设计师带你读懂当代戏剧：Tricodex
The designer takes you through the contemporary drama: Tricodex
《三法典》（Tricodex, 2005）是由极具想象力的Philippe Decouflé所精心编排的多媒介舞蹈，与Codex (1987) 和Decodex (1995) 是一系列作品。这三部作品的灵感均来自意大利画家和博物学家路易吉·塞拉菲尼（Luigi Serafini）创作的奇幻百科全书Codex Seraphinianus，本书最初出版于1981年，副标题为“虚构的视觉百科全书”。A8设计中心以Codex Seraphinianus对Philippe Decouflé的影响和启发作为切口展开研究，进而延展至《三法典》舞蹈编排和服装设计等。
Tricodex is a multimedia dance choreographed by the imaginative Philippe Decouflé. With Tricodex (2005), Decouflé continues a series of works preceded by Codex (1987) and Decodex (1995)—both of which were set on his own company, Compagnie DCA. All three works were inspired by Codex Seraphinianus — the fanciful encyclopedia created by Italian artist and naturalist Luigi Serafini. First published in 1981 and subtitled “A Visual Encyclopedia of an Imaginary Universe”. A8 Design Center initiates the research from Codex Seraphinianus's influence and inspiration on Philippe Decouflé, and extends to choreography and costume design of Tricodex.
01
设计师的看剧笔记
Designer's Note
手绘 by 廖青
《三法典》之灵感来源：Codex Seraphinianus
Codex Seraphinianus
Codex Seraphinianus是一本百科全书的手稿，有丰富的手绘、彩色铅笔插图，描绘奇异的植物、动物、解剖学、时尚和食物。这些插图通常都是超现实的对现实世界中事物的模仿，比如一种流着血的水果，一种长得大致像一把椅子形状的植物，然后又被做成一把椅子。另一些则描绘了奇怪的，显然毫无意义的机器。有些插图可以识别为地图或人；而其他的（特别是在”物理学”一章中）大多或完全是抽象的。几乎所有的插图都是明亮的色彩并被非常详细地描绘。
The Codex is an encyclopedia in manuscript with copious hand-drawn, colored-pencil illustrations of bizarre and fantastical flora, fauna, anatomies, fashions, and foods. The illustrations are often surreal parodies of things in the real world, such as a bleeding fruit, a plant that grows into roughly the shape of a chair and is subsequently made into one. Others depict odd, apparently senseless machines, often with delicate appearances and bound by tiny filaments. Some illustrations are recognizable as maps or human faces; while others (especially in the "physics" chapter) are mostly or totally abstract. Nearly all of the illustrations are brightly coloured and highly detailed.
Codex Seraphinianus用一种未知的语言写就
在那里我遇到了不同类型的微生物
我听了关于可变几何的演讲，并观察了疯狂行星的运动
我踩着有毒的海胆，毒药把我带到朦胧的视界
在阅读中混杂着奇怪的梦
那是我永远迷失在这本图画书中的时候
——Philippe Decouflé
Codex Seraphinianus阐述了一个完全颠倒的世界法则，而其中产生的变异生物、微生物和虚构的轮廓构成了Philippe Decouflé的作品——塞拉菲尼发明了一个神话化的编纂世界：动物、假想植物、昆虫、数学方程式、发型、扑克牌、飞行器和迷宫，而Decouflé将所有这些变为现实，将马戏团、视觉艺术和舞蹈世界融合到一种他称为“整体数学”的图形中。
Codex Seraphinianus sets out the laws of a totally topsy-turvy world ... spawning the mutant creatures, microbes and imaginary silhouettes that populate Philippe Decouflé's piece. Serafini invented a codified world of mythicalanimals, imaginaryplants, insects, mathematicalquations, hairstyles, playing cards, flying machines, and labyrinths. Decouflé brings all this to life, blending the worlds of circus, visual arts, and dance in a kind of graphics that he calls ‘ensemble mathematics.’
《三法典》与Codex Seraphinianus
03
关于《三法典》
About Tricodex
03-1 导演和编舞: Philippe Decouflé
Direction and Choreography: Philippe Decouflé
Philippe Decouflé (出生于1961年10月22日)是一位法国编舞家、舞蹈家、哑剧艺术家和戏剧导演。孩童时期时，他游历了黎巴嫩和摩洛哥，之后在安妮·弗拉特里尼马戏团和马索哑剧学校学习了他的表演技巧。在频繁出入巴黎夜店的时候，他发现并被现代舞所吸引，最终搬到当代国家舞蹈中心，师从舞蹈编导阿尔温·尼科莱。他曾在里昂歌剧院芭蕾舞团工作，还为New Order的“True Faith”和Fine Young Cannibals的“She Drives Me Crazy”的音乐录影带编舞。前者获得了1988年全英音乐奖的“最佳音乐录影带”奖，而他为宝丽来做的广告在1989年威尼斯电影节上获得了“银狮”奖。基于这些成就,他被选为1992年冬季奥运会的开幕式、闭幕式和1997年戛纳电影节的编舞。
Philippe Decouflé (born October 22, 1961) is a French choreographer, dancer, mime artist, and theatre director. As a child he travelled extensively around Lebanon and Morocco before learning his skills as a teenager at the Annie Fratellini Ecole du Cirque and the Marceau Mime School. While frequenting Parisienne nightclubs he discovered and was attracted to contemporary dance, and he eventually moved to the Centre National de la Danse Contemporaine in Angers to study under choreographer Alwin Nicolais. He has worked for the Lyon Opera Ballet, and he choreographed the music video for New Order's "True Faith" and Fine Young Cannibals' "She Drives Me Crazy". The former won the "Best Music Video" prize at the 1988 BRIT Awards, while his advertisement for Polaroid won a "Silver Lion" prize at the 1989 Venice Film Festival. On the back of these successes, he was selected to choreograph the opening and closing ceremonies of the 1992 Winter Olympics in front of a global television audience of over two billion people, and the 50th anniversary Cannes Film Festival in 1997.
1992年奥运会开幕仪式
03-2 舞蹈编排
Choreography
《三法典》的舞蹈编排中，Decouflé将舞蹈和马戏团的小玩意结合在一起。在一个场景中，一名男舞者走下平台，似乎在空中行走。在另一个场景中，一个女人在一个加重的半球上跳舞，这使她可以向各个方向倾斜而不会摔倒。Decouflé将此作品作为视觉跳板来创建一个神秘世界，将各种机械和戏剧设备并置在一起，这些设备用于创建视觉幻象、挑战人们对重力的感知并扩大舞者身体的空间和运动范围。
In Tricodex, Mr. Decouflé combines dance and circus gadgetry (some of which he claims to have invented). In one scene, a male dancer steps off a platform and appears to walk on air. In another, a woman dances on a weighted hemisphere which allows her to lean in all directions without falling. Decofle used this work as a visual springboard to create a mystical world, juxtaposing diverse mechanical and theatrical devices that are used to create visual illusions that challenge ones perception of gravity and extend spatial and movement range of the dancer’s bodies.
03-3 服装设计
Costume Design
服装在Decouflé的工作中非常重要，因为它们具有非常特殊的意义：出于形式，甚至只是由于它们客观给舞者带来的约束，它们都将舞者转变成一种生物的形象。这些服装是由设计师菲利普·基洛泰尔(Philippe Guillotel)设计，他抓住这些独特形状的特质，以莱卡、乳胶和泡沫等新材料来制作服装。
Clothing is very important in Decouflé's work because they have a very special meaning. Out of form, or even just for the constraints they bring to dancers, they transform dancers into a biological image. These clothes are designed by designer Philippe Guillotel (Philippe Guillotel), he will seize these unique shapes and test new materials such as lycra, latex and foam to make clothes.
《三法典》展现了生命的演变。刚开始时，黑暗笼罩了舞台，然后明亮的灯光照亮了海葵的床，不仅熠熠生辉，而且使它们产生令人信服的起伏，以至于舞者们似乎不再是舞者，而是一个个标本。
Tricodex shows life evolving. In the beginning, after the curtain went up, darkness covered the stage and then, behold, light—ingenious lighting that made a bed of sea anemones not only fluoresce but also helped them undulate so convincingly that the cast seemed to consist not of dancers but specimens.
一位芭蕾舞演员其手臂已伸出长长的触手。当她舞蹈时，奇特的上肢轻柔地抚摸着空气，形成起伏的形状和纵横交错的图案。很快，我们就会发现触手的变种：一个人的身体从一条手臂伸出两个触手，一个女人在舞台上旋转像裙摆一样的触手，两个男人的触手从头顶冒出，交替地鞠躬和向后倾斜，制造出足以充斥剧院高度的波浪。可供25位左右的表演者使用的服装超过150种，加上巧妙的机械装置，带来一种愉悦和梦幻之感。
A ballerina whose arms have been extended with long tentacles. As she bourrees on pointe, her jointless yet oddly articulate upper limbs delicately caress the air, forming looping undulations and crisscrossing patterns. Soon we discover variants of tentacle-people: a body with two tentacles emerging from one arm, a woman spinning across the stage with a whole skirtful of tentacles, two men with extra-large tentacles sprouting from their heads alternately bowing and leaning backward to make huge, sweeping waves that fill the theater's height. Each new costume device--there are more than 150 costumes for the twenty-five or so performers, and several ingenious mechanical apparatuses to boot--brings a sense of delight and fascination.
还有一些“惊人的物种”，他们是穿着蛙鞋的蛙人，而不是脚穿芭蕾舞鞋的舞者。“蜘蛛”的手上和脚上穿戴着足尖鞋，章鱼、母鸡、骆驼、独角兽以及艺术家塞拉菲尼的书中提取出的一系列怪物，由25位舞者，大约75种动作技巧和150种诱人而又非人性化的服装，将塞拉菲尼的想象翻译成舞台。
Decoufle gradually gathered an astonishing number of species into his arc—frogmen with flippers instead of ballet slippers, a spider with pointe shoes on her hands as well as feet, octopuses, hen, camel, unicorns plus others from a book of beasts by the artist and naturalist Luigi Serafini. Translating Serafini's imaginary encyclopedia onto the stage was made possible by 25 dancers, about 75 movement tricks, and 150 seductive yet dehumanizing costumes.
Credits:
导演和编舞 / Direction and Choreography:
Philippe Decouflé
飞行和物件设计/ Flying and object design:
Pierre-Jean Verbraeken
音乐 / Music:
Sébastien Libolt and Hugues de Courson
服装/Costumes：Philippe Guillotel
灯光 / Lighting: Patrice Besombes
电影制作 / Films：Dominique Willoughby
*Lyon Opera Ballet in Philippe Decouflé’s Tricodex
关于设计师
About the Designer
廖青
莫方 Eating Lab+Gallery+Theater 主理人
荷兰皇家艺术学院室内建筑专业(Interior Architecture) 研究生
清华大学美术学院环境艺术设计系室内设计专业 本科
