翻译:“舞台–玉树采访手记”

 “舞台–玉树采访手记”

(现在这个网页没了, 大概因为不宜于你的思想健康。) http://photo-zt.blogbus.com/logs/62691963.html

有一年接了花大妈的活,去青海给拍一本书里的图片。溜达到了玉树,这是在镇外山上结古寺里拍的两张。同去的有庄里老宋和武汉老甘。地震的消息是前烧友现茶友老宋发短信告诉的。这段时间在外面没上网,以我对藏人的了解,知道一定会有无数红衣人冲在灾难的最前面。

偶尔看到电视,贵国一如鸡网的拿灾难作表扬和赞美自己的无耻舞台,里面永远不会有老和尚那帮红衣人的身影。

刚回来就看到这段文字,转转:

舞台

艾墨 

    在玉树夜晚寒冷的帐篷,一个省里派来的干部灌了几大口高原青稞酒,搓着几天没洗的脏手,红通通的眼睛真诚地盯着我,说:姑娘,你看着吧,这场自然灾害会被迅速政治化的。尽早走吧,离开这个是非之地。

        听他说完,我开始后悔已经约定了明天一早的车,撤离玉树。

        在玉树的四天三夜,在残酷的死和艰难的生之外,政治,是一直隐隐约约嗅到的气息。在生命高于一切的救援期,它温顺地潜伏着,它到底明白了什么是最重要的:天灾人祸考验出的国家,终于学会了生命第一。然而,当72小时的黄金救援时期过去,当庞大而震撼的集体火葬落幕,仿佛一个破折号,灾区开始变成另一个舞台。

        非常不想这么说,但的确,这里成了舞台。

        舞台与现实的差别就在于,现实是让一切自然呈现,而舞台有导演,有主角和配角,有按需要发生的场景。玉树就是如此。

        胡主席和温总理是玉树的第一主角——在基本国情下,这无可厚非,连当地淳朴的藏民,也把为他们真心流泪的总理,和告诉他们会有新家园的主席当成活佛。

        官方的救援部队是第二主角。

        “已经救不出什么人了,进入第四天,救援队心知肚明。曾参与过四川救援的武警士官告诉我,这里倒塌的土木结构房屋不比钢筋混凝土,埋下来立时能让人窒息,几乎没有任何生存空间,生命奇迹的出现几率小之又小。

        街上无所事事的官兵很多,街边倒塌而从没有人翻动的民居也很多,同样多的,是各地的救援队伍拉起的打响名号的旗帜和横幅。

        正如一名在当地采访的同行所说,作秀的印象,并非说救援部队不努力,顶着高原反应艰难救援的他们,没有人有资格指责他们不努力——所谓作秀,只是他们露脸、或者被露脸的次数与救援的次数成反比罢了。

        灾民是第三主角——准确地说,配合采访的当地藏民,是第三主角。

        许多人喜欢问,四川和玉树有什么不同?比较灾难的规模是不人道的,四川死了十万人,玉树死了不到一万人——这样的比较是没有意义而且不应该的。但在玉树灾区,作为记者,我和同行们最直接的感觉是,这里看不到哭天抢地,甚至很少看到哭泣,除了遍地垮塌的房屋,和流离失所的难民,你甚至感觉不到这里死了很多很多人。失去亲人的人们,面容肃穆,他们念经,他们把尸体送去寺院,请喇嘛和活佛给离去的人超度,祈愿他们脱离五道轮回,升入极乐。

        玉树百分之九十七的民众是藏民,信仰藏传佛教。在这里,经由寺院,生死是他们每一个人和佛祖之间的事。许多内地记者在这里不容易找到想要的故事,因为遇难者家属不那么撕心裂肺,被救者也不那么感激涕零。他们的悲伤你无法分享,他们对生死的超然你甚至无法理解。他们——更不懂得按照你所提示的去表演。在玉树,自然而然的感恩很多,朴实的藏族老妈妈会流着泪喊共产党万岁,但符合舞台需要的、特定场景中要求发生的感恩歌颂,不是他们的擅长,看看内地电视画面,你很容易发现这一点。

        在这个有导演的舞台上,僧侣是唯一的被挤到边边的配角。尽管在现实中,这一抹绛红色的袈裟是最有影响力的主角,甚至超越了救援官兵。

        在我离开玉树的第二天,听到同行传回的消息,非玉树本地的僧众,已经被劝离玉树,理由是确保救援效率。他们是从四川甘孜驱车数百公里赶来的寺院僧众,他们是从青海、甘肃、西藏各个地方赶来的和尚。他们并不懂专业救援,但他们懂得康巴藏语,懂得为死难的亡灵超度,懂得真正抚慰失去亲人的藏民。他们在灾区布施,在官方物资有序发放之前,灾民们都领到过他们发的方便面、矿泉水,甚至热粥。不过,那有什么用呢?既然是舞台,配角永远就不会成为主角。至少,只有一个舞台转播频道的观众不会看到。

       CCTV的赈灾晚会上,打着一百万两百万一千万两千万牌子的企业家们,有着无限爱心的人们,他们真的在做好事,但他们真的在被自己感动。在为生命设立的哀悼日,国家机器禁止了一切娱乐活动,包括现实与网络上的。灾区,离普通人十万八千里,他们却齐声说:今夜,我们都是玉树人。

       亲爱的,真想告诉你,这里不是受伤的玉树。这里只是舞台。

   (刊于《明报》世纪版)

http://photo-zt.blogbus.com/logs/62691963.html

A Chinese blogger combined pictures of pre quake Yushu with  the article by Ai Mo艾墨 “The Stage” that appeared recently in Hong Kong’s Mingbao newspaper.  The full text of that short article, which did not appear on the Ming Bao website, is copied below, after my translation.  This story points out the great cultural gulf between Tibetans and Han Chinese and the difficulties of doing culturally and religious sensitive relief work.

Probably because of some ethnic chauvinism and perhaps because some think it will affect the Chinese-ness of Tibet,  many Han Chinese find it hard to appreciate the profound cultural differences between the Han Chinese and the Tibetans.   Well, many Chinese Buddhists understand, but the mainstream media doesn’t reflect their views much and the Chinese government strives to prevent the thousands of Chinese Buddhist who want to study in Tibetan monasteries from doing so.

The Stage

By Ai Mo 艾墨   (printed in Ming Bao, Hong Kong)

A cold evening in Yushu, in the tents, a cadre sent by the province irrigated by high plateau barley wine, rubbed his unwashed dirty hands, and turned towards me, saying sincerely, “Young lady, look now, this natural disaster has been swiftly politicized.  Got out of here as soon as you can.  Leave this trouble spot.”

When I heard those words, I regretted the decision that I had already made to take a bus early the next day and leave Yushu.

For me, during these four days and three nights in Yushu, this place of cruel death and difficult survival, the word politics has a bit of a foul smell. During the rescue period where saving lives was the top priority, it laid low, it seemed to understand something important, this country plagued by disasters has finally learned that “lives are the most important thing”.  However, when the 72 hour golden period for rescuing survivors from the ruins had passed, when the mammoth-scale cremations began, it seemed like something changed, the disaster area had become a stage.

That is something I don’t want to say, but yes, it had become a stage.

The difference between the stage and reality is that in reality things happen and appear but on stage there is a director, a leading role, and a supporting role and they are sent on stage as needed. That is what Yushu was like.

President Hu and Premier Wen had the top leading roles, given the nature of China,  that is not anything to criticize, even the local Tibetans took the sincere tears of Prime Minister Wen and the promise of President Hu that they will have new homes like the words of Living Buddhas.

The official rescue troops had the secondary leading role.   “We won’t be able to rescue any more people” the rescue workers knew as the fourth day after the earthquake began.  One PAP officer who had done relief work after the Sichuan earthquake said that with the timber and earth construction of Yushu is not as good as the reinforced concrete of Sichuan since when the building collapses, unlike in

Sichuan, there are no empty places left in which some people might find a place to breathe. So the miracles of survival are much rarer in Yushu.

On the streets of Yushu there were many officers and soldiers who had nothing to do.  One could see many roadside ruins of houses that apparently nobody had sifted through to look for survivors.   Although there were many flags and banners proclaiming the outstanding quality of this or that group of rescue troops.

Another journalist doing interviews in Yushu told me that he had the impression that there was a lot of “showing off” going on.  That is not to say that the rescue troops were not working hard, they had to struggle hard to do their job given the difficulties of the physiological effects of high altitude, that nobody can criticize them.  It was just that the so-called “showing off” was in inverse proportion to the amount of rescue work that they had actually done.

The disaster victims had the third leading role — that is to say the disaster victims who cooperated with interviews had the third leading role.

Many people like to ask,   ‘What was the difference between the Sichuan earthquake and the Yushu earthquake?’  Nobody yet knows how to compare the scale of the earthquake.  One hundred thousand people died in Sichuan, perhaps not as many as 10,000 died in Yushu. Yet that comparison isn’t meaningful  and shouldn’t be made.   As a journalist in the Yushu disaster area, I and my colleagues, strongest impression is that in Yushu don’t see the wailing and pounding on the earth, and even rarely see weeping.  If it were not for the sight of many collapsed buildings and the many homeless on the streets,  you wouldn’t guess that many people had died here.  People who have lost their relatives wear solemn and respectful faces. They read scriptures. They take the corpse to the monastery.  They ask the monks and Living Buddhas to help them pass to the next world, and pray that they escape the cycle of suffering and rebirth and enter blissful happiness.

Ninety-seven percent of the population of Yushu is ethnic Tibetan. They believe in Tibetan Buddhism.  For them, through the monasteries, live and death connect each of them to the Buddha and their ancestors.  Very many journalists from mainland China didn’t find the “story they wanted” — the family of the victims did not display “extreme grief” and those rescued did not “shed grateful tears.”  There is no way for you to share their sorrows.  Their ideas about life and death are so far beyond your own that you cannot comprehend them.  They — really, they don’t understand how to act according to your instructions.  In Yushu, there is much thankfulness.  A simple old Tibetan mother can shed tears of gratitude and say “Long Live the Communist Party”.   But performing to script according to needs is not what they do — they are not “grateful” or “sing praises” in a particular circumstance because that is what the script requires.   Take a look at the mainland China TV broadcasts on the disaster, you will see that these Tibetans just don’t act that way.

On the director’s stage, the monks were the only supporting players forced to the margins of the stage. This despite the fact that in real life, these people in red robes have the most important leading role of all, even more important than the role of the rescue troops.

Two days after I left Yushu, I heard from a journalist colleague that monks not from Yushu had already been “admonished to leave” Yushu with the reason given to “ensure the effectiveness of relief operations”. Some had driven several hundred kilometers to Yushu from their monasteries in Ganzi Prefecture in Sichuan Province, others monks hurried from Qinghai, Gansu and many parts of the

Tibetan Autonomous Region to help. They don’t understand specialized relief work but they understand the Kampa dialect and they know how to assist the souls of the dead to pass on to the next world.  They know how to truly console the people of Yushu who have lost relatives. Even before official help arrived, the monks were making donations in the disaster area.  Disaster victims received from the monks noodles, mineral water and even hot porridge.  But what does that matter?  This is a stage and the supporting role can never become the leading role. At the very least, the audience that watches the stage as it is broadcast will never see this.

On the Chinese Central TV disaster evening program, there were the names of companies that had given one million, two million, 10 million or 20 million RMB, and individuals who contributed and wanted to do something good. But they what truly moved them was themselves.  For the National Day of Mourning, the state organs forbad all entertainment activities, including on stage and online.  The Yushu disaster area was far away but they said in chorus, “This evening we are all Yushu people.”

My dears, I really have to tell you, that is not wounded Yushu, that is only a stage.

(printed in “Ming Bao” Century edition)

This entry was posted in Ideology 思想, Literature 文学, Society 社会 and tagged , , , , , , , , , , , , . Bookmark the permalink.

One Response to 翻译:“舞台–玉树采访手记”

  1. 艾墨 says:

    高先生你好,谢谢你的翻译,我是这篇文章的作者艾墨,希望与你取得联系:)我的email如下登记,希望联络上。

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