Only 3 Shows in Asia - Diary of A Madman亚洲首演仅此3场！开幕大戏《狂人日记》
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T I M E
September 14th - 16th, 2018
2018年9月14日至16日
V E N U E
Hangzhou Fengchao Theater / 杭州蜂巢剧场
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260RMB/person
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Diary of A Madman (Chinese: 狂人日記)
"Diary of A Madman" is a short story published in 1918 by Lu Xun, a Chinese writer. It was the first and most influential modern work written in vernacular Chinese in the republican era, and would become a cornerstone piece of the New Culture Movement. It is placed first in Call to Arms, a collection of short stories by Lu Xun. The story was often referred to as "China's first modern short story". This book was selected as one of the 100 best books in history by the Bokklubben World Library. The diary form was inspired by Nikolai Gogol's short story "Diary of A Madman", as was the idea of the madman who sees reality more clearly than those around him. The "madman" sees "cannibalism" both in his family and the village around him, and he then finds cannibalism in the Confucian classics which had long been credited with a humanistic concern for the mutual obligations of society, and thus for the superiority of Confucian civilization. The story was read as an ironic attack on traditional Chinese culture and a call for a New Culture.
“四千年来时时吃人的地方，今天才明白，我也在其中混了多年；大哥正管着家务，妹子恰恰死了，他未必不和在饭菜里，暗暗给我们吃。我未必无意之中，不吃了我妹子的几片肉，现在也轮到我自己，…有了四千年吃人履历的我，当初虽然不知道，现在明白，难见真的人！”
100年前，鲁迅在《新青年》第四卷第五号发表了中国现代文学史上第一篇现代体白话短篇小说：《狂人日记》。学界一直将此视为中国现代文学的启蒙与成熟合一的巅峰。
One hundred years later, on a Chinese New Year's Eve, the stage play Diary of A Madman, directed by the dancer Vladimir Varnava* and director Zhenya Anisimov, was staged at the Russian Theatre. Once performed, the play was immediately rated as Russia's pioneer contemporary dance drama works and avant-garde performance form leader.
100年后，在中国新年前夕，由舞蹈家弗拉基米尔·瓦尔纳夫及导演热尼亚·阿尼斯莫夫编导的舞台剧《狂人日记》在俄罗斯剧院上演。一经演出，此剧立即被评价为俄罗斯最先锋的当代舞蹈戏剧作品及前卫表演形式的引领者。
*Vladimir Varnava
· Recipient of the Golden Mask, Russia’s most prestigious theatre prize in the category “Best Male Role in Ballet” (2011, 2014)
· Winner of the competition of young choreographers of the contemporary dance festival Context. Diana Vishneva (Moscow, 2013)
· Recipient of the Harlequin national theatre award (2011)
They chose to recreate the masterpiece of Lu Xun’s Diary of A Madman.
"Lu Xun is a very serious, rigorous writer, his works reflect a circle of thought: he described many dark side of China at that time, and its isolation from the world." Director Zhenya Anisimov said, "These made the people struggle to choose, to defend or to give up. His works are full of exploration and call for humanity.
他们选择了对鲁迅的《狂人日记》进行再创作。
“鲁迅是一位非常严肃、严谨的作家，他的作品中反应出一个思想圈：他描写了很多故事是有关于那个时代中国的暗面，与世界隔离。”导演热尼亚·阿莫斯莫斯说，“这些都让身处其中的人在挣扎选择，是捍卫还是放弃。他的作品充满了对人性的探索及呼唤。”
《狂人日记》着重刻画了主人公对生活及对人的恐惧，角色看似疯狂，是源于被周围人围困、吞噬的恐惧。他左顾右盼，不断地低语，形态癫狂。
They use dance to tell the story, there is no fixed dance movements. Instead, they use more of the ballet's techniques and improvisation. It seems to be chaotic, like a madman’s slang, but in fact it focuses on the "diary" - fear, depression, suspicion and suspicion.
他们使用舞蹈叙事，本身并没有固定的舞蹈动作，而是较多地运动了芭蕾的一些技术与即兴的创作方式。看似杂乱无章，像是疯子的呓语，但着重表现“日记”中——恐惧、压抑，猜忌与怀疑。
In the play, he established a complete, logically rigorous, artistic expression and sense of style to explain the situation in which people fall into the abyss of extreme pain. The profound metaphor and satire in Lu Xun's works are embodied in the physical works of Vladimir's theatrical works: "Using body fat to smear lips" has became a terrible metaphor in the whole play - that is, eating humanity.
他在剧中建立了完整的、逻辑严谨、极富艺术表现力与造型感的画面来阐释人陷入极其痛苦挣扎的深渊中的情景。鲁迅作品中深刻的隐喻与讽刺在瓦尔纳夫的戏剧作品中被具象为身体表达：“用人体脂肪涂抹嘴唇”在整个剧中行成了一种可怕的隐喻——即食人性。
在鲁迅作品中描述的群像并非清晰可见，是被不同外衣与样貌特色所隐藏的普通人，又会在某些时刻露出凶残的面孔与本性。对于这一特性的处理，瓦尔纳夫通过对芭蕾舞蹈的变形解构，将这一概念嵌入戏剧作品，并通过塑造舞台行为渐进地表达，充满隐喻与讽刺意味，以自我毁灭与相互猎杀的艺术画面为缩影，大胆地勾画了一副血腥战争画面。
The artist, Zhenya Anisimov, provides the most perfect stage design to play. He uses the minimalist expression to highlight the idea of the play itself. The materials are mostly composed of plastic plates. These transparent plastics are used as tables, and after being disassembled and folded, they become aquariums, cages or podiums.
艺术家热尼亚·阿尼斯莫夫为《狂人日记》献上了最完美的舞美。他用极简的表现方式凸显戏剧本身的思想，材料多由塑料板组成，这些透明塑料被当做桌子使用，经过相互拆解折叠之后又变成水族箱、牢笼或领奖台等。
配合一系列美妙的芭蕾技术动作，借助塑料材料实现“镜像”，来反映正常有序的社会投影，也反映自我吞噬的过程这一概念。
"Diary of A Madman" is a one-and-a-half-hour fictional dance drama involving Chinese philosophy. It explores a common global topic "cannibalism" and the current state of madness.
Every day we are eroding and killing each other in disputes, and we are engulfed by dissatisfaction with ourselves. We are self-isolated and forced into the inner desperation.
No matter what role you play, please don't lose yourself, but continue to seek a positive way of living.
《狂人日记》用一个半小时充满寓言性、涉及了中国哲学的戏剧舞蹈作品，与我们探讨了一个普遍的全球性的“同类相食”的问题，以及疯狂行为这一现状。
每天我们都在争端中相互侵蚀、残杀，被来自于对自身的不满情绪所侵吞。我们自我隔离，被逼入内心的绝境。
无论你在扮演何种角色，都请不要迷失自我，继续寻求积极的、属于自己的生存方式。
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Hangzhou Fengchao Theater / 杭州蜂巢剧场
18 Shentangqiao Road
沈塘桥路18号
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