2021.02.12

林伯虎

難度：CSE9

課程導(dǎo)讀

7月3日，音樂劇《漢密爾頓》現(xiàn)場(chǎng)錄制版在迪士尼流媒體平臺(tái)上線了。一時(shí)間，引起了全球劇迷們的狂歡。這部劇創(chuàng)造性地用嘻哈音樂講述了美國開國元?jiǎng)字粊啔v山大?漢密爾頓的故事。2016年該劇在紐約百老匯上演之時(shí)，萬人空巷，一票難求。這部劇在當(dāng)年獲得了11項(xiàng)托尼獎(jiǎng)，可謂是一部叫好又叫座的經(jīng)典音樂劇。然而，4年后的2020年，面對(duì)這個(gè)動(dòng)蕩不安的世界，再看講述美國建國故事的《漢密爾頓》，又會(huì)有什么新的感悟呢？一起來聽今天的講解。

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本篇課程首發(fā)于2020年7月28日

英文原文

‘Hamilton’ Review: You Say You Want a Revolution.

《漢密爾頓》劇評(píng)：你說你想要革命

By A.O. Scott

The opening scenes of the filmed version of the Broadway musical “Hamilton” pull you back in time to two distinct periods. The people onstage, in their breeches and brass-buttoned coats, belong to the New York of 1776. That’s when a 19-year-old freshly arrived from the Caribbean makes his move and takes his shot, joining up with a squad of anti-British revolutionaries and eventually finding his way to George Washington’s right hand and the front of the $10 bill.

百老匯音樂劇《漢密爾頓》（Hamilton）現(xiàn)場(chǎng)錄制版一開場(chǎng)，就能讓你穿越回兩個(gè)完全不同的時(shí)代。臺(tái)上那些穿著馬褲和銅扣大衣的人，屬于1776年的紐約。那一年，一位19歲的少年剛從加勒比前來投身革命，躍躍欲試，與反抗英國的革命黨人聯(lián)手奮戰(zhàn)，最終成為喬治?華盛頓（George Washington）的左膀右臂，其肖像也被印在了10美元紙幣上。

But this Hamilton, played with relentless energy and sly charm by Lin-Manuel? Miranda,? who wrote the? music,? book and lyrics, also belongs to the New York of 2016. Filmed in front of a live audience in June of that year, the movie evokes a swirl of ideas, debates, dreams and assumptions that can feel, in the present moment, as elusive as the intrigue and ideological sparring of the late 1700s.

然而這位活力四射，邪魅狂狷的漢密爾頓，也屬于2016年的紐約。其扮演者林-曼努埃爾?米蘭達(dá)(Lin-Manuel Miranda)，也是該劇的詞曲和同名書籍作者。這個(gè)錄制版為當(dāng)年6月現(xiàn)場(chǎng)演出時(shí)拍攝。今日再看，劇中那些思想、辯論、夢(mèng)想和設(shè)想，交織在一起，如同18世紀(jì)末那一場(chǎng)政治陰謀和思想交鋒一樣，讓人捉摸不定。

The show’s argument, woven through songs that brilliantly synthesized hip-hop, show tunes and every flavor of pop, was that American history is an open book. Any of us should be able to write ourselves into it.

這部劇將嘻哈音樂、音樂劇曲風(fēng)和各種風(fēng)格的流行音樂巧妙地融合在一起，表達(dá)的主要思想是：美國歷史是一本打開的書，我們?nèi)魏我粋€(gè)人都應(yīng)當(dāng)可以留下自己的那一筆。

Alexander Hamilton, the first secretary of the Treasury and an architect of the American banking system, was Miranda’s chosen embodiment of this belief: an outsider with no money and scant connections who propelled himself into the center of the national narrative through sheer brains, talent and drive.

這位美國第一任財(cái)政部長、美國銀行體系的設(shè)計(jì)師亞歷山大?漢密爾頓，正是米蘭達(dá)為這個(gè)信念選擇的化身：一個(gè)出身貧寒，無權(quán)無勢(shì)的“局外人”，僅僅依靠自己的頭腦、才能和魄力，就能走進(jìn)國家敘事的中心。