文本報(bào)記者 張亞萌Zhang Yameng 譯曹宇光Cao Yuguang

《白毛女》是任何時(shí)代都令人難忘的故事
——松山芭蕾舞團(tuán)點(diǎn)滴故事

Unforgettable Story of White-haired Girl at any Time——Legend of Matsuyama Ballet

文本報(bào)記者 張亞萌Zhang Yameng 譯曹宇光Cao Yuguang

1958年王昆（左二）與松山樹子（中）等合影Group Photo of Wang Kun (second at the left) and Mikiko Matsuyama (center) in 1958

中美之間的“兵乓外交”廣為人知，中國(guó)與日本之間，更有“芭蕾外交”的故事——1958年，日本松山芭蕾舞團(tuán)舞劇《白毛女》首次登上中國(guó)舞臺(tái)，近半個(gè)世紀(jì)的歲月中，松山芭蕾舞團(tuán)曾先后14次來華訪問演出，寫下了中日民間交流不朽的傳奇。為紀(jì)念中日邦交正?；?5周年，5月16日至24日，松山芭蕾舞團(tuán)來華演出大型新編芭蕾舞劇《白毛女》，開啟其第15次訪華之旅，再續(xù)藝術(shù)、友誼、和平的佳話。

本次訪華演出由中國(guó)國(guó)際文化交流中心、中國(guó)文聯(lián)、上海市對(duì)外文化交流協(xié)會(huì)主辦，于5月19日晚在北京人民大會(huì)堂首演。選擇這一演出地點(diǎn)頗有紀(jì)念意義——1964年9月，松山芭蕾舞團(tuán)第二次訪華時(shí)曾在人民大會(huì)堂小禮堂演出，當(dāng)時(shí)，毛澤東、周恩來、朱德等中國(guó)國(guó)家領(lǐng)導(dǎo)人觀看演出并接見了全體演員。

“《白毛女》是任何時(shí)代都令人難忘的故事。通過《白毛女》，我們和中國(guó)緊密地連接在一起了?！彼缮桨爬傥鑸F(tuán)創(chuàng)始人、前任團(tuán)長(zhǎng)清水正夫曾這樣說，“我相信，無論中國(guó)的現(xiàn)代化今后取得多么大的成就，即使中國(guó)的科學(xué)技術(shù)和經(jīng)濟(jì)文化成為世界第一了，《白毛女》也仍是一部必須經(jīng)常反復(fù)回憶的民間故事”——從上世紀(jì)50年代民間交流破冰，到中日邦交正?；?70年代，直至21世紀(jì)的今天，都如清水正夫所言，“《白毛女》是中日友好的基石”。

從第一次訪華那天起，中國(guó)就成了我“心中的故鄉(xiāng)”

1945年，王昆主演的歌劇《白毛女》首演于延安；1950年，田華主演的電影《白毛女》在長(zhǎng)春攝制完成，并于1952年在日本首次放映。當(dāng)年秋天，清水正夫和松山樹子夫婦看到電影，深受感動(dòng)，便萌生了將“白毛女”這個(gè)故事改變成芭蕾舞的想法，“當(dāng)時(shí)才18歲的田華女士在《白毛女》中扮演的喜兒，又可愛又堅(jiān)強(qiáng)，引起了我們強(qiáng)烈的共鳴。自那以后，我們就像著了迷似的投入到編導(dǎo)芭蕾舞《白毛女》的工作中?！鼻逅蛟凇端缮桨爬傥琛鞍酌薄罩杏押弥畼颉愤@本書中這樣回憶。為了創(chuàng)作，清水家變賣了房產(chǎn)，籌資借錢，還要頂住日本右翼和反華勢(shì)力的壓力，經(jīng)過兩年多的艱苦創(chuàng)作，1955年2月12日，繼歌劇、電影之后，芭蕾舞劇版的《白毛女》在東京日比谷會(huì)堂公演，導(dǎo)演是土方與志，服裝是土方梅子，制作是清水正夫，主演是松山樹子。

“我還很清楚地記得芭蕾舞《白毛女》的首演，我親自感受到觀眾的熱情，我只是拼命地跳舞。謝幕的時(shí)候，觀眾的掌聲經(jīng)久不停。我看到前排的觀眾都流著淚水，有的甚至大聲地哭了起來，臺(tái)上的演員也抑制不住自己的感情，都流著眼淚謝幕”，松山樹子回憶。

通過當(dāng)年的赫爾辛基世界和平大會(huì)，清水正夫見到了中國(guó)代表團(tuán)團(tuán)長(zhǎng)郭沫若，他很愉快地滿足了日本代表團(tuán)“希望訪問中國(guó)”的愿望——1955年國(guó)慶節(jié)的宴會(huì)在北京飯店大廳舉行——那時(shí)人民大會(huì)堂還沒有建成，據(jù)受邀的松山樹子回憶，周恩來總理和許多中國(guó)國(guó)家領(lǐng)導(dǎo)人都到了，宴會(huì)很氣派；在宴會(huì)的高潮，周總理突然對(duì)外國(guó)記者團(tuán)說：

“現(xiàn)在宣布一件重要事情?！?/p>

大家都以為有什么事，氣氛有點(diǎn)緊張。周總理領(lǐng)著兩位漂亮的中國(guó)婦女走到松山樹子面前，向她伸出手：“朋友們，這里有三位‘白毛女’?！薄趵?、田華、松山樹子，三個(gè)“白毛女”緊緊握了手，留下了珍貴的照片。

“白毛女回娘家來了?！痹谘鐣?huì)上，周總理對(duì)松山樹子說：“下次帶著《白毛女》，大家一起來?！?/p>

“我把周總理的這句話像寶貝一樣記在心里踏上了歸途；這一次在北京的場(chǎng)面是我終生難忘的?！彼缮綐渥踊貞洠?dāng)時(shí)中國(guó)正開始提倡“百花齊放、百家爭(zhēng)鳴”，周總理就這樣親自為文藝的發(fā)展而努力工作著，“松山芭蕾舞團(tuán)所受周總理的照顧，真是說也說不盡的”。

酷愛舞蹈的松山樹子，素來不愛留戀過去，但戰(zhàn)爭(zhēng)給她留下了不滅的印象，她開始認(rèn)識(shí)到不該忘記戰(zhàn)爭(zhēng)、不該忘記過去?！皬牡谝淮卧L華那天起，中國(guó)就成了我‘心中的故鄉(xiāng)’?！彼缮綐渥釉@樣說。

“1958年，我們實(shí)現(xiàn)了首次訪華公演的愿望。這是中國(guó)和松山芭蕾舞團(tuán)的初次交往，當(dāng)時(shí)年輕的新中國(guó)正在朝氣蓬勃地進(jìn)行著國(guó)家建設(shè)，松山芭蕾舞團(tuán)也是剛剛開始起步?！鼻逅蜻@樣記錄。1958年3月3日到5月1日，松山芭蕾舞團(tuán)一行46人應(yīng)周總理的邀請(qǐng)進(jìn)行為期兩個(gè)月的第一次訪華演出。演出共28場(chǎng)，代表團(tuán)先后在北京的天橋劇場(chǎng)、重慶的人民禮堂、武漢的中南劇場(chǎng)、上海的人民文化廣場(chǎng)等地公演《白毛女》《胡桃夾子》等劇目。

從日本來的芭蕾舞團(tuán)表演中國(guó)革命故事，而且演員們和中國(guó)人長(zhǎng)得一模一樣，中國(guó)觀眾和日本觀眾一樣理解芭蕾舞。戲票從前一天晚上開始公開出售，通宵排隊(duì)買票的人連成一片。據(jù)松山樹子回憶，他們只從中國(guó)方面得到過一次“規(guī)勸”：當(dāng)時(shí)的中國(guó)，只有喪事時(shí)才穿白鞋，于是舞團(tuán)馬上把男演員的白舞鞋涂成黑色。

當(dāng)時(shí)，北京天橋劇場(chǎng)正在上演王昆主演的歌劇《白毛女》，王昆為了松山芭蕾舞團(tuán)的演出搬到附近的另一個(gè)劇場(chǎng)繼續(xù)“唱”《白毛女》；“梅蘭芳先生所在的中國(guó)京劇團(tuán)，在我們演出后不久創(chuàng)作了京劇《白毛女》，公私合營(yíng)的京劇團(tuán)也開始演出《白毛女》——歌劇、芭蕾舞、京劇都開始演《白毛女》，北京頓時(shí)形成了白毛女的比賽會(huì)，一個(gè)前所未有的‘白毛女熱’出現(xiàn)了?！?/p>

芭蕾版《白毛女》自然最受關(guān)注，“我看過很多芭蕾舞，但是還沒有看到過像《白毛女》那樣使我感動(dòng)的芭蕾舞。這是由于這部芭蕾舞和勞動(dòng)人民的生活與斗爭(zhēng)聯(lián)系在一起了?！敝麘騽〖覛W陽山尊這樣寫道。以《人民日?qǐng)?bào)》為首的多家報(bào)紙登載了《白毛女》的報(bào)道，那時(shí)候，報(bào)紙每天都用巨大版面刊登張樂平、郁風(fēng)畫的速寫，詩人為《白毛女》寫的詩，松山芭蕾舞團(tuán)來華公演成了重要新聞，傳遍整個(gè)中國(guó)。

真想大喊一聲“萬歲”

1972年9月29日，中國(guó)政府與日本政府發(fā)表聯(lián)合聲明，建立中日外交關(guān)系，至此，日本長(zhǎng)達(dá)約半個(gè)世紀(jì)的“與中國(guó)隔絕”宣告結(jié)束。“通過衛(wèi)星傳送，我們看到了北京的情況，大家如釋重負(fù)，真想大喊一聲‘萬歲’。但是，由于日中斷絕關(guān)系如此之長(zhǎng)，當(dāng)時(shí)的心情不屬于那種歡聚一堂亂蹦亂跳的歡樂，而只是在自己的內(nèi)心深深地感到的一種喜悅?！鼻逅蛘f。其實(shí)，在中日邦交正?；?，松山芭蕾舞團(tuán)就已經(jīng)完成了第三次訪華演出，1971年第三次公演，森下洋子和清水夫婦之子哲太郎已經(jīng)挑起了大梁；周恩來總理親自觀看演出，上臺(tái)與主要演員森下洋子親切握手并接見全體演員；1972年7月，上海舞劇團(tuán)訪問日本，史學(xué)家戲稱為中日建交歷史進(jìn)程中的“芭蕾外交”。

“在天橋劇場(chǎng)演出那一晚，周總理去后臺(tái)看大家，見到我就問：你是正夫的兒子嗎？”松山芭蕾舞團(tuán)現(xiàn)任總代表清水哲太郎回憶；現(xiàn)任理事長(zhǎng)、舞蹈家森下洋子更是常說“昔日之恩，無以為報(bào)”：當(dāng)時(shí)周總理特別忙，但再忙也會(huì)擠時(shí)間看松山的演出；那次演出后，周總理送給她一件演出服；作為當(dāng)今世界芭蕾舞臺(tái)上最高齡的舞蹈家，今年已經(jīng)69歲高齡的她決定穿著1971年周總理送的這件演出服，完成全場(chǎng)《白毛女》的演繹。

“1975年，我19歲，隨中國(guó)北京藝術(shù)團(tuán)出訪日本。當(dāng)時(shí)接待并全程陪同我們的是清水正夫先生。記得在歡迎晚宴上，他首先講了三句話：我是最愛中國(guó)的日本人，我也是最愛中國(guó)文化的日本人，我更是向中國(guó)人民謝罪的日本人?！敝袊?guó)國(guó)際文化交流中心理事、舞者尹建平今天回憶起當(dāng)時(shí)的“震撼”，仍感動(dòng)不已。

“記得我在大阪期間，突發(fā)急性胃炎，清水先生就站在下場(chǎng)口，手拿著胃藥、端著水，等我下場(chǎng)，這一場(chǎng)景至今歷歷在目?！痹诰┒佳莩龅臅r(shí)候，日本右翼揚(yáng)言要在演出期間鬧事，“清水正夫先生請(qǐng)來幾十個(gè)京都少林寺的青年為我們的演出保駕護(hù)航，他站在臺(tái)側(cè)對(duì)大家說：請(qǐng)大家放心，有我們?cè)?，你們什么都不用?dān)心！”尹建平說。這并非孤例，1972年上海舞劇團(tuán)訪日時(shí)，右翼分子揚(yáng)言扔燃燒彈，清水先生讓哲太郎和洋子夫婦化妝成劇中人物，穿著《白毛女》的演出服等在后臺(tái)，提著浸過水的毛毯，防止右翼和黑道的破壞。

1978年9月，松山芭蕾舞團(tuán)又一次訪華，“在北京機(jī)場(chǎng)我看到了來迎接我們的中國(guó)朋友，在這一瞬間，我突然感到有一種在文化大革命的時(shí)候所沒有過的舒暢氣氛。中國(guó)朋友們都像剛飛出籠的小鳥一般，自由地交談和無拘束地表達(dá)自己的感情，從他們的這種表情和語言，以及一舉一動(dòng)中，我們看到了一個(gè)新的時(shí)代?！鼻逅蚝退缮綐渥?，是中國(guó)社會(huì)發(fā)展變化的見證者。“大家用‘熱烈歡迎’這樣的語言來歡迎我們，鼓掌和歡使團(tuán)員們的兩頰緋紅。每當(dāng)我們受到中國(guó)朋友們這般歡迎時(shí)，便有一種終于回到了自己家一般的安然心情。這是因?yàn)槲覀儗?duì)于中國(guó)朋友們的迷戀，已經(jīng)到了難以想象的地步。”清水正夫曾這樣說。

“我們是東京的延安”

“我們應(yīng)當(dāng)認(rèn)識(shí)到，環(huán)境、周圍的人以及自己本人都在隨著時(shí)代的潮流而變化，而且應(yīng)當(dāng)知道哪里是轉(zhuǎn)折點(diǎn)。但是，有一件在任何時(shí)候都不允許發(fā)生變化的東西，那就是一顆善良的、信任人的心?！彼缮綐渥釉绱吮硎荆翱纯船F(xiàn)在的社會(huì)，人們都在忙忙碌碌。社會(huì)越是現(xiàn)代化，人們就越像被機(jī)械所驅(qū)使著一樣。在激烈的合理化和機(jī)械化中，人正在失去人所固有的天性，這個(gè)天性，正在日益不為人們所重視。我們所從事的芭蕾舞這門藝術(shù)可以比喻為手工業(yè)，這和機(jī)械化的社會(huì)之間恐怕差別太大了。為此，我有時(shí)會(huì)突然感到一陣恐怖。芭蕾舞是嚴(yán)格地鍛煉出來的一種藝術(shù)，是用人的靈魂創(chuàng)造的藝術(shù)。正因?yàn)槿绱?，我更感到，在這樣一個(gè)時(shí)代，我們所從事的工作是寶貴的，是有價(jià)值的。”

清水正夫已經(jīng)遠(yuǎn)去，松山樹子已近百歲高齡，而他們自1948年建團(tuán)就定下的“上演古典芭蕾”和“創(chuàng)作具有民族特色的芭蕾舞”的宗旨，以及對(duì)芭蕾和中國(guó)的“初心”，還在松山芭蕾舞團(tuán)代代相傳。每當(dāng)日本松山芭蕾舞團(tuán)來華訪問演出時(shí)，他們都主動(dòng)前往抗日戰(zhàn)爭(zhēng)紀(jì)念館、延安等中國(guó)抗日圣地，并代表日本懺悔謝罪，與當(dāng)?shù)氐娜嗣窠涣髀?lián)歡。只要走進(jìn)松山芭蕾舞團(tuán)的練功廳，映入眼簾的，首先是掛在墻上的毛澤東、周恩來、鄧穎超的照片，以及用中日兩種文字書寫的勵(lì)志標(biāo)語：“團(tuán)結(jié)、緊張、嚴(yán)肅、活潑”“一不怕苦、二不怕死”。

“我們是東京的延安?！彼缮桨爬傥鑸F(tuán)的所有團(tuán)員，都會(huì)這樣“標(biāo)榜”自己。

1964年，上海芭蕾舞學(xué)校首次演出了《白毛女》，上海成為芭蕾版《白毛女》的誕生地；今次，5月23日晚，新版《白毛女》亮相上海大劇院。中日兩國(guó)幾代芭蕾“白毛女”再次重逢。5月20日，松山還趕赴周恩來的故鄉(xiāng)江蘇淮安，從某種意義上說，松山芭蕾舞團(tuán)拜謁周總理的故鄉(xiāng)，也是一次感恩之旅。

“舞團(tuán)加緊排練《白毛女》時(shí)，他們?cè)跂|京郊區(qū)做了一個(gè)專門的排練劇場(chǎng)，進(jìn)行了3天的全本演出式排練；同時(shí)他們?cè)谂拧读_密歐與朱麗葉》，但全體團(tuán)員每天擠出幾小時(shí)自己練?！彼缮桨爬傥鑸F(tuán)評(píng)議員、舞者鄭一鳴介紹，很多道具都是團(tuán)員自己做的，裝臺(tái)卸臺(tái)都是全體團(tuán)員和工作人員一起裝卸，“演出時(shí)，在邊邊角角的演員，狀態(tài)都是特別飽滿的，向心力特別強(qiáng)，世界上這種芭蕾舞團(tuán)不太多了?！?/p>

“日本人演《白毛女》意義深刻，我們研究農(nóng)民，研究八路軍的歷史，把這些歷史傳達(dá)給演員，通過藝術(shù)表現(xiàn)我們的誠(chéng)意：中日人民應(yīng)當(dāng)和平友好地?cái)y手前行?！鼻逅芴烧f?！跋矁哼@個(gè)角色教會(huì)我面對(duì)困境時(shí)要堅(jiān)強(qiáng)”，森下洋子說。談及新版之“新”，清水哲太郎直言故事沒有改編，而是增強(qiáng)了群體形象，突出大量群體“喜兒”的場(chǎng)面，使之更有震撼力。“這一版的‘新’，就在于保持了中國(guó)舞者以前有而現(xiàn)在沒有的狀態(tài)?！币ㄆ秸f。

“我們希望展現(xiàn)向往美好與和平之心，希望中日兩國(guó)的朋友一起幸福地生活，通過芭蕾藝術(shù)，建立兩國(guó)友好，是幾十年來我們一直堅(jiān)持的心?！鄙卵笞诱f，《白毛女》這個(gè)“偉大的作品值得所有人欣賞”。

半個(gè)多世紀(jì)以來，無論中日關(guān)系冰雪摧殘還是柳暗花明，松山芭蕾舞團(tuán)都始終不渝地在為中日世代友好做著自己的努力，每當(dāng)中日關(guān)系出現(xiàn)裂痕時(shí)，他們總是第一個(gè)站出來維護(hù)和支持中日民間友好的大局。1985年，清水正夫曾說：“我們?cè)谌毡竞椭袊?guó)之間所走過的這1/4世紀(jì)，在宏大的世界河流中，也許只是瞬間流過的涓涓一滴，我們所做的工作，也許是微不足道的。但是，曾被封鎖了的日本和中國(guó)現(xiàn)在正在手拉手地準(zhǔn)備開創(chuàng)一個(gè)新的時(shí)代。認(rèn)為歷史變了、社會(huì)變了的人，大概不只我一個(gè)。也許我們當(dāng)時(shí)恰好是走到了那個(gè)時(shí)代的轉(zhuǎn)折點(diǎn)上吧，然而，現(xiàn)在，我們所有的人類恐怕都正處在世界的轉(zhuǎn)折點(diǎn)上。不管世道和時(shí)代今后出現(xiàn)什么變化，我們熱愛中國(guó)的心情是不變的，而且，我相信，對(duì)中國(guó)朋友的友情一定能代代相傳下去?！?/p>

點(diǎn)滴成河，歲月可鑒。

松山芭蕾舞團(tuán)新編芭蕾舞劇《白毛女》演出現(xiàn)場(chǎng)Performance of the Revised Ballet Drama White-haired Girl in China

Similar to the “tabel tennis Diplomacy” between China and USA, there exists a “Ballet Diplomacy” between China and Japan. Ever since the year 1958 when Matsuyama Ballet Company of Japan premiered their White-haired Girl on the China’s stage, this company has visited China to stage performances on 14 occasions and composed a lasting legend of people to-people exchange between the two countries. In commemoration of the 45th anniversary of Normalization of Diplomatic Relations between China and Japan, from May 16 till 24, Matsuyama Ballet Came to China to stage the revised ballet drama White-haired Girl as their 15th journey and extended this legend of art, peace and friendship.

This special performance was jointly sponsored by China International Cultural Exchange Center (CICEC), CFLAC and Shanghai International Culture Association, The premier was set on the evening of May 19 at the Great Hall of the People in Beijing, which carried so much memorable indication. In September of 1964, Matsuyama Ballet staged their performance in the small auditorium at the Great Hall of the People in their second visit to China and the national leaders of China then sach as Mao Zedong, Zhou Enlai and Zhu De watched the performance and met with the entire company after the performance.

“The White-haired Girl is always an unforgettable story at any period of time. It has connected us closely to China.” Masao Shimizu, the founder and the ex-president of Matsuyama Ballet once said, “No matter what great achievement will be made in China’s modernization and even if China becomes world-leading in scientific technology, economy and culture, the White-haired Girl is still a folk story we need to recall from time totime”. From the ice-breaking in people-to-people exchange in the 1950s to the normalization of diplomatic relations in the 1970s and till the current period in the 21st century, as Masao Shimizu said, this play still functions as the basis of China-Japan friendship.

China my Became Hometown at Heart on my First Day of Visit

In 1945, the opera White-haired Girl featured Wang Kun was premiered in Yan’an, in 1950, the samename film featured Tian Hua was completed in Changchun and shown in Japan for the first time in 1952. When the couple Masao Shimizu and Kiko Matsuyama saw this film in that autumn, they were so touched with the plot that they were determined to choreograph this story into ballet. “The actress Ms. Tian Hua was no more than 18 years old, and Xi’er, the heroine of the film, was adorable and perseverant, which aroused great sympathy among us. From then on, we were totally fascinated with the choreography of the ballet White-haired Girl.” Masao Shimizu recalled in his book White-haired Girl by Matsuyama Ballet—China-Japan Friendship Bridge. For the sake of creation of theballet, the Shimizus sold their house and went on leans After more than two years’ artistic creation against the pressure of Japan’s right-wing and anti-China forces, on February 12, 1955, the ballet version of Whitehaired Girl, following the opera and film versions, was premiered at Tokyo Metropolitan Hibiya Public Hall, with Yoshi Hijikata as director, Umeko Hijikata as costume designer, Masao Shimizu as producer and Kiko Matsuyama as heroine.

“I can still recall clearly my premier in the ballet White-haired Girl in China. As I deeply felt the Chinese audiences’ passion, I tried my best uhile dancing on the stage. In our response to a curtain call, their applauses lasted quite a long time. I saw that those in the front rows were already in tears and some even cried out.At this, we couldn’t help shedding tears as we bid goodbye to Chinese audiences.” Kiko Matsuyama said.

On the occasion of World Peace Conference in Helsinki, Masao Shimizu managed to meet with Guo Moruo, head of China’s delegation, who, in a pleasant mood, agreed to help the Japanese counterpart’s wish to visit China come true. In 1955, the banquet for National Founding celebration took place in Beijing Hotel, The Great Hall of the People was still under construction then. As Kiko Matsuyama recalled, Premier Zhou Enlai and many national leaders from countries attended this grand banquet.At the climax of Premier Zhou Enlai unexpectedly called to the foreign correspondents.

“I would like to make an important announcement.”

As people assumed for something terrible, the atmosphere was a bit tense. Premier Zhou took two beautiful Chinese ladies to Kiko Matsuyama and stretched out his hand. “Friends, we have three White-haired Girls now.” Those three “White-haired Girls”held each other’s hands, which became a precious instant in the photo.

“Our White-haired Girl has returned home,” Premier Zhou said to Kiko Matsuyama at the banquet, “If you can bring your ballet version to China, all of us will definitely be your audiences.”

“This word of Premier Zhou stayed in my heart like treasure on my way back to Japan and what I experienced in Beijing has become my lasting memory.” Kiko Matsuyama recalled. At that time, China advocated the principle of “Let Hundred Flowers Bloom and Let Hundred Schools Contend”, and Premier Zhou worked vevy hard at promoting the literary and art development.“The auspice from Premier Zhou for our ballet company is far beyond words”.

As a devoted dancer, Kiko Matsuyama hardly lingers about the past. However, as the war made ine ffaceable impressions onher mind, she realized that any war in the past should never be forgotten. “From the first day of my visit, China has become a hometown in my heart.” Kiko Matsuyama said.

“In 1958, our wish to premier our ballet in China finally came true, which became the first encounter of Matsuyama Ballet with China. At that time, the New China still in its vevy youth was undertaking national construction with full vitality And our ballet company was quite young as well.” Masao Shimizu wrote in his book. At the invitation of Premier Zhou Enlai, from March 3 till May 1, a 46-member Matsuyama Ballet came on their virgin tour in China. During almost two months, Matsuyama Ballet staged such programs as White-haired Girl and the Nutcracker respectively at Tianqiao Theatre in Beijing, the People’s Auditorium in Chongqing, Zhongnan Theatre in Wuhan and the People’s Cultural Square in Shanghai.

People were curious to see how a Japanese ballet company stage a Chinese revolutionary story,though their actors and actresses look like Chinese. A long queue was formed overnight as the tickets were scheduled to sell on the previous evening. As far as Kiko Matsuyama remembered, the company only got one suggestion from Chinese side. As the Chinese people then only wear white shoes on the occasion of funeral and actresses', the company immediately order to have all the actors’ white shoes painted in to black.

At the same time, the opera White-haired Girl featured Wang Kun was about to take place at Tianqiao Theatre, but for the sake of Matsuyama Ballet, Wang Kun moved to a nearby theatre. “The China Peking Opera Ensemble headed by Master Mei Lanfang created Peking opera version of White-haired Girl soon after our performance and all the Peking opera troupes started to stage this play from time totime. With various art forms of a single story, Beijing then became a competition arena for White-haired Girl and an unprecedented fashion of ‘White-haired Girl’ came into being immediately.”

Of course, the ballet version was most eye-catching. “Among so many ballet productions I have seen, there is no such ballet as White-haired Girl that touched me so greatly, because, I suppose,this ballet makes a connection with the laboring people’s struggle and life.” Ouyang Shanzun, a prestigious Chinese theatre expert once commented. Many media including the People’s Daily provided such interesting reportage of this ballet in great space of page as the sketches made by Zhang Leping and Yu Feeng,and poetry in praise of this ballet. As an important piece of news, Matsuyama Ballet’s visit and performance in China became well-known throughout China.

Hearty Cheers for Normalization of China-Japan Diplomatic Relations

On September 29, 1972, a joint communiqué between Chinese government and Japanese government was issued and the diplomatic relation was then established, which symbolized that Japan’s “isolation from China” in almost half a century came to an end. “Via satellite transmission, we witnessed that great moment in Beijing and felt relieved. We truly wanted to cry out our hearty cheers, but as the separation between the two countries was quite a long time, we only enjoyed an inner joy and peace in mind instead of gala for reunion.” Masao Shimizu said. As a matter of fact, Matsuyama Ballet had accomplished its third visit performance in China before the normalization. In 1971, the actress Yoko Morishita, along with Tetsutaro Shimizu,son of Shimizu couple, became the backbone cast, Premier Zhou Enlai came to watch the performance, shook hands with Yoko and met all the artists after performance. In July 1972, Shanghai Dance Drama delegation visited Japan, Completing what was called by historians as “Ballet Diplomacy” during the course of China-Japan relations establishment.

“On the evening of our performance at Tianqiao Theatre,Premier Zhou Enlai came to visit us at the backstage. as soon as he met me he asked me,‘a(chǎn)re you the son of Mr. Masao Shimizu?’” Tetsutaro Shimizu, the current chief representative of Matsuyama Ballet recalled. Yoko Morishita, the famous dancer and president of Matsuyama Ballet, concluded it as “Amazing grace beyond repayment”. Premier Zhou Enlai was extremely busy with his work, but he would spare no time to watcr the performance by Matsuyama Ballet. Premier Zhou Enlai preseuted a set of costume to her As a agitt. As the oldest dancer on the current world ballet stage, this 69-year-old dancer is decided to present a full-length performance of White-haired Girl in the precious costume gifted by Premier Zhou Enlai in 1971.

“In 1975, I came with Beijing Art Troupe to Japan at the age of merely 19. It was Mr. Masao Shizimu who received us and accompanied us in the whole trip. I still remember three sentences of his at the welcome dinner. ‘I’m a Japanese who loves China most, who loves Chinese culture most and who wants to apologize for our past offence.’” When recalling those shocking words, Yin Jianping, dancer and council director of CICEC, was still emotionally touched.

清水哲太郎、森下洋子在演出中Tetsutaro shimilu and Yoko Morishita in Performance

“During my performance in Osaka, acute gastritis happened to me unexpectedly. Mr. Shimizu while they were held pills and a glass of water in his hands, waiting at the stage exit, which still occurs to my mind.”while they were in Kyoto, some Japanese right-wing forces threatened to make trouble. “Mr. Masao Shimizu invited scores of youngsters from Shaolin Temple at Kyoto as our bodyguards He said to us, ‘Please feel reassured.With our presence, you have nothing to worry about!” Yin Jianping quoted. It was actually not a single case. During Shanghai Dance Drama delegation's visited Japan in 1972, some right-wing forces threatened to throw incendiary bombs. Then Mr, Masao Shimizu told his son and daughter-in-law to wear costumes of White-haired Girl and wait at the backstage while holding the soaked carpets against of any sabotage attacks from right-wing or govngster forces.

In September 1978, Matsuyama Ballet visited China once again.“The instant I met our Chinese friends at the airport, I suddenly fett a carefree atmosphere that was never available in the‘Cultural Revolution’. Like birds freed from cage, Chinese friends talked with us and expressed their emotions in an unrestricted way. From their countenance, language and style, we saw a brand new age.” Masao Shimizu and Kiko Matsuyama have become witnesses of China’s social development and evolution.“When Chinese friends said ‘warm welcome’ to welcome us, our artists’ cheeks twrned into in rose color. Every time we received such a warm welcome by Chinese friends, we felt at ease, as if we wereat home. again Probably our fascination with Chinese friends has developed far beyond imagination.” Masao Shimizu once said.

We are Revolutionaries at Tokyo

“We are fully aware that period, environment and people surrounding us and even ourselves are changing along with the time and fashion with a clear sense of where the turning points.are However, there is something that cannot allow any change, and it is a heart of good will and trust.” Kiko Matsuyama once expressed, “People nowadays are so busy. The more modernized the society appears, the busier people will be strictly driven as if by machines. In the severe course of rationality and mechanization, people are losing their human nature which receives less and less attention. The ballet art ehat we are engaged to can be compared to handicraft that have a sharp difference from this mechanical society. For this reason, I feel a kind of horror from time to time. Ballet is an art that comes from severe training and spiritual creation. In this sense, I feel more confident that in this age our job is of great value”.

Though Masao Shimizu has passed away and Kiko Matsuyama is already in her 90s, their artistic mission to “stage classicalballet” and “create ballet of distinct national feature”set for this company since its founding in 1948, as well as their initial affection for China and ballet, still pass on from generation to generation. Whenever this company visits China, they will invariably visit Anti-Japanese War Memorial Museums and revolutionary headquarters such as Yan’an to apologize for Japanese invaders’ crimes and hold gala performance with local people. Upon entering the rehearsal hall of Matsuyama Ballet, one will finds the photos of Chairman Mao, Premier Zhou Enlai and Madame Deng Yingchao as well as encouraging mottos written in both Chinese and Japanese such as “Unity,seriousness, Earnesty, Vitality” and “Fear neither Hardship nor Death”.

“We are revolutionaries at Tokyo.” All the artists in Matsuyama Ballet make such a proud self-introduction.

On the evening of May 23, the new version of White-haired Girl premiered at Shanghai Grand Theatre. In 1964 Shanghai Ballet School first Presented Chinese ballet version of White-haired Girl in Shanghaiin InShanghai, those “White-haired Girls” of all generations from both China and Japan got reunited. On May 20,the company visited Huai’an in Jiangsu Province, the hometown of Premier Zhou Enlai. In a sense, such homage by Matsuyama Ballet was also a journey of gratitude.

“Currently, the company is busy with rehearsal, It has spent five or six million Japanese yen in establishing a theatre in the suburb of Tokyo for full-length rehearsal of three days. Though they are preparing another play Romeo and Juliet, every artist of this company still squeeze out some hours for rehearsal by themselves.” Zheng Yiming, dancer and critic of Matsuyama Ballet introduced that some props are made by artists themselves and all dancers join the stage setup and dismantlement. “During the performance, even those walking roles are totally devoted with high spirits, which is hardly seen in other ballet companies in the world”.

“There is great significance in our Japanese play of White-haired Girl. We have Conducted studies on Chinese farmers and Eighth Route Army’s history, and conveyed such historic discoveries to our artists. By owr performing art, we would like to present our sincere expectation that the peoples of China and Japan stride for ward hand in hand.” Tetsutaro Shizimu said.

“The role of Xi’er has taught me to be perseverant in confrontation of difficulty.” Yoko Morishita admitted. As to the“New” feature in the latest version, Tetsutaro explained that thouyh the plot was not adapted,Producing a effect the group image of Xi'er was greatly enhanced with a scene of muttiple Xi'er together of shocking influence. “The ‘new’ core of this version lies in their unusual artistic disposition that Chinese dancers used to enjoy but no longer boast Nowadays.” Yin Jianping said.

“We hope to demonstrate our expectation for beautiful life,world peace and happy life that friends of China and Japan together. It is our persistent wish for decades that ballet art can build up friendship between owr two countries.” As Yoko Morishita put, “This a great works of White-haired Girls deserves to be appreciatedly all the people”.

For half a century, no matter in great difficulty or in promising transition in the China-Japan relationship, Matsuyama Ballet has been making their perseverant efforts for the everlasting friendship. Every time when crisis occurs, they will invariably the first ones to safeguard and support the friendship between the two peoples. Masao Shimizu once said in 1985, “The quarter of century with the grand stream of the world, we might be just a tiny drop or an instant. What we have done so far might be too trivial to mention. Nevertheless, Japan and China, once blocked from each ofher, are ready to open up a new age in joint efforts.Many people, including me, have realized the change of history and society, Probably we are located at the turning point of our tines or even for the entire world. No matter what change mag take place inthe fature, our love of China will remain, And I firmly believe that our affection with Chinese friends will passon from generation to generation.”

Indeed, it is for many tiny drops that Ththas been proren a flowing stream of friendship can sustain, Thathas been proren and remembered througout history.

青年時(shí)期的森下洋子演出《白毛女》Yoko Morishita in her Youth Performing in White-haired Girl

松山芭蕾舞團(tuán)新編芭蕾舞劇《白毛女》演出現(xiàn)場(chǎng)Performance of the Revised Ballet Drama White-haired Girl in China