王朝、抗日、宮斗：橫店影視城的幻想世界

HENGDIAN, China — If you are going to make a movie in China today about ancient warriors defending a mythical kingdom or a partisan resisting the Japanese occupation in the 1930s, or involving any variation of that staple of China’s entertainment industry — the back-stabbing concubine drama — chances are you are going to make it in Hengdian.

中國橫店——如果今天你要在中國拍一部有關(guān)古代武士捍衛(wèi)某個(gè)虛構(gòu)王國的電影，或是上世紀(jì)30年代的游擊隊(duì)抗日電影，又或者中國娛樂產(chǎn)業(yè)的主要產(chǎn)品——宮斗戲的各種變化之作，很有可能你得來橫店。

The city is home to Hengdian World Studios, which claims to be the world’s largest outdoor movie and television lot.

這個(gè)城市是橫店影視城的所在地，號(hào)稱世界上最大的戶外影視基地。

To call it a “lot” is an understatement. It is not one lot, but 13 of them, scattered over 2,500 acres in and around what was once a sleepy farming village nestled in the hills of Zhejiang Province, in central China.

把它稱之為一個(gè)“片廠”是保守的說法。它并不是一個(gè)，而是由分散在10平方公里土地上的13個(gè)片廠組成，這里曾經(jīng)是一座死氣沉沉的村子，掩映在中國東部浙江省的丘陵間。

There are other studios in China — Shanghai Film Park, for example. Only in Hengdian, though, will you find a faithful recreation of the palace of Qin Shi Huang, who ruled in the third century B.C. near what is today known as Xian, or of the capital of the Northern Song dynasty, which reigned from the 10th to the 12th centuries.

中國還有其他影視城——比如上海影視樂園。但只有在橫店，你才能找到秦王宮或是北宋都城的忠實(shí)再現(xiàn)。秦始皇于公元前3世紀(jì)在今西安附近行大一統(tǒng)，而北宋的統(tǒng)治時(shí)期則從10世紀(jì)至12世紀(jì)。

There is even a Forbidden City that is not only startlingly realistic, but also only a little bit smaller than the real thing in Beijing.

那里還有一座紫禁城，不僅逼真程度令人驚訝，而且只比北京的真實(shí)版本小一點(diǎn)。

The one thing that might seem to be missing from its huge front gate is the photograph of Mao Zedong — except that the gate was constructed to look as it did during the Ming dynasty, not the later version known since the 17th century as Tiananmen.

它巨大的正門看起來就缺一幅毛澤東的像了——除了這座大門是以明朝的樣子建造，而不是自17世紀(jì)以來被稱為天安門的后期版本。

“These scenes today no longer exist,” said Guo Huizhong, a director, as he filmed a war drama, whose title roughly translates as “The Last Bodyguard,” inside a building reconstructed as an opera house from the first half of the 20th century.

“這些場景今天已經(jīng)沒有了，”導(dǎo)演郭會(huì)中說，他正在一座20世紀(jì)上半葉歌劇院模樣的建筑里拍攝一部戰(zhàn)爭片，片名翻譯成英語大致是《最后的鏢師》。

Moviemaking blurs the distinction between reality and fantasy, and Hengdian World Studios arguably does that better than any other place on Earth.

電影制作模糊了現(xiàn)實(shí)和幻想的界限，在這一點(diǎn)上，橫店影視城可以說比地球上其他地方做得更好。

“This is where the empress committed suicide,” a studio assistant, Xu Hailei, explained as she guided an open cart through the faux Forbidden City, which, even up close, is pretty convincing.

“這是皇后自殺的地方，”影視城的工作人員徐海蕾(音)指引一輛敞篷電瓶車穿過這座仿造的紫禁城時(shí)解釋道，即使走近了看，這座假紫禁城也十分令人信服。

“She jumped from there,” she went on, describing a historical fact of 18th-century China — the death of Empress Fucha — but also a pivotal scene in one of the most sensational dramas of the year, a 70-episode epic, “The Story of Yanxi Palace.”

“她從那里跳下來，”她繼續(xù)描述發(fā)生在18世紀(jì)中國的一個(gè)史實(shí)——富察皇后之死——同時(shí)也是今年最轟動(dòng)的70集長篇?jiǎng)〖堆屿ヂ浴分械囊粋€(gè)關(guān)鍵場景。

“Yanxi Palace” streamed on iQiyi, China’s version of Netflix, from July to August, and continues to do so in China and dozens of other countries. It has been streamed 20 billion times, and its staggering popularity has influenced everything from fashion to the debate over China’s struggling #MeToo campaign.

從7月到8月，電視劇《延禧攻略》在中國版的Netflix愛奇藝上播出，并且在中國和其他幾十個(gè)國家仍在播出。它的播放次數(shù)超過200億次，其驚人的受歡迎程度影響了方方面面，從時(shí)尚到圍繞中國正在苦苦掙扎的“我也是”運(yùn)動(dòng)的爭論。

It has also attracted more visitors to Hengdian, which distributes maps and postcards showing the sites where the series was filmed, including the building of the title, which means the Palace of Prolonged Happiness.

它還吸引了越來越多的游客造訪橫店，這里有人分發(fā)地圖和明信片，展示該電視劇的拍攝地點(diǎn)，包括劇名中的宮殿，意思是持久幸福的宮殿。

That is where the concubines of the Qing dynasty emperors lived and conspired until the place burned down in the middle of the 19th century. The one in the Forbidden City today is a reconstruction from 1931.

這里是清朝皇帝妃子居住和謀計(jì)的地方，直到該殿在19世紀(jì)中葉毀于火災(zāi)。如今，紫禁城中的延禧宮是從1931年開始的重建版本。

Ye Yunfeng, 24, came with her boyfriend from Lishui, a city not far to the south, because she wanted to see the hall where the emperor’s Grand Council met.

24歲的葉云鳳(音)和她的男朋友從南部不遠(yuǎn)的城市麗水來到橫店，因?yàn)樗肟纯椿实鄣能姍C(jī)處議事的地方。

“The details of this show are very good,” she explained. “Many details, like the clothes, the headdresses and the backdrops, are in line with history.” “這部電視劇的細(xì)節(jié)非常好，”她解釋道。“許多細(xì)節(jié)，如衣服、頭飾和背景，都符合歷史。”

The serial’s creators, and its fans, judging from comments posted online, credit its success in large part to the attention to historical detail.

從網(wǎng)上的評論來看，這部劇的主創(chuàng)人員和粉絲認(rèn)為，它的成功在很大程度上是因?yàn)閷v史細(xì)節(jié)的關(guān)注。

“The cost of actors and actresses are not expensive,” said Yang Le, the chief executive officer of Huanyu Film, the Beijing production company that produced “Yanxi Palace.”

“男女演員的成本并不高，”《延禧攻略》的出品方、北京歡娛影視的首席執(zhí)行官楊樂說。

Instead, the producers spent their budget on artisanal embroiderers to recreate the dresses and flowered headdresses of the era — 3,000 outfits, some of which are on display in the company’s office in Beijing.

所以，為了重現(xiàn)那個(gè)時(shí)代的服裝和絨花頭飾，制作公司把他們的預(yù)算花在了刺繡手藝人身上，手工縫制了3000套服裝，其中一些目前陳列在公司位于北京的辦公室里。

Yu Zheng, a screenwriter and producer of “Yanxi Palace,” said he wanted to convey an aspect of China’s “intangible cultural heritage” — combined with “the pacing of an American television series.”

《延禧攻略》的編劇兼制片人于正說，他想傳達(dá)中國“非物質(zhì)文化遺產(chǎn)”的一個(gè)方面，并將其與“美劇的節(jié)奏”結(jié)合起來。

“People in our generation are all watching American and British television series,” said Mr. Yu, who is 40, “but actually there are many traditional cultures in China that are very worthy of being promoted to the world. We have a lot of beautiful things.”

“我們這代人都在看美劇英劇，”40歲的于正說，“但實(shí)際上，中國有許多傳統(tǒng)文化非常值得向世界推廣。我們有很多美的東西。”

That is the illusion Hengdian World Studios was created to sustain.

這就是創(chuàng)建橫店影視城所要維持的幻想。

The studio was founded in 1996 by one of China’s first billionaires, Xu Wenrong. His Hengdian Group made a fortune in electronic components in the early years of the country’s capitalist transition.

這個(gè)影視城是中國首批億萬富翁之一徐文榮于1996年創(chuàng)立。他的橫店集團(tuán)在中國的資本主義經(jīng)濟(jì)轉(zhuǎn)型的初期，靠電子元器件賺了大錢。

When an acquaintance needed a location for a film, “The Opium War,” about China’s humiliating loss to Britain in the 19th century, Mr. Xu agreed to build one from scratch in the company’s hometown.

當(dāng)一位熟人為拍攝影片《鴉片戰(zhàn)爭》需要一個(gè)場地時(shí)，徐文榮同意在公司的老家從零開始建了一個(gè)。《鴉片戰(zhàn)爭》講述的是19世紀(jì)中國被英國打敗的恥辱故事。

Since then more than 2,400 films and television series have been made at the studio, including 337 between January and October this year.

自那以后，有2400多部影視作品在這里拍攝，包括今年1月至10月期間的337部。

On a recent visit, there were 15 projects being shot at the same time, requiring studio organizers to juggle schedules and enforce deadlines.

記者最近一次來這里時(shí)，有15部戲正在同時(shí)拍攝，這就要求影視城的組織者應(yīng)付多個(gè)時(shí)間表，嚴(yán)格執(zhí)行截止日期。

There are 400 distinct spaces where filming can take place, covering the entire breadth of China’s history, its culture and its architecture.

這里有可拍攝影片的400個(gè)不同的現(xiàn)場，涵蓋中國歷史、文化和建筑的方方面面。

Two areas recreate Guangzhou and Hong Kong as they looked in the 19th century, built for “The Opium War,” and another reproduces the Imperial Summer Palace, which was sacked by British and French soldiers in 1860. Its ruins are preserved in Beijing.

有兩個(gè)地方重現(xiàn)了19世紀(jì)風(fēng)貌的廣州和香港，那是為拍《鴉片戰(zhàn)爭》修建的;另一個(gè)地方再現(xiàn)了圓明園，圓明園在1860年被英法聯(lián)軍洗劫。北京仍保存著圓明園的遺址。

There is also a recreation of the Communist Party’s wartime base in Yan’an and a replica of a Buddhist temple whose original on a hill nearby has since been closed to the public.

這里還有對共產(chǎn)黨戰(zhàn)時(shí)根據(jù)地延安的復(fù)原，以及一座佛寺的復(fù)制品。該寺廟的原型位于附近的一座山上，已經(jīng)不對公眾開放。

“Many people learn history through television dramas,” said Zheng Junnan, a production assistant for another concubine melodrama set in the Qing dynasty.

“很多人通過電視劇學(xué)習(xí)歷史，”鄭俊男(音)說，他是另一部以清朝為背景的后宮戲的制片助理。

“I don’t read books often,” he explained. “我不經(jīng)?？磿?，”他解釋說。

Mr. Zheng, like many in Hengdian, is a transient; he moved to Hengdian for the duration of shooting.

和橫店的許多人一樣，鄭先生也不長住在這里;他只是拍攝期間才住在橫店。

There is a sort of union hall in the town center where people play cards and shoot pool while waiting for the chance to get parts as extras. And epic battles need lots of extras.

在橫店市中心有一個(gè)類似工會(huì)大廳的地方，等待臨演機(jī)會(huì)的人在這里打牌、打臺(tái)球。壯麗的戰(zhàn)爭場面需要大量的臨時(shí)演員。

Another lot, “The Exposition City of the Ming and Qing dynasties,” is a reconstruction of ancient buildings that were torn down in nearby parts of China and hauled to Hengdian.

另一處片廠是“明清民居博覽城”，橫店附近地區(qū)拆掉的中國古建筑被運(yùn)到這里重建。

There are scores of courtyard temples, houses and other structures, including a wooden tower from Nanjing. Each is marked with plaques describing their origins and “date of migration.”

這里有好幾十座四合院、寺廟、房屋及其他建筑，包括一座從南京搬來的木塔。每一座建筑都配了一個(gè)銘牌，上面有它們的原屬地和“移址異地重建日期”。

Mr. Xu’s own collection of artifacts — vases, sculptures, precious stones and the like — are displayed in several of the 120 buildings in the complex, which includes a recreation of Nanjing’s riverfront.

徐文榮本人收藏的藝術(shù)品——花瓶、雕塑、寶石等——陳列在博覽城120座建筑中的幾座里，其中包括對南京秦淮河的再現(xiàn)。

The theater house where Mr. Guo was filming “The Last Bodyguard” was a reconstruction of an 18th-century building from Anhui Province, with the region’s distinctive southern architecture.

郭會(huì)中拍攝《最后的鏢師》的劇場，是安徽一座18世紀(jì)建筑的重建，帶有該地區(qū)獨(dú)特的南方建筑風(fēng)格。

It wasn’t his first choice, he said, but other sets in the studio were already booked, so he made do, decorating the stage in the style of the 20th century, and bringing in opera singers from Beijing.

他說，這不是他的首選，但影視城里的其他拍攝場地都已經(jīng)被別人訂了，所以自己只能將就一下，把舞臺(tái)按照20世紀(jì)的風(fēng)格裝飾起來，還從北京請來了京劇演員。

Yuxuan Honghao, a 26-year-old actor on the set of another series about concubines set in the Qing dynasty, said the attention to historic details had not always been a priority in the past but “The Story of Yanxi Palace” is already encouraging others to follow.

在另一部清宮戲拍攝現(xiàn)場，26歲的演員于軒鴻灝說，注重歷史細(xì)節(jié)過去并不總是優(yōu)先考慮的事情，但《延禧攻略》正在鼓勵(lì)其他人效仿這種做法。

“The things in history books are one-side; they are only textual,” he said. “Films and television dramas can restore Chinese history as much as possible, and people can see what it was like.”

“歷史書上的東西是一方面的;它們只是文字的，”他說。“電影和電視劇可以盡可能地還原中國歷史，人們可以看到過去是什么樣的。”