后疫情時(shí)代的歌?。ㄋ模?/h1>
2020-03-18 03:28JoannaC.Lee
歌劇 2020年10期
Joanna C.Lee
小瓊：最近，一些有遠(yuǎn)見的團(tuán)體給年輕藝術(shù)家們?cè)O(shè)計(jì)了一些方案，幫助他們?cè)趥涫苄鹿谝咔榇驌舻漠?dāng)下來充分發(fā)揮自身才能。彈射歌劇團(tuán)（Catapult Opera）是紐約新興的歌劇團(tuán)體之一，8月下旬，其宣布創(chuàng)辦的“加速比賽”項(xiàng)目反響非常熱烈！
小薇：根據(jù)官網(wǎng)（www.catapultopera.org）的介紹，本次比賽的目的旨在“激發(fā)在保持社交距離的前提下表演形式的創(chuàng)新”。參賽團(tuán)隊(duì)必須從四段5分鐘長的歌劇選段（分別是娜迪亞·布朗格的《死城》、大衛(wèi)·赫茨伯格的《喚醒的世界》、細(xì)川俊夫的《烏鴉》、埃洛琳·瓦倫的《沉默的雙胞胎》）中選擇一個(gè)參賽。之所以選取這些選段，是因?yàn)樗鼈冎恍枰獌擅枋值难莩偌由箱撉侔樽?，兩名歌手之間也有很多對(duì)手戲可展現(xiàn)。
小瓊：確實(shí)，考慮到歐美當(dāng)前的疫情現(xiàn)狀，鮮少能見到舞臺(tái)上的現(xiàn)場(chǎng)演出，因此過渡到網(wǎng)絡(luò)線上演出也是順理成章的。大都會(huì)歌劇院每晚的在線播送很好看，但最近劇目重復(fù)的頻率也太高了。
小薇：“加速比賽”最吸引人的是參賽作品的制作也需要遵守保持社交距離的規(guī)則，而且參賽者只有三周時(shí)間來準(zhǔn)備演出視頻。
小瓊：制作現(xiàn)場(chǎng)的舞臺(tái)演出總是需要有導(dǎo)演、舞美設(shè)計(jì)、燈光設(shè)計(jì)，有時(shí)候還需要一些后臺(tái)工作人員。那么制作視頻短片需要什么呢？很多藝術(shù)家非常熟悉科技產(chǎn)品，能夠用手機(jī)自行拍攝，還有一些會(huì)用更先進(jìn)的技術(shù)自己剪輯各種來源的原始片段。
小薇：最終提交的六部作品，每部都有很好的觀賞體驗(yàn)。比方說，其中有一部作品，兩位同屏的歌手實(shí)際上是分開拍攝的。類似的技巧還有把視頻社交軟件Zoom的視頻框拼在一起，這樣就把屏幕分成了兩半。
小瓊：最終獲勝的團(tuán)隊(duì)表演的是《沉默的雙胞胎》（根據(jù)朱恩·吉布森和詹妮弗·吉布森的真實(shí)經(jīng)歷改編而來）。參賽者將真實(shí)的雙胞胎姐妹的容貌借助人工智能影像合成技術(shù)（Deep Fake）動(dòng)態(tài)呈現(xiàn)在兩位歌手的臉上，就好像“現(xiàn)代的木偶戲”一樣。該團(tuán)隊(duì)贏得了5000美元的獎(jiǎng)金。而在六組決賽選手當(dāng)中，另外一個(gè)團(tuán)隊(duì)恰巧就用了真正的木偶動(dòng)畫來詮釋他們的選段（細(xì)川的《烏鴉》）。總而言之，這幾部音樂演出視頻都制作得渾然一體，恰到好處。
小薇：目前許多音樂家都面臨經(jīng)濟(jì)上的困難，參賽選手們是如何在這樣的狀況下仍制作出作品的呢？
小瓊：其實(shí)，六個(gè)團(tuán)隊(duì)進(jìn)入總決賽時(shí)，已經(jīng)各自拿到了1000美元的豐厚啟動(dòng)資金了。
Joan： Several forward-thinking groups have devised ways to help young artists utilize and display their talents in these COVID-laden times. One of New Yorks newest opera companies， Catapult Opera， announced its “Accelerate Competition” in late August and the response has been tremendous！
Valery： According to the website （www.catapultopera. org）， this competition was designed “to inspire innovation in the realm of socially distanced performance.” Competing teams must choose one of four 5-minute operatic excerpts （Nadia Boulangers La Ville Morte， David Hertzbergs The Wake World， Toshio Hosokawas Hanjo， Errollyn Wallens The Silent Twins）. These were selected because they only required 2 singers with piano accompaniment， and feature much internal drama between the singers.
Joan： Indeed， because of what we are experiencing in Europe and America， live performances on stage are so few and far between that moving to the online realm is a natural transition. Its wonderful to watch the nightly Metropolitan Opera Streams， but theyre getting so repetitive now.
Valery： What makes the “Accelerate Competition” all the more exciting is that the productions must follow social distance rules， and competitors had only three weeks to create the digital performance.
Joan： Live stage productions always need a director，set designer， lighting designer and sometimes backstage staff. So what does a video shoot require？ That all depends—some artists are so technologically adept they can film themselves on their cell phones. Others use new， advanced technology to help them edit and manipulate raw footage from a variety of sources.
Valery： Its a wonderful experience to watch all six of the final submissions. For example， two singers appeared on screen at the same time， but were actually filmed separately. A similar trick would be to combine Zoom boxes， so the screen is divided into two.
Joan： The winning team performed The Silent Twins（based on the lives of June and Jennifer Gibbons） using images of the original identical twin sisters but animating them atop the two singers using “deep fake technology， a sort of modern-day puppetry.”They won US$5000. Of the six finalists， another team literally interpreted their excerpt （Hosokawas Hanjo） by filming puppets in animation. All in all， these musical performances were consistently well done.
Valery： With so many musicians in financial trouble， how did the teams even work under these circumstances？
Joan： Actually， when the six finalist teams were picked， each team was given a generous $1000 grant to get started.
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Joanna C.Lee
小瓊：最近，一些有遠(yuǎn)見的團(tuán)體給年輕藝術(shù)家們?cè)O(shè)計(jì)了一些方案，幫助他們?cè)趥涫苄鹿谝咔榇驌舻漠?dāng)下來充分發(fā)揮自身才能。彈射歌劇團(tuán)（Catapult Opera）是紐約新興的歌劇團(tuán)體之一，8月下旬，其宣布創(chuàng)辦的“加速比賽”項(xiàng)目反響非常熱烈！
小薇：根據(jù)官網(wǎng)（www.catapultopera.org）的介紹，本次比賽的目的旨在“激發(fā)在保持社交距離的前提下表演形式的創(chuàng)新”。參賽團(tuán)隊(duì)必須從四段5分鐘長的歌劇選段（分別是娜迪亞·布朗格的《死城》、大衛(wèi)·赫茨伯格的《喚醒的世界》、細(xì)川俊夫的《烏鴉》、埃洛琳·瓦倫的《沉默的雙胞胎》）中選擇一個(gè)參賽。之所以選取這些選段，是因?yàn)樗鼈冎恍枰獌擅枋值难莩偌由箱撉侔樽?，兩名歌手之間也有很多對(duì)手戲可展現(xiàn)。
小瓊：確實(shí)，考慮到歐美當(dāng)前的疫情現(xiàn)狀，鮮少能見到舞臺(tái)上的現(xiàn)場(chǎng)演出，因此過渡到網(wǎng)絡(luò)線上演出也是順理成章的。大都會(huì)歌劇院每晚的在線播送很好看，但最近劇目重復(fù)的頻率也太高了。
小薇：“加速比賽”最吸引人的是參賽作品的制作也需要遵守保持社交距離的規(guī)則，而且參賽者只有三周時(shí)間來準(zhǔn)備演出視頻。
小瓊：制作現(xiàn)場(chǎng)的舞臺(tái)演出總是需要有導(dǎo)演、舞美設(shè)計(jì)、燈光設(shè)計(jì)，有時(shí)候還需要一些后臺(tái)工作人員。那么制作視頻短片需要什么呢？很多藝術(shù)家非常熟悉科技產(chǎn)品，能夠用手機(jī)自行拍攝，還有一些會(huì)用更先進(jìn)的技術(shù)自己剪輯各種來源的原始片段。
小薇：最終提交的六部作品，每部都有很好的觀賞體驗(yàn)。比方說，其中有一部作品，兩位同屏的歌手實(shí)際上是分開拍攝的。類似的技巧還有把視頻社交軟件Zoom的視頻框拼在一起，這樣就把屏幕分成了兩半。
小瓊：最終獲勝的團(tuán)隊(duì)表演的是《沉默的雙胞胎》（根據(jù)朱恩·吉布森和詹妮弗·吉布森的真實(shí)經(jīng)歷改編而來）。參賽者將真實(shí)的雙胞胎姐妹的容貌借助人工智能影像合成技術(shù)（Deep Fake）動(dòng)態(tài)呈現(xiàn)在兩位歌手的臉上，就好像“現(xiàn)代的木偶戲”一樣。該團(tuán)隊(duì)贏得了5000美元的獎(jiǎng)金。而在六組決賽選手當(dāng)中，另外一個(gè)團(tuán)隊(duì)恰巧就用了真正的木偶動(dòng)畫來詮釋他們的選段（細(xì)川的《烏鴉》）。總而言之，這幾部音樂演出視頻都制作得渾然一體，恰到好處。
小薇：目前許多音樂家都面臨經(jīng)濟(jì)上的困難，參賽選手們是如何在這樣的狀況下仍制作出作品的呢？
小瓊：其實(shí)，六個(gè)團(tuán)隊(duì)進(jìn)入總決賽時(shí)，已經(jīng)各自拿到了1000美元的豐厚啟動(dòng)資金了。
Joan： Several forward-thinking groups have devised ways to help young artists utilize and display their talents in these COVID-laden times. One of New Yorks newest opera companies， Catapult Opera， announced its “Accelerate Competition” in late August and the response has been tremendous！
Valery： According to the website （www.catapultopera. org）， this competition was designed “to inspire innovation in the realm of socially distanced performance.” Competing teams must choose one of four 5-minute operatic excerpts （Nadia Boulangers La Ville Morte， David Hertzbergs The Wake World， Toshio Hosokawas Hanjo， Errollyn Wallens The Silent Twins）. These were selected because they only required 2 singers with piano accompaniment， and feature much internal drama between the singers.
Joan： Indeed， because of what we are experiencing in Europe and America， live performances on stage are so few and far between that moving to the online realm is a natural transition. Its wonderful to watch the nightly Metropolitan Opera Streams， but theyre getting so repetitive now.
Valery： What makes the “Accelerate Competition” all the more exciting is that the productions must follow social distance rules， and competitors had only three weeks to create the digital performance.
Joan： Live stage productions always need a director，set designer， lighting designer and sometimes backstage staff. So what does a video shoot require？ That all depends—some artists are so technologically adept they can film themselves on their cell phones. Others use new， advanced technology to help them edit and manipulate raw footage from a variety of sources.
Valery： Its a wonderful experience to watch all six of the final submissions. For example， two singers appeared on screen at the same time， but were actually filmed separately. A similar trick would be to combine Zoom boxes， so the screen is divided into two.
Joan： The winning team performed The Silent Twins（based on the lives of June and Jennifer Gibbons） using images of the original identical twin sisters but animating them atop the two singers using “deep fake technology， a sort of modern-day puppetry.”They won US$5000. Of the six finalists， another team literally interpreted their excerpt （Hosokawas Hanjo） by filming puppets in animation. All in all， these musical performances were consistently well done.
Valery： With so many musicians in financial trouble， how did the teams even work under these circumstances？
Joan： Actually， when the six finalist teams were picked， each team was given a generous $1000 grant to get started.
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