BITTERNESS AND REBIRTH

BITTERNESS AND REBIRTH

History cultivated the Chinese into a people that can endure extreme hardships. However, whether for acrobatics or sports, is constantly punishing one's body necessary simply to please an audience? Perhaps it is more important to bring them the enjoyment of beauty.

苦路與重生

歷史把中國人打磨成特別能吃苦的民族。然而不論是雜技還是體育，如果不能為觀眾帶來美的享受，對身體極限的一再挑戰是否必要？

CHINESE ACROBATICS SHOULD CREATE MORE LAUGHTER

1. Ning (below) performs acrobatics Lever with two other actors.

寧根福（下）與其他兩位演員表演雜技《杠桿》。

2. As initiator, planner and director of acrobatis show Swan Lake, Ning enjoys success with actors and actresses.

作為雜技劇 《天鵝湖》的主持、策劃和編排，寧根福與演員們一起分享成功的喜悅。

Nihao: What's the difference between Chinese acrobatics and Western circus?

Ning:Chinese acrobatics is a stage performance which stresses skills rather than entertainment. Our robust waist, leg, head and excellent somersaults are all the result of countless hours of tough training. As for the Western circus, thirty percent of the performances are aerial acrobatics, forty percent of them are animal training, and the rest is the harlequinade. Among them, the clown is the soul fi gure of the performance and his major function is to interact with the audience. Armed with martial arts, we Chinese acrobatics put more emphasis on kung fu. Meanwhile, Western circus has more entertainment features with closer relationship between audiences and actors and more laughter can be heard from the audience.

Nihao: What characters does acrobatics demonstrate of Chinese people?

Ning:In my opinion, acrobatics demonstrates hard-working, persevering and the indomitable spirit of the Chinese people. Acrobatics exercise is very laborious, which continuously challenges the extremes of the human body. I started to practice acrobatics at the age of fi ve. When I got up in the morning, the fi rst thing I did was to stand on my hands for one hour. At the end of the exercise, I would fall like a log. It is just the willingness to bear hardships that enables our Chinese acrobats to perform amazing actions like somersault for fi ve circles with four people standing beneath vertically. Injuries and fractures are common for acrobats. Nonetheless, if you think from another perspective, which profession is free from hardships? Champion swimmers get their fame through the endeavor of swimming for thousands of meters every day, and gymnasts and volleyball players also suffer many injuries. We Chinese shall have ambition to do the best in what we do.

Nihao: What does acrobatics pursue?

Ning:Acrobatic performance pursues innovation, diffi culty and beauty, and none of these factors are dispensable. Chinese acrobatics used to make a big deal of the diffi culty, resulting in a lack of innovative and ornamental value. The audience felt uncomfortable and nervous when they watched the performance, but they didn't feel mentally stimulated. As I often say,"There are many applauds but little laughter in Chinese acrobatic". So now we start to lay emphasis on the innovation of acrobatic shows and add aesthetic values to them. The acrobatic show "Swan Lake" is a good representative work, with its acrobatic breathtaking moments as well as enjoyment of beauty. Our show in Russia set the highest ticket record in the history of Kremlin Palace. In my opinion, to lift acrobatics to the height of art shall be the future direction.

Ning Genfu

A legendary figure in modern Chinese acrobatics, Ning Genfu is the exleader of Guangzhou Military Region Warrior Acrobatic Troupe, the former vice-chairman of Chinese Acrobats Association, first-class army civilian personnel and a national firstrank actor and director.

During his term as the Troupe leader, he led the troupe to win 126 gold medals at major acrobatics contests home and abroad, including the prestigious Golden Clown Award -the Oscar of acrobatics - three times.

Ning pushed aside all the opposing opinion, and directed Chinese acrobatic show "Swan Lake". Now, it is renowned all over the world, ushering a new era for Chinese acrobatics.

寧根福

中國雜技界傳奇人物。廣州軍區戰士雜技團原團長，前中國雜技藝術家協會副主席，國家一級演員、一級編導，全軍雜技界第一位文職一級。當團長17年，他率全團拿了國內外主要賽場金牌126塊，包括三次拿下世界雜技界最高金獎“金小丑”獎。法國“明日”賽場主席稱他為“金牌資本家”，俄羅斯文化基金會專門授予他“最杰出藝術家”金質獎章，日本民族音樂會給他頒發最高獎“民族音樂藝術獎”，摩納哥蒙特卡洛馬戲節授予他“特殊貢獻獎”。他力排眾議創作的大型中國雜技劇《天鵝湖》享譽世界，開創了中國雜技新紀元。

中國雜技應有更多笑聲

Nihao：中國雜技與西方馬戲有什么區別？

寧：西方馬戲主要突出高空、馴獸和小丑表演，每場馬戲演出中有30%是高空雜技，40%是馴獸，30%是滑稽表演，其中小丑表演是馬戲中的靈魂，起到與觀眾特別互動的作用。西方馬戲的娛樂性更強，與觀眾更近，場上經常會歡笑聲接連不斷。與西方馬戲不同，中國雜技主要突出的是舞臺表演，腰、腿、頂、跟頭等都是結結實實的硬功，都是靠千錘百煉得來的，但是另一方面欠缺了在節目編排上新穎創意，掌聲有余，笑聲不足。

Nihao：雜技體現了中國人怎樣的品格？

寧：我覺得雜技體現了中國人吃苦耐勞、百折不撓的精神。練雜技非常辛苦，是在不斷挑戰人體的極限，我從5歲開始練雜技，每天早上起床要先靠頂一個小時，一直練到身體沒有感覺后倒下來。雖然很累很苦，也正是因為肯吃苦，我們中國雜技演員可以完成空翻五周、五節人這樣高難度動作，所有人都覺得不可思議。對雜技演員來說，傷病骨折可以說是家常便飯。但換個角度一想，做哪一行不苦呢？游泳冠軍也是每天要游上萬米練出來的，體操隊員、排球隊員也一樣很多傷病。我們中國人就是要有志氣，要做就做到最好。

Nihao：雜技追求的是什么？

寧：雜技表演追求新、難、美，缺一不可。中國雜技傳統上習慣在“難”上做文章，創新性和觀賞性不足。觀眾看了覺得很苦，很緊張，但精神上沒有很愉悅。我常說，“中國的雜技有掌聲，但缺少笑聲。”所以我們現在逐漸開始注重雜技節目的創新，增加藝術觀賞性，雜技劇《天鵝湖》就是一個很好的代表作品，既有雜技的驚險，又有美的享受。我們在俄羅斯演出，創下了克里姆林宮最高票房。我認為將雜技上升到藝術的高度，才是未來的發展方向。

ACROBATS SHOULD STRIVE TO BE ARTISTS

Nihao: Fusing acrobatics and ballet drama together, the acrobatic show Swan Lake has created a new art form. How did you make it?

Wu:Acrobatics is an art with highly personalized feature. Everybody's success is impossible to replicate, so to speak. One important reason why we can get where we are today is that we fi nd a way that suits us well. Originally, I was an artistic gymnast and received some artistic edifi cation at a tender age, thus I have better sensibility for ballet. We then won national championship of acrobatic gymnastics together. Moreover, we are a couple for years. All these unique congenital conditions and background enable us to create such a ballet acting on shoulders. Besides, the cultivation of our troupe head Ning on us, his persistence on the innovation of acrobatics, as well as our thousands of trials and errors, all these elements come together to make us who we are and the Swan Lake.

Nihao: What is the diffi culty of performing ballet on shoulders？

Wei:The performance of shoulder ballet is not unattainable from a technical perspective. Like other forms of artistic creation, imitation is easy. What is diffi cult is to create something from nothing. Previously, nobody thought ballet could be performed on shoulders or heads. When we tried it, we found the proper positions through innumerable trials. Acrobatics is a kind of performance arts. One stage, the tackling of every detail can infl uence the fi nal rendering. It requires acrobats to have a strong stage performance.

Nihao: What is the supreme state of acrobatics?

Wu:Acrobats should strive to be artists. Like doing anything else, acrobatics need to be performed from the heart instead of simple imitation. Acrobats should improve themselves in aesthetics and artistry, and learn from the other arts. After fi nding your own way, go to explore and innovate it.

Wu Zhengdan

National first-rank actress, Vicechairman of Chinese Acrobats Association and Guangdong Acrobats Association.

Wei Baohua

National first-rank actor, winner of Lifetime Achievement Award for Chinese Acrobatics.

They have won the Golden Clown Award, the highest award at the 26th International Circus Festival of Monte Carlo with the show "Ballet on Shoulders - Oriental Swan". They also starred in the acrobatic show “Swan Lake”.

吳正丹

國家一級演員，享受國務院政府特殊津貼。中國雜技家協會副主席，廣東省雜技家協會副主席。

魏葆華

國家一級演員，享受國務院政府特殊津貼，中國雜技終身成就獎獲得者。

二人以《肩上芭蕾——東方天鵝》獲得第26屆蒙特卡羅國際雜技節最高獎“金小丑”獎等多項大獎，開創了雜技藝術全新流派。二人也是雜技劇 《天鵝湖》的主要表演者。

雜技演員要成為藝術家

Nihao：雜技劇《天鵝湖》將雜技與芭蕾舞劇融為一體，可以說是開創了一個新的藝術品種，請問你們是如何做到的？

吳：雜技是一門“人”的藝術，個性化非常強。可以說每個人的成功都是不能復制的。我們走到今天，一個很重要的原因是找到了適合自己的道路。我原來是練藝術體操的，從小也有一定的藝術熏陶，對芭蕾的感悟力比較好，后來改練技巧之后，我們一起拿了全國技巧冠軍。并且我們還是夫妻搭檔，這種獨特的先天條件和成長背景，促使我們去探索并創造了“肩上芭蕾”這樣一個新的藝術品種。此外寧根福老團長的發掘和栽培，他對雜技創新的執著，以及我們成千上萬次的嘗試與失敗，才最終成就了我們和《天鵝湖》。

Nihao：肩上芭蕾難在哪里？

魏：肩上芭蕾本身的技術難度并不是不可企及。與每個藝術創作一樣，復制是容易的，難的是“從無到有”的這個孕育過程。在我們以前，沒有人想過可以在人的肩膀和頭頂上跳芭蕾。我們嘗試去做的時候，是靠一點一點的試驗，才找到最合適的位置。雜技是一種表演藝術，在舞臺上，每個細節的處理都關系到最終的呈現效果，一舉手、一投足，既要讓人心存緊張，又有所期待。這都要求雜技演員有極強的舞臺藝術表現力。

Nihao：雜技演員的最高境界是什么？

吳：雜技演員要努力蛻變成藝術家。其實雜技跟做任何行業一樣，都需要用心，而不是簡單地模仿。雜技演員需要提高自身藝術修養和審美標準，需要向其他門類去學習，不能總是用傳統的方式去演繹現代雜技。找準了方向之后，再去不斷地去探索和創新。在演繹節目的過程中，需要讓人與藝術渾然一體，給人賞心悅目的感覺。

SPORTS CANNOT BE SEPARATED FROM ARTS

Nihao： Does the personality of the Chinese have any infl uence on arts performance?

Cao:Yep. Generally speaking, the Chinese are very implicit without strong exhibitionism. Synchronized swimming, however, is a kind of sport that demands strong expression and emotion. During the past three decades, China's synchronized swimming has gained remarkable achievements. But, there is still much room to develop in terms of overall performance. Sometimes, we try to imitate the others. But it's unnatural by doing it too deliberately. Actually, it has something to do with the artistic accomplishment of a nation rather than its character. The competency of aesthetic appreciation is cultivated in an unconscious way. Can our children see architecture full of art, listen to elegant music, immerse themselves in beautiful things...all of those silent things affect their behaviour. As long as the art accomplishments improve, expressive force will be enhanced.

Nihao： Will traditional Chinese culture be refl ected in the choreography of synchronized swimming?

Cao:Yes. Once, we introduced martial arts into the choreography, and adopted some Chinese folk music, like "Jasmine Flower", "Yellow River", etc. The arrangement of synchronized swimming, after all, is to be made according to the ability and characters of athletes. It's crucial to enable the athletes to express good ideas through performance. Hence, except for the technical training of athletes, we lay emphasize on their arts edifi cation. They have lots of dance, improvisation and music courses to take.

Nihao： Is the training of professional athletes tough?

Cao:Yes, pretty tough. Every day, they have to stay in the water for fi ve to six hours starting from less than 10 years old. Additionally, they need to learn strength training, gymnastics skills, literacy class and many other courses. If they participate in big events, like the Olympic Games, the amount of training will be greater. The new comers might cry due to feeling homesick or the tough training. However, I'm gratifi ed to see that they grow to be persons with independent characters, a strong will and the courage to accept challenges after training, which will be their lifelong cherished treasure. Of course, high-intensive is not fi t for everyone. Nowadays, there emerge some clubs that take synchronized swimming as a hobby rather than a career, which is worth to be popularized.

Cao Wenqin

The first generation of Chinese synchronized swimmers. As the chief coach of Synchronized Swimming Team in Guangdong Province, she led her athletes to have attained the best achievements in the history of China's synchronized swimming, gaining the Collective Champion twice at the National Games.

曹文芹

中國花樣游泳第一代運動員，現任廣東省花樣游泳隊主教練，所帶的運動員取得中國花樣游泳歷史最好成績，并取得兩屆全運會集體冠軍。

體育也離不開藝術

Nihao：中國人的性格對藝術表現力有影響嗎？

曹：是的，中國人普遍比較含蓄，表現欲望不夠強烈，而花樣游泳是一個非常需要表現力和感染力的項目。我們中國的花樣游泳運動開展了30年，可以說進步非常快，但整體在表現力上還是有很大提高的空間。我們有的時候努力效仿，卻反而失去了自己的特點和方向。事實上，與其說性格，不如說是與一個民族自身的藝術修養關系更大。審美的培養是潛移默化的，孩子們每天能不能見到充滿藝術的建筑，聽到高雅的音樂，沉浸在美好的事物中……這些都在無形中影響著人的一舉一動。藝術素養上去了，表現力自然而然就出來了。

Nihao：中國民族風會體現在花樣游泳的編排上嗎？

曹：會的。比如我們曾經融入武術動作，也使用過中國民族音樂《茉莉花》《黃河》等。但花樣游泳的節目編排，說到底，是根據運動員自身的能力和特點。有了好的想法，運動員能不能表現出來，這才是最關鍵的。所以我們平時除了注重隊員技巧的訓練，也非常重視藝術的熏陶，舞蹈課、即興表演課、音樂課都是少不了的。

Nihao：專業運動員的訓練苦不苦？

曹：專業隊的訓練肯定是辛苦的。從10歲不到開始，每天要在水里泡五六個小時，此外還有力量訓練、體操技巧、文化課等很多其他的課程，如果要參加奧運會這樣的大型比賽，訓練量更大。孩子們剛來的時候會因為想家或者訓練太苦而哭鼻子，但我欣慰地看到隊員們經過訓練會成長為非常獨立堅強、愿意接受挑戰的人。這將是伴隨她們一生的寶貴財富。當然，高強度的訓練不適合每個人，現在社會上逐漸出現一些俱樂部，可以把花樣游泳作為一項業余愛好，也是非常值得推廣的。

AUDIENCE IS THE SOIL OF NOURISHING ARTS

In the acrobat program Sail on the Clouds, directed by Zhang Dachao, more than 1000 actors on the ground were controlling 180 actors at 78 meters high with wires. It was praised as the best program of the opening ceremony of Guangzhou Asian Games in 2010.

張大超導演的“白云之帆”，由千余名地面演員人力操控180名空中演員，在78米高空呈現10多種驚艷造型，是廣州亞運會開幕式演出的巔峰之作。

Nihao: Do acrobatics and sports share something in common?

Zhang:Yes, they have many things in common. In fact, the basic training of acrobatics, martial arts and sports are almost the same, including the training for waist, leg, head and tumbles but they are manifested in different ways. Sports have standard movements, which mainly emphasize the standard of the action. Acrobatics, however, is a kind of performing arts, underlining ornamental value, visual impact, which is more fl exible, thrilling and graceful. Acrobatics does not have required movements or training standard. Acrobats can use any prop, and they can perform in various ways.

Nihao: What is related to the development of arts?

Zhang:Except for the development of the economy, the development of arts are correlated with national quality. Director Zhang Jigang once said, “without fi rst-class audience, there will be no top-notch actors”. Initially, I was inferior when I practiced acrobatics, thinking that acrobats had low social status and acrobatics was just a job for me. Then I went to Amsterdam to perform acrobatics, there I got standing ovation. The local aristocrats sitting in the front seats bowed and applauded. I felt quite shocked, suddenly realizing the value of my performance, which could bring so much joy and touch to audiences. From then on, I fell in love with acrobats deeply, and poured more enthusiasm into it. If the audience can give actors more respect and appreciation, the working passion and skill level of actors will defi nitely be improved.

Nihao: Do acrobatics or sports refl ect traditional Chinese culture?

Zhang:Yes, though it is not that obvious for young actors. As for an excellent coach, what he instills in his students must have something to do with the spiritual world. When I was little, my master told me,“a good performance is not only about skills, it is decided by thoughts and attitude”. For instance, a handstand demands high requirements for strength and skills. But, in the end, you cannot carry on doing it just with strength and skills, what supports you is mental strength. With extraordinary will, our athletes are champions in international competitions. Since ancient times, Chinese people stress the concept“cultivate moral characters, regulate the family and rule the state” which continuously makes us pursue self-improvement. But, in today's society, we are supposed to know that team cooperation should be the fi rst priority.

Zhang Dachao

Zhang is a former acrobat. His acrobatic Dream on a Flag was acknowledged by China's former president Hu Jintao. In 2008, he was the director of the closing ceremony of Beijing Olympic Games. In 2010, he directed the high-altitude acrobat program Sail on the Clouds for the Guangzhou Asian Games, breaking many world records.

張大超

前廣州軍區戰士雜技團主要演員、政治教導員，擔綱主演的雜技《旗上的夢》獲前國家主席胡錦濤首肯。2008年，擔任北京奧運會閉幕式編導，2010年任廣州亞運會開幕式《白云之帆》大型高空全人力威亞節目導演，創多項世界紀錄。

觀眾是培育藝術的土壤

Nihao：雜技與體育有共通性嗎？

張：兩者共通性非常大。事實上，雜技和體育基本功都是差不多的，包括腰、腿、頂、翻跟頭等訓練，只是表現方式不同。體育著重動作規范，強調的是動作完成的標準性。而雜技是一種表演藝術，強調觀賞性，視覺沖擊力，更靈活、更驚險、更優美。雜技沒有指定動作，沒有訓練規范，表演中可以借助任何道具，在形式上可以千變萬化。

Nihao：藝術的發展跟什么有關？

張：藝術的發展除了跟國家物質文明的發展相關，與國民素質也是分不開的。張繼剛導演說過，“沒有一流的觀眾，就不能培養出一流的演員”。我剛練雜技的時候，心里隱約還有一種疑問，我們的表演能登上大雅之堂嗎？觀眾會喜歡我們嗎？但后來有一次去阿姆斯特丹演出，謝幕的時候全場起立歡呼鼓掌，長久不息，前排就坐的荷蘭貴族邊鼓掌邊鞠躬回禮。我感到十分震撼，忽然覺得自己的表演原來這么有價值，能給觀眾帶來這么大的歡樂和觸動。從此我深深地愛上了雜技，也投入更多熱情在里面。如果觀眾對演員有更多的尊重、欣賞和鼓勵，演員的工作熱情和技術水平一定會提高的。

Nihao：中國傳統文化在雜技或者體育上是否有所體現？

張：肯定有。雖然在年輕演員身上不明顯，但對于優秀的教練，他所傳承給學生的，一定有精神層面的東西。記得小時候我的師傅說，雜技練得好不好，除了苦練技術之外，更重要的是內在的思想和態度。比如練倒立，對力量和技術都要求很高，但到最后，光靠技術和力量是堅持不了的，支撐你的一定是精神的力量。我們的奧運健兒能在國際賽場上頻頻奪冠，靠的也是胸膛里的一股勁！中國人自古講究“修身齊家平天下”，這種思想也讓我們不斷追求自身的完善和提高，但在現今的社會，應該知道團隊的配合才是第一位的。