只有峨眉山戏剧幻城

说明：
只有峨眉山•戏剧幻城灯光设计 以知来处、明内己、辨去向思想逻辑阐述血脉故土“峨眉山”的故事，“只有峨眉山·戏剧幻城”是导演王潮歌创作并执导的“戏剧幻城”实景演艺。是继“印象”系列实景演出、“又见”系列情境体验剧之后创作并执导的“只有”系列的开篇之作。整个项目占地规模约7.8万平方米，总建筑面积30500平方米。作为旅游演艺界的创新之作，“只有峨眉山”突破了“剧场演出”和“实景演出”的边界，在中国首创了实景演艺与周边原始村落相融合的演艺方式，使不同种类的剧场之间互相交融，并开创了行进式的观赏方式。随着行进路程的推进，观众也随之进入一个又一个故事。 Based on the Origin, Self and Orientation logic to expounds the story of the blood hometown "Mount Emei". “Unique Mount Emei · land of dramas" is the live performance created and directed by director Wang Chaoge. It is the opening work of the " Unique " series after "Impression" series live performance and "Encore" series dramas of situational experience. The project covers an area of about 78000 m2, with total construction area 30500m2. As an innovative works in the tourism performance, " Unique Mount Emei" has broken through the boundary between "theater performance" and "live performance", pioneered the performance method of integrating live performance with surrounding primitive villages in China, so that different kinds of theatres blend with each other, and created a marching viewing mode. With the advance and plan, the audience will enter a kind of story one by one. 峨眉山最负盛名的云海作为创意元素，打造了“云之上”“云之中”“云之下”三个剧场，表达出天界、仙界、人界视角审视的关联故事，并用虚与实、写意与留白、表现与间离等给人们带来了一路观与演的心灵启迪过程。 Keyword, Mount Emei's most famous“Cloud Sea” as the element has created three theater locations of "Beyond the cloud", "By the cloud" and "Beneath the cloud", which express the related stories examined from the perspectives of Heaven, Fairyland and World, and bring the spiritual enlightenment process of watching and performing with Illusion and Reality, Chinese painting blank, Expression and Alienation. 皆“云之上”剧场建筑意在幻化出天界苍穹的界址，灯光设计以玲珑锦阁的“瓦”和“屋顶”为母题塑造元素，用“缥缈”、“空灵”为灯光意向，创造出从人间向天界移步异景的玄妙境界，并共鸣于人们的心理认知，从天界可俯瞰仙界、人界的世间万物发展全程，亦真亦幻，亦明亦暗，亦“云之上”，亦“人世间”。“云之上”是室内情境戏剧体验剧场，在六个不同的表演空间中行进式观演，在不同故事里穿梭。“云之上”是可以容纳1400人同时观演的17740㎡的室内剧场内，天界之境如菩萨在云彩之上俯瞰人间，佛教中的人生八苦、世道轮回，与峨眉山发生的历史人物的过程还原，是李白的世界、是蒋介石的世界，是普通游人、农民工的世界，引发峨眉山文化血脉的内涵产生的情感触发、精神满足和身心互动。 The "Beyond the Clouds" theater is intended to create the mythical vault of heaven. The lighting design takes the "tile" and "roof" of the exquisite brocade Pavilion as the elements, "Misty" and "Ethereal" as the lighting development trend to looks up reverently a mysterious realm from the world, which resonates with people's reverse psychological cognition. From the heaven, you can overlook the whole development process of all things in the fairyland and world, which is also true and illusory, bright and dark, sometimes "Beyond the cloud" sometimes "In the world".  "Beyond the cloud" theater is the six chapters of interior situational drama experience, watching in different performance spaces and across different stories. In the 17740 ㎡ area which can accommodate 1400 people to view the performance at same time, the realm of heaven is like a Bodhisattva overlooking the world above the clouds. The eight hardships and samsara of life in Buddhism and the process of restoring the historical figures in Emei are Li Bai(Ancient Chinese poets )'s world, Chiang Kai Shek's world, ordinary tourists and migrant workers' world with emotional trigger, spiritual satisfaction and physical and mental immersive experience from the connotation of Emei's cultural vein. 建筑的表皮近五十万片蓝绿色、白色、灰色玻璃瓦和陶瓦按“千里江山图”的体系规制组成的混合幕墙。了解导演和建筑师的创作理念后，对建筑材料的透光性、反射性及现场灯光设备合成研究试验后，追寻这一美学形制的建筑立面，在光感闪现的瞬间，迸发出超然脱俗的气质，营造出一种漂浮、轻盈、玄幻、美妙的彩云之巅,天域之国。灯光的营造法则是自上而下的，自内而外的，像极了俯身视察下界生灵的姿态。灯光设计分别选择了多种光束角及功率强度的LED洗墙灯对多色玻璃瓦及陶瓦进行不同投射位置和渲染层次的设定。不影响建筑立面日间的完整性和完美细节，所有立面灯光设备都被安装在瓦面背后的龙骨结构上，由于建筑材质的特殊结构与庞大体量，灯光设计反复试验和施画、建筑表皮形成了隐秘盘根错节的灯光管线系统经由龙骨内侧穿到各个灯具，表面无任何灯具和管线。灯具与建筑融为一体，建筑与天色融为一体，夜幕低垂，瓦砾如云，云中崇首，云下耕作，天国隐现，中国传统美学意境完美呈现。 Nearly 50,0000 pieces of blue-green, white and gray glass tiles and ceramic tiles in the building façade are composed of regulation system of Chinese painting " a Panorama of Rivers and Mountains". Understanding the intentions of directors and architects, research and experiment on the transmittance and reflectance of building materials and the synthesis of lighting equipment on-site, we will pursue the architectural facade of this Aesthetic form, burst out the detached temperament thought the lighting moment, a floating, lissome, mysterious, wonderful realm beyond the colorful clouds. The direction of façade lighting is from top to bottom and from inside to outside, which is like to overlook and inspect the creatures in the world. Different beam angle and power intensity Led Grazing Fixtures are selected to set different aiming positions and rendering levels for multi-color glass tiles and ceramic tiles. No impact for the integrity and perfect details of the building facade during the daytime. Whole lighting fixture and equipment are installed on the keel structure behind the tile. Due to the special structure and huge volume of building materials, lighting design team has many times tested and drawn, and the skin has formed a hidden and intertwine lighting pipeline and wire system, which joint fitting through the keel structures. Fixtures and buildings are integrated, buildings are integrated with the sky, night fell, the Gravel tile like clouds, look up in the clouds, farming under the clouds, the realm of heaven looms, the conception of Chinese traditional aesthetics is perfectly presented. 由17000㎡覆盖白色砾石和弥漫白色水雾组成的云海露天表演区域，在“云之中”剧场中明暗隐现起伏若干的瓦片屋面，这种态势、登上峨眉金顶才可顿悟峨眉云海三千年文明精神图腾，观与演者都漫步于玄幻之内，跨越空间，穿越时间，云海在山间弥漫，润化高耸的山峰，云之中层，半抱宛如山峰的人间。云中仙界，是从人间到天界的行进，引发人们对自己血脉故土根基的升华：我在哪？我是谁？我去哪?。贴敷砾石的光弥漫着向上润染出迷雾云海的飘零轻盈，不同类别的灯光及设备为场地提供基础功能照明外，也为演绎时提供表演灯光，采用智能化控制模块，结合表演控制系统分时段分场景，合理安排与自然生态的相容关系，避免非合理运营时间的生态干扰和能源浪费。 Cloud Sea the 17000 ㎡ opening performance area is covered with white gravel and filled with white mist. "By the cloud" theater, there are some loomed undulating tile roofs. In this situation, you can suddenly understand the spiritual totem of Emei 3,000 years civilization of Cloud Sea when you climb the Golden Top of Emei. Both the viewers and performers walk in the fantasy, across space and time. The Cloud Sea is filled with moistening towering peaks in the mountains and by the cloud, Half embrace the world like peaks. The fairyland is the process from world to heaven, which leads people to sublimate the foundation of Blood and Hometown: where am I (Origin)? Who am I (Self)? Where am I going (Orientation)?The light diffusing up with gravel moistening , dyeing the Mist and Cloud Sea. Different types of lights and equipment not only provide basic functional lighting for the venue, but also provide performance lighting for interpretation. Intelligent control module is adopted, combined with performance control system, according to time and scene, and the compatible relationship with natural ecology is reasonably arranged to avoid ecological interference and energy waste during unreasonable operation time. 称为“旧村”的“云之下”实景村落剧场，它是一个真实存在的自然村落——高河村。村民们迁移后，导演决定把它原封不动地保留下来，成为实景剧场。这里有2场广场大戏、17场院落戏剧，75场散点戏剧。真是的人间烟火、饱满的人物塑造以及4355件极具历史感的真实老物件描摹出上个世纪80年代的“农村图鉴”。夜晚，旧村沉浸在所属的年代里，一个资源贫乏的年代，这里的人们生长在一片青瓦一豆微光之下，激发人们对自己的记忆，安放乡愁。知来处、明内己、辨去向的心灵升华。旧村的灯光设计是对原始的还原，但又是还原的基础上的再创新。“不复制”自己，是新生的、是独一无二的、是原创的，是超越自我，灯光设计团队摒弃了传统设计方式的束缚，慢慢找到了创作的乐趣。旧村中使用的灯具无任何现代灯具的造型，防止惊扰那个年代的记忆留存，设计团队就地取材的二次创作，破旧的编筐、变形的盘子、破旧的盆，一切都有可能成为发光源。设计师从选材的耐用度，功能亮感、实用性、安全性进行细致研发，还原了年代质感。在灯光布置的手法中，采用点光的形式以真实的低亮度塑造乡村夜晚的朴实无华。囊萤照读上演着人间故事，一豆烛光讲述历史的变迁。旧村中绵延着的上千盏灯，每一盏经过设计团队合理控制，让它的光更接近记忆里温暖的模样。在旧村的散点戏剧中，有在屋里打牌、有自家场院里乘凉、有屋檐下哄着孩子入睡。房屋里的人，动作很慢，像是演绎着已经远去的故事。在表现情景的灯光中，我们借鉴了舞台照明中的聚焦手法，使得人物更加突出，与主景拉开层次，使观众把目光集中于人物上。 "Beneath the cloud" live village theater called "old village". It is a real natural village “GAOHE village”. After the villagers moved, the director decided to keep it intact and become a live theater. There are 2 square dramas, 17 courtyard dramas and 75 scattered dramas. Human world's life, full characterization and 4355 old articles with a strong sense of history depict the "Rural Atlas" of the 1980s. At night, “old village” is immersed in own era, a times of Material poor life. People here grow over the gleam, which stimulates people's memory of themselves and places nostalgia. Then know Origin, Self and Orientation. The lighting design of “old village” is an original restoration, but it is an innovation on the basis restoration. "Don't copy" yourself is new, unique, original and beyond ourselves. The lighting design team abandoned the traditional design logics and found out new way. The lamps and lanterns used in the “old village” no modern shapes lamps to prevent disturbing the memory of that times. By the Ecological compatibility the secondary creation of local materials by the design team, worn woven baskets, deformed plates and worn basins are all possible sources of lighting. From the current material, Durability, Functions, Utility and safety, the designer has carried out detailed research and development, integrating and restoring the times impression. In lighting arrangement, the form of spot light used to create the simplicity of rural night with low brightness. The story of the human world is staged, a candle tells the changes of history. There are thousands of lamps in the “old village”, which has been reasonably controlled by the design team to Make its glow closer to the warm appearance in memory. In the scattered drama of the “old village”, some play cards in the house, enjoy the cool in their own yard, and coax children to sleep under the eaves. The people in the house move very slowly, like interpreting a story that has gone away. In the lighting of the scene, we draw lessons from the focusing technique in stage lighting to make the characters more prominent, open the level with the main scene, make the focus on the characters. 经过多轮带观众动线彩排调整测试，每一盏灯具的设置、投射的角度都是经过设计团队精心调校，在避免眩光的同时，给予演出饱满的照明效果。这样的热诚，蔓延在峨眉山的整个夏季里。在旧村的某个角落的面墙上王潮歌导演写下一段话：“他的温柔吓了我们一跳，他细腻地关照了每一片瓦、每一堵墙、每一只筐、每一扇窗、每一丛竹林、每一条路、每一张床、每一幅字、每一个故事。。。。。。我们惊奇的发现，他恋爱了！他爱上了这个小小的村庄。。。。。。。” 是的，这是对每一束光的最高褒奖，这是灯光设计师的“热爱”，全体工作团队的“热爱”。 After the adjustment and test of moving line rehearsal many times, the setting and projection angle of fixtures are carefully adjusted by the design team to give full lighting effect to the performance while avoiding glare. Such enthusiasm spread throughout the summer of Mount Emei. On a piece of wall in the corner of the “old village”, director Wang Chaoge wrote a paragraph: "his tenderness startled us. He took care of each tile, each wall, each basket, each window, each bamboo forest, each road, each bed, each word, each story... We were surprised to find that he was in love! He fell in love with this small village..." Yes, this is the highest praise for each beam of light. This is the " Ardently Love " of lighting designers and the " Ardently Love " of all working teams.

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