（节译）帕拉杰诺夫的采访：关于《游吟诗人》的音乐

《 黑体为采访者话语，紧邻其后的为 谢尔盖.帕拉杰诺夫（sergei Pradjanov）的答语）
...........谈谈Ashik Kerib 的创作么？

我七岁时候扁桃体发炎，病中母亲给我读了莱蒙托夫的童话故事Ashik Kerib 。 这个故事不是那么有名，在学校里没有什么人看中它。一个高加索地区的土耳其妇女告诉了莱蒙托夫这个故事。莱蒙托夫是一个可以和普希金比美的伟大诗人。在孩提时候我就被他深深感动了。我还记得我哭了起来。Magul Migeri 在等待她的爱人。然而她不得不同另一个男人结婚。她想自杀。她用剑和毒药来阻止对自己爱的背叛。但Ashik 回来了。最后是圆满的。一个好莱坞风格的电影结尾。

我开始寻找我自己的Ashik Kerib，这个穆斯林游吟诗人在世上流浪为了挣到足够的钱来赎回Magul Miger 的自由。我刚好就发现一个年轻人，我的邻居，一个22岁的库尔德小伙。他是个恶棍。暴打警察。又为屋顶漏雨吧看守者也痛打了一回。偷车还和人家口角。然后我遇到了他。我问他你能否一年不做恶棍。他回答说我可以永远不做恶棍。当然这要看你给我提供的条件了。库尔德人不是穆斯林。他是一个基督教徒。但在影幕上他扮演的是一个穆斯林的角色。

Ashik Kerib的音乐非常精彩…..

音乐并非来自高加索，而是穆斯林音乐。Muram， 一种古代穆斯林狂想曲。一个穆斯林游吟诗人歌唱着狂想曲踟躇于世界的四方.这个穆斯林来到格鲁吉亚，一个基督教的世界。就是片中“荒废的修道院”一章。这里信奉的是“一神论”----只有一个上帝。这就是格鲁吉亚人的主旋律的意义：格鲁吉亚唱诗班，当唱诗班的孩子遇到被穆斯林人殴打的情况，他只能从他的同类那里挽救自己，以此证明“在敌人的领域的就是我们的敌人”。也许你是我们的兄弟，并正在入侵敌人领域，但也因此你将成为我们的敌人。基本上这就是音乐所要传达的。
我聘用的是一个很有天赋的阿塞拜疆作曲家。他叫Kuliyev。他能够领会我所要的。这是一件非常有挑战的工作。我给他提出了很多困难，但他都把握的很好。我们甚至用了欧洲音乐：一段“万福玛丽亚”， 舒伯特，格卢克，“受难曲”中的主题动机。音乐流光四溢，非常的美，赋予一种现代感。我们希望欧洲观众在大脑里能够将万福玛丽亚同穆斯林时间联接起来。

但我觉得我好像在影片里也听到了教堂音乐….

没错，风琴的声音。基督的教堂音乐。在“上帝是唯一的“那一段里------在格鲁吉亚，那里可以听得到多和弦的意大利教堂音乐。其余的都是穆斯林muranm。 公众是否能够理解这部影片又是另一回事情了。在影片中歌唱的孩子们来自于一个孤儿院。孩子们从省里，从山区里，从大草原上来到学校学习muram。歌唱的孩子能够加深影片的情感深度。
只有很少几部电影跨越了两个世界。也只有几个导演可以做的到。Yilmaz Geney 就是其中一个。来自东方的他却能够为欧洲人拍电影真的让人惊讶。这种文化跨越了东西方的界限。

附录：原文

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How did Ashik Kerib come about?

When I was seven years old, I was sick with angina and my mother read to me Ashik Kerib, a fairy tale by (Mikhail) Lermontov. It's not very well known; they don't treat it at school any more. A Turkish woman in the Caucasus told this fairy tale to Lermontov, who was as great a poet as (Alexander) Pushkin. Lermontov moved me deeply when I was a child. I remember I cried. I cried because Magul Migeri was waiting for her beloved. She had to marry another man and wanted to kill herself. She exposed herself to sword and poison not to betray her love. But then Ashik returned. It ends like an American movie: it has a Happy End.

I began looking for my Ashik Kerib, this Muslim minstrel who wanders around the world to earn enough money to buy Magul Migeri's freedom. I found just such a young man, a Kurd, my neighbour. At 22, he was a ruffian: he beat up a policeman. He thrashed a caretaker because of a leaky roof. He stole cars and got into brawls, then I met him, I asked: "Can you quit being a ruffian for a year?" He said; I can quit forever, it all depends on what you offer." Kurds are not Muslims. He's a Christian, but he plays a Muslim on the screen.

The music is remarkable in Ashik Kerib...

It's Muslim music. It's not music from the Trans-Caucasus. It's the Muslim muram, an ancient rhapsody song. A Muslim minstrel tramps around the world, singing rhapsodies. The Muslim comes to the Christian world, to Georgia, in the episode called "The Ruined Cloister." Here's the idea of a "God Is One" -- there's only one God. That's the meaning of the Georgian leitmotif: the Georgian choir, the Georgian children who rescue him from his own kind when he's being beaten by Muslims to prove that "in the land of the enemy you're the enemy." Perhaps you're our brother who's trespassing the land of the enemy, but that makes you our enemy. Essentially that's what the music conveys.

I hired a talented Azeri composer. His name is (Lavanchir) Kuliyev. He understood what I wanted. The wok was very challenging. I presented him with a number of difficulties but he mastered them all. We even used European music: an "Ave Maria," Schubert, Gluck, motifs from the "Passion." The music flowed beautifully, giving it a modern touch. We wanted European audiences to link the "Ave Maria" with the Muslim world.

But I thought I also heard church music in the film score...

Yes, organ music, Christian church music. It's in the episode "God Is One" -- in Georgia, where multi-chord a cappella church music is heard. The rest is Muslim muram. Whether the public will understand the film is something else again. Children from an orphanage sing in the film. Children come to a school from the provinces, from the mountains, from the steppes, just to learn how to sing the muram. Singing children can add emotional depth to a film.

Only a few films stride the border between two worlds, and only a few directors. Yilmaz G?ney was one of them. It is astonishing how he, someone from the East, could make films for Europe. Tthis culture straddles the border between the Orient and the Western World.