楊麗萍:時光鍛造的精致與優(yōu)雅

楊麗萍出生在云南大理一個山清水秀的小山村。她是白族人。貧窮，是她永遠也抹不掉的童年記憶——家里買不起衣服，穿不上鞋子，更別說那些小孩子最貪吃的糖果。

如今，每每回憶起這段歲月，楊麗萍的眼中就會噙滿淚水，可是正是這樣的環(huán)境最終鑄就了她堅韌不屈和思變求新的個性。

兒時的楊麗萍跟大多數(shù)女孩子一樣，喜歡聽古老而又美麗的傳說故事，尤其是《孔雀公主》：它講的是很久以前，有一個美麗的金湖，金湖里有荷花，湖邊有一棵很大的菩提樹，上面結了很多菩提果，那里是孔雀棲息的地方。有很多孔雀，孔雀一只接一只地爭相開屏，特別美麗。那時，“孔雀”的美麗已深深扎根在她心中。那時的楊麗萍還有一個很特別的愛好，那就是喜歡看太陽。每當太陽升起的清晨，她拿著小牙刷蘸著清涼的山泉水刷牙時，心中總會涌起無數(shù)個美妙幻想，她常會情不自禁地舞著跳著，而舞蹈著的楊麗萍仿佛化成了一只開屏的美麗孔雀…… 因為自小酷愛舞蹈，充滿幻想，才使她擁有了一份大多數(shù)人少有的快樂態(tài)度，因此，她的童年生活雖然艱苦卻又不無樂趣。談到舞蹈，楊麗萍深情地回憶：“正是家鄉(xiāng)的美景與童年的生活，賦予了我舞蹈的靈感和源泉。只要留意，處處都是舞蹈，就連追趕野獸的動作也是舞蹈。舞蹈，是我們白族人抒發(fā)對大自然、對美好生活的向往和熱愛的手段。”

“激情之愛是會傷害人的，我向往覺醒過的愛。”一向低調的楊麗萍很少談及自己的感情生活。她曾經(jīng)有過一次失敗的婚姻。如今與丈夫Tony共沐愛河的楊麗萍，其婚姻與感情世界一直是外界關注的焦點。

楊麗萍的先生Tony是出生在臺灣的自由商人，他比楊麗萍大8歲。曾去過美國，后到北京經(jīng)商。他們是在一個聚會上認識的。當問起為什么選擇Tony作丈夫時，楊麗萍回答：“選擇什么樣的人是一個女人審美能力的表現(xiàn)。其實我們彼此沒有刻意做什么，一切順其自然，我們的家庭生活非常幸福。為此我感激生命，感激世上的一切。”

2011年4月27日，一場感冒引起的細菌性肺炎阻擋住了楊麗萍的舞步，她不得不入院治療，并因此而取消了《云南映象》原定5月5日在成都的首演。當時楊麗萍的丈夫Tony正在北京，他獲悉楊麗萍生病住院的消息后，第二天一早便趕到了重慶，飯也沒吃便沖到了醫(yī)院。在楊麗萍住院期間Tony寸步不離病榻。雖然組委會專門派了3名工作人員照顧楊麗萍的起居生活，但他還是放心不下，時刻陪伴在她左右。兩人相敬相愛的情景，不由得令人想起楊麗萍在舞蹈《兩棵樹》中演繹的愛情故事。

楊麗萍說自己是個內(nèi)向的人，比較平和，不是太愛哭，也不習慣拋頭露面。她從不承認自己是明星，如果人家叫她指點一下歌舞，她會害怕得直搖頭：“我最怕人家叫我去做評委這些事。跳舞本身就是很高興的一件事，無需別人評判。”確實，走下舞臺的楊麗萍其實與普通人沒什么區(qū)別。她喜歡聽音樂，看電影，喜歡悠閑地用那曾令全國人民傾倒的神奇十指，嫻熟地嗑瓜子。有時也會約朋友喝喝茶，聊聊天。但是當朋友們談起“俗事”時，她多半少言寡語，甚至有點孤傲冷艷；而一旦沉浸在藝術探討中，楊麗萍馬上變得直率真誠而健談。她說：“我傾畢生精力揣摩舞蹈。我的《月光》永遠在變，我自己都不知道改了多少次。很多事情的意義，都是在多年之后才能顯現(xiàn)出來。舞蹈是這樣，生活也是如此。”

楊麗萍是用舞蹈進行中外文化交流的使者。

她在1971年從村寨進入西雙版納州歌舞團。1979年主演的民族舞劇《孔雀公主》獲云南省文藝表演一等獎。第二年，調入中央民族歌舞團。楊麗萍說：“這給了我一個更加廣闊的舞臺，也讓我有了許多出國演出的機會。那時候都是‘搭伴兒’演出，有歌、有舞、有樂器演奏。但是一想到能把中國的文化帶到世界各地，讓外國人也那么喜歡，我就很高興。那種文化交流的感情很實在、很樸素。”1986年她創(chuàng)作并表演了獨舞《雀之靈》，一舉成名。1989年電視片《楊麗萍的舞蹈藝術》面世。多年來她出訪了世界上很多國家進行藝術交流，相繼在菲律賓、新加坡、俄羅斯、美國、加拿大、日本等國家和地區(qū)舉行專場舞蹈晚會。把中國的舞蹈文化帶到國外，把世界各國優(yōu)秀的文化藝術引入國內(nèi)。多才多藝的她還自編自導自演了電影《太陽鳥》，并在蒙特利爾國際電影節(jié)上榮獲評委會大獎。

楊麗萍所舞出的純凈柔美的舞蹈，是特殊的藝術形象、特殊的靈慧氣質在自然原始的人文環(huán)境里孕育出來的藝術瑰寶。初看，令人贊嘆她的指尖細腕的微妙語言；繼看，你會領悟到其舞蹈神韻中含有一份靈氣；而再三欣賞時，便可沉淀出一股雋永的心靈之美。她的舞總給人以超然、空靈、淡泊、抒情而又自我意識強烈的印象，她是一位真正的“舞蹈詩人”。

美麗不只是外表，更多的是氣質。而楊麗萍卻是一個集“眾多之美”于一身的女人。美的容貌、美的舞蹈、美的內(nèi)心、美的服飾，當然這些都構成了她美的氣質。楊麗萍能將一身大紅大綠的民族特色服裝穿出不一樣的味道，透出她那孔雀般空靈、神秘、高貴的氣質來；一襲黑色布衣，腳踩手工刺繡的繡花鞋，三尺長發(fā)隨意綰在腦后，軟軟的布包休閑地挎在身旁，這身“土氣十足”的打扮，也只有楊麗萍能穿出“地道的洋味”來；一雙修長瘦削、涂了白色指甲油的纖纖玉手，即便是不經(jīng)意間一擺蘭花指，儼然還是當年孔雀頭頂上的美麗長翎。而這個動作，也許只配楊麗萍專屬。苗族土布刺繡紅褂、乞丐石磨蘭仔褲、白族手工繡花鞋、藏珠項鏈及耳墜——極端的民族與極端的現(xiàn)代，這些“中西合璧、不倫不類”的服飾，也只有集中在楊麗萍身上才會如此妥帖、近乎完美。

褪去絢爛舞臺上“孔雀公主”的璀璨光環(huán)，臺下的楊麗萍擁有所有同齡女子都會艷羨的身材和美貌，雖然摘去淺色墨鏡后那張小小臉龐上眼角眉梢間隱約可見歲月的痕跡，但這絲毫沒有妨礙她的美麗——那是一種惟有時光才能鍛造出來的神秘與清冷、精致與優(yōu)雅。

楊麗萍在她的演出海報下舞蹈 Yang Liping stands beside a poster that features her.

楊麗萍近影 A recent photo of Yang Liping

楊麗萍在跳孔雀舞。

Yang Liping interprets the beauty of peacock in her famous dance.

2011年4月6日，藏族歌舞《藏謎》在日本演出成功。圖為楊麗萍演出后謝幕致辭。

（藍建中 攝）

Yang Liping and her colleagues come onstage after the successful premiere of Tibetan Riddle in Japan.

Graceful and Sophisticated Dancer Matures through Time

By You Ya

Yang Liping (born in 1958) is a dancer of Bai ethnic group from Yunnan Province in southwestern China. For many， she is Princess Peacock and arguably the best known dancer. Her beauty and her dance are one and legendary. She is best known for her grace and sophistication in the last three decades of the 20th century. Over the last decade， she has gradually shifted her work to be the producer of “Impression of Yunnan，” an epic dancing gala that sings of her home province Yunnan.

Though a high-profile celebrity， Yang prefers to live a quiet life. Her first marriage was a failure. Now she lives with Tony， a businessman from Taiwan eight years senior. Keeping a low profile， she rarely talks about her private life and relationships. Passion could hurt， she concludes. Nowadays， she says， she seeks love that occurs after awakening. While talking about her second marriage， she says it depends on a woman’s aesthetics to choose a man as a partner. For Tony and her， she says， the two did not go out of way to do anything. All happened naturally. She enjoys the marriage very much. She says she is grateful to life and everything for the life she leads now.

When asked which she would prefer: money， beauty and love， Yang replies without hesitation that she would choose none of them. None matters to her. It is okay to have them and it is okay not to have them. Desire and sensual pursuit may be very important， but she thinks she would follow her life in a natural way.

Yang explains she is a reserved person. She does not shed tears very much as some women do. She does not like to appear in the public. She fears to give instructions as how to dance. And she never consider herself as a celebrity. She thinks she is extremely ordinary offstage. She is an aficionado of music and film. She meets friends now and then chatting and relaxing over a cup of tea. But she seldom joins a conversation about mundane issues and she is usually silent and even looks a little bit aloof when her friends talk about trendy things. But whenever a topic about art comes up， she becomes instantly talkative. She spends a lot of time thinking how to improve her dance. She once admitted that she spent her lifetime pondering how to improve Moonlight， a masterpiece in her repertoire. She does not know how many times she has made changes to the dance over years. She explains why she pursues artistic perfection this way: the significance of many things in everyday life appears only after years have elapsed. Dance matures as time elapse as does everything else in life.

She grew up in a small village in Yunnan. The childhood years are still in her heart and soul. She says she would like to retire to a scenic place. She reminisces that in the village where she grew up， she grew better vegetable because she put her heart into what she did. When asked whether she would come back to a rural life， she says without hesitation that of course she would be very glad to be a rural resident again. She says she is more than what she looks. She could lead a very simple life as well as a luxurious life.

In other words， her life is more than meets the eye. Her temperament contributes a great deal to her physical beauty. The way she dresses， the way she dances， the way she behaves in everyday life， the way she expresses her aesthetics and attitude， all contribute to what she is. Now in her early 50s， she is still a beauty: her grace and sophistication does not age with time. Her beauty matures through time.