当色彩如此有效

小琼：几个月前，我在东京新国立剧场观看了皮埃尔·奥迪的新作品——朱塞佩·威尔第的《西蒙·波卡涅拉》。这部歌剧首演于1857年，1881年复排，尽管其中涉及权力政治、浪漫爱情和父女分别25年后重聚等复杂情节，但仍有许多忠实粉丝。2023年的11月中旬，此次联合制作的奥迪版《西蒙·波卡涅拉》在东京全球首演，制作方包括了芬兰国家歌剧院和马德里皇家剧院在内。演出现场是如此令人激动，以至于一些舞台画面至今仍清晰地留在我的脑海中。

小薇：如果你指的是大胆的舞台形象，我们必须将其归功于布景设计师。我看到这版制作请来了著名的当代艺术家安尼施·卡普尔。他1954年出生于孟买，20世纪70年代初以来一直居住在伦敦。他的一些重大的公共艺术作品享誉全球，比如芝加哥的《云门》，被民众亲切地戏称为“豆荚”。

小琼：那么，是什么打造了这些令人印象深刻的舞台效果呢？卡普尔以后极简主义著称，他非常有效地运用了强烈的色彩：红色、白色和黑色。红色和白色恰好是热那亚（《西蒙·波卡涅拉》故事发生地）国旗的颜色，而非常鲜明的黑色有力地昭示着角色的不祥命运。

小薇：红色也象征着流血。实际上，我发现卡普尔对熔融岩石抽象但非常有效的描述，预示着接下来可能发生的危险和不可预测性。

小琼：现代舞台上的抽象化处理确实能突出舞台角色的内心情感。例如，在《西蒙·波卡涅拉》最后一幕中，一座火山倒挂在天花板上，外表漆黑一片，内部炽热无比，这个形象已经让我印象深刻了好几个月了。

小薇：我一直在网上搜索，发现这种特殊的黑色色调真的非常独特。它被称为梵塔黑，能吸收最高达99.965%的光线，因此它确实是所有黑色中最黑的——自2014年以来，卡普尔一直在他的绘画和雕塑中使用这种特定的色调。

小琼：相信我，在舞台上看到梵塔黑是如此有效，你真的会惊叹于布景设计师想法的纯粹性。但是，如果我没有提到优秀的演员阵容，还有新国立剧院合唱团和由指挥家大野和士执棒的东京爱乐乐团，那我就太失职了。这是一场精彩的表演，也是2023—2024演出季迄今为止的亮點之一。

Joan： Its been a few months since I saw Pierre Audis new production of Giuseppe Verdis Simon Boccanegra at the New National Theatre， Tokyo. An opera that was premiered in 1857 and revised in 1881， this work has many fans， despite its complex plot involving power politics， romance and a reunion of father and daughter after 25 years. In a co-production with the Finnish National Opera and Madrids Teatro Real， Tokyo presented the world premiere of Audis version in mid-November. It was such a thrill that some of the stage images are still vivid in my mind.

Valery： If youre talking about bold stage imagery， we must credit the set designer. I see this production features the famous contemporary artist Anish Kapoor， who was born in Mumbai in 1954 and based in London since the early 1970s. Some of his monumental public art is renowned globally， such as Cloud Gate in Chicago， lovingly nicknamed “The Bean.”

Joan： So what was responsible for those impressive stage effects？ Kapoor， renowned as a postminimalist， very effectively wielded strong colors： red， white and black. Red and white happen to be the colors of the flag of Genoa （where the story takes place）， and the very stark black powerfully foreshadows the ominous fate of our characters.

Valery： Red is also emblematic of bloodshed. I find Kapoors abstract but very effective representation of molten rock literally signals both danger and unpredictability in what may happen next.

Joan： Abstraction in modern staging can really accentuate stage characters inner emotions. For example， in the final act， the image of a volcano in reverse， hanging from the ceiling with a stark black exterior and red-hot interior， has stuck with me for months now.

Valery： Ive been searching online and discovered that this particular shade of black is really unique. Its called “Vantablack，” absorbing 99.965 percent of all light， so its truly the blackest of all blacks—a specific shade that Kapoor has owned to use in his paintings and sculptures since 2014.

Joan： Believe me， seeing it on stage is so effective； you really marvel at the purity of the set designers ideas. But I would be remiss if I didnt mention the wonderful cast， the New National Theatre Chorus and Tokyo Philharmonic Orchestra led by Maestro Kazushi Ono. It was a splendid performance， one of the highlights of the 2023-2024 season so far.