话剧 我歌我哥 PROGRAM
聊 生命中那位 熟悉的陌生人
讲述一对兄弟
在不同人生轨迹上的
经历与情感 误会与理解 梦幻与现实
美国大都会歌剧院著名歌剧演唱家——田浩江
当代戏剧大师——林兆华
联袂打造全新音乐话剧
我歌我哥
编剧/主演 田浩江
Playwright/Performer Hao Jiang Tian
导 演 林兆华
Director Lin Zhaohua
副 导 演 孙照辉
Assistant Director Sun Zhaohui
戏剧文学顾问 廖端丽
Dramateur Diana Liao
舞美设计 高赞民
Stage Design Gao Zanmin
舞台监制 李 琪
Stage Producer Li Qi
灯 光 方 义
Lighting Fang Yi
音 效 郑 晨
Sound Effect Zheng Chen
字 幕 廖端丽
Supertitles Diana Liao
出 品 林兆华戏剧工作室
Production Lin Zhaohua Theatre Studio
演出时间 2009年7月24、25、26日 19:30
Time 19:30 24-26, July 2009
演出地点 华彬紫金剧院 北京市朝阳区建国门外永安东里8 号
Place Reignwood Theatre No.8 YongAnDongLi, JianGuoMenWai Ave, Beijing 1000022
协办 华彬紫金剧院 世通华纳传媒公司 当代节能置业Sponsored by Reignwood Theatre, Towona Media Holding Co. and Modern Green Development Co.
Video production 影像制作
制片人Executive Producer： 张镇中 Gareth Chang
统筹General Manager： 王国胜 Wang Guosheng 顾莉娜 Cathy Gu
视频统筹 Screen Manager：庄园 Amy Zhuang
海报设计：付悦 Fu Yue
Theatre coordinators 剧院协调
王成 Wang Cheng
刘振中 Liu Zhenzhong
李凤华 Li Fenghua
王巍 David Wong
Voice over台后音
Kevin Rawlings
Joe Bascetta
卷首语
这一次，田浩江不是站在纽约大都会歌剧院恢宏壮丽的舞台上，不是和多明戈、帕瓦罗蒂这样的西方歌剧巨星同台；
这一次，空旷的舞台上只有一架钢琴，一把吉他，几抹沙画，还有，一个人的演出；
蜚声国际的歌剧艺术家田浩江和戏剧大师林兆华合作了这样一出小戏——极简的舞台装置，无时空概念的演出，真实而平凡的回忆，熟悉而又久违的老歌；只有这些，但同样有人类情感的浓缩与迸发……
戏-故事 这是一部叙述式的自传体戏剧作品，描述了纽约大都会歌剧院著名的华裔歌唱家田浩江记忆深处的挣扎和感触，一个是蜚声中外的成功艺术家，一个是北京某医院里的普通职员。兄弟俩最后一次三个小时的相聚使田浩江经历了人生中一次深刻的感悟，于是他创作了这样一部“独角戏”：以第一人称，用多种叙述的手法和歌曲描绘了兄弟之间的真情和重新认识彼此的过程。
“这是一个描述一对兄弟在不同人生轨迹上的经历与情感，误会与理解，梦幻与现实。那些我记忆中流动着的一些潜意识自我哥去世以后从来没有静止过，在这个作品中，我希望舞台上和剧院里所有的门都会是开着的，我的潜意识和观众们可以自由出入，随时随地，每个人都可以参与我的演出和创作，表演将是随意的、自由的、平平淡淡的，就这么简单。”/田浩江
戏-幕后 这部由田浩江本人自编自演的一部“独角戏”，对于习惯于庞大制作和华美舞台的歌剧演员来说，无疑是一次具有风险的跨界行为。“作为一个习惯于以大阵容在几千人的歌剧院演出的人，突然有一天让你一个人独自为二百人演出，而且从歌剧跳到话剧，有人说我疯了，我也知道这是一个巨大的挑战，但无论成败与否，我还是想去尝试。”按照他自己的说法，这是一次游离，也是一次从歌剧舞台上暂时的出走，游多远，走到哪儿，他还不知道。今天，他又开始不安分的去尝试编演起话剧了……虽然有太多的“不安分”，但其实田浩江是个极为敬业的歌剧演唱家，否则他的歌剧事业也不会有今天的成就。
Notes on Ode to My Brother
Tian HaoJiang was born in Beijing with a very special voice: it was so big that very soon he could use it to call friends down from the fifth floor. Big voices were rather common in those days – China in the 50’s and 60’s before private telephones and elevators – so his went unnoticed for years until it was discovered by accident by a voice teacher. From then on, his life changed drastically, and his voice became he: Tian, the bass singer who will be singing his eighteenth season at the Met this fall.
The trajectory has been anything but smooth. Tian arrived in New York from Beijing in 1983 with $50 in his pockets. He promptly spent $8 on a standing room ticket at the Met and watched, wide-eyed, Pavarotti in Verdi’s opera Ernani. The next day he was plunged into the classic struggles of a young artist in a foreign country. Ten years later, on that very same day, he was singing with Pavarotti on that very same stage that stole his heart ten years before. Since then Tian has sung in more than 40 operas in some 1300 performances, at the Met as well as in other renowned opera houses around the world. In addition to the traditional repertoire, new operas with a Chinese theme began to solicit Tian in recent years: In December, 2006, he sang with Domingo in Tan Dun’s “First Emperor”, and six months later, in July 2007 he sang for the first time in Chinese as the poet in Guo Wenjing’s opera “Poet Li Bai”, and in 2008 he appeared in Stewart Wallace’s “The Bonesetter’s Daughter”. All this is graphically recounted in his book “Roaring River”, published in 2008.
Having sung on stage and having told his stories in black and white, Tian is now ready to combine the two and, for the first time on stage, to act himself. It is, after all, his vocal voice that best expresses his feelings and thoughts. The enthusiastic reception of his recent ‘singing’ book tour around the world reinforces his belief. Now he wants to use stories, bombastic revolutionary songs as well as nostalgic underground melodies, to recapture the sounds and sights of his growing-up years in turbulent China. He will also describe his Met years with behind-the-scene anecdotes peppered with snippets of operas. He will use the death of his brother in 1999 as a turning point in his pursuit of worldly fame and fortune…All this is a new challenge for him, stylistically and emotionally, and he is approaching it with great expectations and apprehensions.
He hopes to invite his contemporaries, especially fellow artists from China who started in the 80’s, matured in the 90’s and reached their respective pinnacles in the new millennium to a collective review of their past against their visions of the future. Songs are powerfully evocative, and Tian in his role as a seasoned singer would like to use his songs to revisit with his contemporaries the long road they had traveled together. Maybe they could figure out, collectively, why there is at present such a strong movement towards returning ‘home’, towards retiring into the ‘wilds’, towards letting go of ‘everything’. Tian has no ready answers, therefore he continues to sing.
His intended audience, of course, is not limited to his contemporaries alone. But how to reach the younger generations who have grown up in totally different sounds and sights? Tian would amuse them with the story of his first guitar, in fact one of the country’s first guitars. Or with the difficult choices of staging a scene. Or with his brother’s obsessions with the navy. The bottom line is: will the young mock or sympathize with Tian’s sense of loss: in faith, in direction, in the joy of living itself? Will they listen with interest to this particular ‘Witness of the times’, to borrow the role of an artist as defined by Simone de Beauvoir?
But Tian has been preparing this show since 1999, the year his only brother died in Beijing. In between performances, Tian managed to fly 16 hours each way and spend 3 hours with his brother in the hospital. They talked and for the first time in their lives they sang together, songs that they knew from the past. Tian could not believe how well his brother sang, could not accept the fact that his brother never saw any of his operas, and regretted deeply that he never took his brother to catch trout in Colorado as promised. More than anything else, he began to doubt who was the true singer, who lived better as a human being in spite of appearances. This one-man show is in part Tian’s homage to his uncomplicated brother with a short but contented life.
Denver has generously commissioned Tian’s one man show; PBS has also confirmed their interest. Now in Beijing, Tian is working hard with director Lin Zhaohua to bring his libretto to life: with passion and with an uncompromising sense of humor.
July 17, 2009
关于编剧/演出 田浩江
田浩江是美国大都会歌剧院连续签约18年的中国歌剧表演艺术家，并曾与世界各地许多重要的歌剧院合作，演出歌剧剧目达四十多部，共约1300场次，包括他与世界著名歌唱家帕瓦洛蒂及多明哥合作的十一部歌剧，逾百场的演出。田浩江并在北京和上海参加过多部歌剧的中国首演，所有这些演出的实况大都在美欧与中国的电视台和电台进行过转播。
在2008-2009年的演出中，田浩江在大都会歌剧院由谭盾作曲，多明哥担纲的歌剧《秦始皇》中饰演了主要角色王将军，在意大利罗马艺术节的开幕式上演出了由郭文景作曲，林兆华导演的歌剧《诗人李白》。他还在比利时的瓦隆尼皇家歌剧院的《唐卡洛》中饰演了菲利普国王，他还参加了旧金山歌剧院新制做的歌剧《接骨师之女》的世界首演，并在巴尔迪摩歌剧演出了《Norma》。在2009－2010的演出季，田浩江将在北京鸟巢国家体育馆参加由张艺谋导演的大型歌剧《图兰朵》的演出，还会在美国纽约大都会歌剧院再次演出《图兰朵》。他还将在香港演出郭文景的歌剧《诗人李白》，在旧金山歌剧院演出《阿伊达》。 同时由他自编自演，与著名导演林兆华合作的独角话剧《我歌我哥》 将在北京和美国上演。
田浩江出生在北京的一个音乐家庭。做过工人，1977年考入中央音乐学院附设的中央乐团声乐专修班。毕业后在中央乐团工作，1983年赴美学习。1987年获美国丹佛大学声乐表演硕士学位。曾六次在国际声乐比赛中获奖。并于2008年3月得到丹佛大学颁发的杰出成就奖。 田浩江现居纽约和北京。长期参与推动中美两国文化和艺术交流的田浩江及其夫人廖英华博士，对中国的音乐教育事业也做出了许多重要的贡献，有近百位年轻的中国音乐学生和音乐家得到过他们直接的帮助。
田浩江的经历曾被中国中央电视台，上海电视台，上海东方电视台，阳光卫视，美国公共广播电台、英国BBC电视台、加拿大国家电视台、美国之音、美国多家电视台制作成专题节目播放，美国著名的《纽约时报》在报道田浩江的专题文章中这样写到：“他成功的原因在于他的经历,而他的经历本身就是歌剧”。美国国家公共电视台（PBS)正在制作田浩江的个人专题节目，将于今年12月在全美播出。
由美国Wiley出版社出版的田浩江英文自传《浩歌江上》 作为美国纽约林肯表演艺术中心的书籍系列，于2008年在全世界发行。
Since his Metropolitan Opera debut during the 1991/92 season, Hao Jiang Tian, a native of Beijing, has earned worldwide recognition as one of today’s most talented basso cantantes, singing over 1300 performances of 40 operatic roles worldwide. He has appeared at the Metropolitan every subsequent season in 26 operas. Tian has also been highly praised for his appearances in many international theaters such as the Berlin State Opera, Teatro Comunale in Florence, Teatro Carlo Felice in Genoa, Arena di Verona, Teatro Colon in Buenos Aires, Chicago Lyric Opera, Canadian Opera Company, Washington Opera, and opera houses in France, Spain, Holland, Portugal, Chile, Japan and China. Tian has won acclaim for some of the greatest roles written for bass and these include Philip II in Don Carlos, Procida in I Vespri Siciliani and Mephistopheles in Faust.
Tian’s recent engagements included the title role of Poet Li Bai in the world and China premiere in Colorado (USA), Beijing, Shanghai and European premiere in Rome, Italy, at the Metropolitan Opera, Oroveso in Norma, and General Wang in Tan Dun’s The First Emperor, opposite Placido Domingo in the title role and at the opening season of the National Performing Arts Center in Beijing as Timur in a new production of Turandot. His current engagements also include, Philip II in Don Carlos in Liege, Belgium, Chang, the major bass in the world premiere of Amy Tan’s Bonesetter’s Daughter, composed by Stewart Wallace, at the San Francisco Opera, Oroveso at the Baltimore Opera and two Verdi concerts at Teatro San Carlo in Naples, Italy.
Upcoming engagements include Poet Li Bai in Hong Kong; Turandot at the Metropolitan Opera and at the Bird’s Nest Olympic Stadium in Beijing, a new production directed by Zhang Yimou for the celebration of the 60th Anniversary of the founding of the Peoples’ Republic of China; Aida at San Francisco and the world premiere of The Memory Palace of Matteo Ricci. His one-man show “From Mao to the Met” which is based on his autobiography will have its theater debut in Denver, Colorado.
Recording credits include Gomez’s Il Guarany (on Sony Classical), Tan Dun’s The First Emperor (EMI Classics), both with Placido Domingo, and his solo album of opera arias released by Naxos in 2006. His autobiography, Along the Roaring River: …from Mao to the Met, was released in 2008 worldwide by Wiley as a Lincoln Center Book. Tian was nominated as a Principal Soloist for the 51st Grammy Award (2008) for Best Opera Recording of Tan Dun’s The First Emperor.
关于导演 林兆华
北京人民艺术剧院导演。现任北京大学戏剧研究所所长，北京大学、中国传媒大学、中央戏剧学院等兼职与客座教授。他早期作为演员进入北京人艺，70年代末开始担任导演，至今已导演约七十部舞台作品。林兆华在80年代初期至中期与剧作家高行健的合作《绝对信号》(1982)、《车站》(1983)、《野人》(1985)引发中国80年代的实验戏剧风潮，这些作品从戏剧文学、剧场形式和思想内容都突破传统中国式的现实主义戏剧，正式开启中国当代戏剧进入现代主义阶段的大门。从90年代起，他与中国最具代表性的剧作家过士行合作《鸟人》(1993)、《棋人》(1995)、《鱼人》(1997)、《厕所》(2004)、和《活着还是死去》(2007)等剧目，这些作品被视为对中国当代社会发出最深切的反省，引起国内外文化界的关注。
林兆华的作品风格类型趋于多样化，包括现实主义风格话剧、前卫剧场、戏曲和歌剧等。他在各种类型与风格中都创作出了具有极高艺术价值的作品，例如农村题材的《红白喜事》(1984)已成为学界公认的80年代现实主义话剧代表作；而《野人》(1985)和《狗儿爷涅盘》(1986)将文学意识流转化成舞台自由叙述方法，成为80年代开创中国当代前卫戏剧的力作。
他的代表作品还包括《哈姆雷特》(1990)、《罗慕洛斯大帝》(1992)、《浮士德》(1994)、《三姊妹•等待戈多》(1998) 、《故事新编》(2000)、《理查德三世》(2001)、《樱桃园》(2004)和《建筑大师》(2006)等，这些作品在剧场形式上打破了传统戏剧和现代戏剧、与不同类型艺术间的界限，它们最为人注目的是林兆华在舞台视觉上创造出一种独特的空灵美感，同时透过这些作品，林兆华也逐渐发展出其特有的导演语汇与理念和表演美学，包括“无时空戏剧”观念、“双重结构戏剧”的导表演方法，以及多种东方的表演叙述方式。
Theatre director of the prestigious Beijing People’s Art Theatre (BPAT), vice-president of the BPAT from 1984-1998. He is now Chair of the Peking University Theatre Research Institute as well as a guest professor in the Central Academy of Drama and the Communication University of China.
Lin was assigned to the BPAT as an actor in 1961, and began his directing career in the late 1970’s. He was the most influential pioneer of Experimental Theatre Movement during the 1980’s. His first experimental theatre work Absolute Signal (1982), written by Gao Xingjian (awarded the 2000 Nobel Prize for Literature), was unexpectedly successful and initiated the Little Theatre Movement in China. After that triumph, Lin immediately directed another two of Gao’s controversial plays: Bus Stop (1983) and Wildman (1985). In these three plays, he introduced a variety of non-illusionistic styles and techniques in opposition to social realism, thereby enabling modern Chinese theatre to enter its modernistic stage. Since the 1990s, he has cooperated with another important Chinese playwright, Guo Shixing, and directed five of Guo’s plays: Birdman (1993), Chessman (1995), Fishman (1997), Toilet (2004), and To Be or Not To Be (2007). Both content and stage forms in these plays brought about a great deal of attention and discussion by the public as well as within the theatre profession.
Lin is skilled in an eclectic approach to creating a synthesis of the real and abstract, therefore forming a non-illusionistic and realistic style of theatre. Working within this style, he uses and mixes realistic and various non-illusionistic techniques, such as the Stanislavsky system, time-spatial concepts and narrative acting from traditional Chinese theatre, and improvisational modern dance. He has directed approximately seventy productions covering a broad range of styles and theatrical genres, from naturalistic to avant-garde, and from modern drama, to opera, to traditional Chinese theatres.
Lin’s other important stage works include: Festivities of Marriage and Funeral (1984), Schweyk In the Second World War (1986), Uncle Doggie’s Nirvana (1986), Peking Man (1989), Teahouse (1999), Boundless Love (2000), Orphan of the House of Zhao (2003), and White Deer Prairie (2006), all of which are generally acknowledged as great contemporary Chinese theatre works. His Peking Opera works include: The Minister Liu Luoguo I (2000), The Minister Liu Luoguo II (2001), The Minister Liu Luoguo III (2002), The Bravest and Cleverest Soldier Sun Wu (2002), Farewell My Concubine (2003), and The Very Best Zhangxie (2003), Women General of Yang Family (2005), and The Peony Pavilion (2007).
田浩江感谢……
演别人不容易，演自己更难。尤其是把一个真实的经历用一种真诚的方式搬上舞台。我是个歌剧演员，没写过剧本，也没演过话剧。我本来只有一个与大家聊聊我和我哥，一起唱些老歌的愿望，没想到变成了一个剧。更没想到有这么多朋友来帮助我完成这个剧。
我想在此真心地感谢我们的的好朋友曹其锋先生和他的夫人，严彬先生和他的华美的紫金剧院，张镇中先生和他敬业的团队，林兆华工作室所有的朋友们，廖端丽女士，当代节能置业的张雷先生…… 没有你们真诚的帮助，就不会有《我歌我哥》。
我很感谢林兆华导演把我推进了一扇门，里面亮的晃眼。等我适应了那里的光线＿＿我看到了我自己。大导，谢谢你。
最后我想感谢我的夫人，马莎。因为你是最理解为甚么我要做《我歌我哥》的人。
A thank you note from Hao Jiang Tian
It is not easy to portray others; it is even more difficult to act out oneself. To put one’s own experience on stage faithfully is particularly demanding. I am an opera singer; I have never written a script or acted in any drama. At first I had only wanted to chat with a few friends about my brother, and throw in some old songs we used to sing. I had no idea that my wish would become a piece of full-fledged drama. I had even less idea that so many friends would come and help make it happen.
I would like to express my heartfelt gratitude to my good friends Mr. and Mrs. Silas Chou; Mr. Yan Bin and his magnificent Reignwood Theatre; Mr. Gareth Chang and his team of professionals; friends at the Lin Zhaohua Theatre Studio; Ms. Diana Liao; Mr. Zhang Lei from Modern Green Development….Without your help, there would be no “Ode to My Brother”.
I thank director Lin Zhaohua for opening a new door and pushing me into a blinding new light. When I regained vision – I saw myself. Thank you, director Lin.
Lastly I would like to thank my wife, Martha. For you know best why I want to do “Ode to My Brother”.
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