A U.S. Made Genuis
In these early ballets, Robbins favored clear-cut dramatic situations. “ what really interests me”, he said in 1958, “ is the conduct of man, the rites he performs to face the mysteries of life”. The Cage portrays a tribe of ferocious, insect-like women who kill the men with whom they mate; in Afternoon of a Faun, two dancers meet in a studio for a sensuous yet self-absorbed encounter that ends in an oddly tentative kiss. Later, Robbins adopted the plotless style of Balanchine, his mentor and idol, firmly denying that his new works were “about” anything but movement and music. Dancegoers knew better. Dancers at a Gathering may not have a plot, but it is full of vividly drawn characters who relate to one another in abstract yet deeply emotional ways.
译文:
一个美国造就的天才【连载1】
一个美国造就的天才
在早期的芭蕾剧中，罗宾斯更喜欢那些简明清晰的戏剧情节。他曾在1958年说，“真正让我感兴趣的是人的行为，是人面对生活的玄奥而执行的宗教仪式。”《笼》 描述了一个残忍的族群，族中的女人们会像昆虫那样，在与异性发生关系后就杀掉他们。在《农牧神的下午》中，两名舞蹈演员在排练厅相遇，他们希望会面是令人舒服而又能使其自我陶醉，结束这次邂逅却奇怪地以一个试探性的接吻而告终。后来，罗宾斯采用了它的导师兼偶像巴兰钦的“无情节风格”，坚决否认自己的新作品与运动和音乐毫无关系。常看舞蹈的观众们对此有更深刻的理解。《聚会上的舞蹈》也许可以说是无情节，但剧中充满了刻画得惟妙惟肖的人物形象。这些人物之间的关系虽然抽象却又充满热情。