首页分享【转载及翻译】最后的礼物：《宝石花》（中）

【转载及翻译】最后的礼物：《宝石花》（中）

来源：花匠小妙招时间：2024-09-10 05:22

（上部分在此：CV7430396）

The Komsomol and Choreographic Innovation

共青团与编舞改革

Nothing in The Stone Flower’s initially painful history at the Kirov pointed toward the score’s unwitting role in the choreographic revolution against the drambalet establishment that unfolded at the Kirov Ballet during Khrushchev’s Thaw. As a musical score, The Stone Flower reflected the narrow room for artistic maneuverability of the late Stalin period, but ironically, as a ballet, it would become the choreographic symbol of the battle between different generations that lay at the heart at the paradigm shift from drambalet to choreographic symphonism.

在赫鲁晓夫解冻时期，基洛夫芭蕾舞团展开的反对戏剧芭蕾成规的编舞革命中，《宝石花》的配乐无意间充当了重要角色，而这丝毫没有在它最初的苦难经历中暗示出来。作为配乐，《宝石花》反映了斯大林晚期艺术创造空间的狭隘与僵化；但讽刺的是，作为一部芭蕾，它却将成为从戏剧芭蕾到交响化编舞的模式过渡这延续几代人的战争中，那个编舞上的象征标志。

The ability of artists to exploit political forces reflecting the dynamics of the Thaw played a crucial role in overcoming those forces at the Kirov Ballet that were resistant to change. Work on The Stone Flower and on two other ballets central for the rise of “symphonic dance,” Igor Belsky’s productions of Andrey Petrov’s Coast of Hope (premiere: Kirov Ballet, April 16, 1959) and of Shostakovich’s Leningrad Symphony (premiere: Kirov Ballet, April 14, 1961) initially proceeded parallel to work on the theatre’s official production plan, leading to serious problems in getting the necessary allocation of rehearsal space, rehearsal time, and pianists. The artists involved in creating The Stone Flower were to trick the cumbersome machine of the Kirov by using ideological rhetoric— the emphasis on youth during the Thaw—and instruments of ideological education—the Komsomol—for attaining their purely artistic goal of staging a ballet that was challenging the ossified parameters of drambalet.

艺术家利用能反映解冻动向的政治力量的能力，对克服基洛夫芭蕾舞团那些抗拒变革的势力起到了至关重要的作用。起初，《宝石花》与另外两部对“交响舞蹈”的兴起具有核心意义的芭蕾——Igor Belsky制作的彼得罗夫的《希望海岸》（首演：基洛夫芭蕾舞团，1959年4月16日）和肖斯塔科维奇的《列宁格勒交响曲[33] 》（首演：基洛夫芭蕾舞团，1961年4月14日）——与剧院正式计划剧目的制作同步进行，这导致在排练场地、排练时间和钢琴家的分配方面出现了严重问题。为了实现他们纯粹的艺术目标，上演一部挑战戏剧芭蕾死板规范的芭蕾舞剧，参与《宝石花》制作的艺术家们不得不利用意识形态话术——解冻时期对青年的重视，以及意识形态教育的工具——共青团，来骗过基洛夫冗杂笨重的制度机器。

The designation of Grigorovich’s production of Prokofiev’s The Stone Flower (premiere: April 25, 1957) as “youth production” played an important role in ensuring the ballet’s successful staging. The involvement of the Kirov’s Komsomol organization and the decision to dedicate the ballet to the VI International Youth Festival to be held in Moscow and Leningrad facilitated the creation of adequate working conditions, culminating in an order by USSR Minister of Culture Mikhailov in February 1957, instructing the Kirov Theatre’s leadership to do everything necessary to ensure the ballet was finished in time.

Grigorovich制作的普罗科菲耶夫的《宝石花》（首演：1957年4月25日）被挂了一个“青年制作版”的名号，这对于确保该剧顺利登台演出起到了重大作用。基洛夫的共青团组织的干预，以及决定将这部芭蕾献给莫斯科和列宁格勒举办的第六届国际青年节，都为创造合适的工作条件提供了便利。最终，在1957年2月，苏联文化部长Mikhailov发布命令，要求基洛夫剧院的领导层采取一切必要措施，确保这部芭蕾按时完成排练。

The young Grigorovich owed his commission to stage The Stone Flower to Lopukhov. Grigorovich was barely thirty at the premiere of the ballet, his first major work, and the decision to entrust him with the production was far from unanimous.[34] Originally, Konstantin Sergeyev had been tasked with choreographing a new version of the ballet, after Lavrovsky’s production for the Bolshoi under the title Skazo kamennom tsvetke had proven a failure at its premiere in February 1954. Lopukhov initially insisted that Sergeyev take Grigorovich as his assistant, but according to Lopukhov, when it became clear that Sergeyev was not able to propose anything interesting while the young Grigorovich had an attractive plan, Grigorovich was entrusted with the ballet.[35] It is not clear when exactly Grigorovich took over the production from Sergeyev, but he did so at the latest by the end of the 1954/55 theatrical season.

年轻的Grigorovich能负责《宝石花》的上演是得益于Lopukhov。《宝石花》的首演是Grigorovich的第一部重要作品，当时他还不满三十岁，将制作委托给他的这个决定并没有得到一致同意。1954年2月拉夫洛夫斯基制作的版本以《宝石花的传说》为名在莫斯科大剧院首演失败后，新版本的编舞最初被交给Konstantin Sergeyev负责。Lopukhov一开始坚持让Grigorovich作为Sergeyev的助理，但据Lopukhov所说，Sergeyev显然不能提出任何有趣的东西，而年轻的格里戈罗维奇的计划却十分有吸引力，于是芭蕾的编舞就被委托给了Grigorovich。Grigorovich从Sergeyev接手制作的具体时间并不明确，但最迟在1954-1955年的剧院演出季结束前，他就已经接管了。

A battle between the innovators—supported by Lopukhov—and the defenders of the choreographic status quoensued. People obstructed the project both secretly and openly. Grigorovich’s opponents shook their heads, com- plaining, that an “obscure” choreographer ought not to be preferred over a People’s Artist, they doubted whether Grigorovich’s and the artist Simon Virsaladze’s plans were realistic, they did not like that young dancers were brought into the project and some criticized the introduction of changes of Prokofiev’s score necessitated by alterations in the stage action.[36] The young dancer Alla Osipenko created the part of the Mistress of the Copper Mountain, choreographically the most innovative and controversial part of the ballet. She was threatened by Sergeyev and others: “If you will dance like you dance The Stone Flower, you will no more be able to do anything. Not Swan Lake, not Raymonda.” [37] In this environment:

Every step of Grigorovich was under the threat of “fire” by numerous skeptics “out of friendship” and “out of duty.” But the choreographer as well as the artist manifested extraordinary endurance and worked productively. They succeeded in the most difficult thing—to fight opponents with the weapon of creative work. With every month, the number of foes and skeptics dwindled, the quantity of those sympathizing with the new cause grew, although many obstacles remained right up to the premiere and even after it.[38]

Lopukhov支持下的革新者与传统编舞的捍卫者之间的战争由此展开。人们明里暗里都在阻挠这个项目。Grigorovich的对手们摇头抱怨道，一个人民艺术家应该比一个“默默无闻”的编舞合适得多。他们怀疑Grigorovich和设计师Virsaladze的计划是否现实可行：他们不喜欢项目中加入年轻舞者；由于舞台动作的改变而必须对普罗科菲耶夫的配乐进行改动，这也招致一些人的批评。年轻舞者Alla Osipenko饰演铜山女王，这是整部芭蕾中编舞上最富创新也最受争议的一个角色。她受到了Sergeyev等人的威胁：“如果你像在《宝石花》中这样跳下去的话，你就什么都跳不成了。跳不了《天鹅湖》，也跳不了《雷蒙达》。”在这种环境下：

Grigorovich的每一举动都受到了无数怀疑者“出于友谊”、“出于责任”的“炮火”威胁。但是无论是编舞还是设计师都展现出了非凡的耐力，工作也卓有成效。他们成功地完成了最困难的事情——以创新的作品为武器与反对者们斗争。尽管直到首演前甚至到首演后，他们依然面临诸多障碍，但敌人和怀疑者的数量连月减少，赞同他们新做法的人不断增加。

The ballet also marked the beginning of Grigorovich’s collaboration with the set and costume designer Simon Virsaladze. A narrative, evening-filling ballet, The Stone Flower offered by no means a complete, radical break with drambalet, but both the ballet’s choreography with its emphasison dance over mime and the much more modern designs appeared radical to Soviet eyes because they broke with the ossified conventions and slavish realism of recent drambalet productions, a sometimes subtle difference which was entire ly lost to Western audiences when they first saw the ballet. For example, in addition of trying to express the ballet mainly through dance and to introducing the type of large, classical ensemble criticized as formalist in a scene depicting the kingdom of the Mistress of the Copper Mountain, Grigorovich tried to break with drambalet’s performance conventions by insisting that his dancers concentrated the maximal impact of their expressiveness in their movements and gestures, and not in dramatic mime of their faces. [39] Especially the angular choreography for the Mistress of the Copper Mountain in her revealing, minimalist costume looked revolutionary on a Soviet stage. Alla Osipenko, who created the part of the Mistress of the Copper Mountain, remembers the long period of private rehearsals in Grigorovich’s flat in a strange room that was fully tiled as the golden age of her creative life. After Grigorovich had shown the results of their private experiment—packaged in the ideological language of the day as a “Komsomol-youth work”—to the company, he got an ovation and the permission to proceed with rehearsals as part of the theatre’s normal working plan.[40]

《宝石花》也标志着Grigorovich与场景和服装设计Simon Virsaladze二人合作的开始。作为一部叙事性的、充满夜色的芭蕾，《宝石花》绝不是与戏剧芭蕾的彻底决裂，但无论是强调舞蹈而非哑剧的编舞，还是更加现代的设计，在苏联看来都是十分激进的，因为它打破了近来戏剧芭蕾中僵化的传统和刻板的现实主义。而对于西方观众而言，这种可能显得有些微妙的差异在第一次看到这部芭蕾时是完全注意不到的。比如，Grigorovich不仅试着将舞蹈作为主要表达手段，在铜山女王王国中的一个场景中引入了被批为形式主义的大型古典多人舞，还尝试突破戏剧芭蕾的表演传统，坚持要他的舞者通过动作和姿态表达出最大的冲击力，而非通过戏剧性的面部哑剧表演。[41] 铜山女王穿着简单而暴露，舞蹈棱角分明，在苏联舞台上显得尤具革命性。饰演铜山女王的Alla Osipenko还记得在Grigorovich公寓中的一间铺满瓷砖的奇怪房间里进行了长时间的私人排练，这是她艺术生涯的黄金时期。Grigorovich向舞团公司展示了他们私下实验的结果之后——以当时的意识形态语言美名为“共青团青年作品”——他得到了热烈的掌声，被获准加入正式计划剧目继续排练。

It is difficult to assess to what extent work on The Stone Flower was deliberately obstructed or whether certain problems were simply caused by overstretched work schedules and insufficient planning. The Stone Flower was designated to be staged by the young artists of the theatre and rehearsals were to proceed parallel to Yakobson’s work on Spartacus.[42] While the idea to work on two productions simultaneously might have been good in theory, especially given the government’s call to “increase the production” of new operas and ballets, it created serious problems for the secondary, “youth production,” which was supposed to have its premiere only after Spartacus. Until the premiere of The Stone Flower one-and-a-half years later, in April 1957, the Kirov Theatre’s newspaper repeatedly reiterated the same concerns. Initially, uncertainties about the production of Spartacus prevented The Stone Flower team from working at full speed.[43] Once work on Spartacus had begun in earnest by the end of 1955, hardly any rehearsal time was left for The Stone Flower. If Grigorovich had previously been able to rehearse with the soloists in the studio for two hours, he no longer had even this little time at his disposal.[44] Over the next few months, less and less rehearsal time was given to The Stone Flower. Instead of being able to rehearse with three different casts, Grigorovich had only two incomplete casts at his disposal.[45] The Stone Flower team was not given the necessary rehearsal time, rehearsal space, or pianists.[46]

很难评估《宝石花》的制作工作在多大程度上是被故意阻挠的，也很难确定某些问题是否仅仅是由于过于紧张的日程安排和不够充分的工作规划造成的。《宝石花》本被安排由剧院的年轻艺术家上演，排练与Yakobson制作的《斯巴达克斯》同时进行。在政府号召“增加新歌剧和芭蕾的制作”的背景下，同时制作两个剧目的想法理论上看似乎不错，然而它给本应紧接在《斯巴达克斯》之后进行首演的次要的“青年作品”带来了严重的问题。直到《宝石花》在一年半后的1957年4月首演之前，基洛夫剧院的报纸都一再重申这种担忧。起初，由于《斯巴达克斯》制作的不确定性，《宝石花》团队无法开足马力全速工作。1955年底，《斯巴达克斯》的制作工作一正式开始，《宝石花》就几乎没有任何排练时间了。Grigorovich之前还能与独舞们在练功房里排练两个小时，现在他甚至连这点时间都没有了。接下来的几个月间，留给《宝石花》的排练时间越来越少。Grigorovich不仅不能与三班演员进行排练，他甚至凑不齐两班演员。《宝石花》的团队没有得到必要的排练时间、排练场地，也没有分得必需的钢琴家。

Whoever was to blame, the Komsomol organization of the Kirov began to lobby for political support for the pro duction in the hope that it would translate into better working conditions. It would be too much to argue that the young artists of the Kirov consciously thought of subverting the Soviet system by exploiting the Komsomol organization within the theatre for their own, artistic purposes. Instead, they simply played according to the rules of the game. Artistic innovation that challenged Soviet cultural ideology should not be equated to outright political opposition to the Soviet system as a whole, even though some artists were surely led to reject the system because it infringed on their artistic autonomy. At least on the surface, some of the dancers involved in staging The Stone Flower were perfectly loyal Soviet citizens playing the political game successful artists usually had little choice but to participate in, but they nonetheless tried to push the boundaries imposed on cultural production. It is important to remember that membership in the Komsomol did not necessarily say anything about the private political inclinations of a dancer: talented young dancers were often simply told to join the Komsomol. Bolshoi ballerina Yekaterina Maksimova, who writes in her memoirs that she never had particular faith in the official party ideals because her grandfather had been arrested and shot, remembers that she was pushed into the Central Committee of the Komsomol after she won the All-Union Ballet Competition in 1957 without anyone ever asking her whether or not she wanted to. [47] At the Kirov, fifty-eight dancers were members of the Komsomol, including two young dancers creating leading roles in The Stone Flower, Irina Kolpakova (Katerina) and Alla Osipenko (Mistress of the Copper Mountain). [48]

无论这是谁的责任，基洛夫的共青团组织开始为《宝石花》的制作拉取政治支持，希望它能换到更好的工作条件。如果认为基洛夫的年轻艺术家们为了自己的艺术目的，有意地想利用剧院内的共青团组织来暗中违抗苏联体制，那就有些过分了。实际上，他们只是按照游戏规则行事。即便有一些艺术家确实因为自己的艺术自主权受到了侵犯而抗拒苏联体制，也不应该把挑战苏联文化意识形态的艺术创新等同于对整个体制的彻底政治反对。至少在表面上，一部分参与《宝石花》演出的舞者都是完全忠于苏联的公民，他们参与这场政治游戏只是因为成功的艺术家通常不得不如此选择，但他们的确还是试图突破文化生产中强加的界限。必须记住，加入共青团并不一定能表明舞者个人的政治倾向：有才华的年轻舞者往往只是被告知要加入共青团。莫斯科大剧院的芭蕾演员Yekaterina Maksimova在回忆录中写道，她从不真的相信党的理念，因为她的祖父曾被逮捕后枪决了，但赢得1957年的全苏芭蕾比赛冠军后，她依然被迫加入了共青团中央委员会，从没有人问过她是否愿意。基洛夫芭蕾舞团中，58位舞者都是共青团员，包括《宝石花》中的两个年轻主演，Irina Kolpakova（饰演卡塔琳娜）和Alla Osipenko（饰演铜山女王）。

Seeking political patronage was a powerful strategy in the game of Soviet life. Finding that the theatre was not providing them with satisfactory working conditions in general and those necessary to stage The Stone Flower in particular, the theatre’s Komsomol appealed to higher political organs for intercession with the management. On May 20, 1956, Za sovetskoye iskusstvo published the open letter “We are worried about the tomorrow of our ballet” from the Kirov Theatre’s Komsomol Committee to USSR Minister of Culture Mikhaílov. [49] The letter reiterated some of the complaints that had led to Sergeyev’s removal as artistic director in 1955, protesting that there still did not exist normal conditions for the artistic growth of the young generation.

寻求政治靠山是苏联生活中的一个强效策略。剧院的共青团发现剧院并没有给演职员们（尤其是那些要上演《宝石花》的演员）提供满意的工作条件，于是就向上级政治机关请求干预管理。1956年5月20日，《苏维埃艺术报》发表了基洛夫剧院共青团委致苏联文化部长Mikhailov的公开信“我们担心我们芭蕾的明天”，信中重申了导致Sergeyev在1955年解任艺术总监的一些抱怨，认为利于年轻一代艺术成长的正常条件仍不存在。

The unresolved pension question, keeping dancers in their job past their prime, was one of the main obstacles to the professional growth and systematic promotion of young dancers. As for The Stone Flower, the letter emphasized that the ballet ensemble had tried hard to end the creative stagnation of past years, but work was constantly hampered by the “defective system of allocation and utilization of creative cadres.”[50] The Komsomol of the ballet had happily taken up Lopukhov’s suggestion of a youth performance, The Stone Flower, and dreamt of showing the ballet at the International Youth Festival in Moscow. Mikhaílov was then told that the young choreographer and his dancers had prepared all parts to music played from a tape-recorder, that they had been given almost no studio space and no pianists to rehearse.

尚未解决的养老金问题——保证舞者过了盛年仍在工作岗位上——是年轻舞者职业发展和体制内晋升的主要障碍之一。关于《宝石花》，公开信强调芭蕾演员们努力终结过去几年创造上的停滞，但是工作总是因为“创造型干部的分配和任用制度的缺陷”而止步不前。芭蕾剧院的共青团欣然接受了Lopukhov的建议，安排《宝石花》青年版的演出，并希望在莫斯科的国际青年节上进行展示。Mikhailov后被告知，这位年轻编舞和舞者们的所有准备工作都是配合录音带完成的，他们几乎没有练功场地，也没有钢琴家来排练。

The support of the theatre’s Komsomol helped improve working conditions.[51] Grigorovich told Za sovetskoye iskusstvo on June 19, 1956 that more than half of the ballet had been staged despite difficult working conditions and that it was especially important to finish the ballet according to plan in order to show it at the International Youth Festival. He pointed out that the theatre’s Komsomol organization and its secretary Gulyayev were now helping him in every possible way to put conditions in order – but at every meeting, the theatre’s management continued to move the ballet’s place in the theatre’s performance plan. [52]

剧院共青团的支持改善了工作条件。1956年6月19日，Grigorovich告诉《苏维埃艺术报》，尽管工作条件艰苦，这部芭蕾还是已经完成了一半的排练，为了在国际青年节上演出，按计划完成排练尤为重要。他提到，剧院的共青团组织和秘书Gulyayev正在千方百计帮他改善工作条件——但在每次会议上，剧院的管理层都会不断改动这部芭蕾在剧院演出计划中的安排。

By October 1956, rehearsals were proceeding regularly and more productively, because the dancers creating the leading roles—Alla Osipenko, Irina Kolpakova and Aleksandr Gribov—were released from participating in rehearsals for Spartacus.[53] The most decisive progress, however, was made after the premiere of Spartacus on December 27, 1956, in the months leading up to the International Youth Festival to be held in Moscow and Leningrad in 1957. Za sovetskoye iskusstvo now wrote about The Stone Flower as a youth production dedicated to the VI International Youth Festival, adding that this obliged everyone in the theatre to adopt a more serious attitude towards the ballet.[54] The production was hailed as a present from the young artists to the International Youth Festival and as the first production created exclusively by the theatre’s youth in the history of ballet theatre. A third cast of more experienced dancers was now added to the two youth casts and the Komsomol committee appealed to the whole company, especially the “older comrades” working with them on the production, to help the young achieve their goal.[55]

到了1956年10月，排练都正常且高效地进行，因为主演的舞者——Alla Osipenko、Irina Kolpakova和Aleksandr Gribov——都不再需要参加《斯巴达克斯》的排练。不过，最决定性的进展是在1956年12月27日《斯巴达克斯》首演之后，即在1957年莫斯科和列宁格勒国际青年节举行前几个月间取得的。《苏维埃艺术报》现在写道，《宝石花》是献给第六届国际青年节的青年作品，因而要求剧院的每个人都要对这部芭蕾采取更加严肃的态度。该剧被誉为青年艺术家送给国际青年节的礼物，也是芭蕾史上第一部完全由剧院青年制作的作品。现在，在两班青年舞蹈演员的基础上又增加了第三班演员，由经验更丰富的舞者组成。共青团委号召舞团，尤其是与他们一起参与制作的“老同志”，帮助青年演员实现他们的目标。

Using the Komsomol as a tool to improve working conditions necessary for staging an artistically innovative but ideologically insignificant work finally paid off. In a master-stroke of artistic manipulation, the involvement of the Soviet government was now used to the advantage of the young innovators. It even led to the minister of culture’s direct involvement, something which would have been beyond imagination where the fields of cultural production and politics were less intimately linked. On February 15, 1957, the USSR Minister of Culture Mikhaílov issued an order “About the creative initiative of the young ballet artists of the Leningrad State Academic Theatre of Opera and Ballet named after S. M. Kirov.”[56] In the order, The Stone Flower had metamor-phosed into an initiative by the Komsomol organization of the Kirov Ballet. Pointing out that the production was about to be finished, that it was dedicated to the international youth festival, and noting the worthy initiative of the youth of the Kirov Theatre, Mikhaílov ordered Orlov, the Kirov’s director, to provide comprehensive help to the production team. Directors of other opera and ballet theatres were ordered to emulate the youth initiative of the Kirov dancers, and to organize youth initiatives for new operas, ballets, and concert programs running parallel to the theatres’ basic production plan. Ministers of cultures of union republics were told to encourage such youth initiatives by ensuring good working conditions and by offering all necessary help.

图：1953 Rehearsal of the ballet, with Leonid Lavrovsky,
Galina Ulanova, Maya Plisetskaya, and Vladimir Preobrazhensky.
RGALI

把共青团用作改善工作条件的工具，以便上演一部在艺术上富有创新但在意识形态上无足轻重的作品，终于得到了回报。通过绝妙的艺术操控，苏联政府的参与现在被用来为年轻的创新者们谋取利益，甚至还得到了文化部的直接干预，这在文化生产与政治的联系不那么紧密的时代是无法想象的。1957年2月15日，苏联文化部长Mikhailov发布命令“关于以基洛夫为名的列宁格勒国家歌剧和芭蕾剧院的青年芭蕾艺术家的创作提议”。命令中，《宝石花》变成了基洛夫共青团组织的创作提议。Mikhailov指出，该剧即将完成，是献给国际青年节的作品，并指出基洛夫剧院青年的提议很有价值，命令基洛夫剧院总监Orlov为制作组提供全面帮助；其它歌剧院和芭蕾舞剧院的总监要效仿基洛夫青年舞者的提议，组织青年发起新的歌剧、芭蕾和音乐会节目，与剧院的基本制作计划同时进行；要求各加盟共和国的文化部长鼓励这样的青年提议，确保良好的工作条件，提供所有必要帮助。

Mikhaílov’s order paved the way for ensuring that the ballet’s premiere would no longer be postponed. In response, the ballet’s production team held a special meeting with the theatre’s leadership. Grigorovich would now have the stage fully at his disposal for rehearsals from March 1 onwards, the premiere was earmarked for April 10-12 and the director of the theatre’s workshop assured the team that the ballet’s sets would be ready in time.[57]

Mikhailov的命令确保了这部芭蕾的首演不会再被推迟。为此，芭蕾的制作团队与剧院领导召开了专门会议。自3月1日起，Grigorovich可以自由使用舞台排练。首演时间定在4月10日至12日，剧院工作室主任向制作团队保证，芭蕾布景将按时准备完成。

If the party saw the Komsomol as a force of youthful ideological re-invigoration, within the context of The Stone Flower, politics and ideology are conspicuous in their absence from the rhetoric of the Kirov Theatre’s Komsomol. On March 31, 1957, Za sovetskoye iskusstvo published an article by B. Gudkov, the secretary of Leningrad’s Komsomol’s Oktyabr’skiy district committee. Gudkov emphasized that preparations for the VI International Festival of Youth and Students had to be infused with profound political content. Instead, he pointed out:

In the preparation period for the festival, very serious mistakes were made on the side of the Komsomol organizations, which mainly consist in the fact that no serious attention was spared for the political side of the festival and people were carried away by the cultural enterprises among the masses.[58]

执政党把共青团视为一支推动青年思想再振兴的力量，而在基洛夫剧院共青团关于《宝石花》的言论中，政治和意识形态显然缺席了。1957年3月31日，《苏维埃艺术报》发表了共青团在列宁格勒Oktyabrskiy地区委员会秘书B. Gudkov的一篇文章。Gudkov强调，第六届国际青年与学生节的准备工作必须被注入深刻的政治内容，指出：

在青年节的准备期间，共青团组织一方犯了极其严重的错误，主要在于没有重视青年节的政治性，文化活动抢走了人们的全部注意力。

In a way, the Komsomol of the Kirov Theatre thus sub-verted the official purpose of the Komsomol. As youth wing of the CPSU, it was in theory responsible for instilling communist values and introducing young people to political life. Unconcerned by the political purpose of the organization, the Kirov Theatre Komsomol used the organization’s clout for the purely artistic goal of producing The Stone Flower: dedicating the ballet to the International Youth Festival helped generate official political support for the production, which in turn contributed to creating the working conditions necessary for the ballet’s timely completion.

因此，基洛夫剧院共青团在某种程度上颠覆了共青团的官方宗旨。作为苏共的青年羽翼，它理论上应该负责灌输共产主义价值观，引导青年步入政治生活。基洛夫剧院共青团不顾组织的政治目的，利用组织的影响力只为完成制作《宝石花》的艺术目标：将该剧献给国际青年节，以便争取官方政治支持，从而为如期完成制作创造了必要的工作条件。[59]

注释：

【0】本部分仍为@阿托7翻译（诶嘿嘿，还没到我负责的部分），想支持的，建议去他的视频下三连。另：字数超了。。。剩下的十一条我发布在评论区吧。

[33]根据肖七第一乐章编配的单幕芭蕾

[34]Fyodor Lopukhov, Shest’desyat let v balete. Vospominaniya izapiski baletmeystera （《芭蕾六十年：编舞家的回忆与笔记》）(Moscow: Iskusstvo, 1966), 335

[35]lbid

[36]lbid

[37]Mikhaíl Meilakh, Yevterpa, tï? Khudozhestvennïye zametki. Besedï s artistami russkoy emigratsii. Tom I. Balet（《你是欧忒耳佩吗？艺术笔记：与俄罗斯移民艺术家的对话》）

(Moscow: Novoye literaturnoye obozreniye, 2008), 535.

[38]Lopukhov, Shest’desyat let v balete, 336.

[39]Ospienko, “Parizh v moyey zhizni”（ “我的巴黎生活”）31-48.

[40]Ibid. 25, 27

[41]（前文注释有提及）