舞蹈、电影与俄罗斯芭蕾舞团

Dance,Film,and the Ballets Russes

1921年12月29日,谢尔盖·?佳吉列夫(Sergei Diaghilev)宣布了一项拍摄芭蕾舞剧《睡美人》(The Sleeping Princess)的计划。该计划是“根据原创乐谱和现有的一些歌剧乐谱制作原创电影”大型活动的一部分。换句话说,该计划旨在将“廉价而迅速发展的电影”用于“高雅艺术”。无论是《睡美人》还是俄罗斯芭蕾舞团的其他作品,都没有被拍成电影。然而,在芭蕾舞团的存续期间,电影进入了艺术时代,几乎影响了舞团发展的每一个阶段。文章探讨了电影和芭蕾舞这两种艺术媒介之间令人着迷的相似之处,对这两种充满活力的艺术形式的交集提出了自己的见解。文章揭示了尽管电影在舞团早期并没有留下明显的印记,但作为现代性的标志和一种编舞策略,它逐渐融入俄罗斯芭蕾舞团的作品。俄罗斯芭蕾舞团几乎所有使用和借鉴电影手法的作品,都经过了审美化的处理过程,并赋予它们作为高雅艺术的传播价值。俄罗斯的戏剧文化是两种媒介之间的主要桥梁。一度被用作背景设置和模仿工具的电影,如今正逐渐成为芭蕾文本的一部分。将电影融入舞台作品的犹豫不决很可能是出于成本考虑:电影是一种昂贵的媒介。其他可能的原因还包括:后佳吉列夫时代的芭蕾舞与其他媒介的实验之间存在分歧,尤其是在美国,“高雅”人士对大众文化媒介的不信任。

On 29 December 1921,it was announced that a plan was afoot to film a ballet,The Sleeping Princess,an initiative proposed by Sergei Diaghilev.The scheme was part of a larger undertaking to“produce original films built on original musical scores and on the scores of a number of existing operas”.In other words,the plan was intended to appropriate the“cheap and rapidly breeding cinema”for the purpose of“high art”.Neither The Sleeping Princess nor any other Ballets Russes production was ever filmed.Yet the cinema,which came of artistic age during the life span of the company,shadowed virtually every stage of its development.This paper examines the fascinating parallels between the artistic mediums of film and ballet,offering insights into the intersection of these two dynamic art forms.It reveals that although the cinema left no discernible mark in the early stage,it has made its way into Ballets Russes productions as a sign of modernity and as a choreographic strategy gradually.In almost every instance where the use of film and cinematic borrowings appear in Ballets Russes productions,they had already undergone an aestheticizing process and gave them currency as high art.It was Russia’s theatrical culture that served as the major transmission point between the two media.Film,once being toyed with as a setting and a mimetic device,is gradually making it part of the text of a ballet.The diffidence of not incorporating film into works conceived for the stage may well have been prompted by cost:film is an expensive medium.Other possible explanations include the divide between post-Diaghilev ballet and experiments in other media,and,in the United States especially,‘highbrow’mistrust of a medium overwhelmingly identified with mass culture.