基森所说的那样,就是一个舞蹈剧。它具有喜感又不失生动,感官上给人以享受又不乏情感,杂技和浪漫元素包罗其中——简而言之,完完全全的戏剧舞台效果。该制作做到既花哨又性感——是一场通俗化的舞蹈马拉松、一场二十世纪八十年代的维加斯综艺秀。有一些东西是为所有人而设的。而且,有一件事是可以肯定的:不只是舞蹈电视节目的爱好者才会为此蜂拥去剧场。而票务的销售情况将会如舞池地板的温度那般火热。