「色彩和音樂一樣,都在講述故事。」

Wynn Magazine - - CONTRIBUTORS - philip wm. mckin­ley philip wm. mckin­ley

“Color tells a story just as much as mu­sic.”

服裝要展現出改編後的新鮮生命力,幕後也要多方配合,比如增加將「造夢師」從水中升起的機械工具,甚至細微到為保障高空跳水演員安全的潛水蛙人提供新指引。在創作新配樂時, Ju­tras需要遵循原先設定的音樂節奏。雜技演員所熟習的動作節奏和長度,精確到以秒為單位計算,為了安全至上的原則,音樂的節奏需要一直保持不變。Mckin­ley說:「這是很危險的事,不像叫演員唱一首新歌那麼簡單,搞不好他們是會從半空摔下來的!」Mckin­ley認為這次創作過程堪比他改編百老匯音樂劇《蜘蛛俠:終結黑暗》( Spi­der-man: Turn Off the Dark)的經驗:「我在創作新版本的同時,舊版本同時一直在上演。演員們下午排練一段新配樂,晚上又在舊配樂裡表演。」最終, Ju­tras將他為Lerêve創作的音樂比作他的電影配樂作品,有時配樂不一定要跟隨著舞台上的動作:「我把這個節目看作一齣電影,而不是馬戲表演,音樂的主題與情感相關,在整場演出中無處不在。」Lerêve-the Dream對舞台燈光進行精心的調整,結合全新打造的演出服裝,為演出帶來閃亮的全新視覺體驗。著名的水晶球一幕象徵著「夢想家」擺脫了「黑暗慾望」之後,自身的女性力量覺醒。三位雜技演員原本是穿著非常簡單的緊身服,驚險地扭轉穿梭於懸掛在高空的水晶球內外。「我和舞蹈編導說:我想讓她們穿上全身鑲滿水鑽的緊身服。因為我希望她們看起來像北極光一樣耀眼,又不會影響身體的線條感。舞蹈編導用了一個『噢』字來回答我。」Mckin­ley笑著說。這裡還需要一個顯而易見的簡單調整,就是為三位演員製作全新的水鑽演出服,但他們在桿上固定身體的部位則不能釘水鑽,比如手肘、膝蓋後面等等。「我們必須非常謹慎,演員們的演出動作非常驚險,稍有不慎就有可能從高空跌落受重傷。所以設計演出服裝必須顧及很多方面。」儘管製作如此精細,每晚演出結束後工作人員總會從地上的道具落石裡找到演出時跌落的水鑽,每天服裝部門的工作人員都要為服裝補上新水鑽。與此同時,燈光設計師Peggy Eisen­hauer和Jules Fish­er重新編排了燈光來配合動作。Mckin­ley說:「水晶球一幕就是很好的例子。演員在燈光下追隨著水晶球,然後你會看到一束光和色彩憑空出現。Peg­gy和Jules找到打燈方法,只照亮演員而不照亮水面。然而當舞者們往後甩頭髮時,你又會希望看到水,這樣才能看見那些閃亮的水花四濺。我們花了非常長的時間來仔細調整燈光效果。」歸根到底,這個被史提芬永利先生稱為馬戲表演終極版本的節目成功背後,需要綜合運用各種各樣的技術元素來引起觀眾的共鳴。「你有沉浸在演出帶來的體驗裡嗎?這正是現場演出的魅力所在,」Mckin­ley說:「這正是為什麼演員進行81英尺高空跳水之前我們會摒息靜氣,因為那是整場演出中唯一沒有配樂的時刻。要讓觀眾笑、哭、緊張、倒吸一口氣的方法其實很簡單——我們剛剛一同經歷和感受過了。我們三個人看同樣的演出,卻分別感受到不同的東西,這完全沒關係,我們不需要精確地描述故事內容,情節清晰就足夠了。」 ad­di­tional changes: light­ing to re­in­force the ac­tion, makeup that could stand up to mul­ti­ple sub­mer­sions, cos­tumes that would re­flect the ex­u­ber­ant spirit of the new show; and be­hind the scenes, ev­ery­thing from a new me­chan­i­cal struc­ture to lift the Dream Master from the wa­ter to new di­rec­tion for the scuba divers who in­vis­i­bly swim the ac­ro­bats to safety af­ter a plunge. All the while, Ju­tras would need to fol­low the same tem­pos that had been orig­i­nally set to score new pieces. Where ac­ro­bats had learned their acts at a cer­tain tempo and at lengths that were pre­cise to a sec­ond, safety dic­tated that the tem­pos re­mained the same. “It’s very dan­ger­ous,” Mckin­ley says. “It’s not like you’re ask­ing an ac­tor to sing a new song—they’re drop­ping out of the air!” Mckin­ley likens the process to his ex­pe­ri­ence hav­ing been brought in to over­haul Spi­der-man: Turn Off the Dark on Broad­way: “I was work­ing on a new ver­sion at the same time we were per­form­ing the orig­i­nal. The per­form­ers were re­hears­ing in the af­ter­noon with a new piece of mu­sic and per­form­ing in the evening with the old mu­sic.” To that end, Ju­tras com­pares his work on Le Rêve to his work for film. Where pre­vi­ously mu­sic hadn’t nec­es­sar­ily fol­lowed the ac­tion on­stage, “I treated it more like a movie than a cir­cus type of show, where the themes are re­lated to emo­tions that are used all over the show.” The com­bi­na­tion of cos­tum­ing and metic­u­lous changes in light­ing lend Le Rêve – The Dream its sparkling new vis­ual qual­i­ties. In the fa­mous Sphere act, sym­bol­iz­ing the Dreamer’s new­found fe­male power af­ter hav­ing thrown over Dark Pas­sion, the three ac­ro­bats had pre­vi­ously worn very sim­ple cos­tumes to al­low them to nav­i­gate their dan­ger­ous twists and turns in­side and out­side a crys­tal sphere sus­pended in air. “I went to our chore­og­ra­pher, Mar­guerite Der­ricks, and said, ‘Look, I’d like to put them in full body­suits cov­ered in rhine­stones,’ be­cause I wanted them to be like the Aurora Bo­re­alis lights, and not break the line of the body. And she said, ‘Oh,’” he laughs. An­other ap­par­ently sim­ple change in­volved cov­er­ing them in their new rhine­stone cos­tumes and then re­mov­ing rhine­stones from their el­bows, be­hind their knees—any­where they have to grab the bar and hold on. “You have to be aware that the per­former is do­ing things that could make them fall and get se­ri­ously hurt. It’s not just throw­ing a cos­tume on.” Still, at the end of ev­ery night, a bit of rhine­stone gath­er­ing is done from the stones that fall, and the cos­tume depart­ment re­places them. Mean­while, light­ing de­sign­ers Peggy Eisen­hauer and Jules Fisher cre­ated new light­ing se­quences to fol­low the ac­tion. “The sphere is the per­fect ex­am­ple,” Mckin­ley says. “With light­ing, they fol­lows that sphere and you see this ray of light and color that didn’t used to be there. Peggy and Jules fig­ured out a way to light the per­form­ers with­out light­ing the wa­ter. Yet you want to see the wa­ter when the girls flip their hair back, so you can see that glow­ing spray. It took hours and hours of metic­u­lous work.” Ul­ti­mately, the suc­cess of a show that has been called the ab­so­lute fi­nal ver­sion of cir­cus de­mands all of these tech­ni­cal el­e­ments to elicit a feel­ing. “Do you feel the ex­pe­ri­ence? Be­cause that’s what live theater is about,” Mckin­ley says. “It’s why we go silent be­fore that 80-foot drop—the only mo­ment in the en­tire show in which there is no mu­sic. It’s a sim­ple for­mula that if you can get the au­di­ence to laugh, cry, be afraid, gasp—we’ve just ex­pe­ri­enced some­thing to­gether. It’s okay if three of us are watch­ing some­thing and we all take some­thing dif­fer­ent from it. We don’t need to be ex­act [about telling the story]. It only has to be clear.”

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