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'Like Orpheus, Michael Jackson was destroyed by his fans'
像奥菲斯一样，迈克尔•杰克逊被他的追随者所毁灭
作者：Germaine Greer
Speechlessme译自guardian.co.uk, Friday 26 June 2009
译者注：奥菲斯的故事详见http://delopy.spaces.live.com/blog/cns!FB0654AF1714A37B!442.entry）
又一个美丽的男孩离开了我们，在刹那间被摧毁。迈克尔杰克逊，他没能跨过成人的门槛，50岁离世，可仍然还是一个男孩，娇媚，充满幻想，无比脆弱，无法掌控他的人生。
他的突然离世是一种奇特的成功。他一直都在抗拒衰老甚至抗拒长大。他的下巴不留胡子；他的声音是孩子气的高音。没有进入中年，也没有把自己锁在大地上，相反，他像一阵轻风飘走，在即将开50场演唱会的边缘完全消失，而开一场都会让我忐忑不安。
对于麦当娜来说一次又一次的巡回演唱没有什么问题。因为她25岁时就既不会跳舞也不会唱歌，所以没人会介意她50岁时还是不会。但是去看迈克尔杰克逊去假装年轻会让人心碎。会心碎的包括杰克逊自己。在惨败之前一切就已结束。他躲过去了。
麦当娜说世界失去了最伟大的人之一。其实我们并没有失去迈克尔杰克逊，因为他不会消失。他的三张伟大唱片只要电子媒体存在就会永远存在下去，同时那些没有意义的部分已经被遗忘。
他惊人的创造力鼎峰时代于20年前结束，之后发生的大部分事情令许多人尴尬。杰克逊具有超验主义色彩的创造力特属于极其年轻的人，其光芒会被日常生活所磨灭，因此它很少存在于成年人中。杰克逊成功地把他闪光的男孩时代延长到30多岁，但是最终他的灵感耗尽。
他的艺术的动力来自于街头通俗文化，但是距离他能和街上的孩子一起奔跑的时代已经许多年。随着他想象力变弱，失去光芒，抵挡成熟的努力变得孤注一掷，焦躁和毫无意义。抗拒衰老的斗争变成了自我伤害和外形的损毁。从穿越远古希腊多岩石高地，在一大群脚上沾着鲜血的女祭司前面跳舞的酒神狄俄尼索斯开始，跳舞和歌唱一直就是男孩的领地。
像狄俄尼索斯一样，杰克逊被他的追随者所毁灭，因为他们对他的追捧和喜爱使他无法在任何正常的社会生存。他的创造力一天天消退。他变成了对他自己的嘲弄。现在是忘记这些，并向这个奇迹男孩致敬的时候了，他会跟狄俄尼索斯一样因死而胜利，通过他的艺术获得永生。
他在舞蹈界所取得的成就最为显著，产生了最强烈的影响。在过去的30年中没有哪位舞蹈设计者能忽略杰克逊的成就。他为所有人--无论是参与才艺表演竞赛的小孩还是欧洲皇家芭蕾比赛的孩子--重写了舞蹈的定义，。
如果说舞蹈团体并不经常承认他的影响，那是因为没有这个必要。他的身形，他的动作随处可见。
尼金斯基和纽瑞耶夫也都英年早逝。他们也是超越自我经验的跳舞男孩，但是他们选择了去诠释由他人设计的舞步。
与他们形成对比的是，迈克尔杰克逊的艺术是令人惊异的创新。没有人能像他那样跳舞，直到他跳给别人看，而且他们永远不能跳得和他一样好。他对于舞蹈的概念是完全是20世纪的，奢华的多维度，而且绝对超越平凡。
尼金斯基也许是最伟大的玫瑰之魂（尼在同名芭蕾舞中扮演玫瑰），纽瑞耶夫也许是最伟大的海盗（纽的成名芭蕾舞剧），但是在杰克逊这颗耀眼的星星旁边，这两枝蜡烛都黯然失色。令人愕然的不是我们失去了他，而是我们曾经拥有过他。
'Like Orpheus, Michael Jackson was destroyed by his fans'
Germaine Greer
guardian.co.uk, Friday 26 June 2009 20.08 BST
Another beautiful boy is gone, wiped out in an instant. Michael Jackson, unable to cross the threshhold into manhood, has died at 50, still a boy, coquettish, fantasy-ridden, horribly vulnerable, unable to take control of his life.
His sudden death is a strange kind of victory. He had managed to prevent his ageing and even his growing up. There was no beard upon his chin; his voice was a childish treble. Instead of entering middle age and letting himself be chained to earth, he has floated away like a wisp, annihilated on the brink of a 50-date concert tour that I for one was dreading.
It's all very well for Madonna to be cranking out tour after tour. As she could neither dance nor sing at 25 no one is going to mind that she still can't do it at 50. But to see Michael Jackson faking it would have been heartbreaking. Among the hearts that would have broken is Jackson's own. It has snapped before the debacle. He has been spared.
According to Madonna "the world has lost one of the greats". We haven't lost Michael Jackson, because he cannot disappear. His three great albums will last as long as electronic media continues to exist, while the dross is forgotten.
The era of his astonishing creativity ended 20 years ago; most of what has happened since has been embarrassment. Jackson's kind of transcendental creativity is typical of very young men; it seldom survives into manhood, when the glory fades into the light of common day. Jackson succeeded in prolonging his brilliant boyhood into his thirties, but eventually he ran out of inspiration.
His art had been fuelled by the vernacular culture of the streets but it was many years since he had been able to run with the kids on the block. As his imagination faltered and grew dim, the fending off of maturity became desperate, demented and pointless. The struggle against ageing turned into self-harming and self-mutilation.
Ever since Dionysos danced ahead of his horde of bloody-footed maenads across the rocky highlands of prehistoric Greece, dance and song have been the province of boys. Like Orpheus, Jackson was destroyed by his fans, whose adulation and adoration prevented his living in any kind of normal society. The creativity ebbed away day by day. He became a parody of himself. It is time now to forget all that and salute the miraculous boy who will triumph over death as Dionysos did, becoming immortal through his art.
Nowhere will his contribution be more obvious and his influence more strongly felt than in the world of dance. No choreographer of the last 30 years has been unaware of Jackson's achievement. He rewrote the vocabulary of dance for everyone, from kids competing in talent shows to the royal ballets of Europe.
If the dance establishment did not often acknowledge his influence it was because there was no need. His shapes, his moves were everywhere.
Nijinsky and Nureyev also died young. They, too, were transcendent dancing boys, but they chose to interpret the choreography supplied to them by others.
By contrast Michael Jackson's art was astonishingly innovative. No one could dance like him, until he showed them how, and then they were never as good as he was. His concept of the dance was utterly 20th century, extravagantly multi-dimensional, and not in the least middle class.
Nijinsky may have been the greatest Spectre de la Rose, Nureyev the greatest Corsair, but these two candles pale in the light of Jackson's blazing star. The surprise is not that we have lost him, but that we ever had him at all. |
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发表于 2009-12-15 10:19:59
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发表于 2009-12-15 10:32:47
