设计师带你读懂当代戏剧：交际场 Kontakthof
The Contemporary Performance through the Eyes of a Designer : Kontakthof
The original " Kontakthof " premiered in 1978 and was performed by a group of professional dancers on a stage like a social dance floor. In 2000, Pina rehearsed the dance code again, and experimentally selected 25 elders who had no experience in dancing or performance to translate the relationship between the sexes with the etiquette of male and female relationships, ranging from fun and sweet to heartache and loneliness. When the jazz tango music of the 1930s was played in the background, the senior citizens performed impressively and enthusiastically, almost comparing the youth version of this work.
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设计师的看剧笔记
Designer's Note
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《交际场》Kontakthof
对爱与温存的寻找
The search for love and tenderness
《交际场 》这部作品是著名的德国编舞家、导演皮娜·鲍什在2000年重新指导和排演的舞蹈作品《交际场》的老年版。
《交际场》是一部带有鲜明的皮娜·鲍什风格的舞蹈作品，它讲述了人与人之间的接近，两性的相遇，对爱与温存的寻找，以及伴随这一切的恐惧，欲望与怀疑等人类的种种复杂情感。此次登场的25名演员们均为65-72岁之间的非职业演员。他们本可以在家中颐养天年，享受自己的退休生活，但是却被报纸上的一则小广告所吸引——“寻找六十五岁以上女士和先生”。他们结束了以往的职业生涯，面对此刻的全新挑战，必须克服世俗偏见，突破传统界限，将自己的全部热情和人生经验融入舞台表演。
"Kontakthof" is an older version of the dance work "Youth Social Field" re-directed and rehearsed in 2000 by the famous German choreographer and director Pina Bausch.
"Kontakthof" is a dance work with a distinctive Pina Bosch style. It tells the closeness between people, the encounter between the two sexes, the search for love and tenderness, and the fear that accompanies all of this. Various complex human emotions such as desire and doubt. The 25 actors on the stage are all non-professional actors between the ages of 65-72. They could have been living at home and enjoying their retirement life, but they were attracted by a small advertisement in the newspaper-"Looking for ladies and gentlemen over 65." They have ended their previous professional careers and faced new challenges at this moment. They must overcome secular prejudices, break through traditional boundaries, and integrate all their enthusiasm and life experience into stage performances.
03
关于《交际场》
About 《Kontakthof》
03-1 导演和编舞: 皮娜·鲍什
Direction and Choreography: Pina Bausch
皮娜·鲍什（Pina Bausch），1940年出生于Solingen，2009年在Wuppertal去世。她在Essen的Folkwang学校接受了Kurt Jooss的舞蹈训练，在这段时间中她习得了卓越的舞技。在Wuppertal剧院的导演阿诺·伍斯坦霍弗(Arno Wustenhofer)聘请她担任舞蹈指导后不久，她从1973年秋季开始将剧团更名为伍珀塔尔坦茨剧院(Tanztheater Wuppertal)。剧院的更名虽然一开始就引起争议，但逐渐获得了国际认可。它的诗性元素与日常元素的结合，对舞蹈的国际发展产生了决定性的影响。Pina Bausch被授予一些全球性最伟大的奖项和荣誉，是当今最重要的编舞家之一。
Pina Bausch was born 1940 in Solingen and died 2009 in Wuppertal. She received her dance training at the Folkwang School in Essen under Kurt Jooss, where she achieved technical excellence. Soon after the director of Wuppertal's theatres, Arno Wüstenhöfer, engaged her as choreographer, from autumn 1973, she renamed the ensemble the Tanztheater Wuppertal. Under this name, although controversial at the beginning, the company gradually achieved international recognition. Its combination of poetic and everyday elements influenced the international development of dance decisively. Awarded some of the greatest prizes and honours world-wide, Pina Bausch is one of the most significant choreographers of our time.
03- 2 演员
Actors and Actress
《交际场》老人版（Kontakthof mit Damen und Herrn ab 65）2000 年版，由乌帕塔舞蹈剧场（Tanztheater Wuppertal）诚邀六十五岁以上男女来演出这个作品，他们通过在报纸上刊登，从各地寻求了25位65岁的大龄“演员”。他们大都毫无演出经验，这些人有的来自工厂、有些是家庭主妇，退休人员，也有些是艺术家。但他们惊人的表演，让在座的每一位观众都折服，收到了巨大的震撼在，在社会上引起了极大的轰动。
The 2000 edition of "Kontakthof" for the elderly (Kontakthof mit Damen und Herrn ab 65), by Tanztheater Wuppertal (Tanztheater Wuppertal) invites men and women over 65 to perform this work. They published it in newspapers from all over the world. 25 65-year-old "actors" were sought. Most of them have no performance experience. Some of these people come from factories, some are housewives, retirees, and some are artists. But their amazing performance impressed every audience present, received a huge shock, and caused a great sensation in the society.
03-3 舞台
Stage
舞台的布置上运用了许多意向的道具以及手法，例如出现的“马”，看似是一匹马，然而在剧里这匹马却代表着另外的一部分人或物。这是一部意味深长且带有批判意味的戏剧。皮娜通过最贴近生活的道具，拉近观众与演员之间的距离。
廖青的笔记为我们呈现出剧中片段，太太们依次走向舞台中央，但他们都穿着不合脚的鞋，不合身的衣服，看起来非常不适，但是依然很“卖力”得体的向舞台中央走去。这部戏剧类似的场景很多，舞台的布置并不像真实的“酒肉场”纷繁复杂且华丽丰富，反而是非常简陋，搭配着诙谐的音乐，讽刺的意味油然而生。也许皮娜是想通过这样的对比来反讽交际场上的虚假，看似浮华内里实则粗陋。
Many intentional props and techniques are used in the stage design. For example, the "horse" that appears to be a horse, but in the play this horse represents another part of people or things. This is a meaningful and critical drama. Pina narrows the distance between the audience and the actors through the props that are closest to life.
Liao Qing’s notes showed us the scenes from the play. The wives walked to the center of the stage one by one, but they all wore unfit shoes and unfit clothes. They looked very uncomfortable, but they still "worked hard" and walked to the center of the stage decently. There are many similar scenes in this drama. The layout of the stage is not as complicated and gorgeous as the real "wine and meat market", but very simple, with humorous music, and the irony comes to life. Perhaps Pina wanted to use such a comparison to ironic the falsity in the social field, but the seemingly flashy inside is actually crude.
04
皮娜鲍什的舞蹈哲学
Pina Bosch's dance philosophy
皮娜鲍什的作品是带有哲学式的思索和追寻。真实二字充斥了她所有的作品，成为不可替代的命题。皮娜鲍什常说她关心的是舞者为何而动，而不是怎么动。
从《交际场》中，运用非专业的演员去讲述人情冷暖，两性的关系，颠覆传统的方式，以实验的角度给我们带来不同的角度。在《春之祭》中，用原始的献祭和狂野的仪式对性别的探讨，皮娜鲍什赋予了舞剧一个新的视角，即性别的对立。
皮娜鲍什的舞蹈颠覆了人们对美的认识，撕掉了舞蹈所有“诗意”的外表，将舞者从故事情节和优美标准的肢体动作中解放出来，只剩下真实的灵魂。让我们看到了人性的弱点，体验了期望、恐惧、害怕，仿佛那舞台上正在上演的作品中也有我们的影子，我们的追问。
Pina Bosch's works have philosophical thinking and pursuit. The word "truth" has filled all her works and has become an irreplaceable proposition. Pina Bosch often says that she cares about why the dancer moves, not how she moves.
From the "Kontakthof", non-professional actors are used to tell the human relationship, the relationship between the sexes, subverting the traditional way, and bringing us different perspectives from an experimental perspective. In "The Rite of Spring", using primitive sacrifices and wild rituals to discuss gender, Pina Bosch gives the dance drama a new perspective, that is, gender opposition.
Pina Bosch's dance subverts people's understanding of beauty, tears away all the "poetic" appearance of the dance, and liberates the dancer from the storyline and graceful standard body movements, leaving only the real soul. Let us see the weaknesses of human nature, experience expectations, fears, and fears, as if there are our shadows in the works being performed on the stage, our questioning.
致谢
Credits
导演和编舞 / Direction and Choreography:
Pina Bausch
服装设计 / Set and Costume Design:
Rolf Borzik
联合演出 /Collaboration:
Rosemarie Asbeck
Ulla Buchwald
Kartheniz Buchwald
Lore Duwe-Scherwat
......
演出时长 / Duration：
2h 28min, one intermission
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
