爪哇安魂曲，梭罗奇遇记 Java Requiem, Solo Adventure
本文刊载于《面面俱道02：春游》的「戏里戏外：Episode」栏目，原文标题为【梭罗河回响】
This article is published in the "Inside and Outside the Play: Episode" section of "All Around 02: Spring Outing," originally titled "Echoes of the Solo River"
作者：张久我 Author: Zhang Jiuwuo
旅游有时是一个很难进入的事情，看电影则是我的一个试探步，我倾向于每次解锁一个新的地区，就先去查看在当地拍摄的电影，借用取景框浅略地抓取一把本地的人文风貌。2020年我第一次去武汉，在女友东头村的出租屋里看了《李文漫游东湖》，当天下午竟偶遇了片子里的演员本人。
Traveling can sometimes be a difficult endeavor to embark on, while watching movies has been my tentative step. I tend to unlock a new region by first checking out films shot locally, using the framing of the scenes to briefly capture a glimpse of the local culture and atmosphere. In 2020, on my first trip to Wuhan, I watched "Li Wen’s Tour of East Lake" in my girlfriend’s rented room in Dongtou Village, and that very afternoon, I unexpectedly ran into one of the actors from the film.
2024年六月份，我和二十面体的朋友们，准备去我们没人去过的印尼，玩实景巴别塔圣歌语言游戏。临行前我便提议先看一部印尼本地的电影。在那之前，我甚至不确定印尼有没有本土电影。在全员没有预期的情况下，我们看了一部惊得大家天雷滚滚的长片艺术电影《爪哇安魂曲》，更没想到的是，我们很快就见到了片中的男主角，在他和这个片子的引领下，打开了我们与梭罗城和爪哇戏剧的一段奇缘。
In June 2024, my friends from the D20 group and I planned to visit Indonesia, a place none of us had been to before, to play the real-life Babel Tower chant language game. Before departure, I suggested we watch a local Indonesian film. Before that, I wasn’t even sure if Indonesia had native films. With no expectations from anyone, we watched a long-form art film that stunned us all—“Requiem for Java.” Even more surprisingly, we soon met the film’s male lead, and through him and the film, we opened a remarkable chapter of connection with the city of Solo and Javanese theater.
《爪哇安魂曲》在我心目中是一部可以载入影史的片子。后来在我们的爪哇岛旅行中，影片的内涵在眼前所有的街区路面和庙宇景观里铺展延伸。
In my mind, “Requiem for Java” is a film worthy of being recorded in cinema history. Later, during our trip to Java Island, the film’s themes unfolded and extended across every street, pavement, and temple scene we encountered.
踏上爪哇岛的陆地，甘美兰甜美的乐声常萦绕耳畔，印尼有很多传统悠长的古典艺术形式，我们一路参观了 wayang 皮影戏的博物馆也在日惹的剧院观赏了甘美兰的歌剧，后来才知道，正如流传至今的广东英歌戏主要只演水浒里的两场：大名府救卢俊义和劫法场救宋江。Wayang 和甘美兰歌剧千百年来反复演绎的都是印度史诗《摩诃婆罗多》和《摩罗衍那》的故事，而2006年的电影《爪哇安魂曲》正是改编自《摩罗衍那》里一个在印尼脍炙人口的篇章：魔王罗波那抢夺罗摩王子之妻悉多的传说。
Stepping onto the land of Java Island, the sweet sounds of gamelan music often lingered in my ears. Indonesia has many traditional and long-standing classical art forms. Along the way, we visited a museum of wayang shadow puppetry and also watched a gamelan opera at a theater in Yogyakarta. Later, I learned that, just as the Guangdong Yingge opera traditionally only performs two scenes from Water Margin: the rescue of Lu Junyi at Daming Prefecture and the jailbreak of Song Jiang, Wayang and gamelan operas have for centuries repeatedly portrayed stories from the Indian epics Mahabharata and Ramayana. The 2006 film "Requiem for a Dream in Java" is adapted from a well-known chapter in the Ramayana popular in Indonesia: the legend of the demon king Ravana abducting Prince Rama’s wife Sita.
虽然故事取材自古老的文化传统，但导演用非常当代和实验的手法进行了一番激进魔改。这个片子并不是什么文艺闷片，而是给人一种脑回路清奇、情节抓马、令人难以预测下一秒发生什么、直呼wtf的观影体验。片子中非常抢眼的美术置景，是非常西方体系的装置艺术表达，但配乐、材料和舞蹈范式，又体现着古典东方的精神内核，各种或华丽或朴实的艺术手段融为一炉，斑斓混杂却又如晶石般剔透凝练。片子是由一场场精美恢弘的歌舞剧选段串联而成的，在我的视角里，电影的形式是一层媒介外壳，我真正在观看的是一场既古典又先锋的爪哇戏剧。
Although the story is drawn from ancient cultural traditions, the director employed a very contemporary and experimental approach to radically reinterpret it. This film is not some dull art-house piece; rather, it offers a viewing experience that is intellectually stimulating, dramatically gripping, unpredictable at every turn, and often prompts a “wtf” reaction. The striking art direction and set design are expressions of Western-style installation art, but the music, materials, and dance paradigms reflect the classical Eastern spiritual core. Various artistic methods, whether lavish or simple, blend into a kaleidoscopic yet crystal-clear and refined whole. The film is composed of a series of exquisite and grandiose musical theater segments. From my perspective, the film’s form is merely a media shell; what I am truly watching is a Javanese drama that is both classical and avant-garde.
它用一个非常传统剧目的形式开场，但其中的细节又颇为令人在意：美丽的女主悉多同她的丈夫手捧着血淋淋的猪肝在占卜，“人的一生都藏在猪肝里，生和死和爱情都在其中”一个戴着牛仔帽的裸着上身的胖子唱着歌为这个传说报幕。
It opens in the form of a very traditional play, but the details are quite thought-provoking: the beautiful heroine Sita and her husband hold a bloodied pig’s liver for divination, “A person’s entire life is hidden in the pig’s liver; birth, death, and love are all contained within.” A shirtless, chubby man wearing a cowboy hat sings to announce this legend.
毫无预兆的第一幕，便是妻子悉多在卧房里遭遇了（一条？）帽子精，帽子精向手无寸铁的悉多步步紧逼，而配乐在紧张嘶哑之余，又冒出了类似于口弦音色的弹性和诙谐。果不其然，悉多被身手灵活的帽子精逼退到了床上，但氛围陡然一转，悉多在射进窗户的阳光里把玩起帽子，把它摘下来，扣在了一盘甜点上。
Without any warning, the first act shows Sita in her bedroom encountering a (hat spirit?). The hat spirit advances step by step toward the defenseless Sita, while the music, tense and hoarse, also bursts with elastic and playful tones reminiscent of a jaw harp. Sure enough, Sita is pushed back onto the bed by the agile hat spirit, but the atmosphere suddenly shifts. In the sunlight streaming through the window, Sita plays with the hat, takes it off, and places it on a plate of sweets.
《爪哇安魂曲》的前两场昭示着一套很当代剧场的经验和逻辑。它不在现实的层面上注解，而是以形式的直觉连结。籍此，风格样式迥异的戏剧和舞蹈段落层出不穷地向观众绽放开来：宫廷的民族舞，生活场景里的音乐剧唱段，街头的恶势力帮派舞，室内空间的单人solo，帽子精的妙脆角之舞，魔王组织的很嬉皮的群魔乱舞，集中表现三角恋情的NTR之舞以及各种高度抽象的现代舞……
The first two acts of "Requiem for Java" reveal a very contemporary theatrical experience and logic. It does not interpret on the level of reality but connects through formal intuition. Through this, a variety of dramatically and stylistically distinct theatrical and dance segments continuously unfold before the audience: court ethnic dances, musical numbers from everyday life scenes, street gang dances of malevolent forces, solo performances in indoor spaces, the crisp and clever dance of the Hat Spirit, the very hippie-style chaotic dance of the demon king’s organization, the NTR dance focusing on a love triangle, and various highly abstract modern dances...
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《爪哇安魂曲》里舞蹈的种类五花八门，想象力更是光怪陆离，除了演员的肢体表现外，场景里的色彩、光影、空间都大有作为，除了无可挑剔的美感之外，错落的情绪发展也经常让人忍俊不禁、错愕又震撼，但它何以如此杂糅又如此成立？出发去印尼之前，我们毫无线索。那天下午我们激动地讨论着影片的高超制作水平同时憧憬起印尼的行程，而我对片子饰演魔王的男演员着迷不已、难以忘怀！当他一出场，从一块吊着的牛肉后现身，我们就再也无法忽略他惊为天人的表现力。当时我们都在谈论他，但不知道他叫什么，就姑且叫他牛肉哥了。看完电影后我立刻在网络上追踪他，顺利关注到了他的Ins，他的签名是：The slowest dancer on earth。
The types of dance in "Requiem for Java" are diverse and the imagination is even more bizarre. Beyond the actors’ physical performances, the colors, lighting, and spatial design in the scenes play significant roles. Besides impeccable aesthetics, the uneven emotional development often makes one chuckle, feel stunned, and be deeply moved. But how can it be so eclectic yet so coherent? Before departing for Indonesia, we had no clues at all. That afternoon, we excitedly discussed the film’s superb production quality while looking forward to the trip to Indonesia, and I was fascinated and unable to forget the actor who played the demon king! When he appeared, emerging from behind a hanging slab of beef, we could no longer ignore his astonishingly extraordinary expressiveness. At that time, we were all talking about him but didn’t know his name, so we just called him Beef Brother. After watching the film, I immediately searched for him online and successfully found his Instagram. His signature reads: The slowest dancer on earth.
这两年，因为比较多在做肢体剧的演员，所以ins页面上积累了一些演出的形象，牛肉哥注意到了我，在我看完电影关注他的下午，我们竟然猝不及防地开始了线上互动。
In the past two years, because I have been working more as a physical theater actor, I accumulated some performance images on my Instagram page. Beef Brother noticed me, and after I watched his movie and followed him, we unexpectedly started interacting online.
牛肉哥纠正我胡乱拼的印尼语“谢谢” Brother Beef corrected my haphazardly spelled Indonesian “thank you.”
牛肉哥说，他居住在solo city，欢迎我们去见他。我在地图查了查，这个名为solo的城市，距离我们在印尼的目的地日惹很近，于是当场安排了拜访牛肉哥的行程。（事情就是这么离谱地发生了，我才刚想要追星就……这是爽剧的写法吧！）那个时候，我们还不知道，这个solo city孕育过一首我们都耳熟能详的民谣，正是黄秋生在《太阳照常升起》里抱琴弹唱的【美丽的梭罗河】。我们还不知道，缘分把我们带到了梭罗河畔，【Bengawan Solo】，这首歌的旋律此后会一直流淌在我们心里。
Brother Beef said he lives in Solo City and welcomed us to visit him. I checked the map and found that this city called Solo is very close to our destination in Indonesia, Yogyakarta, so we arranged a visit to Brother Beef on the spot. (This is how ridiculously it happened—I had just started to chase a star and... this must be how a feel-good drama is written!) At that time, we didn’t know that Solo City had nurtured a folk song familiar to all of us, the very “Beautiful Bengawan Solo” that Anthony Wong played and sang with his guitar in *The Sun Also Rises*. We didn’t know that fate was leading us to the banks of the Solo River, Bengawan Solo, and that the melody of this song would forever flow in our hearts.
日惹和梭罗是一对姊妹城，曾分别是苏丹国和苏南国的首都，王宫也是由同一位设计师打造。我们一行人在参观日惹博物馆后的下午乘火车很快就到了梭罗，我没有那么频繁地联络牛肉哥，下榻酒店后大家在附近觅食，没走出几百米就碰到一户人家在庆祝生子，他们热情地把我们请进屋子里，给我们发放各种食物，我们的出现让他们觉得很喜庆。我们在梭罗待了两天的时间，一直感受到本地人淳朴好客的善良，临走的时候也再次被陌生的阿姨请吃请喝，一顿丰盛的阿拉伯餐。
Yogyakarta and Solo are sister cities, once the capitals of the Sultanate and Sunanate respectively, with their palaces designed by the same architect. After visiting the Yogyakarta Museum, our group took a train and quickly arrived in Solo that afternoon. I didn’t contact Brother Beef frequently. After checking into the hotel, we went looking for food nearby and hadn’t walked more than a few hundred meters when we encountered a family celebrating a newborn. They warmly invited us inside, offering us various foods, and our presence made the occasion feel even more festive. We stayed in Solo for two days, continuously experiencing the locals’ simple, hospitable kindness. When we left, a stranger auntie again invited us to eat and drink, treating us to a sumptuous Arabic meal.
Bengawan solo 的调子就像是一个接头暗号，当我们哼出这首歌的时候，梭罗人就会向我们展示出亲切和喜悦的一面。牛肉哥给我发送的位置是他的舞蹈工作室，距离城区略远，我们乘坐车子开往质朴宁静的郊区，我想象着农田、雨林、沼泽和水牛，但车子在一栋典雅古朴的房子前停了下来。牛肉哥的工作室，像是爪哇本土文化的小型展馆，包容在深沉内敛的气质当中，而牛肉哥本人也非常的谦和热情，我们后来才知道牛肉哥因为跟麦当娜巡演过九个月，在印尼是有一些偶像地位和名气的。我们随即被邀请在工作室席位观看他的博士女学生创排的舞蹈，因为这件事实在是发生得超出预期，所以我已经无法评估这个作品有多惊艳了。我的英语很不好，但在当时我即使用汉语也可能无法表达自己感受到的惊喜。舞蹈的结构很简单，五个女生不断地用手掌大声拍打自己的身体，发出有节律的鸣响，在这个母题上，她们通过舞蹈范式和空间变幻演绎着一个野性的故事。牛肉哥说，他培养学生，致力于挖掘爪哇本土的原生部落舞蹈与现代舞的美学结合，五个女生的表演是她们所生长的小岛上妇女们的传统劳动舞蹈的现代变体，题材和形式取自她们原住民的文化风俗。
The tune of Bengawan Solo is like a secret handshake; when we hummed this song, the people of Solo showed us their warmth and joy. Brother Beef sent me the location of his dance studio, which was a bit far from the city center. We took a car to the rustic and tranquil suburbs. I imagined farmland, rainforests, swamps, and water buffalo, but the car stopped in front of an elegant, quaint house. Brother Beef’s studio is like a small museum of Javanese native culture, wrapped in a deep and reserved aura. Brother Beef himself was very humble and enthusiastic. Later, we learned that because he toured with Madonna for nine months, he has some idol status and fame in Indonesia. We were then invited to watch a dance choreographed by his doctoral student in the studio. Because this happened beyond all expectations, I couldn’t even assess how stunning the work was. My English is poor, and even if I had spoken Chinese at that moment, I might not have been able to express the surprise I felt. The dance structure was simple: five girls continuously slapped their bodies loudly with their palms, producing rhythmic sounds. On this motif, they used dance paradigms and spatial changes to tell a wild story. Brother Beef said he trains students and is dedicated to exploring the aesthetic fusion of Javanese native tribal dances with modern dance. The five girls’ performance was a modern variation of the traditional labor dances of women from the island where they grew up, with themes and forms derived from their indigenous cultural customs.
我们一行人在VIP席观看了内部专场
牛肉哥平时在印尼艺术学院任教，他邀请我们去他的学校参观，时值他们学校正在承办舞蹈/戏剧的节日。牛肉哥热情地提出了很多的邀约，比如带我们去参观梭罗山上的古老印度寺庙，过段时间带我们去他的老家（一个印尼很东部的海岛）潜水，还邀请我住在他的工作室，说可以带我一起参加澳大利亚的戏剧节。
牛肉哥的宅邸
我们一行人讨论了一下，觉得实在没有什么可以回报牛肉哥的盛情招待，在人情的压力下，我们很中国方式地选择一一婉拒，不过第二天还是在他的助手的陪同下参观了学校。
印尼艺术学院的校园干净美观，图书馆里有很多激动人心的书目，我们参观了整套编制的甘美兰乐器还上手尝试演奏，下午，我们赶上了学校内部的环境戏剧演出。不得不说，在这个学校里如此随机遇到的学生环境戏剧演出，竟比我在国内接触到的都精彩。跟日惹高度西方和当代的艺术氛围相比，梭罗的舞蹈/戏剧样貌更能融于当地的文化和生活背景当中，演员的身体特质很鲜活，黝黑的筋骨、布料的曲线、少女的脚步乃至泥土、灰尘、木棍、石块都平等而有生命力，我不是评论家或理论家，只是作为一个文化游客，被表演的真实性和在场感打动。
小河在牛肉哥组织的戏剧节上看了这几部让她大为震撼的表演
牛肉哥平时非常的忙碌，但他乐于和我们打招呼，把我们介绍给身边的人认识。跟他的几次聊天很放松，我有一次吐槽说印尼的食物太甜了。牛肉哥告诉我说，在殖民时期，荷兰在印尼建造了一些大型的制糖厂，荷兰人发很微薄的薪水但会长期给本地的劳工发糖吃，这些蔗糖让他们像毒品一样上瘾，离不开这份苦力。长此以往，形成了印尼人的饮食习惯，在爪哇岛，你很难躲避掉含糖量高的饮料和食物。
看着牛肉哥我当然又想到了《爪哇安魂曲》，事实上在整个旅行中的见闻都补充着我对这部电影的理解。我无法不从另一角度重新解读：片中的悉多是美好和善的化身，是淳朴的原始爪哇文化。而他的丈夫，印度神话里一个东方的王子，在片中是一个普通家庭的市民，衰落、孱弱，因贫穷而背井离乡，与他共舞的是妇孺、黎民，唱着生活的苦难和荒诞。此时牛肉哥饰演的角色趁虚而入引诱悉多，牛肉哥出现的场景是西式的酒馆，人人穿戴者礼服礼帽，他所带领的是匪帮的街舞，他也是嬉皮乱舞时的领袖。他是一个入侵者，是爱情关系里的第三者，是原神话故事里的邪魔。丈夫手捧着泥土，魔王铺张着红毯，牛肉哥并没有完全夺走悉多，但悉多重新回到丈夫的怀抱后，也难以打破丈夫的猜忌、与原来的生活融合。在最后的大战中，丈夫纠集了村民喊着打到剥削的口号，魔王则召集了警察、匪帮、权贵和萨满。原印度史诗中丈夫怀疑悉多的贞洁，令悉多投火自证清白，影片用黄色帐篷飘动的帷幔表现火焰，而丈夫挖去了悉多的心脏，在他被警察抓捕后否认自己的罪行。
这正是留在痛苦中的爪哇，殖民时期过去了，侵略者离开了，在他们走后历史的伤痕开始感染、发炎，那些无法消退的异物内化进血液里，爪哇仍在被诱惑着和遗弃着，在文明的进程中左顾右盼、踽踽独行。
现在的印尼无疑是一个物质贫乏、经济落后的国家，但在这样的地方，我们能感受到本地人的淳朴善良、热情慷慨，他们不是西方社会那些警惕、顾虑的面孔，他们皈依信仰，载歌载舞，似乎在过着更幸福和乐的生活。
在印尼的城市序列中，梭罗不及巴厘岛、雅加达、三宝垄这么有名，Solo这个名字，也让它显得有点孤独，离开梭罗之前我们去参加了一个印尼上世纪本土流行歌的展览，里面有一个专门的展厅，讲述着【Bengawan Solo】的故事和制作，梭罗河是爪哇文化的母亲河，它的历史源远流长，房间里单曲循环着这首歌颂这条河流的歌曲，而我们驻足听了很久才走。
因为行程的缘故，离开梭罗之后我很快回了国，小河仍对梭罗念念不忘，好像那首歌让她对那座城市滋生了更多的情谊。后来她独自重返梭罗城，回到学校看了一场令她大为震撼的环境戏剧，听说那场戏原本是在采石场里演出，原型是一些采矿工人。演员们敲击石头发出清脆声响，汇成一片劳作场景的节律，全程无额外的配乐，前来看戏的观众不止是学校里的师生，而是男女老少乡里乡亲都有。最后，观众们跟着演员们游街，终点处，一个理发师在台上剃光了导演的头发。
其实没能做出决定留在牛肉哥的舞蹈工作室，我心里感到很惋惜。不知道以后还会不会再去印尼、爪哇、梭罗，不知道以后还会不会见到牛肉哥，他的本名叫Eko Supriyanto，他是梭罗河畔一位优雅而有尊严的舞者。
二十面体，粤语亦可读作“二十面睇”，意为对于任何事物，可以从多个角度去看待。