多谢款待

近来有件特别心怡的事——影视里的饮食时光。

英国人对餐饮此事近年来日益热心,不但名厨辈出,乡间还掀起小型个体户的有机食材种植革命,讲究就地取材的料理,流行按时令吃最新鲜产品的潮流。你看霹雳派的杰米奥利佛(Jamie Oliver)开着福士伟根小巴环游意大利到处寻找料理灵感,到树林里打野猪采蘑菇,为的是追寻那个不折不扣的原味。他饮食片里的那门儿,总有一大群人围着厨房走进走出,做饭时手舞足蹈,大伙儿吃起饭来十指发动,大快朵颐之际,还不时流露出一股野兽般原始的食欲和动力。

怪的是,英国人在电视剧里是不用吃饭的。比方说《唐顿庄园》(Downton Abbey)吧. 格兰坦姆伯爵家里平时吃顿晚餐是很隆重的,虽然家里人天天见面,但是还都得盛装打扮才能入席。而剧里很多时候,镜头对准的还是厨房里的娘子军,因为她们从早到晚就是为了唐顿庄园三餐而忙。可是送到了楼上,用餐的老爷啊小姐们对这些美食总是无动于衷。显然是英国人不以食为天,所以无从拍出他们对食物的渴望和赏识。

反之,日本人太明白和式饮食文化是自己的软实力,早已不局限于平白地向人介绍国内各地吃的风味了。

约莫30年前,以饮食作为主题的影片就已经出现。拍得还特别称心的非《蒲公英》莫属。记得看了此戏,大家好像忽然间能够领悟出吃日常面食的温馨感受。回想起来,导演伊丹十三所拍摄的烹煮镜头有真实感,叫我们看得犹如身处拉面汤头的大锅旁,汤里熬着猪骨的蒸气热呼呼地騰向脸庞,旁边听到有人猛吸入烫得恰到好处的面条。虽是荧幕上的景象,却像是吃了一顿色香味声俱全的飨宴。

最近日本各大电视台还陆续推出饮食滥情连续剧,连穿越剧也与烹调挂钩。如《信长的主厨》,戏中人气偶像玉森裕太饰演现代法式厨师(阿健),阴差阳错穿越到日本战国时代(16世纪中叶),当上战国大名织田信长的主厨。他用本世纪多元国际料理为信长化解政治危机,甚至在战场上转败为胜。有趣的是,他将战国时代还未出现的烹饪技术如煎、炒、炸带入御厨,要各帮郡主将相品尝400年后才有的寿司,为即将战死沙场的士兵们捏饭团。阿健除了会使厨刀外,是个寸铁未沾的东京少年,无端端误闯入信长的战火,虽然未能扭转乾坤,他的厨艺却往往让吃饭用餐的人,从舌尖到胃口直透心底的五体投地甘拜下风。以枪械以外的实力(如漫画文学、电视剧和料理)来征服世界,不知此剧是否恰有此意?

最新且绝对以家庭料理贯穿150回的大杰作,应该是日本放送协会NHK在去年秋季开始播放长达六个月的晨间小说连续剧《多谢款待》。此剧的故事从日本盛世昭和年代延伸到二战日本投降后的1947年。女主角芽以子通过她的料理赢得爱情,养了三个孩子,重振被炸弹轰碎的家园,是一出“厨房万岁”的戏。

芽以子结婚后大半辈子都在夫家大阪的老房子里度过,屋里的气氛拍得犹如寿越章子《千年繁华》里回忆旧时京都老家的样子。她做菜时特别花心思去揣摩吃饭的人个别的心境和欲愿,所做出来的菜虽然算不上山珍海味,但是别致用心,围着饭桌吃饭的人,总感受到她的菜对于每个人都有着特别的意义。最棒的是,当丈夫偶遇青梅竹马的旧情人差点就要出轨时,是芽以子的牛肉咖喱饭重新逮住他的心——“不管吃了什么样的咖喱,都会想到你的咖喱,都会想要回到你的身旁。”结果咖喱打退了情场劲敌,而战后废墟里喂马吃的马铃薯,只要有芽以子静默的智慧和坚韧的毅力,就会变成破街头上的美食。

这部连续剧围绕着普普通通的家庭料理折腾了150个早晨,到底是蛋包饭或和式饭团有魅力,还是因为男女主角都是模特儿出身的俊男美女呢?很难说的,见到芽以子埋头双刀剁肉准备做肉丸,或是见到饰演芽以子幼年时的豊嶋(lǐdǎo)花每吃一口番茄炒饭,就仰起头眯着眼很尽情地喊道“Oishi”(日文“美味”的意思)的时候,你肯定会记得曾经吃过这些全世界最好吃的东西——是老爸在你病弱时特地为你煲的粥、过年时大姑姑亲手捏的烧卖。

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发表在 2014 | 标签为 , , | 留下评论

林先生的Soundtrack

编辑不太喜欢这个标题,因为不中不西,刊登时套的是阪本九的《昂首向前走》歌名。在此我认为还是用回那个被淘汰的标题,因为我实在很希望林觉民先生当时耳边有响起什么音乐或什么人的声音的。

巴洛克音乐是结构严谨,一板一眼的东西,早晨的音乐,写给上帝听的,唱给做礼拜的人听的。巴洛克音乐里最为脍炙人口的乐曲,应该是那首帕克贝尔(Johann Pachebel, 1653-1706) 于 1694年写来献给巴哈的哥哥婚礼的D大调卡农曲。婚礼过后人家就忘掉了这曲子,而且是忘了两个世纪后才得以重见天日。自从1968年的法国室内乐版问世后,反而大受欢迎,一直翻用在流行乐团,现代舞者,电影里头,不分种族,不究国界。 这卡农曲借三把小提琴互相传递简单的旋律,加大键琴或大提琴低音层的衬托,由沉静到諠哗,音乐不断上升,犹如在大教堂里一直升华到顶尖 。通常这音乐一出现,你会觉得乌云后有一线曙光, 世界将会更美好。

帕克贝尔没想到,他当时友情作曲,竟然在今年三月下旬成了学运主题曲。台湾太阳花学运最初 流传出来的一段空拍短片配用的是张逸帆 (Gerry Chang/Gerry C) 2005年改编而红透网络的摇滚版卡农。电子吉他演绎这古典的调子,真让帕克贝尔脱胎换骨又生龙活虎。空拍片流传出来后不久,立法院前及人群与布条簇拥之中,有艺术大学女生四重奏的正经版,虽然演奏稍嫌生涩,但还是有听者泪洒现场的。帕克贝尔倘若那天在遥远的天堂俯视台北街头, 听到自己的音乐演奏在群众大会上,还发现摇滚再生版,从结婚进行曲变成励志曲,或许很吃惊,不过我们但愿他能够享受跨越时空与21世纪人心有灵犀一点通的美妙。

这毕竟是台湾,音乐和唱歌好像是与生具有的天性,凡事都能有首歌来代表来作符号。果然十天后,正式的学运励志歌《岛屿天光》出现了。是一首闽南话摇滚歌曲,一开始就向妈妈及女朋友说歹势,极富《与妻诀别书》的情怀,听了可以感觉到林觉民赴死前对爱人的柔情。人在大难当头之际,虽然已是壮士视死如归,心里还是会害怕会犹豫的。此时就会想到爸爸妈妈和挚爱的人, 是人之常情。

大难当头,耳边际最好有个Soundtrack来fade in,让一首熟悉的歌曲或音符萦绕着你。

311东北大地震海啸核泄等大灾难接二连三地打击日本时,民间里传出来的是一首大家都能哼上几句的经典流行歌曲《昂首向前走》。那是坂本九于1961年一唱而红,在英美金曲龙虎榜1963年一炮而红的日本状元歌。原本这是首情歌,讲失恋的男人独自俳佪街上,心伤得一直得抬头起来,说是看繁星夜空,其实是不想掉泪。此后日本社会凡事遇上不如意的时候,个人觉得特别无助彷徨得时,大家不约而同地想起坂本九洁齿如雪的笑容,悲伤至极吹口哨的样子。而歌词里的句子:“孤单一人的夜晚/将悲伤放在星星的阴影/将悲伤放在月亮的阴影/努力向前行/努力不让泪水滴下来。”似乎是为你这种失恋失落失望的个人写的,听起来也挺大男人的。难怪饮料厂三得利还买下广告时间请了71位艺人明星到录音室录制《昂首向前走》来给日本社会励志。影片没有煽情的外景画面,各位艺人头戴大耳机,对着录音麦克风唱歌,剪接起来则是一人一句接力式地“昂首走不掉泪”将歌唱完。有人如汤美李钟斯歌声根本不行,宫泽理惠像猫叫,可是大家联合起来还有众人一致迈向光明的坚韧和力量。

当时人在洛杉矶拍戏的渡边谦,选出了宫泽贤治的诗歌《不要输给风雨》(1931)来朗诵。这首诗日本人人在小时候都学过,它既不咏叹大群体的伟大,也不鼓励献身大我的必要。它字里行间一直在勉励读者个人,用自己的意志去克服困境,用自己的能力去照顾病痛的小孩,去安慰快将去世的人,去为吵架的人劝架 。试想在浩劫之后家破人亡,一无所有之际,耳边应该有人对你说:“不要输给雨/不要输给风/保持健康的身体/没有贪念/绝对不要生气/总是沉静的微笑。”这就是文学和艺术给予人们沉默的力量,尤其是当人处于十分绝望的时候。

不知林先生写诀别书的时耳边有没有响起音乐?大难临头或浩劫幸存之际,我又会听到什么样的歌曲和诗歌呢?

发表在 2014 | 标签为 , , , , | 留下评论

Taste by Wang Zengqi 汪曾祺 “口味“

I wanted a distraction and started to translate. This is a sweet piece by Wang Zengqi (1920 – 1997), who came from one of the small water towns strewn along the greater rivers leading to Nanjing and Shanghai. A student of Shen Congwen, Wang wrote in a lyrical style, steeped in regional sensibility and the Classics. His career as a writer was interrupted in 1957, like many others, at the onslaught of the Cultural Revolution. Handpicked to write propaganda plays for Jiang Qing, Wang did not return to his literary writing till 1977, and then for the next three decades he produced prolifically short stories and numerous essays. I like the economy in his language, vivid images, his humour and open-mindedness.  

Here’s Taste :

“All mouths relish the same good taste!” (a Mencius saying) We all like tasty food. Fresh prawns at banquets are usually gone in a flash, although sometimes not. Mutton is tasty, and so goes the saying “Big sheep taste good.” The history of the Chinese consumption of mutton is probably as long as our history. I will not list the variety of ways we eat mutton, but I think the best way is eat the meat by hand. The Uyghur and the Khazak have their versions, but the Inner Mongolians make the best. People there from the various banner-groups will tell you that their mutton doesn’t smell, because their herds feed on the wild scallions of the grassland, so the characteristic smell of the flesh is gone even before the beast is slaughtered. I actually don’t mind the lamb-y smell. In Damao banner land 达茂旗, I ate blanched mutton, which they call The Prince’s mutton 羊贝子. The beast is boiled in its entirety in water for just 45 minutes – the additional 15 minutes is done in consideration for us the visitors from afar, they boil theirs usually for under 30 minutes. Everyone carves their preferred part of meat and eats it dipped in sauce. The sauce part is new, for the original garnish used to be just a bowl of salt water. Blood oozes where the knife cuts, the meat, eaten rare, is delicious. They say mutton is tough when over-cooked, and is easier to digest when under-done. That way one can eat more, too. I have been to Inner Mongolia a few times and absolutely indulged myself in these mutton excursions. On one of these trips, we had a female comrade who could not even bear the smell of mutton, let alone eat it. She would become nauseous the minute she entered the canteen and had to eat parboiled rice and salted veggies the whole time, such a poor thing she was. Actually, you see, there are many in China who just can’t take mutton.

“Fish and mutton have the most original taste of freshness.” A Hui man from Huolu County 获鹿县 of Hebei Province eats mutton all his life without knowing what “fresh” means. His wife, a native from Nanjing, however, uses “fresh” to describe food so indiscriminately he asks “what on earth is Fresh? I think of aroma when I taste something good.” It is truly not so easy to explain what this “freshness” is all about. Where I am from, this notion is best expressed in shrimps, winter bamboo shoots with shrimps, the thick soup made with shrimps and tofu. However, if you add one too many shrimp to a dish, it becomes too fresh, and your eyebrows might fall off. My little granddaughter loves my dragon-whisker noodles which I make with my special sauce, but once because I added shrimps, she took one bite and quit. “Taste’s funny,” she said.

Chilli is a favourite in many regions in China, such as Yunnan, Guizhou, Sichuan, Hunan, Jiangxi. People in the frontiers, like the Koreans, can really take it. We say chilli is heaty, but the people from Mount Jinggang 井冈山 (in southern Jiangxi province) will tell you: “Chillies have no nutrition, you just suffer at both ends.” I met an actor who could not live without chilli – if he went off it for one day, he became constipated. I also knew a cadre in the bureau who used to lunch-in, eating his box of rice with fried chillies everyday. He was an expert and would find a way to eat every kind of chilli there was in China. According to him the Tujia people 土家人 have the best. He let me taste some once from his lunch box. That chilli was hot but so aromatic, and I think he was right. But of course there are those who don’t like chillies. I went once on a theatre field trip to Chongqing, where chilli was in everything, and some of us just could not take it. An actor took young actresses to eat sweet dumplings, one of them yelled as they entered: “No chilli please!” The vendor gave her the eye and lashed out: “Sweet dumplings never come with chilli!”

The Northerners love their leeks and garlic raw. The Shandong folks, for instance, they have to have leeks in their food – fried pancake and layered bread. A Shandong story goes, a woman had a fight with her mother-in-law and jumped into a well. When her husband came home, his mother said to him: “Oh no, your wife has jumped into the well!” He said: “No sweat!”, took a bite of leek and exhaled into the well, and up came his wife. Shandong leeks are indeed delicious. The white portion is half a foot long and sweet in taste. On the contrary, Zhejiang folks don’t eat them raw. They twist a sprig of sweet scallion into a knot, that is, the little scallion in Northern vocabulary, and use it in their fish. Those large leeks are called Hu Scallions 胡葱 (foreign scallions from the northwest) and would never appear in Zhejiang cuisine. I knew a well-known actress who refused to touch scallions or leeks, and had her own special menu prepared by the kitchen when we went on field trips. During the Cultural Revolution she was criticized for it.

The Northerners eat their noodles with a cloves of garlic. When I was filming in Changchun Studio and was late for breakfast one day, so I went to the kitchen to eat with the staff, who had just made fried pancakes. They threw raw garlic in to eat the pancake with. Astonished by its inappropriate presence, I said, “who eats fried pancakes with garlic?” A Hunanese kitchen hand said,” Hey, you just try it!” I did, and concluded, “Truly, a different take on fried pancakes.” I went home a few years ago, and having feasted on rich banquets of chicken, duck, fish and shrimp, I began to yearn for some plainer stuff. So I asked my folks to fix me a bowl of Yangchun noodles, to be served with a dish of leeks and two heads of garlic. My family was utterly shocked by the way I tucked into the leeks and garlic.

Some things you thought you’d never eat, yet after a few tries you get used to them. Once I bragged “I’d eat anything!” and because of this I was played out twice. The first time it was back in my hometown, where I had never taken to coriander leaves, which I imagined tasted like bugs. Then a manager from our family-owned pharmacy invited me for noodles on the day of Heavenly King of Medicine (Manjusri). He presented me with a huge bowl of cold noodles and coriander leaves, and said: “You said you’d eat anything, right?” I gritted my teeth and finished it. From then on, I would eat coriander leaves. Eventually, while in the North, I would generously garnish barbeque mutton with the leaves. The other time I was held to my word was in Kunming. It was regarding bitter gourd, which I would never have touched, and so had never tasted before. It was available back home, where we called it pock-marked grapes and it was really meant for decorative display in a porcelain dish. One day in Kunming a poet hosted me in a small restaurant and ordered three dishes – a cold dish of bitter gourd, stir-fried bitter gourd and bitter gourd soup. He said: “Didn’t you say you’d eat anything?” From then on, I would eat bitter gourd. People in Peking only learned to eat bitter gourd recently, they’d soak the gourd three times in cold water to rid off the bitter taste, which really betrays the nature of the gourd!

Some things one can choose not to eat but others should not be discouraged from them. Just because they eat what you don’t, you should not be prejudiced against them. The Cantonese eat snakes, they eat diving beetles; the Dai people eat morsels of meat with juices from the guts called bitter guts. The Cantonese and the Dai would never consider these dishes weird – they like eating them and so be it. Having said that, I do think one should avoid eating maggots for obvious reasons.

Anyway, one should allow one’s taste buds to open up, to become more complex. Try everything: the sweet things from the South, the salty from the North, the spicy of the East and the sour of the West. This should be the approach to food, and also to matters of culture.

发表在 2015 | 标签为 , , , | 留下评论

玫瑰与夜莺

传说中的玫瑰原来都是白的。 传说中的夜莺也不是一开始就会唱歌的,是应为爱上了纯白的玫瑰,日夜向玫瑰献唱情歌,情到深处不能自拔,越唱越激情,身子傻乎乎地紧贴着玫瑰,玫瑰有刺,扎伤了夜莺,流出了鲜血染红了玫瑰。这种近乎狂恋的形象是波斯古诗常用的典型象征,被苏菲派诗人(Sufi poets)借用后就延升成对上帝无限无边的爱,一直流传到无数伊斯兰教所到之处。在土耳其,爱仍然是由诗歌和文学里唱出来的,举凡传统民乐,爵士,吉普赛,古典等音乐在大小歌厅里是夜夜笙歌,情歌泛滥。

来到这家名叫巴比伦的歌厅已迟了半小时,坐着的票说是卖完了,只有站着的。入场后发现听众们都站着,而且这一站就连续多两小时,因为这实力派12人的巴尔干婚礼乐团(Balkans wedding band),精力充沛,中场休息一概免除。这种节奏一直在7/8或9/8复拍随时转换,快到极端时像脱了轨的列车无法制止。曲调简单,因此可以从唢呐递给萨克松,再抛给小提琴去变奏,打鼓的也不甘示弱将曲调再打成一段精彩的独奏,民间歌曲成了擂台式的即兴曲,听众会疯起来那是可想而知的。听的人随着鲜明活泼的节奏扭腰摆臀耸肩摇头,双手高举像旋转舞者的舞姿,才没空(也没手)去买酒喝或抽菸。他们几乎对每一首歌都滚瓜烂熟,台上台下不时在对唱,歌手还故意暂停让听众们去唱,而台下的歌声也真够整齐,现场也不见有人传递歌谱的,是正宗的“一起唱”。虽然我们是冲着布尔罕欧查率领大乐队(Burhan Oçal & Trakya All Stars)而来的,却十分享受台上台下老老少少融成一片的氛围,其中也明白了些土耳其的道理。

原来在歌厅里听到的歌曲有很多是古老的诗歌编成的,从小听到大,从少唱到老,难怪人人都记得歌词。可贵的是这里的歌手不嫌弃老歌过时,以自己独特的唱腔与功力来诠释一支古老的文词,献给听众,重启音乐原始合群的功能。上网浏览这些诗歌曲词的意义,内容大致上是咏赞爱情,哀叹离别,当然还少不了玫瑰与夜莺/信徒与上帝的情结。其实儿女私情及有关上帝真主的主题不都是你我现实生活里的问题吗,问题一旦唱得起来就成了贴心的抒情了。那天逛早市,两名土大哥双手忙摆摊,嘴边好自然的溜了一段凄厉的惆怅曲,卖菜呀还为文艺腾出了空间。

奥尔罕帕穆克新书《我意识里的怪癖》出炉,七层高的宣传布条悬挂在伊堡(伊斯坦布尔)最商业化的闹市正中央,诺奖得主的笑脸每日迎送成千上万来去独立大道(İstiklal Caddesi)的行人。帕穆克常写的人物事景就埋在这熙熙攘攘背后的贝尤露区(Beyoğlu),走在街上的人,除了游客外,男男女女似乎还带着某种帕穆克式很伊堡的“呼愁”情怀(hüzün),尤其是当细雨连绵的时候,可见这城里的情绪是可以用文字熏染出来的。

虽然是享誉国际文坛的大文豪,历届土耳其领导都很讨厌他,因为他的字里行间从未煽起政治家拉票的时候所需要的国族主义。反之,他老是毫无顾忌地谈论敏感话题,如1955年伊堡发生地反希腊族群暴动,或上世纪的亚美尼亚大屠杀惨剧。12月初新书发布后接踵而来的是指控他反政府不爱国的噪声。这种控诉本来就存在的,但是自从2005年得奖后,每逢出新书愈发愈是洪亮。好在伊堡已经是个宽容的社会,作家有逆流自行的自由。帕穆克还是必须写下去吧 —— 玫瑰之美,要夜莺以血灌溉之。文学也需要无疆无限之爱,才能拿出让玫瑰刺伤淌血的勇气。那么若干世纪以后就会有旋转舞者的簇拥,歌手的咏唱,长远流传着。

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发表在 2015 | 标签为 , , , | 留下评论

为金少爷演戏

卖花姑娘宣传海报。1972

卖花姑娘宣传海报。1972

为金少爷演戏
李楚琳

  那个时候就算没有电传媒体,喜爱的东西一样是野火般地传开蔓延。刚在皇家山脚国家剧场看过的平壤歌舞文艺团表演的舞蹈《摘苹果的时候》,不消几个月,中学部的姐姐们也跟着穿起高腰阔裙,打扮成朝鲜农女,在窄小的舞台重演《摘苹果的时候》。她们笑容灿烂,灵动作巧,舞步轻快,随着快板的配曲,把一支新学来的舞用心情感染台下的观众。
  我因为两版都看了,觉得这校园版也不赖。比起那每年跳的千篇一律的山地舞,朝鲜舞更有劲儿,因为他们的舞步总比别人的快,视觉效果工整,造型多变,一看就知道她们舞练得勤,跳的卖力。何止于舞蹈,每年一度学校举办的歌唱比赛,合唱组搞不好有时会闹双胞胎,因为特别会唱的那几班都喜欢将刚听到的《卖花姑娘》、《摘苹果》之类的主题曲,中朝两版一起呈现,虽然韩语一窍不通。我记得我也会咿咿噢噢的哼几段,右手捎耳后,左手向外伸出,肩膀前后摆摆,然后再侧脸嫣然一笑地摆摘苹果造型。这应该是我国(某些)校园里的哈韩先驱浪潮吧。
  那是个很单纯的时代,父母特别焦虑孩子好坏不分,从电视电影学到坏东西——不准家里听姚苏容的《负心的人》、杨小萍的《美酒加咖啡》。也绝对不让看港台情情爱爱的片子,只有等院线下档很久以后,在大人没注意的时候从电视补看。我家看的电影几乎一律都在黄金戏院放映。
  《卖花姑娘》就是那个时候大人不但允许还亲自带我们去看的电影 ? 看壮丽的金刚山,遍地开满红色的杜鹃花,很穷苦的姑娘不用SKII脸蛋白里透红,她空着肚皮却唱出传遍山野的卖花歌。就仅有此时,因为看了这些歌舞和电影,我们对北韩/朝鲜还充满着美丽的向往,蕴育着浪漫的憧憬。《卖花姑娘》是朝鲜国父金日成的歌剧作品,他的公子金正日是当时政治宣传红人,他将老爸塑造成开国建国护国圣人,家家户户都得挂起金领导肖像当神当祖先奉拜,走在大街碰上领袖巨无霸的铜像就得恭敬鞠躬。金少爷是个电影迷,自然从中得到很好的政宣技巧和点子。他着手拍摄老爹的戏,显然是想通过第七艺术的魅力来打造朝鲜的神话。这戏果然在上世纪70年代风靡朝鲜,在中国火红,在捷克的国际影展获奖。所以也流传到我们常光顾的黄金戏院。
  老实说戏隔了多年,主要剧情我也忘了大半,也许因为是样板戏,也许后来觉得韩片不分南北剧情都超级悲惨泪水汹涌,看多了也麻木。但是主要的还是因为家里的文化禁令随着我们的成长也撤销了,以后很奇怪地,朝鲜歌舞团也不再来新表演,电影也消失了。金领袖仙逝之后,常听到的是朝鲜的新闻是大饥荒,脱北者初抵外界的悲惨状,他们对准了首尔和日本的核弹,以及他们的弹头几时就可以直击美国。听说那里饿死的人数以万计,金家哥儿们却是越养越是不对称的臃肿。上星期网上传得最凶的还是当今小金领导的旧情人及她的乐团队员在扫黄之际被逮,不出三日统统用机关枪处死。这种新闻既煽动又乖异,叫人半信半疑,可是因为发生在这个国度里,我们还以为夸张的暴力就是他们的专利。
  是少时的情怀褪色了吗?还是朝鲜变得太超现实(surreal)?昨晚于电力站黑箱放映由梁思众与李成琳摄制的纪录片《伟大的朝鲜电影》里,就证实了朝鲜其实没变,而他们的演员背口号比真正学演戏的时候多。为了金领导,他们认真地演戏,他们不断地学习做好演员。但是他们始终不是特别会演戏的青少年,而穿梭平壤的电车始终还是苏维埃制的老古董。朝鲜没变。
  朝鲜若是不变,世界是否要继续敌视它?我们是否应该放弃它?星期二晚上将会重看《卖花姑娘》,不是为了怀旧少时的感受,而是想寻找回朝鲜看似已经失去的希望。因为花妮在走投无路的尽头时,遇上一股新兴的力量来扭转命运的恶性循环,那么,金三代当家继续导演北韩剧新潮版之同时,是否会有改写结局的可能呢?

(作者是艺术节公司执行总监 )
  
编者按:《卖花姑娘》将于9月10日(星期二)晚上7时30分在国家博物馆电影馆放映。此影片曾于1972或1973年首次在本地上演。
  

发表在 2013 | 留下评论

迁书记

列支敦士登皇家收藏的馆长K博士的办公室够气派,单是他个人的藏书就超过三万本,摆满了一大墙的旧欧式两层高的落地壁橱。他的夫人还以为这全是公家的藏书。那天K博士愁眉苦脸地烦恼:不知退休时这些宝贝书籍该如何处置在家里?我劝他早做准备,因为我正为自己在博物馆收了28年的书籍寻找安身之处!
其实决定离馆之刻,就已经开始了这场图书大迁徙,陆续将书三两本、一小叠、两中型盒地带回家去。同时为了腾出空间,我很积极地将重复的,以前购买时觉得很可爱但现在反而不觉得怎么样的,写论文临时买来恶补知识的,理出了数十本,送到国家图书馆参加旧书交换活动,谁知那里有个条例说凡是有关宗教的书籍一概谢绝。我只好滥用残余的馆长架势,将佛教艺术和道教的书籍强行送给同事们。
这时在办公室深处挖掘出被遗忘的杂项——更多的杂志、从前写论文搜集的影印资料、展览图册、演出节目单表,但是再也不好意思强迫同事领养了。这类书不似书、报不像报的文籍,收藏了20多年,也快成了历史资料。例如一家由母子经营、从米兰开到伦敦到香港、从古美术做到当代艺术的艺廊,每办展览必发请柬赠送画册,设计优雅印刷精美的东西拿到手上赞叹一番之后,顺手将之存放在书架上设定的位置。我觉得以作为朋友和古美术的立场论之,我有义务为他们留下这五六十本原始资料。哪年他们庆祝建业银禧,我可以自告奋勇为他们的纪念册筹策建业年表作序题跋。纽约骨董专行老字号怀古堂上世纪90年代末的图录我只收了三本,炭灰色皱纹纸的书影后有一笺日本宣纸隔着封面,里头刊载的文物解说是专家学者引经据典的学术论文作品。老板的品味古雅,精挑细选的货色无论是青铜、陶俑、宋辽元名瓷、中日古画,每件拙朴舒服顺眼。像这样的图录家里再满也得想法子把它留下来。然后又发现,在上世纪90年代初,美国加州掀起明式家具热遇上浩劫后的古玩仙王世襄,有家中国傢俱博物馆应运而生,经常带头办展览,还每三个月出版一本《中国古典家具学会会刊》,我收了七期,虽然首尾期没收到,零零散散的,这刊物毕竟代表着中华骨董界里的一个潮流,留下来回顾生涯亦无伤大雅。
回了家的书籍能上得了书架,是因为被淘汰赶出去的东西也不少。例如:为了迎接文物出版社的古墓佛窟报告,我必须将饮食书籍(如焦桐先生的台湾饮食系列、陈存仁中医师的《津津有味谭》等书)搬到厨房里,但因为舍不得丢弃食谱和水晶杯,只好腾出一大坨爱不释手的《美味》、《harumi季刊》等饮食刊物,让它与旧报为伍,等待周末的的“加龙古尼”(karung guni)来收取。
本来有对夫妻组,他们主要的顾客住在街尾的公寓,有时在那儿的收获太好,倒回来时忘了响喇叭,我听到车声从屋里冲出来时来不及拦车,而早已搬出来的旧报则尴尬地闷坐铁栅前。在这情况下,只好期盼那位样子一看就知道人家会称呼他“老弟”的阿cek(闽、潮语“叔”)了。他杀价厉害,换来的钱总比那夫妇商的少一元。还得听他为那种贱价辩护,是因为旧报市场惨淡,他所赚我的那几分钱还不够去买车油知道吗……
近来的周末这两伙都不知躲去哪里,旧报堆高了,《harumi季刊》也还坨着,我心确实更烦。因为家里早已沦为乱世。忽然想起有张旧货商的名片,很唐突地打电话问他是否可约他来收货吗?谁知电话那一头说买不起新的拥车证,罗厘作废了,也等于丢了工具,暂时无法出来收货。他这番话震荡了我好几天,不断自我盘问是否该终止订报买书而改阅电子书报呢?又联想起书报业的生态濒临崩溃的那一刻近在眉睫,没人收旧书,怎么买新书呢?
沮丧后一个炎热的周二早上,忽闻熟悉喇叭声,赶紧截之。几坨旧报杂志卖了六元多,成就感颇为高昂。来收货的也是貌如老弟的阿叔,原来他定时周二周五出没我街,拥车证只剩两年半,纸箱纸皮没人要一概不收,但看我份上会替我处理。他说如果公办的回收公司继续杀价,而私办工厂接二连三倒闭,他不久也做不下去了。老老实实干了半辈子的活儿,眼看就要被一种大环境新趋势所淘汰,无奈挂在他消瘦的脸上,烈日下罗厘只是半载。为了感激他在这特别闷热的周日出现,我会继续订报买书,每月守信地到书店找那四五类杂志。既然有人愿意在逆境里当karung guni man,我们大可放心当书虫。

发表在 2013 | 标签为 | 留下评论

执迷

 

无意间 看到有关美国青年舞蹈大竞赛的纪录片 (First Position)。令人印象最为深刻的是个十出岁的小男孩阿然。他虽然格子小,但是手脚修长,金发蓝眼,台风迷人,舞姿优美,是典型芭蕾舞剧里稳拿王子角色的潜能新秀。阿然刚过了四岁生日时就要求妈妈让他学芭蕾舞,超级严格的老师给他上了几堂课后,便警告妈妈儿子是个天才,切勿糟蹋。从此一家子的生活便跟随着阿然的芭蕾舞旋转。当海军军医的年轻爸爸尽量调职到能找到好老师的地方。小男孩台下羞涩但一上台便摇身变成巨人。阿然对镜头叹息:我太爱芭蕾舞了,也不知道该怎么说才是。练完舞回家时全身发疼的感觉实在很好。

执迷舞蹈的孩子也必须作出种种的牺牲,在家自修,因为白天的时间都花在从那波利赶路去罗马学舞,没有同学或好朋友,更不能周末到别家去参加睡衣派对。妈妈说家里从来没出过舞者, 这个儿子前世是舞蹈家,怎么辛苦都甘为儿子牛。曾经是巴黎歌剧院舞星的法国教练说,像阿然这样的天才一辈子只出两个,自己栽培的儿子二十岁也当上同家剧院的明星,阿然是他手下的第二个天才,他觉得人生就此真正美满圆结。当艺术到了忘我,四周会擦出火花感染旁人,即使身心俱疲还是要等待那台上灿烂的一刻。

有时候会觉得台后台下的家长才是灿烂的光源。他们对孩子无限的爱也许远超对艺术的信念,才会心甘情愿地早晚护送孩子上课彩排,花钱准备孩子学艺各种各样没完没了的器具,戏服舞鞋,乐谱,比赛考试登记费,额外的进修课,这些都不在话下。有些很有心的家长会特地在考场外等候情绪已经很脆落的孩子,除了必须亲自出席每场演出或比赛, 还得买票邀请亲朋好友捧场。他们难道不想去做他们自己想做的事情吗?

我想起年少时斯图加特室内乐团(Stuttgart Chamber Orchestra) 来新演奏,门票太贵,爸爸只买了一张票让我去,他在外头等散场后带我回家。我生平首次听来自欧洲古典乐团演奏的音乐会,归途坐在巴士车上赞不绝口,我想爸爸也因为受到我的激动和兴奋之感染,觉得这晚钱财与时间花在响往音乐的孩子身上是他的任务。

那时代里玩音乐的同学当中只有少数家长愿意如此作牛作马,也许其他同学家境富裕而因此家长们无需抛头露面作出大幅度的关怀动作,按时派遣车夫接送即可俐落了事。 后来那些在音乐或艺术有了成就的同学们,他们身后都有很体谅的父母,明知孩子执迷的选择没有职业的保障,还是全力以赴鼎力支持。

望子子未必成龙。父母有心并不意味着孩子一定是明天的朗朗,未来的涅鲁耶夫。我很明白小孩练舞或练琴心理上和肢体上的苦处。我很小的时候就是挨不过吴丽娟老师严肃的芭蕾舞幼儿班,连个first position都学不来就放弃了。更大一点的时候学琴也是缺少了像阿然那股在体力透支后还能坚持跳下去的毅力,考完英国皇家学院8号演奏文凭几年后,才真正领悟到天赋的重要。但是有了小时候学音乐的经历,种下了我对投身艺术的老老少少男男女女的尊敬和钦佩。观赏他们的作品及表演像是为自己完成以前未能完成的东西。因为从前缺少了毅力和持续的精神,放弃了台前的角色,所以愿意在台后为台上的人去做点本来就应该做的事。

发表在 2014 | 留下评论