「天鵝湖」這齣名芭蕾舞劇上一周是英國報紙藝文版受矚目的焦點，而它也是這幾天，我門國內教育新聞的焦點。
從新聞節目上得知：「李家同批評學校畢業典禮校長跳天鵝湖是媚俗。」我心想：有沒有搞錯！？任何一個能跳「天鵝湖」的人都很了不起，雖然是一齣芭蕾舞伶炫技的舞碼(白天鵝Odette或是黑天鵝Odile)，即使是男性的校長能跳齊格菲(Siegfried)王子，都是很難的角色。沒練個十年，根本不可能「表演」！展現十年的修練在一場表演，怎能說是「媚俗」？
在網路上搜索，看到聯合報上校長跳天鵝湖的照片，－－李家同的批評還真有道裡！真是「媚俗」到極點了！虧這些人還是校長，竟然將自己 cosplay 裝扮稱為「跳天鵝湖」表演！如果這個想法／心態是對的，那麼為猴子穿上衣服，帶到校長室裡，猴子也可以當校長了！
月初(6/4)在衛報(The Guardian)上讀到"Swan Lake role puts rising star Vadim Muntagirov in spotlight",這位俄羅斯人會是下一個傳奇嗎？是繼紐瑞耶夫(Rudolf Nureyev)與巴瑞辛尼可夫(Mikhail Baryshnikov)後另一位風靡世界的男舞者嗎？
在 9 號首演後，我就注意泰晤士報(Times)與衛報(The Guardian)上的評論，好不容易在 6/11 看到一篇，可是對這位二十歲的男舞者穆塔吉洛夫(Vadim Muntagirov)，評論只有幾句，而且並不好。本來還想在我的部落格上轉載衛報對這位明日之星的預言，然後加上一篇不錯舞評的報導，放到我的「人物誌」裡，結果事與願違。－－20歲就能擔綱英國國家芭蕾舞團（English National Ballet）製作的「天鵝湖」裡的主角齊格菲，當然可以認定會是明日之星；再讀到泰晤士報對其演出的評價（以藍底白字標示），他果然還是嫩了點，還需要些磨練。
學校畢業典禮校長跳天鵝湖是「媚俗」。電視上一大堆懂點皮毛的人被稱為「老師」，連銷售商品，講解產品特性的銷售員也是「老師」，稍有知名度的就是「大師」－－這種互相吹捧也是「媚俗」。這般「媚俗者」的表現，或許有助於提升知名度或地位，但是我們在面對這些「媚俗者」時別忘了：他們的可信度極低。
穿芭蕾舞衣，不等於跳天鵝湖；要跳天鵝湖，不但先天的條件很重要，也要有長時間的修練。從英國兩大報的報導更可以了解：即便是先天的條件好的天才型的舞者，「跳天鵝湖」也面對很高標準的要求。能跳天鵝湖的校長，請好好展現你們的才華與苦練的成果，真正的「古典」美學裡所展現的都是：天賦加上長時間苦練，「媚俗」很難存在這兩大要素間。
校長跳天鵝湖 李家同批畢典媚俗【聯合報╱記者陳智華／台北報導】
2010.06.13 05:41 am
畢業季來臨，總統府資政李家同昨天在一場演講中指出，學校畢業典禮應該莊重，校長跳天鵝湖娛樂學生和家長，學生致詞變成講相聲、講笑話，都是媚俗，媚俗就是不好。
李家同新書「李家同談教育」最近出版，他昨天在台北市立圖書館以此為題發表演講，談到學校不該太媚俗。
總統府資政李家同批評校長跳天鵝湖是媚俗。圖為台北市立農國小等校長為了鼓勵小朋友暑假讀完十二本書，穿起天鵝湖的服裝跳給他們看，逗得學生大樂。 本報資料照片／記者邱德祥攝影
他甚至指出，最受不了的是所謂的親善大使，大學為了有些典禮活動要招待來賓，派出一些學生，女生穿長旗袍、腳踩高跟鞋，男生則穿西裝、打領帶。
李家同說，最令他不安的是親善大使會裝出一種皮笑肉不笑的表情迎賓，更可笑的是他們「請往這邊走」的手勢是全國一模一樣，這讓他想到飯店服務生，而穿旗袍的女生鞠躬等動作，「就像機器人」。
李家同表示，他不懂大學為什麼要搞這種玩意，大學的典禮應該力求莊重，大學生也該保有自己的尊嚴。
李家同說，很多學校想拉近老師與學生距離，這是件好事，只是有時學校似乎做得過火，所以出現媚俗行為。他演講後接受訪問指出，媚俗就是不好，學校如想拉近跟學生的關係，要靠「愛與關懷」，也可以「不要考難的題目」。
李家同在書中談到，幸好他的母校台大仍保持典禮的莊嚴性，他曾去參加過台大教授與王文興教授榮譽博士學位的典禮，沒有穿旗袍的親善大使，也沒有司儀在講笑話，他以母校為榮。
至於什麼才叫莊重的典禮，李家同說，例如諾貝爾獎的頒獎典禮、天主教的彌撒、前俄羅斯總統普丁在克里姆林宮的就職大典或哈佛大學的畢業典禮，這些都強調莊嚴、莊重。
http://udn.com/NEWS/NATIONAL/NAT3/5660948.shtmlSwan Lake role puts rising star Vadim Muntagirov in spotlightEnglish National Ballet predicts big things for Russian ahead of debut as Swan Lake's Siegfried at Royal Albert HallMark Brownguardian.co.uk, Friday 4 June 2010 18.33 BST
Vadim Muntagirov rehearshing at the English National Ballet Vadim Muntagirov rehearshing at the English National Ballet. Photograph: Linda Nylind for the GuardianHe has never set foot in the Royal Albert Hall, let alone danced there, but next Wednesday, Vadim Muntagirov – tipped as one of the next big stars of classical ballet – will take on one of the genre's most demanding roles when he debuts as Siegfried in Swan Lake.
It is almost unheard of for someone barely out of ballet school –
Muntagirov is 20 – to take the lead male role on the opening night of such a big production. But then his company, English National Ballet, predicts big things for the dancer from Chelyabinsk in Russia.
Wayne Eagling, ENB's artistic director, believes Muntagirov will go on to be a superstar. "It is a young age to be given such responsibility but he is a very, very talented dancer with such a strong technique. It's our policy to give young dancers the opportunities, if they have the talent. Hopefully he goes on from this to lead roles in all the ballets."
Muntagirov has all the features a male ballet dancer needs: long arms, long legs, broad shoulders, a small head and perfect feet. "When he lifts his leg in arabesque, it's a very nice line," said Eagling. "He's got a fantastic jump and he turns as well as anyone I've ever seen, so he's got all the technical abilities. What we're hoping is that he goes beyond that and brings that little bit of charisma and magic that's needed if you're going to become a superstar of ballet, which I'm 99% certain he will. I wouldn't put him on if I didn't think he could carry it off – he has that raw talent."
Muntagirov was meant to be dancing with the renowned prima ballerina Polina Semionova as Odette, but she has had problems with her visa. ENB said it was hopeful that Semionova would be able to perform.
Muntagirov said he was excited but nervous at not being able to rehearse with Semionova. "I don't have that much experience, especially dancing with stars, but I'm very excited.
I don't think I've danced a ballet harder than Swan Lake. All my steps have to be twice as big and I have to travel much more so at the moment it's very tiring, but it's getting better."
The dancer said he had been told to just think about Swan Lake 24 hours a day, so that's what he was doing. "We haven't had much time – just three weeks almost."
Muntagirov, whose parents were both principal dancers with the Chelyabinsk ballet company,
started at Perm ballet school at the age of 10. At 16, he won the chance to join the Royal Ballet school and then, last year, ENB.
The Swan Lake production is unusual because it was made, by c
horeographer Derek Deane, especially for the huge, in-the-round space of the Royal Albert Hall. This summer will be its sixth outing since it premiered in 1997 when it was seen by Princess Diana. Since then half a million people have watched it.
"A lot of people think classical ballet is old-fashioned," says Eagling, "but then, so is a Rembrandt painting. If it's quality and it's genius, then it's timeless. Plus there is always a new audience for these wonderful works of art."
Even though the space is large, he added, the audience is close to the dancers. "If you're in the stalls you're closer than you would be at the Coliseum and if you sit up above you get a totally different perspective, almost Busby Berkeley-like."
Swan Lake runs at the Royal Albert Hall for 12 performances from 9-19 June.
http://www.guardian.co.uk/stage/2010/jun/04/swan-lake-ballet-vadim-muntagirovJune 11, 2010
Swan Lake at the Albert Hall, London SW7
Debra Craine
This is by far the most successful of Derek Deane’s arena stagings for English National Ballet. So successful, in fact, that here it is back at the Albert Hall for the sixth time, having been seen by about a million people around the world since its birth 13 years ago.
There are no sets to speak of, just a few chairs and some curtains under the raised orchestra platform, though Peter Farmer’s costumes offer a stream of loveliness. Deane packs the hall’s large arena floor with acrobats, jugglers, children, ladies of the court and an army of swans who keep the space buzzing with activity. The 60 swans are the evening’s big selling point, a well-drilled, shimmering ensemble who give this production its sense of occasion. For Deane, the challenge is to provide choreography that can be seen by an audience seated in a virtual circle around the stage. This he mostly achieves, though the view from some seats is better than others. For the dancers, the challenge is to project dramatic excitement while performing inside what is in effect a giant bowl, and this they do admirably, aided by Gavin Sutherland’s spirited conducting of the Tchaikovsky score. Inevitably, intimacy suffers in such an exposed setting, but what you lose in feeling (especially in the subtle love statement of the Act II pas de deux) you make up for in spectacle. The finale, a happy ending that unites Odette and Siegfried in eternal love, is staged simply but with surprising impact.
The opening night cast was led by Daria Klimentova, English National Ballet’s senior principal ballerina. She is a dancer whose confidence, even in such a daunting setting, is consummate. Her Odette was remote and slightly unattainable, her Odile arrogantly confident. Throughout, her technique was immensely powerful and the sheer force of her presence gave the evening focus.
Making his debut as Prince Siegfried was Vadim Muntagirov, a 20-year-old Russian who joined ENB last year as a first artist.
His gleam of youthful confidence faltered at the start, his acting was superficial and his lifts weak. But he quickly overcame his nerves and began to display an elegant and supple line in his dancing, matched by a strong dramatic personality that, if it develops, will serve him well in leading roles.Box office: 020-7589 8212, to June 19
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/dance/article7147609.ece別跳天鵝湖【聯合報╱黑白集】
2010.06.14 01:27 am
李家同批評學校畢業典禮不莊重、太媚俗，許多負責招待的學生穿旗袍、高跟鞋，舉止就像飯店服務生。毫不意外，馬上有人嘲笑他LKK，並反問：什麼叫莊重？
不知道什麼叫「莊重」，恰恰反映了台灣教育近年來
搞笑化、輕薄化和庸俗化的結果。為了反對填鴨及威權教育，所以上課要生動，課外要多元，活動要輕鬆趣味，這些都對；但
在追求形式的解放時，許多教育的本質也被膚淺給顛覆掉了。台灣教育的媚俗化，何止在畢業典禮上。
校長跳天鵝湖有什麼不對？從鼓勵學童閱讀的用心來看，校長的動機沒有錯，但他給錯了承諾。當他身掛幾縷白紗在舞台上大跳其所謂芭蕾，除惹得學生捧腹大笑，恐怕無法激起任何對真善美的憧憬。而
草率的裝扮、笨拙的舞姿，更倒盡人們對天鵝湖的胃口。只為娛樂學生和家長，卻失去教育的莊重本質，這就是媚俗。
十年教改，強調的是要讓學生「減壓」，但走到形式的末流，就會導致這種結局。學生穿旗袍扮「親善大使」，表面上看是在打破校園與社會的藩籬；實質上卻是在複製社會高度刻板化的接待禮儀，制約了學生的純樸和自主。包括流行的裝扮秀，其實也是一窩蜂抄襲模仿；學生搞笑耍寶也就罷了，居然都是校長在領銜演出。
李家同的批評，不必當聖旨；但他提到的「媚俗」，確實點出了教育人不敢想或不想看的現象。教育不是娛樂事業，有它莊嚴的一面；隨便從「好萊塢」電影裡抄點東西，博取學生一笑，抱歉，那不算教育。
http://udn.com/NEWS/OPINION/OPI1/5662384.shtml
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