28 April, 2012

Concert Review: Jazz at Lincoln Center - The Paul Simon Songbook

April 20, Rose Hall
Jazz at Lincoln Center Orchestra - Wynton Marsalis
Paul Simon and band
Special Guest: Aaron Neville

For jazz, I prefer acoustic jazz, and preferably small combos performing in small and intimate venues, like any number of downtown jazz clubs. Big bands, even one as good as Jazz at Lincoln Center Orchestra (JLCO) with Wynton Marsalis, are less of a priority, not to mention concerts that fuse jazz with pop. And so this concert, part of a fund-raising event, wasn't on my agenda, but an invitation that included a pre-theater dinner was just too good to pass up.

I enjoyed the superb playing of the JLCO; the caliber of the players, many of whom highlighted by solos, was just beyond reproach. As for Paul Simon, no matter what the reviews say, I like his folk side much more that his latter day "world music". I bought Graceland when it came out, but was disappointed by the whole thing: it has always seemed Paul Simon is just Paul Simon; no matter what rhythm is in the background there is no relationship. And yes, I listened more to the black musicians in the background than paid attention to the vocals. And my impression was not altered by this collaboration between Paul Simon's band and JLCO.

Neville live!

Best of all to me was guest star Aaron Neville, one of my heroes, whose trenchant and heart-breaking Bridge over Troubled Water must count as one of my most memorable live experience. In this I agree with the concert review in Jazztimes, rather than that in NYT. His rendition now joins his Ave Maria (from my favorite album - pictured) as my choice cuts.


Below is a youtube of Neville singing the song; I must get the album :

Concert Review: Jonathan Biss Recital

Concert Review: Jonathan Biss Recital

April 15, Town Hall
Beethoven - Janacek - Ludwig

I first discovered Jonathan Biss on a well-reviewed EMI Schumann recital borrowed from the library. and was immediately captivated by the directness of utterance. In fact, as I don't always take to Schumann's piano works and like performances only far and in between, against all odds it became one of my favorites.

Biss is now an Onyx artist and has just issued the first disc of a complete Beethoven set. He has taken the Beethoven works on tour. This NYC concert was reviewed in the NYT. Among others, a similar recital was reviewed in the Guardian.

Briefly, although the playing was at times a bit coarse and overly ferocious, I admired the direct and thoughtfully structured pianism. The Op 10/1, a difficult work to bring off, lacked poetry, but I was eminently satisfied by the "Moonlight" and "Les Adieux". Even better was Janacek's In the Mists, finely spun and felt. A curiosity on the program was a pleasant but light new work by American David Ludwig, called Lunaire Variations, inspired by Schoenberg of course.

Biss wrote an long essay on Beethoven, available as a Kindle single. I am almost tempted to buy the Kindle Fire just to download it. Would someone do it so I can read it?

And can someone tell me what the model of the JBL speakers are?

Postlude Aug 6, 2012:  I accidentally found out these may be the Cinema Series of the JBL 4670D, comprising the 2446H HF Driver and 2380A horn.

 

23 April, 2012

The Puppetry of Yeng Fai 楊輝《操偶師的故事》


Hand Stories - The Puppet Theater of Yeung Fai
楊輝《操偶師的故事》

楊煇從哪裏來?
聼音樂會時無意中發現 是屆林肯中心節 將演出 源至瑞士的木偶劇場,楊煇的《操偶師的故事》。作 爲傳統中國戲劇喜愛者那有不留意的道理,但最令我好奇的是他名字那香港/廣東式的外文拼音。瑞士劇場的宣傳稱楊煇來自香港,可我從來都沒聽説過此人。在網 上搜了半天,甭說來自香港的, 其他的資料都不多,看來他的來歷沒那麽簡單。 結合了幾個資料來源,來自臺灣的最可靠。臺灣 2012 國際藝術節 剛剛演了這個戯,對楊煇的介紹如下:

"...旅歐布袋戲世家第五代傳人楊輝,在歐洲以現代戲劇手法,結合多 媒體影像、概念音樂,展現布袋戲新表現手法。 2011年1月受瑞士洛桑維迪劇院邀請創作《操偶師的故事》,旋即受到注目,同年7月於亞維儂OFF藝術節演出時亦獲得熱烈好評。《操偶師的故事》是楊輝 自述之家族故事:劇中小男孩斷斷續續的笑聲,讓該劇輕盈了起來,但文本血淚泣訴的,卻是與這些華麗布偶們形成強烈對比的古老元素:背叛。楊父當年被四人幫 逮捕求刑前,將自己身懷的絕技傳授給他的兩個兒子──楊輝和他的弟弟。放棄操偶的弟弟遠走美國,楊輝雖然傳承了家族的衣缽,但其後二十五年內,都未曾透露 這段悲傷的個人記憶。離開中國的楊輝,一度因生活困頓,幾乎放棄家傳技藝,所幸之後他的布袋戲技藝在歐洲受到肯定,讓他得以布袋戲傳人的身份,在國際上傳 承東方藝術。《操偶師的故事》由楊輝負責舞台設計,自行雕刻和操作戲偶,全黑舞台上沒有綵樓,以台灣視覺藝術家葉怡蘭製作的多媒體影像,展現潑墨畫「空」 的意象。「傳統是人為的,時代在變、人為在變,傳統不能一成不變。布袋戲演出可以很寬廣。」留著布袋戲血液、歷經生活磨練後對人情的洞悉、結合劇場元素, 楊輝這位來自中國的布袋戲傳人,在西方舞台確立東方偶戲的新境界!....出身福建五代布袋戲家族,其父親楊勝在文革中遭批鬥喪生。楊輝在中國大陸 1989年風潮中出走,在異地生活困頓中一度想放棄布袋戲演出,後來他的藝術在歐洲受到肯定,確立布袋戲藝術新境。楊輝作品經常在各大藝術節演 出。..."

諷刺的是,文中所述 “...在異地生活困頓中一度想放棄布袋戲..." 的 “異地” 指的就是香港,但楊煇卻寧願說自己是香港來的(見最底的 youtube)也不說是中國來的。這也是對中國的一種控訴吧!

pic shows Yeung Fai's father Yeung Sheng (more properly Yang Sheng in official pinyin) teaching students. 木偶表演大师杨胜 (楊煇之父) - 漳州新闻网.

從楊煇到楊烽
從網上的角度看,楊煇在大陸可說是名不經傳,但 好戏网 卻有個很好的電話訪問,所以還是有内行人知道的。

還有,2003 年去世的哥哥楊烽與福建漳州曾保持密切的關係。他的人生路途同樣坎坷,同樣令人唏噓。楊烽在美國有點知名度,Seattle Times 也曾詳細地報道了他走出中國的過程(與六四有關)。 以下來自一個 漳州内行人的博客 略去了這一段,但值得一讀:

“...杨烽,是个值得人们论说的艺术大家。曾任中国木偶皮影协会副会长、福建省戏剧家协会常务理事、漳州市木偶剧团副团长。因为,他不仅是我国杰出的木偶表演艺术家,也是一个世界级木偶艺术家。

形体艺术表演 类的技艺,是可以世代相承,遗传数代的。例如,京剧谭氏(鑫培)传到如今,已经有七代了,代代都有艺术家问世。又如,乓乒球运动,刘国梁、孔令辉、邓亚 萍,都是乓乒世家,他们的父亲都是乒乓球教练。杨烽,也不例外,他是我国布袋木偶艺术大师杨胜的次子。从小继承父业,在艺术上可谓青出于蓝。作为布袋木偶 艺术的发扬光大者,杨烽为之做出了显著成就。

杨烽的木偶表演艺术,在行内人是公认的艺术顶尖者。不管是他的人,还是非他的人、不管是在我国,还是在世界上的木偶艺术界,都赞誉他的超人艺术和给予他至高的荣耀地位。

杨烽是个布袋 木偶艺术表演全才。生、旦、净、丑各类角色都拿得起来,表演的惟妙惟肖,神形兼备,可以说,他把木偶表演得出神入化了。同时,他在创作上、创新上也有卓越 的成就。漳州木偶艺术在他的推动下,上世纪八十年代初就引进了电视制作,拍摄了多部电影、电视剧。他是漳州木偶与电影、电视艺术相结合的“始作俑者”。

艺术家,总有 他的个性。杨烽的个性展示在他的经历中,更突显在他人生的最后一个阶段里。我们常说,有所得也会有所失,人生都处在得失之间。杨烽在他人生的后二十年间, 为自己导演了一出可歌,也可悲的结局。可歌的是,他真正意义上地走向了世界,成了流浪于世界诸国的木偶艺术家;可悲的是,他离开了祖国这块滋生润养着世界 一流的布袋木偶艺术的土地。他英年早逝,落叶归根。但是,人们会为之感到惋惜,据知,他自己也为之感到遗憾。因为,行内人总认为,他应该在木偶艺术上有更 大的作为。

杨烽的个性表 现在他的孤傲上,也有人说他在处理人际关系上是“霸道”的。也许,艺人在造就了自己高超的艺术之巅后,会产生一种清高。那时,是不是他已经不自觉地曲高和 寡,并傲视群雄了?于是乎,在处世上,会产生许多的不如意,许多的不入流,许多的碰撞。因为,社会生存,不仅仅是“手指艺术”的操纵,还得有心灵与人情的 融洽,才能安身立命。

我所了解的杨烽,并不多。记得1978年秋,在向阳剧场的系统大会上,文化局任命他为副团长时,他就在大会上喊出了:“我不当!”这就是个性的张扬。后经领导做了思想工作,他当了,而且还当得很有权威。

1986年中秋,泉州举行“中国泉州国际木偶艺术节”。做为当今中国布袋木偶艺术代表者之一的他,也拒绝了出席这次艺术节。也还是在省厅及市里领导的动员下,才勉强出席,给了组织者一个面子。

当年,省艺术 学校提出各地市的地方戏的各个分班要合并为一个班,漳州要把芗剧、木偶及潮剧合并为一个班,称之为:漳州市戏曲班。我在局领导的授意下,找了杨烽,与他磋 商两班合并的事。他当时兼任龙溪地区木偶班主任。他断然拒绝。他对我说:“两个班不能合到一起去。木偶班经费状况好,有电视看。芗剧班比较穷,没电视看。 合在一起,一个班有电视看,另一个班没电视看不好。”这样的理由竟然让这两个班一晃就是二十年,没能合在一起。八六年之后,全省各地的班都合在一起,只有 漳州的三个班还是“三足鼎立”。之后,芗剧班改为:漳州市戏曲班。木偶班的称谓原封不动。现在,据说,文艺体制改革,市里又提出要合并的方案。我们拭目以 待。
但是,后来, 杨烽为了木偶班的利益,还是想方设法在漳州市戏曲班的基础建设中楔入进来。八六年后,在市戏曲班的申请下,市委市政府批准了几十万元要购地建校舍。杨烽得 知之后,积极申诉,说,这笔拨款应当是两个单位的。两个班要合在一起建设校舍。最后,上级还是同意的杨烽的方案。两个班合在一起办理征地建校。
艺术家也是个活动家。行政领导对艺术家是比较爱护与宽容的。

八七年秋。全 国首届职称评聘。杨烽没有参加评职称。我曾问过他:“什么原因不评。”他对我说:“这次评聘职称,剧团只有两个演员的副高职数。而漳州木偶剧团的艺术家太 多,在职称评聘上,顾此失彼。朱亚来、庄陈华这两个艺术家不让他们评上副高职称说得过去吗?并且,还有许多可以评上副高的艺术家,而因名额限制评不上呢。 我只好让出来。我跟他们争是不应该的。我要评,我应当评‘一级演员’。我怎么能评个‘二级演员’呢?!”
他说得有道 理。他是布袋木偶表演艺术这个专业、这个学科的带头人呀!他应该是个“一级演员”。评上一个“特级演员”也不为过。但是,现实,限制,是不可遂人心愿的。 从这个事来看,杨烽有“不争之德”。但这个“不争”既有他在行政上的大局观,也有他所特有的孤傲在起作用。他从本省与全国木偶界的职称评定上来权衡自己的 状况,在这个问题上,他不委屈评“二级”也是有道理的。本来就该是个“一级演员”,怎么要降下格来评个“二级”的呢?

九零年的春节 过后,我就再也没有见到杨烽的身影了。后来才有个信息传来:他去了南美的玻利维亚。再过一阵子,又传来了他从玻利维亚到了美国。据说是跳下飞机要求“避 难”。这事,在漳州、福建、台湾和一些国家都引起了反响,并有些媒体作了报道。可惜!我国的一个布袋木偶艺术大家就这样“走失”了。我没有考究过他的动 机。但是,作为朋友、同行,我心中还是有所哀叹与牵念的。

后来,我接到 他从美国和巴西寄来的两封信。这两封信的内容说的是,他这一辈子只能以木偶表演为业,其他什么事也干不好。他这样写道:“木偶艺术,我一生中仅干这事不 累,其它的事久了就累。”有心愿再为家乡的木偶事业做些贡献。后来,他还是真的在外为漳州的木偶艺术与世界各国交流,牵线搭桥,做了许多工作。
其中有一封信 是在圣保罗演出时寄来的。他说,他是五月二十二日从西班牙到圣保罗演出的,三周后,七月要到南非,九、十月再返西班牙。十二月回美国再排几出戏,尔后再到 欧洲四个月,到爱尔兰、比利时、英国等地演出;同时,把九七、九八年要在荷兰演出和教学活动也计划好了。这些演出活动,有国际艺术委员会赞助。所以,他还 是感到很充实的。世界木偶协会和一些机构要资助他出一本介绍他的艺术专辑。所以,杨烽,作为一个个体,他是走向世界了,成了一个国际性的演员。当然,不管 怎么走,他还是个海外赤子,他不管怎么演,也还是演咱中国的民族艺术。在异彩纷呈的世界木偶表演艺术中,中国的布袋木偶戏是这一类最高水平的艺术!我观摩 过德国埃尔福特国际木偶艺术节,木偶艺术的形式真是太多了。但是,我们为之骄傲的漳州木偶,可以说,是无可匹敌的立于世界木偶艺术之林,一枝独秀。

四年后,我在 国外见到了杨烽。那是在’94德国埃尔福特国际木偶艺术节上。我们漳州一行五人,参加了这次艺术节。杨烽应艺术节组委会的邀请,参加了这次艺术节,并表演 了数场,得到了热烈的掌声、欢呼和赞扬。我们这次到德国演出,也与杨烽的推荐有关。在那儿,我观看了他的几场个人表演和一场为外国人讲课,传道授业。我觉 得,他是个名副其实的“世界演员”。他满世界跑场,来埃尔福特之前是在以色列表演。外国的木偶艺术比较多节和木偶艺术市场比较大。所以,他常马不停蹄地从 美洲跑到欧洲,又从欧洲跑到亚洲。说来,会让人羡慕,而他自己却会习以为常。和他一起来的是他的一个美国女经纪人。这位小姐高高的个头,蓝色的眼睛,长长 的脸蛋,典型的老美。杨烽的英语还可以对付。因为,他在没出国之前就学了几年了。此时,他在我们与外国人之间接触,可以当个翻译。一个很有意思的记忆是, 在临别时,他交代我们每一个人,告别时要跟他的经纪人拥抱一下。哎呀,这是入乡随俗呀!记得陈华告诉我,杨烽前些年是个“坐怀不乱”的真君子呢。
1980 年8月,他率龙溪地区木偶剧团到美国加拿大访问演出,外国观众很喜爱他的表演艺术。那时,他有了不少的“粉丝”。一天,他躺在宾馆床上休息,有一个外国女 青年,窜了进来,冲到他的床上把他紧紧地搂住了。这时,陈华端起照相机,拍下了这动人的一刻。杨烽脱身后,让陈华交出相机,打开后盖,拉出胶卷,全曝光 了。这事让陈华相当的可惜。因为,里面的许多珍贵镜头全因此而付诸一亮,再也不能找回来了。在国外几年,他的观念也改变了。

上世纪末,杨烽多次回国。在漳州他几度与我谈些木偶事业上的事。其中不乏很有见地的设想。比如,与外资合作拍木偶剧,他可以联系国外的文化机构参与,等等。总之三句离不开本行。

不幸的是,杨烽在进入天命之年后,因不治之症,在漳州溘然长逝。...”


While attending a Julliard Orchestra concert, I read an article in Playbill on the upcoming Lincoln Center Festival , and found Yeung Fai's Hand Stories , a puppet theater piece that orignated from Theatre Vidy-Lausanne of Switzerland. 

Where did Yeung Fai come from?
As a fan of traditional Chinese theater I instantly took notice, but I must admit I was as much intrigued by his name, obviously based on Cantonese/Hong Kong pronunciation. The Swiss pdf above cited him as an artist from HK, but I have never heard of him. I spent half a day researching him, and came up with only a handful of material, and absolutely nothing from HK. Things are not that simple.

Piecing things together from several sources, the most comprehensive and accurate biography is from Taiwan, which recently staged this work. wantchinatime : "...Yeung left China for Europe after the Tiananmen Square protests of 1989...Yeung left China with his brother Yang Feng, who taught him the family's puppetry art and stayed in South America until his brother was granted political asylum in the United States. He then went to Hong Kong and did whatever jobs he could find. Though poverty meant he almost gave up glove puppetry at one point, Yeung deals with this period of his life with a light touch and says he appreciated the help he received from many people during this difficult time..."

Yeung Fai has spent the last decade living, and working in Europe (France), where there is a thriving puppetry community. He certainly refrains from talking about much about his past. The most fascinating thing, and the biggest question is that although he did not thrive at all in HK (length of stay unknown and he left no trace as puppeteer) he did cite himself as having come from HK. This is corroborated by the youtube clip (bottom of article) where he spoke in English.

pic: brother Yang Feng

Yeung Fai's Heritage and brother Yang Feng
Yeung Fai was born into the fifth generation of the most famous family of puppeteers in his ancestral Zhang Zhou, Fujian. If one looks into internet Chinese accounts of the lineage and the puppet theater in Zhang Zhou, there are understandably two notable gaps due to self-censorship: the cultural revolution and the period after June 4th, 1989, date of the Tiananmen massacre. The latter is one reason why Yeung Fai is virtually unknown in China.

Interestingly, his brother Yang Feng 楊烽, who passed away in 2003 in China, despite his having sought refuge in the USA, seems to be much more talked about and held in high esteem in China. If you Google Yang Feng Puppet you shall find some interesting entries,including the Seattle Times coverage, which tells how and why Yang left China.