hardly features that would trigger a riot.

不太可能會引起暴動。

But at the first performance of Igor Stravinsky's "The Rite of Spring,"

但在伊果·史特拉汶斯基的 《春之祭》首次演出時，

audience members were so outraged that they drowned out the orchestra.

觀眾極為憤慨 聲音壓過了管弦樂團。

Accounts of the event include people hurling objects at the stage,

對該事件的記述包括： 有人向舞台上丟東西，

challenging each other to fights, and getting arrested–

彼此挑釁幹架、被逮捕——

all on what started as a sophisticated night at the ballet.

發生這一切的那個夜晚， 本來是個精緻的芭蕾之夜。

First performed in May 1913

最早於 1913 年五月

at the Théâtre des Champs-Elysées in Paris,

在巴黎的香榭麗舍劇院演出，

"The Rite of Spring" is set in prehistoric times.

《春之祭》的背景是史前時代。

The narrative follows an ancient Pagan community

故事講的是一個古老的異教團體，

worshipping the Earth and preparing for the sacrifice of a woman

他們膜拜地球， 準備要用一名女子獻祭，

intended to bring about the change of seasons.

希望能改變四季變化。

But the ballet is much more concerned with the violent relationship

但這支芭蕾舞作的重點在於人類、

between humans, nature, and culture

大自然，和文化之間的暴力關係，

than with character or plot.

而不是角色或情節。

These themes manifest in a truly upsetting production

這部很讓人心煩意亂的作品 將這些主題表現出來，

which combines harsh music, jerky dancing, and uncanny staging.

該作品結合了刺耳的音樂、

It opens with dancers awakening to a solo bassoon,

急動的舞步，及怪異的舞台佈置。

playing in an eerily high register.

開場時，舞者在巴松笛獨奏中醒來，

This gives way to discordant strings, punctured by unexpected pauses

獨奏用的是怪異恐怖的高音域。

while the dancers twitch to the music.

接著帶出了很不協調的弦樂， 穿插著未預期的停頓，

These frightening figures enact the ballet's brutal premise,

同時舞者隨著音樂抽搐。

which set audiences on edge

這些嚇人的身影帶出了 該芭蕾舞作的粗暴前提假設，

and shattered the conventions of classical music.

讓觀眾緊張不安，

In these ways and many more,

並撼動了古典音樂的慣例。

"The Rite of Spring" challenged the orchestral traditions

《春之祭》以這些方式 及許多其他方式

of the 19th century.

挑戰十九世紀的交響樂傳統。

Composed on the cusp of both the first World War

創作的時間點是在第一次 世界大戰和俄國革命的關口，

and the Russian revolution,

《春之祭》迫切地翻騰著。

"The Rite of Spring" seethes with urgency.

在多部先前的實驗作品當中 都有這種緊繃感，

This tension is reflected in various formal experiments,

包括創新使用切分法和不規則節奏，

including innovative uses of syncopation, or irregular rhythm;

無調性或者缺乏單一音調，

atonality or the lack of a single key,

以及使用多種時間記號。

and the presence of multiple time signatures.

除了這些非常現代的特徵之外，

Alongside these strikingly modern features,

史特拉汶斯基還結合了 俄國民俗音樂的面向——

Stravinsky spliced in aspects of Russian folk music–

這種組合的目的是要刻意破壞

a combination that deliberately disrupted

經驗豐富的都市觀眾的期望。

the expectations of his sophisticated, urban audience.

這並不是史特拉汶斯基 第一次使用民俗音樂。

This wasn't Stravinsky's first use of folk music.

史特拉汶斯基於 1882 年 在聖彼得堡外的一個小鎮上出生，

Born in a small town outside of St. Petersburg in 1882,

他的華麗芭蕾舞作 《火鳥》鞏固了他的名聲。

Stravinsky's reputation was cemented with the lush ballet "The Firebird."

這部作品以俄國童話故事為基礎，

Based on a Russian fairytale,

內容充滿了史特拉汶斯基 對於民俗文化的著迷。

this production was steeped in Stravinsky's fascination

但他在《春之祭》中 策劃了更狂野的計畫，

with folk culture.

挑戰民俗和音樂的界線， 赤裸裸呈現異教的儀式。

But he plotted a wilder project in "The Rite of Spring,"

史特拉汶斯基和藝術家 尼古拉斯·洛里奇合作，

pushing folk and musical boundaries to draw out the rawness of pagan ritual.

讓這個幻想成真。

Stravinsky brought this reverie to life

洛里奇很迷戀有文字 記載之前的時代。

in collaboration with artist Nicholas Roerich.

他發表過一些關於 活人獻祭的文章，

Roerich was obsessed with prehistoric times.

也投入斯拉夫墳墓的挖掘，

He had published essays about human sacrifice

此外，他還做佈景和服裝設計。

and worked on excavations of Slavic tombs

他參考俄國的中世紀藝術 及農夫衣著，為《春之祭》

in addition to set and costume design.

創造出醜陋地掛在 舞者身體上的服裝。

For "The Rite of Spring," he drew from Russian medieval art

洛里奇再將它們搭配 生動的原始自然背景；

and peasant garments to create costumes that hung awkwardly

滿是巉岩、若隱若現的樹木， 以及惡夢般的顏色。

on the dancers' bodies.

配上眩目的佈景和刺耳的配樂，

Roerich set them against vivid backdrops of primeval nature;

《春之祭》的原始編舞

full of jagged rocks, looming trees and nightmarish colors.

非常具有挑撥性。

Along with its dazzling sets and searing score,

這是傳奇舞者 瓦斯拉夫·尼金斯基的傑作，

the original choreography for "The Rite of Spring"

他開發出讓人重新思考 「動作根本」的舞蹈。

was highly provocative.

雖然史特拉汶斯基後來 表示他感到很挫折，

This was the doing of legendary dancer Vaslav Nijinsky,

因為尼金斯基對排演很苛求， 又對音樂一味做詮釋，

who developed dances to rethink “the roots of movement itself.”

但他的編舞被證明

Although Stravinsky later expressed frustration

和史特拉汶斯基的作曲 同等具有開創性。

with Nijinsky's demanding rehearsals

他扭曲了傳統芭蕾——

and single-minded interpretations of the music,

讓他的觀眾感到敬畏又恐懼，

his choreography proved as pioneering as Stravinsky's composition.

許多觀眾期望在這類作品中 看到的是優雅和浪漫。

He contorted traditional ballet–

《春之祭》中的舞很激動、不規則，

to both the awe and horror of his audience,

表演者像是中邪了一樣 蜷縮、扭動、跳來跳去。

many of whom expected the refinement and romance of the genre.

通常，舞者和音樂並沒有融為一體，

The dancing in "The Rite of Spring" is agitated and uneven,

反而像是掙扎著想要對抗音樂。

with performers cowering, writhing and leaping about as if possessed.

尼金斯基指示他們 要把腳趾轉向內，

Often, the dancers are not one with the music

跳躍之後要重重落地， 通常還不在節拍上。

but rather seem to struggle against it.

在很瘋狂的最後一景中，

Nijinsky instructed them to turn their toes inwards

一名女子在巨響和刺耳的 弦樂聲中獨舞至死。

and land heavily after jumps, often off the beat.

這部芭蕾舞作在刺耳惱人的 和弦中很突兀地結束。

For the final, frenzied scene,

現今，《春之祭》仍然和它那 爭議的初次演出一樣讓人寒心，

a woman dances herself to death to loud bangs and jarring strings.

但原作的震波仍然持續 回響著，鼓舞人心。

The ballet ends abruptly on a harsh, haunting chord.

受到史特拉汶斯基影響的包括

Today, "The Rite of Spring"

現代爵士的決鬥式節奏、 民間古典樂，

remains as chilling as its controversial debut,

甚至恐怖片的電影配樂，

but the shockwaves of the original work continue to resound and inspire.

仍然會造成觀眾的騷亂反應。

You can hear Stravinsky's influence in modern jazz's dueling rhythms,

folky classical music, and even film scores for horror movies,

which still illicit a riotous audience response.