《十面埋伏》再现江湖

《十面埋伏》是杨丽萍老师于2015年携手叶锦添（服装）、刘北立（剪刀装置）联手打造的舞蹈剧场作品。

自2015年上演以来，该剧已经完成国内200余场演出，走遍了世界，在亚洲、美洲、欧洲、大洋洲完成了50余场演出，在各大艺术节上广受好评。

今年《十面埋伏》重装上阵，将展开为期一年的国内巡演，七十场的巡演已经展开。

在北京演出之际，由云南杨丽萍文化传播股份有限公司提供，舞林秘籍特整理了多年来众多摄影师捕捉的精彩瞬间，并配以梁戈逻对于剧中人物的解读，带你一起走进这场时空错乱的爱恨情仇。

《十面埋伏》巡演日程表

2021年

廊坊：7月3、4日

北京：7月9、10日

上海：7月15-17日

杭州：7月21、22日

苏州：7月24、25日

深圳：7月31-8月1日

广州：8月4、5、6、7、8日

东莞：8月12、13日

佛山：8月16日

福州：8月20、21日

石家庄：8月27、28日

郑州：9月3、4日

安康：9月10、11日

贵阳：9月18、19日

海口：10月9、10日

重庆：10月15、16日

常熟：10月21、22日

苏州：10月26、27日

上海嘉定：10月31、11月1日

宁波：11月5、6日

慈溪：11月10、11日

诸暨：11月15、16日

合肥：11月20、21日

无锡：11月25、26日

温州：11月30-12月1日

丽水：12月5、6日

泰州：12月8、9日

连云港：12月13、14日

邹城：12月18、19日

淄博：12月25、26日

唐山：12月30、31日

2022年

保定：1月4、5日

沈阳：1月9、20日

看看有没有你在的城市？

十面埋伏

楚歌四起

不一样的时空下

从未停止的博弈

这是一个古老的故事

发生在遥远的过去

这是一个全新的故事

就发生在今天

这是一个漫长的故事

从来就未曾停止

恐惧是古老的

恐惧又是崭新的

欲望是古老的

欲望也是崭新的

从古代到今天

从中土到世界

是欲望催生了恐惧

还是恐惧滋养了欲望

你埋伏着我

我埋伏着你

以正义的名义

以生存的名义

我围困了我

你围困了你

以爱情的名义

以理想的名义

从古代到今天

从中土到世界

十面埋伏的故事

在平行的时空里

反反复复上演

简介：

《十面埋伏》是杨丽萍从国际视野出发的又一全新概念的舞台实验作品。她以中国文化为主调，融合行为、装置及传统戏剧等综合艺术语言创作了这出全新的“舞蹈剧场”作品。

杨丽萍从她冷静的角度，通过两千多年前楚汉相争的故事，以舞蹈剧场的综合形式，展现了古往今来人性深处的欲望和恐惧，伤害与被伤害，以唤起对当下的反思与观照。

整台演出不见刀枪，却危机四伏杀机暗藏，古今中外，千百年来，其实，十面埋伏的故事从未停止。在埋伏与被埋伏、伤害与被伤害的轮回里，最可怕是来自心里的埋伏。是否真的身不由己？是否，真的命中注定？这一切，等你来，扪心自问；等你来，破阵而出。布阵！

Brief Introduction:

“Under Siege” is a completely new conceptual experimental stage artwork which Yang Liping creates from an international perspective. Incorporating Chinese culture, performance art and installation art within a modern dance framework, Yang creates this stunning “dance theatre” piece with comprehensive artistic language.

Using the integrated form of dance theatre, Yang Liping casts a cold vision of the desires and fears in the depths of the human heart, to hurt and to be hurt, through the story of the Chu-Han Contention over 2,000 years ago to reflect on our present world.

Without drawing a single sword, the performance alludes to great danger and crisis. The siege has never ceased. In the cycles of schemes and intrigues, to hurt and to be hurt, the most terrifying is the ambush from the heart. Are things out of our control? Are things destined to be so? Ponder for yourself, and, let us break through the siege…

1，琵琶古曲《十面埋伏》

这是一首琵琶古曲，描绘楚汉两军在垓下进行决战时，汉军设下十面埋伏的阵法最终彻底击败楚军，迫使项羽自刎乌江的情景。

这首古曲气势恢宏，充斥着金戈铁马的肃杀之声。而且《十面埋伏》是独奏曲目，一人一琴，竟然能够清楚地表现出当时项羽被大军包围时走投无路的场景，也是他流传千古的原因。

1. Ancient Pipa Melody “Under Siege”

This famous ancient Pipa melody describes the decisive battle between the two armies of Chu and Han at Gaixia (Kai-Hsia), where the Han army trapped Xiang Yu, King of West Chu’s forces into the “ambush from ten sides”, utterly destroying the Chu forces, leading to Xiang Yu’s suicide, slitting his own throat with his sword by the shores of the Wu river. This piece of magnificent ancient music brings us to the fierce and stirring scenes of the battlefield, echoing the tapping of swords and spears, neighing of the horses, and cries from soldiers. Being a solo piece, with only one player and one instrument, “Under Siege “ has perfectly portrayed a majestic and vivid scene of Xiang Yu’s desperate situation when he was besieged by the Han army, becoming a masterpiece of music throughout the ages.

2，垓下之战

这是中国历史上一场著名的战争，其著名程度相当于希腊的特洛伊之战。有趣的是在这场战争中也有一个女人从此名垂千古，就好像特洛伊中的海伦一样，垓下之战中的虞姬也成为了后世经典的形象。

垓下之战发生于公元前202年的十二月，争夺天下的楚汉两股势力在垓下进行最后的决战。汉军设下重重包围，以十面埋伏的阵法将楚军霸王项羽团团围住，夜间听到围困他的敌军中到处都在唱楚地（项羽的故乡）的歌谣，楚军听到歌声以为汉军已经攻占了楚地，心慌意乱，斗志全无，最终大败，而一代战神项羽也自刎于乌江边。这场战役后，刘邦统一了中国，建立了汉王朝。

至今中国象棋的棋盘上还写作楚河汉界，以此来表达势不两立的敌对双方。

2. The Battle of Gaixia

It was a famous war in Chinese history, just as well-known and influential as the Trojan War of Greece. Like Helen of Troy, Consort Yu’s fame has spread throughout the ages and she has become a classic figure in the battle of Gaixia

The Battle of Gaixia took place on BC December 202. It was the final battle to end the Chu-Han Contention, fighting for the rulership of the nation. The Han army set up a siege, deployed Xiang Yu’s troops to be “Under Siege”, forcing this legendary warrior to a dead end. At night, soldiers heard the singing of their native song of Chu (Xiang Yu's hometown) from their enemy’s camp. These songs reminded the remaining Chu forces of their homes and families, and further demoralized the army. Soldiers lost faith and began deserting in the darkness. Chu Army eventually lost the battle and Xiang Yu ended his life falling upon his sword by the shores of Wu River. After the victory of this battle, Liu Bang united China and established the Han Dynasty.

Today on the Chinese chess board you could still see “Chinese characters in the middle”, referring to the river separating the Chu and Han armies, featuring the opposition of the two forces in the chess game.   

3 京剧

京剧被称为“中国的歌剧”。是中国经典的传统艺术形式。其中《霸王别姬》（又名《十面埋伏》）是最为经典的剧目。讲述的就是垓下之战，霸王项羽与虞姬生离死别流传千古的爱情故事。

3. Peking Opera

Peking Opera, also called the “Opera of China” is a classical Chinese traditional art form. Among the operas, “Farewell My Concubine “(also known as “Under Siege”) is the most classic. It tells the story of the Battle of Gaixia, the enchanting and everlasting love story of the “King of West Chu”, Xiang Yu and his love, Consort Yu.

4，太极

这是中国道家文化的一个重要概念，是一种经典的中国哲学思想，也是中国乃至东方的一种世界观。

他是指宇宙最原始的秩序状态，也是形成万物（宇宙）的本源。他代表着一种对立与统一，正如阴与阳，太阳与月亮，男人和女人，爱与恨，生与死......万事万物都由看似矛盾的两极构成，在对抗中形成平衡，最终构成了这个世界。

4. Tai Chi

Tai Chi is an important concept of Chinese Taoist Culture, a classic Chinese philosophical thought, also a Chinese and Oriental view of the world. Tai Chi refers to the most primitive state of the universe, as well as the origin upon which all things (cosmos) come from. Tai Chi represents unity and opposition, like Yin and Yang, sun and moon, man and woman, love and hate, life and death... All things are made up by seemingly contradictory poles, seeking balance out of contradictions, eventually forming the world.

5，剪刀阵

剪刀，在中国遥远的古代甚至是一种巫器，人们认为它具有辟邪以及铲除妖魔鬼怪的作用，所以剪刀的装置暗含着宿命、注定等言外之意。万把剪刀悬于舞台，刀刃指向地板，寒光闪烁，形成一片颇有声势的乌云，让人不寒而栗。

剪刀，如同沉重的咒语，隐喻着恐惧、不安和暴力，有大祸临头的压迫感。剪刀也是拔剑对峙的项羽刘邦，形成了楚汉相争的形象符号。

有些伤害就像剪刀一样，看似普通，其实难测，有些集体无意识就像剪刀一样，看似无害，其实遗祸千年。剪刀，就像是人人头上悬着的达摩克里斯之剑。

剧中悬于舞台上方的万把剪刀，来源于华裔艺术家刘北立的装置艺术，表现着面对危险人类的单薄无力和内心深层次的恐惧。

5. Scissors Array

Scissors, in ancient China, were used as a sorcery object. It was believed scissors could ward off evil spirits and cast away devils and demons. Wherefore scissors have an implication of fate and destiny, e.g. “shears of destiny”. With thousands of scissors hanging from the ceiling on the stage, with sharp blades pointing towards the floor, silvery flashes gleaming as if lightning flashes out from a canopy of dark clouds, forming a spine-chill atmosphere.

Scissors loom over the stage like a heavy curse. Hidden behind this canopy of silver blades are fear, tension, violence and an overwhelming catastrophic pressure. The scissors are the crossed blades of Xiang Yu and Liu Bang. The perfect image of the contention between Chu and Han.

Some wounds are like scissors, seemingly common, but difficult to measure. Some things in human subconscious are like scissors, seemingly harmless, but leaving disastrous impact for ages.

Like a sword Damocles hanging over one's head, thousands of scissors are hanging above the stage. This scene was created by the American Chinese visual artist Beili Liu with the inspiration of her Installation Art, featuring the fragility, weakness and a human’s deep, innermost fear when facing danger.

7，一地鸡毛

红色羽毛铺满全台，舞者厮杀其中，形成了一种独特的暴力美学意象。这漫天飞舞的，是当时的鲜血，也是历史的飞尘，是忘乎所以忘却性命地追求，也是大江东去浪淘尽的灰飞烟灭。

正是，一将功成万骨枯，西汉的著名史学家司马迁曾说：“人固有一死，或重于泰山，或轻于鸿毛，用之所趋异也。”热血凝固成了羽毛，转而又飘洒而下，那些曾经的信誓旦旦，性命相扑转瞬之间就变得如此地轻薄，何为轻？何为重？何为永恒？何为云烟？

也许，生命也如这一地的鸡毛，总有那么多的不能承受之轻。

7. As the Flying Feathers

Dancers fighting in the battle scene where stage is covered with red feathers like a sea of blood, featuring a unique aesthetic image of violence.

What are these things flying all over the sky? It is the bloodshed of the battle; it is the dust floating in the river of history; it is the pursuit that makes one leave everything behind even life; it is ashes after a glorious flame, and the vast vanity and emptiness after waves of the mighty river have washed away generations of mighty people.

“What millions died that Caesar might be great! “Indeed, a General builds his success on ten thousand bleaching bones. Sima Qian, a famous historian of the Western Han Dynasty once said,  “Though death befalls all men alike, it may be weightier than mount Tai or lighter than a feather, with which he can make a difference". The weight of blood, in an instant, transfers into the lightness of feathers, floating down; the weight of an oath, the destiny of life, in an instant, becomes so light and insignificant. What is lightness? What is weight? What is eternity? What is a life of vapour?

Perhaps, life is just like this ground covered by feathers, filled with the unbearable lightness of being.

8，萧何Xiao He（相Chancellor）

他是智者，看穿了一切的人。他既是剧中人，又是旁观者，在各幕中游走串场，画着京剧花脸的萧何抚着长髯一唱三叹：你埋伏着我，而我又埋伏着你。古往今来，从未停止过，那十面的埋伏……

8，Xiao He（Chancellor）

He's a wise man. He sees right through everything. He was both a character in the play and a bystander, wandering through the scenes. Xiao He, with his Peking Opera face paint on, holding his long beard, sings with sighs: “I lie in ambush for you, you lie in ambush for me. Throughout the ages, being “Under Siege” has never stopped…

9，项羽Xiang Yu（霸王Lord）

他是绝对的英雄，有着英雄的一切优点和缺点，有着英雄的一切光芒与悲剧。他穿着华丽大靠，以京剧武生扮相登场，力拔山兮气盖世。不可一世的英雄，却在命运的面前如此无能为力。他的故事穿越千年，依然是一个拷问人性的问题：是机关算尽地生？还是轰轰烈烈地死？这，是个永恒的问题。

9, Xiang Yu (Lord)

He is a true hero, with all the virtues and weaknesses, and the glory and tragedy a hero would encounter. Dressed in a grand Peking Opera warrior outfit, he is that mighty outstanding hero, who is powerful to move mountains, but in the face of fate he is powerless. Passed down through thousands of years, his life story still poses us the question: to live with cunning plotting and endless schemes, or to die the noble and glorious death? This is an eternal question.

10，刘邦Liu Bang（帝Emperor）

他是小人，他是真小人，但是最终他成功了，他活了下来，他成为了帝王，他统一了天下。他的面具看似王冠却也似囚笼。欲戴王冠，必承其重。他得到了一切，却也被一切囚禁着。

10, Liu Bang (Emperor)

He was a villain, a villain indeed. But he claimed the final victory. He survived, became Emperor and united China. This character has a crown-like face mask, also resembling the image of a cage. It is said: “Heavy is the head who wears the crown" and “to whom much is given, much is expected”. He has all, but also is doomed to be restricted by all.

11，虞姬Yu Ji（姬Concubine）

她就是爱情本身，她就是唯美本身。她是西楚霸王项羽的爱人。她，倾国倾城，才艺双绝，舞姿美艳。她，是剧中唯一的女性角色，在这个作品中也如传统京剧中的旦角一样，由男舞者反串。所以她，雌雄同体，刚柔并济。

为了让爱人无有后顾之忧，她毅然自刎在爱人的怀中，肉体的毁灭却造就了这段爱情的永恒，她和她的爱情超然于功名成败之外，她如同暗夜中的一点烛光，美好、易碎，却为人们的内心带来些许希望和抚慰。

11，虞姬Yu Ji（姬Concubine）

She is love and beauty’s incarnation. She is Xiang Yu’s beloved, an extremely beautiful, talented, and a stunning dancer. She is the only female character in the play. Following Peking Opera’s tradition, as Peking Opera was initially an exclusively male pursuit, this female role is played by a cross dressing male dancer, who ideally interprets the strength and gentleness within her.   

To prevent Xiang Yu from being distracted by his love for her, Consort Yu committed suicide with his sword, falling dead in his bosom. Out of the destroyed flesh is the incarnation of their love eternal. She and her love for Xiang Yu go beyond success and failure, like the flame of a candle in a dark night, beautiful and fragile, however, bringing hope and comfort to the soul.

12，黑白韩信Black and White Han Xin（将General）

他就是矛盾，他就是分裂。为了宏图大志他可以甘愿受胯下之辱，为了欲望他也可以毁掉苦心经营的所有。他是骄傲的旷世奇才，他又是卑微的孤独患者。他能够决断万千人的生死，却不能左右自己的命运。

 一黑一白、一阴一阳构成了人格分裂的韩信。他的两个分身，一个是现实中的人，一个是内心中的鬼，如同人性中的善与恶、欲望与理智总是如影随形。一段你中有我，我中有你、互依互斗的舞蹈，反映出人性善恶的纠缠与博弈。更表现出欲望和恐惧对人性的撕裂。

到底是欲望催生了恐惧，还是恐惧滋养了欲望？生存？还是毁灭？这，永远都是一个需要问自己的问题。

12, Han Xin Black and White Han Xin (General)

He is a complex man with contradictory personalities. To achieve his ambition and the glory ahead, he once endured the humiliation of crawling between someone’s legs. However, driven by lust, he could also hastily destroy all he has built over many years with unsparing effort and diligence. He boasts remarkable talent and intellect, however, deep down he feels inferior and lonely. He dominates the life and fate of thousands, but sadly not able to control his own.  

Han Xin’s conflicted soul comprises black and white, Yin and Yang of his two personas on stage. One is the man in reality, the other the devil in his heart. Like good and evil, lust and rationality, always following each other like shadows.

Is it lust that begets fear, or fear that nurtures lust? To be or not to be? This, is always a question one shall ask himself.

13，剪纸师 The Paper Cutter

剪不断，理还乱，她剪出了历史，也埋葬了自己。她带来了三个隐喻：

“时间”：无论时事风云，无论爱恨情仇，无论地老天荒，时间依然故我。

“记录者”：她记录着舞台上发生的一切，是一种补充、一种议论、一种诠释、一种内心欲望的外化。

“作茧自缚”：剪纸师不停地剪，剪不断，理还乱，最终被掩埋于自己剪出的纸屑中，如同历史本身，无论是非功过、创造历史的人也终将归于滚滚红尘……

13，The Paper Cutter

“Cut it，yet unsevered; Order it，the more tangled...” She is creating a history, also leading herself to her own doom.  

The paper cutter brings us three metaphors:

“Time”:

No matter how life’s events unfold, regardless of love or hate, time remains unchanged, until the earth withers away and the stars fade from the sky.

“The Recorder”:

She records all the happenings on the stage, being a supplement, a commentary, an interpretation, also the externalization of inner desire.

“Entanglement”:

The paper cutter constantly cuts, an endless, undefinable task until she is entombed by her own crafts. As described in a poem: “Cut it，yet unsevered; Order it，the more tangled...” Just like history itself, right or wrong, good or evil, all those who create history eventually return to dust and are buried in history…