滿分人生

旺盛的、不枯竭的創作靈感，使王潮歌成為評論家筆下的“最具創新精神的導演”。作為一位女性導演，她用天賦和努力為自己撐起了一片天地。

Known for her inexhaustible inspirations，female director Wang Chaoge has established herself as the “Most Innovative Director” among film critics with her gift and efforts.

8月的北京酷熱難耐，而此時的五臺山最高氣溫只有17攝氏度，是真正的清涼世界。王潮歌正在五臺山緊張籌備著9月19號首演的大型情境體驗劇《又見五臺山》。于是，此次《私人飛機》雜志和導演王潮歌的“清涼”對話，也就放在了清新超凡的五臺山上。

才華橫溢

在王潮歌成長的年代，可供閱讀的文學作品極度匱乏?！澳莻€時候，如果聽說誰能拿到一本小說，誰能訂一本文學雜志，都是很奢侈的事情?！彼f道。每當看到郵遞員把《人民文學》《小說月報》這些雜志帶來的時候，離著老遠她就會飛快地迎上去把書接過來，然后帶著儀式感回到自己的小屋，洗干凈手，拉上窗簾，把喜歡的小零食擺好，躺在一個自己覺得特舒服的角落慢慢觀看。有時候沒有看過癮，合上書的時候還會抹眼淚。

在很小的時候，愛書的王潮歌就讀了馬爾克斯的《百年孤獨》。讀的時候她就感覺全身像要爆炸了一般，“怎么可能有一個人內心空間是如此豐富”？甚至覺得憑她的閱歷和對生活的理解是“吃”不下這本書的。“不光是信息量太大，巨大的壓迫感壓得我已經垮塌了，我只能把它放下，過些時候平靜了再繼續看?！蓖醭备杌貞浀溃骸白罱K讀了4次才讀完，即使現在還覺得是囫圇吞下去的，還沒有細致地把真正的美和寓意全部吃透?！闭且驗椤捌珗獭钡責釔坶喿x，才使得王潮歌即便數理化均不及格，但語文仍能拿到全班第一。

從小到大，在王潮歌眼里，她全身上下最漂亮的地方就是她手中的“筆”。這支筆甚至好過她的導演才華，好過她的相貌和身材，好過她的一切。當她用這支筆去表達的時候，她發現它不僅能讓別人感到驚喜，更怪異的是也能讓她自己感到驚喜，“我會因為自己寫出一段好文字興奮地喘氣不均勻”。14歲的時候，她已經有兩首詩歌發表在當時一本兒童讀物《丑小鴨》上。當時拿到之后打開一看，王潮歌發現對頁的左邊是賈平凹的兩首詩，右邊就是自己的兩首詩歌，很是開心。后來直到上大學前，王潮歌的作品幾乎一期不落都能登上雜志。“我當時就認為，我長大后肯定、必然、一定就是個作家，但是命運就不這么安排。”說完她自己大笑起來。

August is sizzling hot in Beijing， but refreshingly cool on Mount Wutai， where the highest temperature a mere 17°C. Wang Chaoge is busy preparing the large scale outdoor performance Mount Wutai Revisited， scheduled for first show on the 19th September 2014 on the namesake mountain. The “refreshing” dialogue between U-Jet and Wang Chaoge is therefore set on Mount Wutai.

Born to Be Brilliant

During her youth， literary works are extremely rare to come by. “At that time， acquiring a novel or booking a literature magazine was considered a luxury.” Whenever the postman arrived with People’s Literature or Novel Monthly， she would rush to the door， carry the magazines ceremonially to her room， wash her hands， pull the curtain， prepare her favorite snacks， and lie in a cozy corner to read. Sometimes she may even break into tears when she finished the magazine but wanted to read more.

At a very young age， the book-craving Wang Chaoge had read Márquez’s One Hundred Years of Solitude. She felt as if her body was about to explode， “how could a person’s inner world so rich and colorful，” she could even tell that she could not “digest” the book with her experience and perception of life. “Not only because it is informative， but because it overwhelmed me with its graveness. I had to put it down， and picked it up another time when I calmed down.” She recalls， “It took me four attempts to read it through， even to date， I think I haven’t grasped it fully or digested its true beauty and meaning.” It is with this “stubbornness” that she managed to get the highest score in Chinese Language when she failed mathematics， physics and chemistry.

In her eyes， the most beautiful part of herself has always been her “pen”. It is even better than her talent in directing， her appearance， her body， her everything. Whenever she penned her ideas， she finds out that it not only brings pleasant surprises to others， but also to herself. “I would be breathlessly excited whenever I wrote a nice paragraph.” At 14， she had published two poems on a kids’ magazine called the Ugly Duckling. She was even more delighted to see her poems printed alongside two poems by famous writer Jia Pingwa. Her poems could be found on nearly every edition of the magazine until she went to college. “I thought that I will， surely， definitely， absolutely， grow up to be a writer， but fate has other arrangements for me.” She laughed out loud.

命運安排

1988年，20歲的王潮歌考入北京廣播學院導演系。王潮歌最初的大學生活過得不是特別順利，同學都是在劇團里工作了好多年的，比她大，社會閱歷、經驗比她多。而她更像一張白紙，覺得自己什么都不行。直到大學三年級，一個劇作課的作業徹底改變了王潮歌對自己的認識。

因為從小的興趣就是讀書寫作，對王潮歌來講，寫作是她的強項。有一次，王潮歌寫了一個劇本作為劇作課的作業。老師看完后覺得這個本子寫得太棒了，就找到她談話，第一句話就問：“這是你寫的嗎？”她連忙答道：“是我寫的?！币驗檫@劇本寫的太好了，老師就建議她把它拍成電視劇。作為一個大三的小女孩，王潮歌一聽就來了精神，但是在具體操作上卻一頭霧水。老師告訴她首先得找到投資方，因為劇本寫的是一個獨生子女教育的故事，老師就建議她去問問計生委看有沒有這樣的經費。得到老師的點撥后，王潮歌就帶著省吃儉用的20塊錢，去了北京電報大樓，抱著大厚本的電話冊子來來回回找，把全中國的計劃生育委員會的電話全部抄了一遍，然后挨個打電話。功夫不負有心人，終于讓她找到了國家計生委和四川計生委來共同投資。后來，她又找到日本的NHK電視臺合作拍攝，第二年這個片子就得了NHK的教育類大獎。那時候，王潮歌就是一個23歲、身材嬌小、還未畢業的在校大學生，突然之間，就能執導一部中日合拍的電視連續劇，這在中國歷史上幾乎是沒有的?！拔矣X得那就是一個奇跡，根本就不單單是我努力的結果，命運幫了特別大的忙。”

在那次王潮歌以導演身份執導電視劇之后，她又參與導演了許多其他電視劇和電影，但都感覺不刺激。直到1995年，她導演了《華夏民族魂》大型舞臺劇，當時在人民大會堂演出，整場演出8000名觀眾3次自發起立鼓掌，這讓她找到了自己想要的感覺。“我需要這種強烈的現場感，后來就一直做現場，直到想出了實景演出的創意。”此時的她，已經全然被執導現場演出的魅力深深吸引，無法自拔。

Arrangements of Fate

In 1998， the 20-year-old Wang Chaoge was admitted to the Beijing Broadcasting Institute as a director major. Her college life was not so smooth though. Her classmates were older and more experienced， having come from theaters with years of performance experience. Whereas she was a blank paper， not knowing what she could achieve. But the assignment of a screenplay writing course at her third year in college changed her perception of herself.

Interested in reading and writing since a kid， writing is the one thing she is good at. Once， her screenplay was so well written that her teacher called her up for a talk. The first question from the teacher was， “Did you write this yourself？” Wang Chaoge immediately said， “Yes I did.” Her teacher went on to suggest that she should make it into a TV series. Belated but not knowing how to start， she came to her teacher for advice， and was told that she should first look for an investor. Since the play was about single child education， she was advised to seek funding from the Family Planning Committees. With the advise and all her savings， 20 yuan in total， she got to the Beijing Telegraph Building， where she copied the telephone numbers of all Family Planning Committees across China， and called everyone of them. Her efforts paid off. She got funding from two investors， the State Family Planning Committee and the Sichuan Family Planning Committee. And she cooperated with NHK for the shooting. The next year， she won the Education Award of NHK. All of a sudden， a 23-year-old college student had directed a China-Japan cooperated TV series. She made history. “I think it was a miracle， it is not only because of my efforts. Fate also plays a helping hand.”

Since then， she has co-directed many other TV series and movies， but she could not feel the same excitement. It was not until 1995 when The National Soul of China， a stage play she directed， was performed in the Hall of the People and earned her three rounds of standing ovation from the 8，000 audience， that she realized what she wants. “I need this strong live feedback， so I have been working on live performances since， till the idea of performance in real background came up.” She was deeply drawn to the charming art of directing live performances.

生活即工作

王潮歌現在為人所熟知，和她在2004年執導的“印象·劉三姐”大型山水實景演出密不可分?！坝∠蟆⑷恪笔峭醭备?、樊躍和張藝謀這個著名鐵三角組合最早合作的一部劇。在這之前，王潮歌和樊躍最初在桂林執導了一部叫《歡樂漓江》的演出，是博鰲亞洲旅游論壇的一個閉幕式晚會。當《歡樂漓江》首演的時候，張藝謀專門從北京飛到桂林，事后張藝謀回憶，他之前就收到消息，說這兩個導演做的東西挺奇怪的。等看完這部劇之后，張藝謀就問王潮歌和樊躍能不能跟他見一面。結果到了張藝謀住的酒店后，3個人一見如故，“印象·劉三姐”也就這么開始了。在后來的十幾年里，3個人也是工作生活都連在一起。在王潮歌眼里，張藝謀有一點跟她特別像，“完全沒有人世間這種朋友圈，全情扎在工作里”。

“我很幸運，我的興趣、我的工作和我的生活高度統一?！痹谕醭备柽@里，要問她喜歡什么生活方式、平常有什么消遣，永遠只有一個答案：“排戲”。在五臺山采訪之時，她告訴筆者：“如果你讓我此時此刻回北京，我會覺得這是對我的懲罰。這個山里，雖然連個像樣的超市都沒有，更不可能有商場、高爾夫、電影院、卡拉OK，但我覺得我這種生活狀態特別有意思。”

她的作息時間很“規律”，幾乎每天都是枕著朝陽入睡。就在采訪前一天凌晨一點鐘，她還召集劇組里的工作人員聚在一起吃夜宵。兩大盆夜宵，一盆生菜，一盆小蔥和黃瓜，所有人拿著蔥蘸著大醬，這個時候沒有形象之說，不管南方人還是北方人，都搶著吃蔥，然后互相呼氣。聊到這里，王潮歌已經笑得合不攏嘴?？吹贸鰜?，她是發自內心的快樂。

吃完夜宵后繼續工作，到凌晨3點鐘結束。“你覺得這是游戲嗎？我覺得挺游戲的，但實際上也是工作。這是工作和生活的高度統一，還有興趣的高度統一?！?/p>

和王潮歌對話，總能聽到她說“幸運”這個詞。其實，命運對每個人都是公平的，之所以有幸運或者不幸，和自身的認識和追求有很大關系。而王潮歌最大的幸運，恰恰就是她做到了把自己的興趣、生活和工作高度統一起來。

Work is Life

Her reputation spreads partly thanks to the Impression Liu Sanjie outdoor performance she directed in 2004. Impression Liu Sanjie is the first performance directed by the famous trio， Wang Chaoge， Fan Yue， and Zhang Yimou. Before this show， she and Fan Yue directed a Happy Lijiang performance in Guilin for the closing gala event of the Boao Travel Forum for Asia. Learning of their unorthodox directing， Zhang Yimou flew all the way from Beijing to Guilin to watch the first show. After watching Happy Lijiang， Zhang Yimou asked for a meeting with Wang Chaoge and Fan Yue. In Zhang’s hotel room， the three became instant friends， and the idea of Impression Liu Sanjie was created. In the following decades， the work and life of the three are closely intervined. In her eyes， Zhang Yimou has one thing in common with her， “（he has） no worldly friend circles， and is totally immersed in work.”

“I am lucky， that my interest， my work， and my life are highly aligned.” If you ask her what is her favorite lifestyle or pastime， her answer would always be the same， “directing”. On Mount Wutai， she told U-Jet， “If you ask me to return to Beijing right now， I would think it as a punishment. Although on this mountain， there is no supermarket， no shopping mall， or golf course， no cinema， and no Karaoke， I find this way of life attractive.”

She works and rests at “regular” hours， sleeping everyday at sunrise. At 1 a.m. on the day of the interview， she was still calling upon her team to eat snacks， which is two basins of snacks， a basin of lettuce， and a basin of cucumber and scallion. Everyone is fighting for the scallion， chewing with sauces， and blowing air to each other. At that moment， it does not matter where you are from， the north or the south， or what kind of image you have to put on. She broke into laughter， which clearly is from the bottom of her heart.

Work continued after the snack until 3 a.m. “Do you think it is like a game？ I think it is gamy， but it is work. This is how work and life， and interest come together.”

She often describes herself as “lucky”. But fate is fair to everyone， being lucky or unlucky， is decided by your self-perception and ambition. The luckiest thing for her is that she turns her interest into her work and life.

Q：因為“印象系列”，你和很多城市都結下了不解之緣，更欣賞哪座城市？

王潮歌：每座城市各有特色，我都很欣賞。舉個例子，重慶武隆，巴蜀群山之中出了這么一個小縣城。那里沒有一塊地是平的，想種點東西都是很困難的，所以那個地方的人極度勤奮、隱忍和不怕吃苦。我記得有一次，下著中雨，眼睛都睜不開，但訓練的時候，只要說趴下，所有人全躺一片，沒有任何一個演員有任何怨言。還有一次，我看到當地的一個小女孩被腳手架的大圓鋼很重地撞了一下，血瞬間流了一臉。按理說，這個時候一個女孩應該立刻叫起來了，但她卻馬上擋起來、藏起來。她覺得不好意思，不希望讓人看見她受傷，不希望讓人知道她有問題。我當時身上就一塊小紙巾，趕快遞給她，然后馬上叫人來幫忙。她卻說：“導演，我一點事也沒有，你快去忙吧?！蔽以谒磉吽赡苄睦韷毫Ω?，我就躲開了，但實際上我心里已經受不了了。

Q：是什么激發了你創作《又見五臺山》的靈感？

王潮歌：對現代生活的看法。我覺得我們現代的人生活得不幸福，我就希望通過我的努力，把我想表達的世界觀和價值觀闡述出來，讓更多的人在一個瞬間能有所悟。我把我想說的話說出來，希望你聽得懂，希望你喜歡我這么說，更奢侈一點，希望你認同我的說法。它不能帶給你任何物質上的東西，但會在無形之中糾正你很多看法。

Q：《又見五臺山》和“又見系列”中的其他作品進行比較，不同之處是什么？

王潮歌：“又見系列”目前只有兩部，一部是《又見平遙》，另一部就是現在在做的《又見五臺山》。從主題上說，“平遙”講的是穿越百年的人世間的故事，“五臺山”就不說人世間的事了，而是說精神世界。人生而何來死往何去？相不相信有輪回轉世？信的話會怎樣，不信又會怎樣？對現世的現實生活，我其實有話要說。

You have ties with many cities thanks to the Impression series， which city do you like the most？

Wang Chaoge： Each city has its own characteristics， and I like them all. Take Wulong for example. In this small county of Chongqing， you could barely find a level field to grow something on， so the local people are extremely hardworking， forbearing， and enduring. I remember once when we were training in pouring rain where we could barely keep our eyes open， but when I say “down”， everyone fell to the ground without a single complaint. There was another time， a girl was hit by the steel tube of the scaffold， and soon her face was covered with blood. Normally， she should shout out， but she hid his wound and tried to hide. She was embarrassed， and did not want to be found having a problem. I hurriedly hand her the only piece of paper napkin on me， and asked for first aid. But she said， “Director， I am fine， I don’t want to take your busy here.” I left her because she might be stressed when I am around， but at that moment， I could barely hold back my feelings.

What inspired you to create Mount Wutai Revisited？

Wang Chaoge： My perspective on modern life. I think modern people are not happy， so I want to express my view of the world and my values， hoping that through my efforts， more people could be inspired at a certain point. I expressed my feelings， hoping you would understand， like the way I say it， or if I am not asking for too much， agree with me. It cannot bring you anything material， but will correct many of your thoughts in an intangible way.

What sets Mount Mutai Revisited apart from other “Revisit series”？

Wang Chaoge：There are only two of the “Revisit series”， the Pingyao Revisited， and the Mount Wutai Revisited I am working on. Pingyao Revisited is an everyday story that spans over a hundred years， while Mount Wutai Revisited touches on the spiritual world – Where are we from？ Where are we going after death？ Should we believe in reincarnation？ What if we do， and what if we don’t？ There is something I want to say about life in the real world.