王湛

伊麗莎白，也就是我們熟悉的茜茜公主，她的生平多次被搬上銀幕，1992年被改編成音樂(lè)劇《伊麗莎白》，一度成為觀眾心中甜美夢(mèng)幻的代表。當(dāng)我們還在為其動(dòng)容時(shí)，浙大女孩陳嘉凝則用自己獨(dú)特的方式向《伊麗莎白》致敬。

今年春天，由她創(chuàng)作的《音樂(lè)劇〈伊麗莎白〉紀(jì)念畫(huà)集》德文版在德國(guó)發(fā)售。這本畫(huà)集改編自著名德國(guó)音樂(lè)劇《伊麗莎白》，由浙江人民美術(shù)社出版。46幅作品，畫(huà)完茜茜公主一生，全部出自陳嘉凝之手，整個(gè)過(guò)程歷時(shí)兩年半。

今年3月，德國(guó)萊比錫書(shū)展開(kāi)幕當(dāng)天，陳嘉凝還參加了與歐洲讀者的見(jiàn)面會(huì)?，F(xiàn)場(chǎng)，承辦方中國(guó)外文局所屬中國(guó)圖書(shū)貿(mào)易有限公司法人代表黃玉龍表示：“這部文藝作品拉近了中、德、奧三國(guó)人民的距離，青年人毫無(wú)疑問(wèn)應(yīng)當(dāng)肩負(fù)起文化交流的使命，陳嘉凝在這方面就起到了一個(gè)很好的示范作用。我們很歡迎更多他國(guó)的優(yōu)秀文化走進(jìn)中國(guó)，更期待看到優(yōu)秀的中華文化走出去。”

每天8小時(shí)反復(fù)聽(tīng)歌劇

暗夜下，黑袍里，每個(gè)人默不作聲，卻暗暗指引，將刺殺者盧切尼引向茜茜公主。他一步步靠近公主，尖銳物穿透茜茜公主胸膛，開(kāi)出紅色玫瑰——25歲的杭州姑娘陳嘉凝最喜歡這幅作品。

如今的陳嘉凝是浙江大學(xué)設(shè)計(jì)學(xué)專(zhuān)業(yè)研究生三年級(jí)學(xué)生，距離她創(chuàng)作本科畢業(yè)設(shè)計(jì)作品《音樂(lè)劇〈伊麗莎白〉紀(jì)念畫(huà)集》已經(jīng)過(guò)去3年。

2015年1月3日，陳嘉凝帶著父母來(lái)到上海文化廣場(chǎng)，觀看她期待已久的德國(guó)音樂(lè)劇《伊麗莎白》。這部以19世紀(jì)的歐洲為背景的音樂(lè)劇，講述了奧匈帝國(guó)皇后伊麗莎白反抗命運(yùn)、追尋自由的一生。音樂(lè)劇由德國(guó)著名音樂(lè)劇作家米歇爾·昆策和匈牙利著名音樂(lè)家西爾維斯特·里維創(chuàng)作，首演于1992年，如今已成為德語(yǔ)音樂(lè)劇的標(biāo)桿。一出劇院，她告訴父母和導(dǎo)師，“我的畢業(yè)設(shè)計(jì)要做《伊麗莎白》，我一定要做《伊麗莎白》，我必須做《伊麗莎白》?！?/p>

那時(shí)的陳嘉凝是浙江大學(xué)視覺(jué)傳達(dá)專(zhuān)業(yè)的大四學(xué)生，面對(duì)畢業(yè)設(shè)計(jì)的選題，她也糾結(jié)。大一在課堂上看過(guò)這部音樂(lè)劇，她“一直很喜歡，來(lái)回重復(fù)看”。但現(xiàn)場(chǎng)的觀感讓陳嘉凝震撼，“沉浸在劇場(chǎng)里，你能看見(jiàn)聲音，空氣像水一樣在蕩漾?！彼哪陙?lái)，這部劇一直是她的心頭愛(ài)，“我要用自己的方式向《伊麗莎白》致敬，表達(dá)我對(duì)它的喜歡。”

花了一個(gè)月時(shí)間設(shè)計(jì)草圖、構(gòu)思裝幀。離6月份的畢業(yè)展覽還剩4個(gè)月的時(shí)間，“打完草稿就按照草稿流水線操作，能畫(huà)的先畫(huà)，不能畫(huà)的推到后面畫(huà)?！泵刻斐两?2年首演版、05年重演版和07年日本版三個(gè)不同版本的《伊麗莎白》音樂(lè)劇中，歌詞帶給陳嘉凝創(chuàng)作靈感，“一邊畫(huà)，一邊聽(tīng)，從早到晚每天放八個(gè)小時(shí)，搞得我媽都會(huì)唱了?！?h3>畫(huà)一本書(shū)來(lái)重現(xiàn)音樂(lè)劇

陳嘉凝說(shuō)，這冊(cè)畫(huà)集是本固體音樂(lè)劇。

《音樂(lè)劇〈伊麗莎白〉紀(jì)念畫(huà)集》里，畫(huà)像的靈感來(lái)自音樂(lè)劇《伊麗莎白》，文字來(lái)自音樂(lè)劇里的德語(yǔ)歌詞。而封面上、目錄里、畫(huà)集里布著的小點(diǎn)，是陳嘉凝有意為之。學(xué)過(guò)鋼琴的她，把音樂(lè)劇的調(diào)子用五線譜表現(xiàn)出來(lái)。抽離五線譜，剩下的就是一串串點(diǎn)?！拔蚁Ｍ性囟际怯幸饬x的，每一串點(diǎn)都對(duì)應(yīng)一個(gè)旋律。這段旋律就是這首歌的logo（標(biāo)志），可以唱出來(lái)。這本書(shū)本身就在歌唱?！标惣文f(shuō)。

“我要在書(shū)里重現(xiàn)這部音樂(lè)劇，想盡可能按照原劇來(lái)畫(huà)，我不是刻意參照某個(gè)版本的音樂(lè)劇。歷史上的茜茜很喜歡海涅，為此我去找了海涅的詩(shī)選來(lái)看?！币魳?lè)劇里，茜茜公主和“死神”跳最后一支舞的畫(huà)面，陳嘉凝在海涅的《唐·拉米羅》找到了原型，“當(dāng)時(shí)覺(jué)得是個(gè)小驚喜?！?/p>

對(duì)應(yīng)于劇中茜茜公主的兒子飲彈自盡一幕，陳嘉凝在畫(huà)上打了個(gè)孔，孔的邊緣呈黑色灰漬，孔的下一頁(yè)恰巧對(duì)應(yīng)紅色畫(huà)面。她想表現(xiàn)彈孔，讓讀者在書(shū)里看到動(dòng)態(tài)的畫(huà)面。

陳嘉凝告訴筆者：“書(shū)的形式，比如布滿(mǎn)的小點(diǎn)，翻頁(yè)的過(guò)程，比如‘彈孔的表達(dá)，給人不同體驗(yàn)。我想打破傳統(tǒng)書(shū)籍的形式，打破傳統(tǒng)的閱讀體驗(yàn)。我希望把書(shū)籍、音樂(lè)劇和舞臺(tái)聯(lián)系起來(lái)，讓書(shū)籍獲得新的意義?！?h3>終于拿下原作者版權(quán)授權(quán)

創(chuàng)作畫(huà)集時(shí)，她就想著出版，向《伊麗莎白》致敬。但畫(huà)集里運(yùn)用了《伊麗莎白》的歌詞，陳嘉凝必須取得劇本作者米歇爾·昆策的授權(quán)。

“父親年輕時(shí)從事德國(guó)的外事工作，在德國(guó)有一個(gè)合作了20多年的好朋友。那位朋友幫我跟昆策聯(lián)系，昆策給了我他的郵箱和地址?！标惣文旬?huà)集寄給昆策，詢(xún)問(wèn)是否可以出版。

“等了快兩個(gè)月，覺(jué)得沒(méi)任何希望了。我媽一直問(wèn)我書(shū)什么時(shí)候出，我壓力很大，跟她說(shuō)你不要問(wèn)這個(gè)事情了，沒(méi)有授權(quán)是不可能出的?！蹦嵌螘r(shí)間，陳嘉凝也焦慮。朋友建議她換個(gè)名字，以其他劇的名義出?！拔矣X(jué)得這是向《伊麗莎白》致敬，這是我最喜歡的音樂(lè)劇，我希望我的畫(huà)集能保持和《伊麗莎白》的聯(lián)系，我就憋著不出。”倔強(qiáng)地等了兩個(gè)月，終于等到了昆策同意出版的郵件。出版時(shí)，她總共創(chuàng)作了46幅作品。

“我們想真正理解伊麗莎白是不可能的?！标惣文X(jué)得，她和昆策的某些想法是相通的?！袄ゲ卟幌矚g人家說(shuō)他的劇本展現(xiàn)最真實(shí)的伊麗莎白的一生。每個(gè)人認(rèn)識(shí)到的茜茜公主都不一樣，她不可能被真實(shí)認(rèn)識(shí)到。”茜茜公主在陳嘉凝心中是甜美的童話，她也看到“茜茜公主不是一個(gè)稱(chēng)職的皇后，不是一個(gè)稱(chēng)職的母親，但她追求自己的生活沒(méi)有錯(cuò)?！薄八皇莻€(gè)普通人，有欲望，遇到問(wèn)題也會(huì)逃避，會(huì)想辦法解決，沒(méi)有對(duì)錯(cuò)，她只是個(gè)被放錯(cuò)了位置的公主，她不適合做皇后?！标惣文f(shuō)。

“畫(huà)集形式上新穎有趣，用繪本的方式來(lái)詮釋一部音樂(lè)劇，這在出版物中還比較少見(jiàn)。它對(duì)中德之間的文化交流會(huì)起到有價(jià)值的促進(jìn)作用?！闭憬嗣衩佬g(shù)出版社《音樂(lè)劇〈伊麗莎白〉紀(jì)念畫(huà)集》責(zé)任編輯褚潮歌說(shuō)。

2017月10月，陳嘉凝帶著自己的畫(huà)集回到《伊麗莎白》的原作地，去德國(guó)參加法蘭克福書(shū)展。那一次，她沒(méi)有約到昆策見(jiàn)面。她回想起之前在上海見(jiàn)到的昆策，“他七十多歲，長(zhǎng)得好高，一身黑，夾帶著冷冽之氣。我覺(jué)得他帶著黑貓就可以去演《教父》了?！?/p>

Hangzhou Girl Turns Musical into Paintings

By Wang Zhan

Chen Jianing， a third-year graduate student with Zhejiang University in Hangzhou， spent two and half a year publishing 46 paintings portraying Empress Elisabeth of Austria， better known as Sisi to Chinese filmgoers and theatergoers.

She got to know about the legendary empress when she watched a video film of the musical in her first year at Zhejiang University. She became so fascinated with the beauty that， a few years later， she brought her parents all the way from Hangzhou to Shanghai to watch a performance of ， a Viennese， German-language musical， with book/lyrics by Michael Kunze and music by Sylvester Levay. It has been translated into seven languages and seen by over ten million spectators worldwide， making it the most successful German-language musical of all time.

It was January 3， 2015. When she stepped out of the theater in Shanghai， she had already made up her mind that her graduation work would be a series of paintings of Empress Elisabeth of Austria as portrayed in the musical.

She spent about a month making sketches and planning the whole album. She was supposed to hand in her graduation work in June， 2015. After all the sketches were done， she began to paint. While painting， she listened to three versions of the musical， the debut production in 1992， a production in 2005， and a Japanese production in 2007. She listened to the musical eight hours a day. Even her mother learned to sing the arias of the musical.

While planning the paintings， she thought of publishing them as a book. As she used lyrics from the musical， she needed to get the authorization of Michael Kunze. Her father offered to help. He had worked in Germany before and knew a friend in Germany whom he had worked with for over 20 years. The friend in Germany got Michael Kunzes email and snail mail address for the young artist. She got all the paintings ready and sent Kunze a copy of her paintings. A publisher in Zhejiang was ready to go with the project， but there was no word from Michael Kunze. Some friends advised her to change the title of the book and make sure it had nothing to do with the musical. She didnt want to change the name as she thought the book would be her way to pay respects to ， her favorite musical. She wanted to keep the connection or she wouldnt care to publish it. She waited for two months before the authorization came from Michael Kunze in an email.

“It wouldnt be possible to understand Empress Elisabeth of Austria completely，” commented Chen Jianing， “Michael Kunze dislikes the idea that his libretto best portrays the life and death of Empress Elisabeth of Austria. Everyone has an Elisabeth in his or her mind. There is no knowing the empress completely.” In Chens understanding， the legendary woman is just a fairytale. She doesnt think Elisabeth was a competent empress or creditable mother， but there is no denying that she had every right to pursue her life in her own way.

“This book explains a musical with illustrations， which is a rare publication. It promotes cultural exchanges between China and Germany，” commented Zu Chaoge， editor of Chens book of illustrations.

In October 2017， Chen Jianing brought the book to Frankfurt Book Fair in Germany， where the musical originated. She wasnt able to meet Michael Kunze. She had seen the lyrics writer in Shanghai. “He was in his 70s. He was tall and dressed in black. He gave me an impression of coolness. I thought he didnt need much change to act as Godfather with a black cat，”

In March， 2018， Chen Jianing attended a meeting-the-reader event at Leipzig Book Fair in Germany. “The book brings peoples of China， Germany and Austria closer. Young people should carry on the mission of cultural exchanges. Chen Jianing demonstrates how she is doing it. We look forward to more cultural products coming to China from overseas and we look forward to more Chinese cultural products going global，” remarked Huang Yulong， legal representative of China Book Trading GmbH CBT affiliated with China International Publishing Group.