On July 23^rd, the poetic drama"Achilles's Flower Crown" had its grand premiere in Shunde District, Foshan City, Guangdong Province. Over 300 spectators from cities such as Beijing, Wuhan, Guangzhou, Foshan, and Macao gathered to witness the spectacle.

The event marked the second season of "Interpreting Poetic Drama", a project launched by "Poetry & People". Inspired by "Homer's Epics", the play was scripted by poet Lan Lan, with poet Huang Lihai as the overall planner and theatre director Chen Jingjing at the helm. Notably, the cast of eight performers did not major in theater, yet they displayed a remarkable level of intensity and cohesiveness throughout the entire performance. Moreover, they exuded a strong sense of emotion and charisma that captivated and engaged the audience.

"Achilles's Flower Crown" is an integral part of poet Lan Lan's recent poetry collection titled "Songs of Waters and Lyre".

Drawing from the first half of "Homer's Epics", the poet deconstructed the perspectives on war, heroism, and femininity with incisive words, presenting a fresh retelling of the origins of the Trojan War. The work delves deeply into the contrasting cultural meanings of the female protagonist, Pyrrha, and Achilles, who carries the mantle of a hero.

The poetic drama boldly portrays the character of Achilles as a female warrior, offering a glimpse into the poet's contemplation of ancient Greek culture and an exploration of the spiritual traits of both Eastern and Western civilizations.

Lan Lan shared her passion for the project, stating, "For years after leaving the island of Scyros, I never gave up on conceiving and creating 'Achilles's Flower Crown', until it was written, revised, finalized, and finally published, only to be staged by a group of idealistic poets and young talents."

Director Chen Jingjing expressed that Wang Yijia's portrayal of Pyrrha (Achilles) played a pivotal role in the poetic drama. Her performance brilliantly depicted a multi-faceted character, encompassing femininity, divinity, heroism, and humanity, all while undergoing a constant metamorphosis. Her performance was filled with charm and vitality, bringing a new dimension to the character. For the director, this poetic drama serves as a gentle reminder, even after undergoing self-awareness, analysis, and contemplation of values, to question whether we have forgotten compassion and love.

After the performance, Zhang Yanjun, deputy editor of "Play Monthly", praised the drama, saying, "'Achilles's Flower Crown' brims with poetic charm and drama, fully embodying the original intention of 'incorporating poetry into drama and dramatizing poetry'. The play seamlessly weaves between history and the present, exploring the true essence of history, portraying the intricate emotions and life experiences of women, and illustrating the pursuit of a beautiful and harmonious life. It is profound, touching, resonant, and refreshingly pure!"

As the founder of "Interpreting Poetic Drama" and a poet, Huang Lihai shared his thoughts, saying, "In the performance of a poetic drama, when its form, content, and narration can evoke the audience's sadness and joy, anger and resistance, awakening and enlightenment, then creation begins, and life showcases new paths. While theater may be popular, poetic drama is not. Poetic drama evolves from the flow of poetry, always returning to the realm of poetic thought. It is a niche, and thus needs stronger protection; it may face challenges, and thus should be adapted."

诗剧《阿基琉斯的花冠》首演：我们有没有忘记悲悯和爱

7月23日，诗剧《阿基琉斯的花冠》首演活动在广东省佛山市顺德区举行，来自北京、武汉、广州、佛山、澳门等城市的300多名观众在现场观看。

此次活动为《诗歌与人》推出的新策划“诗剧的读法”的第2季。这部诗剧取材于《荷马史诗》，诗人蓝蓝创作的剧本，诗人黄礼孩策划统筹，戏剧导演陈晶晶编导，8位出演者都并非戏剧专业出身，却在整场演出体现了表演的张力与完整，还具有较强的感染力和带动力。

《阿基琉斯的花冠》是诗人蓝蓝近年来出版的诗集《河海谣与里拉琴》中的重要组成部分。

用荷马史诗的前半部分故事为素材和引子，以强烈的女性眼光和犀利的笔触，诗人一步步解构了史诗中的战争观、英雄观和女性观，重新讲述了特洛伊战争的缘起，着重剖析了作为女性的皮拉和被赋予英雄之名的阿基琉斯之间迥然相异的文化含义。

诗剧《阿基琉斯的花冠》以先锋与反叛的方式刻画出阿基琉斯的女战士形象，展现出诗人对古希腊文化的思考，以及对东西方两个文明古国精神特质的探究。

蓝蓝曾分享道：“在我离开斯基罗斯岛之后的这些年里，我从没有放弃过对《阿基琉斯的花冠》的构思和创作，直到它一行行被写出来、修改、定稿、出版，直到被一群充满理想主义的诗人和年轻人搬上舞台。”

导演陈晶晶表示，此次王意迦饰的皮拉（阿基琉斯）在整部诗剧中是关键人物，她把皮拉/阿基琉斯的多种身份演绎出来，塑造了一个女性、神性、英雄性及人性同在，又不断变化的形象，俊朗里充满英气，生命的觉醒带来新的境界。“对我来说，这部诗剧，在完成意识觉醒、完成剖析、完成价值取舍之后，还是对‘我们有没有忘记悲悯和爱’的一个温柔提醒。”

演出结束后，《剧本》杂志副编审张燕君说：“《阿基琉斯的花冠》诗意满满，戏在其中，充分展现了‘以诗入剧、以剧化诗’的初衷。剧作游走在历史与当下之间，探究历史的原貌，讲述女性复杂的情感、生命体验，以及追求美好祥和的生活态势，有深度、有温度，有共鸣、难得的纯粹！”

“诗剧的读法”创始人、诗人黄礼孩说：“诗剧的展演，当它的形式、内容及叙述能够引发观众的哀伤与喜乐、愤怒与反抗、觉醒与悟到，创造就从这里开始，生活就从这里展示新的道路。戏剧是一个流行的媒介，但诗剧不是，诗剧是以诗意的流转发展出剧，又回到诗的思想上来。因为小众，所以更需要捍卫；因为困顿，所以更应该转变。”

文｜羊城晚报全媒体记者 孙磊
图｜主办方供图
译｜刘佳慧
责编 | 王楠
校对 | 马曼婷