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三部舞剧《红楼梦》,从陈爱莲演绎的林黛玉,到赵明编排的贾宝玉与林黛玉的情感纠葛,到林怀民编导的十二钗,分别编导是对原著小说《红楼梦》的不同解读。日本的山本玄绛禅师在龙泽寺讲经,说:“一切诸经,皆不过是敲门砖,是要敲开门,唤出其中的人来,此人即是你自己。”敲开门看到的不是百官之富,不是各式各样多彩多姿的宝藏,而更重要的是打开门唤醒其中的人来,这个人是谁?这个人就是你自己。你是什么样的人,你就会读出什么样的红楼梦。你是什么样的人,你就会解释出什么样的林黛玉、薛宝钗。那些解释都不过是在自己的人格魅力之后形成后,的有色眼镜下看到的样子。所以经典的意义是拿出我们自己,和经典之间做一个激荡、一个召唤,召唤出来的其实是那个内在的自我。
The three ballads, “Dream of Red Mansions”, from Chen Ai-lian’s interpretation of Lin Dai-yu, to Zhao Ming’s arrangements of Jia Baoyu and Lin Daiyu’s emotional entanglements, to the editor of the Twelve Hairpin by Lin Huai-min, respectively, for the original novel “A Dream of Red Mansions” in different interpretations. Japan’s Yamamoto Xuan Jiang Zen Master in Long Ze Temple, said: “All the Scriptures, are nothing more than stepping stone is to knock on the door, call one of them to come, this person is your own.” Knock on the door to see To the rich is not rich, not all kinds of colorful treasure, but more important is to open the door to awaken one of them, this person is this person is yourself. What kind of person you are, you will read what kind of Dream of Red Mansions. What kind of person you are, you will explain what kind of Lin Daiyu, Xue Bao Chai. Those explanations are nothing more than what is seen under the colored spectacles after their personal charm has been formed. Therefore, the classic meaning is to come up with ourselves, and the classic to make a stir, a call, the call is actually the inner self.