《The Economist》《经济学人》中文版

[2007.3.22]Contemporary dance：Point man 舞坛尖兵

Contemporary dance
现代舞

Point man
舞坛尖兵

Mar 22nd 2007
From The Economist print edition

Renowned for his confrontational artistic style, Israeli-born Itzik Galili is rapidly becoming one of Europe's most interesting and unusual choreographers
生于以色列、以另类艺术风格著称的Itzik Galili迅速成为欧洲最受瞩目、最与众不同的一名舞蹈编导



ITZIK GALILI really is an artist of the floating world. Born in Israel in 1961, he moved to Amsterdam when he was 30 and is shaping up as one of Europe's most idiosyncratic choreographers. Mr Galili holds dual Israeli and Dutch citizenship. He has three children in Israel and visits them every ten days. In addition to his native Hebrew, he also speaks good English and Dutch.
Itzik Galili真可谓是一名“流动”艺术家。他1961年出生在以色列，30岁移居阿姆斯特丹，现已逐渐成为欧洲最具独特风格的一名舞蹈编导。Galili 拥有以色列和荷兰双重国籍，有三个孩子住在以色列，他每隔十天都要去看望他们。除了母语希伯来语，他还会说一口流利的英语和荷兰语。

Mr Galili is highly regarded in the Netherlands. Marking the tenth anniversary of the founding of his company, Galili Dance, a new show, “Heads or Tales”, has been receiving enthusiastic reviews as it tours the country. Fiercely contemporary, “Heads or Tales” is full of gorgeous imagery, compelling ensemble work and arresting solos. One thing it is not, though, is balletic. Scenes include a naked man being showered with bits of paper, men doing the pogo, and a man and woman engaged in tentative ballet while conducting a dialogue about genocide.
Galili在荷兰深受好评，他为庆祝其Galili Dance舞蹈团成立10周年而新编的舞蹈《Heads or Tales》，在荷兰巡回演出过程中自始至终都得到了热情洋溢的评价。《Heads or Tales》虽有些类似芭蕾舞，但极具芭蕾舞所缺乏的现代感，且饱含华丽意象，集体舞和独舞皆凸现迷人魅力。从舞台场景来看，有的是无数纸片洒落到一名赤 裸身躯的男子身上，有的是一群男子踩着弹簧单高跷，还有一男一女跳着若是若非的芭蕾，仿佛是在相互诉说着一场灭族屠杀。

Mr Galili's artistic style is confrontational: athletic, unsentimental and often witty. He claims not to be specifically political, believing that politics and choreography rarely sit well together. But in “For Heaven's Sake”, a powerful piece that he first staged in 2001 and which he revised last year, the images of occupation—conjuring up the Israelis in Palestine, perhaps, or the Americans in Iraq—could not be mistaken for anything else.
Galili的艺术风格很另类：健美、冷漠又不乏诙谐。他认为政治与编舞格格不入，自言他的舞蹈不会表达特定的政治含意，但《For Heaven’s Sake》所体现的“占领”却难免让人浮想联翩——或许是以色列人对巴勒斯坦的“占领”，抑或是美国人“侵占”伊拉克。2001年他将这个震撼人心的舞蹈 首度搬上舞台，去年又进行了改编。

Ten years ago, Mr Galili moved from Amsterdam to the northern town of Groningen. A friend had called, urging him to apply for a position there as director of dance. Mr Galili got the job. Groningen is a pleasant place, with an old university, but its claims to fame do not extend to much beyond the industrial processing of sugar-beet and a glorious 15th-century tower. “Who would want to go to Groningen?” asks Mr Galili with an ironic smile.
十年前，Galili在荷兰北部城镇格罗宁根的一位朋友给他打电话，催他去那里申请担任舞蹈编导，于是他告别阿姆斯特丹，来到格罗宁根，并得到了这份工 作。格罗宁根有一所古老的大学，是一座令人惬意的城市，但除了甜菜加工业和一座15世纪的宝塔之外，并没有多大名气。“谁会想去格罗宁根呢？” Galili不无揶揄地微笑着说。

Yet in many respects it was a shrewd move. For such a small country, the Netherlands has an unusual quantity of world-class dance troupes, including the Dutch National Ballet, based in Amsterdam, and the more experimental Netherlands Dance Theatre (NDT) in The Hague. Both fill theatres across the globe.
不过，从诸多方面来看，Galili这一趟没算白跑。荷兰虽小，但世界级的舞蹈团却不在少数，其中阿姆斯特丹的荷兰国家芭蕾舞团（Dutch National Ballet）和海牙新概念的荷兰舞剧团（Netherlands Dance Theatre），足迹更是遍布全球剧场。

In Groningen, though, Mr Galili is dance's top dog. That allows him to work with a freedom and intensity that he might not be permitted were he competing with a bigger troupe in a major urban centre. One measure of Galili Dance's status is the number of young hopefuls who want to join. The full tally of its performing employees amounts to only ten people. Yet once or, at most, twice a year, Mr Galili sees between 350 and 500 applicants over three days each time.
不过在格罗宁根，Galili才是舞之翘楚，这让他可以自由发挥，集中精力做好自己的编舞工作。倘若是在大都市与大型舞蹈团对垒，他也许就无法做到这一 点。单从想要加入的前途无量的年轻人人数来看，Galili Dance舞蹈团的地位就可见一斑。全团总共虽只有10名舞蹈演员，但在每年一次或最多两次的招生中，每次三天的招生时间内竟有350~500人向 Galili提出加入申请。

Small, for Mr Galili, is clearly beautiful. His thinking about dance is correspondingly original. Talent, even if discernible from an early stage, develops only slowly. Almost everything begins in improvisation, and his aim is never merely to make an audience laugh or cry. There must always be a journey “within”, he says.
在Galili眼中，小就是美，而他对舞蹈的认知也是独树一帜——即便是早早脱颖而出的优秀舞蹈演员也不可急于求成。他的舞蹈几乎全部都始于灵感的激发，让观众捧腹大笑或者是失声痛哭绝非是他的唯一目标。他说，舞蹈必须而且始终都要深入人的“内心世界”。

Mr Galili knew nothing about dance until he was in his early 20s. He had had a disrupted childhood, with his parents divorcing and his mother suffering a breakdown. He and two other siblings were fostered by three different families, and Mr Galili recalls with evident pain that he grew up in 17 different places between the ages of five and 18. After doing his military service in Israel in the early 1980s, he caught the dance bug when watching five men dancing to a Greek folk tune; he had always loved Greek music.
二十一、二岁以前，Galili对舞蹈一窍不通。他的童年生活很坎坷，父母离异，母亲患了神经衰弱症，他和两个同胞姐妹被寄养给三个不同的家庭；从5岁到 18岁，他先后生活在17个不同的地方。想起这段往事，Galili内心的痛苦显露无遗。20世纪80年代初，他在以色列服完兵役后，有一次看到五个人跟 着一曲希腊乡村音乐跳舞，便爱上了舞蹈，从此对希腊音乐也是一往情深。

Then, in one of the more bizarre twists in this itinerant choreographer's tale, Mr Galili learnt how to cut and shape poodles' hair for rich poodle-owners. Using this new-found talent, he made money fast, and was able to finance further dance studies in Tel Aviv and Guildford, south-west of London. Mr Galili subsequently worked with two well-known Israeli troupes, the Bat-Dor and Batsheva Dance companies. “I miss Israel madly when I'm not there, but an artist can, in my view, work anywhere.” Mr Galili may not realise quite how much Israel has influenced his dance, but like his native land, it is defiant, extrovert and very tough.
据传，Galili经历过颇多怪异转折，比如这位巡回舞蹈编导曾学习如何给富人豢养的卷毛狗修剪毛发，并很快利用这个新学的手艺赚了钱，并资助了特拉维夫 和伦敦西南部的吉尔特福德（Guildford）的舞蹈研究。后来，Galili还与以色列两个著名的舞蹈团（Bat-Dor和Batsheva Dance公司）合作过。“不在以色列的时候，我非常想念以色列，但在我看来，艺术家在哪里都可以工作。”Galili也许并未意识到以色列对他的舞蹈影 响之深，但像他的祖国一样，他的舞蹈傲慢、外向又坚韧。


Galili Dance is touring the Netherlands until May, after which it goes to Spain
加利利舞蹈团（Galili Dance）正在荷兰巡回演出，5月将转场西班牙

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