陈小宁的博客

看歌舞剧《风起大陈》

国家大剧院位于北京长安街天安门广场西侧，不仅有其椭圆形建筑的独特风格，更成为北京重大文艺活动的中心之一，地铁站的一个出口直达艺术中心的大厅，白天和夜晚的景色诱人，成为路过游客必不可少的打卡景点。

在好友的强烈推荐下，终于去了国家大剧院看了江苏歌舞团演出的歌舞剧《风起大陈》。关于大陈岛的故事还是来自小时候的记忆，因为事件发生时几乎与我同龄，大陈岛这个名字就像刻在脑子里烙印，难以磨灭，虽然对于真正事件的来龙去脉从来就没有一个系统的概念。那时的教育对所有人都一样，一个名字就代表一个故事或一个人物。

大陈岛位于东海之中，隶属浙江台州，离岸有不近的距离。从上世纪五十年代开始建设，经过几十年，目前是国家级的中心渔港，也是省级森林公园和省海钓基地。大陈岛周围海域是浙江第三大渔场。也有东方明珠的美称。

《风起大陈》讲述的就是当年的建设者的故事，如今看来是一个非常励志的举动，可是在当时只是凭着年轻人的一腔热血，把全部的精力都放在事业上，把完成上级交代的任务当成己任。这是一种时代的感召力，也是所有参与者共同的志向。看似及其艰苦的环境磨练了一代人，也锻炼了一批人。当人们回首往事，所有的记忆就是一种奋斗的精神和克服困难的力量。

故事以上世纪五十年代第一批登岛的青年垦荒志愿队队员与八十年代的建设者交错的时光为主线，借用自然的风作为变化的依据，在不同的历史时期，围绕建设大陈岛展开了个人命运与建设的交融和理解，通过风起云涌从灾害到变成可被利用的能源使观众看到时代的脚印。

剧情采用了时光倒流的方式把八十年代的电力工程师在遭遇人生重创后，通过一场台风被带回了五十年代的建设初期，误入了当年的垦荒队员行列。他所结识的垦荒队长是他的好朋友，他们同甘苦共患难，追逐热血理想和青春光明，那时最值得他回忆的一段生活。终于，在垦荒队长牺牲后时光记忆中的无私奉献、艰苦守候和浪漫的爱情使主人公从梦中惊醒，原来，大陈岛的命运早已与岛上的生命个体紧密相连。一直到当今，大陈岛的精神传递也从未停止过。

很感人的舞剧就在几个小时的演出中把这种精神传达给了观众。借着提示灯光打在舞台两侧告诉观众剧情的进展到了什么阶段。也借助对着舞台的聚光灯打出的不同效果让观众能够有身历其境的感觉。更借着现代舞台变幻的设计，用三维交错给出从安逸到惊险的不同环境。当然还有演员尽心尽力的演出使剧情的表现达到相当的高度。

浙江歌舞剧院也是个有六十多年历史的老剧团，也经历过体制改革等一系列的变动，能够坚持到如今并能拥有许多不朽剧目更是不易。这次演出在最后谢幕时所看到的基本上都是非常年轻的面孔。从编剧到导演，从音乐作曲到舞美设计，从灯光到多媒体，等等等等，不仅有创意更有新意，参与人员都显得很年轻，更不要说演员更是年轻有为。

为了剧情的需要，女演员都是两根过肩的辫子垂在身体两侧，给出了当年时代的特征。而男演员则是自然的一边倒分头，自然活泼，即天真又认真，剧中旋转床的掌控更显功夫深厚。

根据打出的字幕，整个剧分为十场，还有一段尾声，剧情是这样的：台风与黑暗；寻找水的光明；逆境；风雨中的时空讯号；467+1；誓言；海风和岛屿之间；收获；风的尽头；驶向光明的帆船；尾声的标题是时光里的人。其中467就是当年垦荒队的人数，而增加的1就是从八十年代经过时光隧道返回参与的电力工程师。从一段段名称可以看出的建设进度，通过风的渲染让观众对当年有身历其境的感觉，也与演员所带出的事件相呼应。

回过头再看剧本，一幅幅过去的老照片对应着舞台上演员的构图，让人感慨在那个忘我的时代是什么支撑着参与者的信念，又是什么能让人不计后果地前行。这在当今，特别是在以自我为中心的现实生活中，差距如此之大，后果也就显而易见。

人必须有一点精神，要有自己的目标，不论是学习、生活或是工作，否则只能一事无成。对于吃苦不以为然的想法更是躺平的基础。天下没有免费午餐，更不会总能不劳而获。

**Watching the Dance Drama "The Wind Rises in Dacheng"**

The National Centre for the Performing Arts is located on the west side of Tiananmen Square on Chang'an Avenue in Beijing. With its unique elliptical architectural style, it has become one of the major cultural centers for artistic events in the city. One of the metro station exits leads directly into the main hall of the arts center, making it a must-visit attraction for passersby, with its captivating scenery both day and night.

Upon the strong recommendation of a friend, I finally went to the National Centre for the Performing Arts to watch the dance drama *The Wind Rises in Dacheng* performed by the Jiangsu Song and Dance Troupe. The story of Dacheng Island traces back to my childhood memory. The events took place around the time I was born, and the name "Dacheng Island" has since remained imprinted in my mind, though I never had a comprehensive understanding of the story's full context. At that time, education for everyone was the same: a name represented a story or a figure.

Dacheng Island is located in the East China Sea, part of Taizhou, Zhejiang province, a significant distance from the mainland. Its development began in the 1950s and, after decades of effort, it is now a national-level central fishing port, a provincial forest park, and a sea-fishing base. The waters surrounding Dacheng Island constitute the third-largest fishing ground in Zhejiang and are often referred to as the "Pearl of the East."

*The Wind Rises in Dacheng* tells the story of the island's early builders. Today, we view it as an inspiring endeavor, but at that time, it was simply the passion of youth that drove these individuals to devote all their energy to their mission, taking on the tasks assigned by the higher authorities as their own duty. This was the powerful call of the era and a shared aspiration among the participants. The harsh environment molded and strengthened a generation. When people look back, all they remember is the spirit of perseverance and the ability to overcome adversity.

The story alternates between the youth volunteers who were the first to set foot on the island in the 1950s and the construction workers of the 1980s. The wind, as a natural force, serves as a metaphorical thread connecting different historical periods, guiding the audience through the intertwined fates of individuals and the island's development. From destructive storms to wind harnessed as energy, the audience witnesses the footprints of history.

The plot adopts a time-traveling format, with an electrical engineer from the 1980s being taken back to the 1950s after a life crisis, as a typhoon sweeps him into the ranks of the early reclamation volunteers. There, he meets the reclamation team leader, his good friend, and they share hardships, pursuing youthful dreams and ideals. This time became the most memorable period of his life. After the team leader's sacrifice, the engineer awakens from the dream, realizing that the fate of Dacheng Island has long been intertwined with the lives of its people. The island's spirit has continued to be passed down to the present day.

The deeply moving performance conveyed this spirit to the audience over the course of a few hours. With lighting effects illuminating the stage sides to indicate the progression of the plot, spotlights on the stage created a sense of immersion, transporting the audience to that time and place. The modern stage design, utilizing three-dimensional crossovers, depicted the transition from calm to danger. The actors' dedicated performances brought the plot to a high level of ex pression.

The Jiangsu Song and Dance Troupe has a history of over sixty years and has undergone various reforms. Surviving to this day and producing many timeless performances is no easy feat. At the final curtain call, most of the faces on stage were very young. From the scriptwriters and directors to the composers and stage designers, from lighting to multimedia, there was not only creativity but also innovation. The participants were all very young, not to mention the actors, who showed great potential.

For the sake of the storyline, the actresses wore two braids hanging over their shoulders, reflecting the characteristics of the era. The male actors wore naturally parted hair, youthful and lively, portraying a mixture of innocence and earnestness. The scene where the rotating bed was skillfully handled further showcased their expertise.

According to the subtitles, the drama is divided into ten acts, with an epilogue. The acts are titled: *The Typhoon and Darkness*, *Searching for the Light of Water*, *Adversity*, *Signals of Time in the Storm*, *467+1*, *Vows*, *Between the Sea Breeze and the Island*, *The Harvest*, *The End of the Wind*, and *The Sailboat Sailing Toward the Light*. The epilogue is titled *People in Time*. The number 467 refers to the number of reclamation volunteers, and the added “1” represents the electrical engineer from the 1980s who traveled back in time. Each act name reflects the progress of the island’s development, and through the portrayal of the wind, the audience gets a palpable sense of what it was like back then, which is mirrored by the actors' performances.

Looking back at the script, old photographs correspond to the compositions of the actors on stage, evoking emotions about what sustained the faith of those involved during that selfless time, and what drove people to move forward without regard for the consequences. In today's reality, particularly in a world where people are more self-centered, the contrast is stark, and the outcomes are self-evident.

One must have a bit of spirit, a goal in life, whether in study, work, or daily life. Otherwise, one will achieve nothing. The mentality of dismissing hardship is the very foundation of the "lying flat" mindset. There is no such thing as a free lunch, and one cannot always reap rewards without labor.