第二十四届中国上海国际艺术节参演剧目

The 24rd China Shanghai International Arts Festival

马林斯基剧院芭蕾舞剧《海盗》

The Mariinsky Ballet Le Corsaire

音乐：阿道夫·亚当、切萨雷·普尼、莱奥·德利布、里卡尔多·德里戈、彼得·奥尔登伯格斯基

编剧：亨利·韦尔努瓦·德·圣乔治、约瑟夫·马季里耶，由尤里·斯洛尼姆斯基及彼得·古谢夫改编

编舞：彼得·古谢夫基于马里乌斯·彼季帕编舞版本改编（1987年）

舞美设计：泰穆拉兹·穆尔瓦尼泽

助理设计：米哈伊尔·希什利亚尼科夫

服装设计：加林娜·索洛维约娃

灯光设计：弗拉基米尔·卢卡塞维奇 

舞团：马林斯基剧院芭蕾舞团

乐团：马林斯基交响乐团

Music by Adolphe Adam, Cesare Pugni, Léo Delibes, Riccardo Drigo and Pyotr Oldenburgsky

Libretto by Henri Vernoy de Saint-Georges and Joseph Mazilier, edited by Yuri Slonimsky and Pyotr Gusev

Choreography by Marius Petipa and Pyotr Gusev

Production by Pyotr Gusev (1987) after the composition and choreography of Marius Petipa

Set design by Teymuraz Murvanidze

Assistant designer: Mikhail Shishliannikov

Costume design by Galina Solovyova

Lighting design by Vladimir Lukasevich

Performed by The Mariinsky Ballet

Orchestra by The Mariinsky Orchestra

马里乌斯·彼季帕编舞版本于1863年1月24日在圣彼得堡的马林斯基剧院首演

彼得·古谢夫版本于1987年4月29日在列宁格勒基洛夫剧院（现圣彼得堡马林斯基剧院）首演

Premiere of the ballet, choreography by Marius Petipa: 24 January 1863, Mariinsky Theatre, St Petersburg

Premiere of Pyotr Gusev's version: 29 April 1987, Kirov Theatre of Opera and Ballet (Mariinsky), Leningrad

时长：约150分钟（含两次幕休）

Length: c. 150 minutes (incl. two intervals)

**********艺术家及时长或有变动，请以现场演出为准*******

**** All information on artists and duration is subject to change. ****

演出介绍

芭蕾舞剧《海盗》的成功源于其囊括所有观众挚爱元素：海盗沉船、劫掠绑架、炽热情感与阴险背叛……更兼多元阵容与编舞、鲜活服饰的东方风情、异域特色舞蹈，以及古典芭蕾的华美和谐。该剧能成为国际舞台百年常青之作绝非偶然。其源起可追溯至19世纪中叶——作曲家阿道夫·亚当基于拜伦诗歌《海盗》创作音乐，编舞家约瑟夫·马季里耶于1856年在巴黎歌剧院首演。此后各国艺术家争相改编：新增场景、融汇众家乐曲，使《海盗》开启欧洲巡演之旅。编舞家朱尔·佩罗将其引入圣彼得堡后，马里乌斯·彼季帕以经典舞段《梦幻花园》升华了东方集市的喧嚣。传至今日的版本，是融合角色哑剧与多元舞蹈的视觉盛宴。全剧舞段涵盖群舞演员与独舞演员，通过双女主与三男主演极致展现古典技艺之美。年轻舞者无不渴望以炫技变奏与双人舞征服观众，更以精准的32圈挥鞭转、斜线腾跃引爆全场喝彩。

The plot of the ballet Le Corsaire contains all the components required to make it a success with the audience: a story about pirates with a shipwreck, abductions, loving passions and perfidious treachery... Moreover, there is the variety of the cast and the choreography, the oriental flavour of the vivid costumes, the exotic character dances and the triumphant harmony of classicism. It is not by chance that this ballet has been in the international repertoire for more than a century and a half. It traces its roots back to the mid-19th century, when the composer Adolphe Adan wrote a score based on the plot of George Byron's poem The Corsair, while the choreographer Joseph Mazilier created the dances and in 1856 staged his production at the Opéra de Paris. Since then, who has not laid his or her hands on it. New scenes appeared in the ballet, the score came to feature musical extracts by other composers and, in a word, Le Corsaire set out on an independent voyage taking in the stages of Europe. It came to St Petersburg thanks to the choreographer Jules Perrot, and Marius Petipa ennobled the loudly-screeching diversity of the Eastern bazaar with the refined classical scene Le Jardin animé. To us, too, Le Corsaire has come down as a colourful marathon of varied dances, intermingled with pantomime explanations of the relationships between the characters. The dances in the production involve the corps de ballet as well as the soloists. The choreography presents, in all its beauty, the expressive means of virtuoso classical dance, both female and male: in the ballet there are two ballerina roles and three male principal roles. And the few young dancers do not dream of dazzling with virtuoso technique in the variations and duets in this ballet, of interrupting well-earned applause with their perfect performance of fouettés or diagonals that stun the imagination with their flying tricks.