明星资讯腾讯娱乐2019年10月21日 20:16:33
Princess Diaries star Anne Hathaway has announced she is engaged.曾因出演《公主日记而走红的女星安妮;海瑟薇近日宣布已经订婚The actress, 9, confirmed the news after she was photographed wearing a ring in while with her boyfriend Adam Shulman in Brooklyn yesterday.9岁的海瑟薇昨日在布鲁克林被拍到和男友亚当;舒尔曼在一起时手戴戒指,随后确认了订婚消息Shulman, an actor and jewellery designer, collaborated with Kwiat Heritage Jewels to create the sparkler.男星舒尔曼还是一名珠宝设计师,他与科怀特遗产珠宝公司共同设计订婚戒指The pair quietly began dating in November but werent pictured together until the following year.年月,海瑟薇和舒尔曼秘密开始交往,直到第二年,才被媒体拍到在一起;We hit if off immediately but it took us a pretty long time to get together,; she has said of Shulman.海瑟薇在谈到舒尔曼时曾说:;我们当时很快就看上了对方,但用了很久才走到一起;;He thought that I had a boyfriend and I thought that he had a girlfriend, so I thought that Id better keep my distance because I didnt want to be that girl;.;他当时以为我有男友,我也以为他有女友,所以我觉得最好保持距离,因为我不想当小三;She describes their union as more ;mellow; than her previous liaisons, adding: ;Mellow doesnt always make a good story, but it makes a good life.;她表示两人的恋情比之前的更加;成熟;,补充说:;成熟的恋情不一定轰轰烈烈,但意味着和和美美的生活;Speaking about the relationship in the September issue of U.K. Marie Claire, she said: ;Adam totally ruined my plan. I was really actually looking ward to a little alone time and then I fall in love like a fool.;在9月份接受英国《嘉人杂志采访时,她提到了两人的恋情,说道:;亚当完全毁掉了我的计划我真心期望好好享受一段单身时光,结果我就像个小傻瓜一样恋爱了;Her romance with Shulman followed a disastrous relationship with Italian real estate developer Raffaello Follieri.与舒尔曼交往前,海瑟薇与意大利地产商拉斐罗;佛赖瑞有过一段不愉快的恋爱She split up with him in when he was arrested on fraud charges after claiming links to the Pope while making dodgy deals, and he was later sentenced to four and a half years in prison.两人在年分手,当时佛赖瑞因欺诈罪被捕,他在从事诈骗交易时自称与教皇有交情,最后被判处四年半监禁Her personal journals that were stored at his New York apartment were seized by the FBI during their investigation.在调查期间,美国联邦调查局在佛赖瑞位于纽约的公寓里发现了海瑟薇的个人日记The actress, whose film credits also include Brokeback Mountain and One Day, will next star in the new Batman movie, The Dark Knight Rises. She plays Selina Kyle, also known as Catwoman, alongside Christian Bale.海瑟薇还曾出演《断背山和《一天,她将在下部影片《蝙蝠侠:黑暗骑士崛起中出演猫女塞琳娜;凯尔克里斯蒂安;贝尔也将出演该片 31China Internet singing sensationChopsticks Brothers will perm their viral hit Little Apple at the American MusicAwards, according to Southern.com据报道,中国内地组合筷子兄弟将在年的全美音乐奖上表演歌曲《小苹果Chopsticks Brothers ——which consistsof director Xiao Yang and musician Wang Taili - played a middle-aged singingduo in the film Old Boys: The Way ofthe Dragon. In the film, they sang Little Apple when they auditioned an American music talent show and received a thumbs-up from the judges筷子兄弟成员肖央和王太利在他们的新电影《老男孩之猛龙过江饰演了一个中年演唱组合电影中,他们参加了一个美国音乐选秀节目并演唱了《小苹果,他们的表现获得了评委们的一致认可Now, life is following art现在,电影中发生的故事要成为现实了The duo has confirmed theirattendance at the AMA, an awards show second only to the Grammys in prestige.They will join renowned singers including Taylor Swift and One Directionto deliver a night of sensational music to the world仅次于格莱美的全美音乐奖已确认对筷子兄弟发出邀请,届时筷子兄弟将与知名歌手泰勒·斯威夫特、单向组合一起为全世界观众带来一场音乐盛宴;I did not expect the plot inour film to come true in real life,; Xiao Yang said during an interview.;It seems unreal. Weve worked on music so long and after all theseyears, this is another story of dreams coming true old boys,; saidWang Taili肖央在采访中称,他并没有想到他们电影中的情节真的变成了现实王太利也说到,“这太不真实了我们在音乐上努力了很久,终于在这么多年以后‘老男孩’又一次实现了自己的音乐梦想”This is the first time a Chinese;god; song (a term songs that go viral on the Internet) will beshowcased on the global stage这是中国神曲第一次登上国际舞台Little Apple has taken China Internet by storm. Its MP3 received 579 million hits and themusic has been played 83 million times on China major music and streaming sites此前,《小苹果已经席卷了中国的互联网,网络点击量已经达到5.79亿次,各大排行榜的点播数量也已达到8.3亿次According to Southern.com, the songhas been played to at least500 million listeners worldwide据称,全球已经至少有5亿人收听过《小苹果

  ‘‘HAMILTON,’’ the new musical biography of Alexander Hamilton created by and starring Lin-Manuel Miranda, kicks off with a doozy of a question. The houselights rise on Aaron Burr, the third vice president of the ed States and, infamously, the killer of Hamilton in a duel in 18. Burr steps to center stage and reels off several lines of verse:由林-马努艾尔·米兰达(Lin-Manuel Miranda)创作、主演的亚历山大·汉密尔顿(Alexander Hamilton)传记音乐剧《汉密尔顿(Hamilton),用了一个别出心裁的问题作为开场白灯光渐起,出现在舞台上的是合众国第三任副总统,因在18年的决斗中杀死了汉密尔顿而背上骂名的阿龙·伯尔(Aaron Burr)伯尔走到舞台中央,朗声唱出一段诗文:The question is a good one. How exactly did Hamilton rise from the deprivations of his childhood in the island backwater of St. Croix to become a storied founding father: an aide-de-camp of Gen. George Washington, the prime mover in the creation of the ed States financial system, the first secretary of the Treasury, the author of nearly half of the Federalist Papers, the subject of America’s first political sex scandal, the bane and bugbear of everyone from Burr to Thomas Jefferson and James Madison? But it is the manner in which ‘‘Hamilton’’ poses this question — in the emphatic cadences of rap, with witty rhymes pouring out over a tolling beat — that has been electrifying audiences since January, when the show debuted off Broadway at New York’s Public Theater.这是个好问题的确,在与世隔绝的圣克罗伊岛长大的穷孩子汉密尔顿,究竟为什么会成为名垂青史的建国先贤、乔治·华盛顿将军的副官、合众国金融体系的首要缔造者、首任财政部长、《联邦党人文集近一半文章的作者、美国第一宗政治性丑闻的当事人、(从伯尔、托马斯·杰弗逊到詹姆斯·麦迪逊)所有人的眼中钉肉中刺?不过,一月在外百老汇公共剧院(Public Theater)首演的《汉密尔顿(Hamilton)之所以令观众兴奋异常,却是因为提出问题的方式——它用了节奏顿挫的说唱,沉缓有致的节拍上,挥洒着诙谐的韵脚‘‘Hamilton’’ arrives on Broadway this month, riding a wave of adulation not seen in American theater in decades. It is a rare thing: not just a theatrical landmark, but a show that jolts our thinking about popular culture and casts new light on some of the most storied events in American history. It is an odd creation: a rigorously factual period drama about the political intrigues of the early Republic, starring a cast of mostly black and Latino actors, with a score steeped in hip-hop. It is also a coronation, confirming the 35-year-old Miranda, the acclaimed composer and star of the Tony- and Grammy-winning show ‘‘In the Heights,’’ as his generation’s preeminent musical theater auteur. ‘‘Hamilton’’ is the product of an unlikely meeting of two minds, across a gulf of centuries. ‘‘When I encountered Alexander Hamilton I was immediately captivated,’’ Miranda says. ‘‘He’s an inspirational figure to me. And an aspirational one.’’本月,《汉密尔顿挟几十年一遇的如潮好评来到百老汇它是个稀有物种:不但是载入戏剧史册的大作,还会撼动你对流行文化的观念,让你用全新的眼光看待一些美国历史上最为人熟知的事件它是个怪诞的造物:一部力求如实还原的时代剧,讲述的是共和国初年的政治争斗,演员却以非裔和拉丁裔为主,作曲则带有浓重的嘻哈风格它还是一场加冕礼,正式确认35岁的米兰达成为他这一代最卓越的音乐剧创作人,此前由他担任作曲和主演的《高地人生(In the Heights)已然获得年的托尼奖和格莱美奖两个远隔数百年的灵魂,出人意料地在《汉密尔顿相遇“亚历山大·汉密尔顿这个人,从一开始就让我很着迷,”米兰达说“他启发了我也鼓舞了我”The genesis of ‘‘Hamilton’’ has aly entered theatrical lore. While on vacation in Mexico in , Miranda cracked Ron Chernow’s doorstop biography, ‘‘Alexander Hamilton,’’ which was nominated in the National Book Critics Circle award and won the George Washington Book Prize. A few dozen pages in, Miranda’s new project began leaping to life. In Hamilton, he saw a figure he recognized: a word-drunk firebrand with untrammeled ambition, raw talent, an outsize ego and a lust combat, verbal and otherwise. Miranda saw a rapper.《汉密尔顿在肇始之初就是一个充满戏剧性的故事年在墨西哥度假期间,米兰达开始读罗恩·彻尔努(Ron Chernow)的传记巨著《亚历山大·汉密尔顿,这本书在年得到美国国家书评奖提名,并获得乔治·华盛顿图书奖几十页下来,米兰达的新作计划已经浮现在汉密尔顿身上,他看到了一个自己激赏的人物:一个陶醉于辞藻的煽动家,有不羁的野心、出色的才华,目空一切,嗜好争斗——无论是言语上还是别的什么形式米兰达发现了一个说唱乐手It is the genius of ‘‘Hamilton’’ to make the link between hip-hop and the world of 18th-century politics seem like the most obvious thing in the world — not a conceit imposed upon the history but the excavation of some essence lurking within it. ‘‘The idea of hip-hop being the music of the Revolution appealed to me immensely,’’ Miranda says. ‘‘It felt right.’’是《汉密尔顿的才思,让嘻哈乐与十八世纪政治的关联显得顺理成章,这不是强加于历史的奇思怪想,而是对潜藏于历史之中的某种精髓的发掘“嘻哈是革命的音乐这种想法,是我非常认同的,”米兰达说“感觉就是这么回事”Miranda’s Hamilton is a ‘‘young, scrappy and hungry’’ upstart, whose bootstrapping rise from the streets of New York resonates with the Horatio Alger trajectories of rappers like Jay Z. Hamilton has a fatalistic streak in the manner of Tupac and the Notorious B.I.G. (It is not a long leap from Biggie’s ‘‘I’m y to die!’’ to the words that Miranda puts in Hamilton’s mouth: ‘‘I imagine death so much it feels more like a memory.’’) Most of all, Hamilton is a wit, a motormouth, a graphomaniac — a man who staked his fate on his way with words. ‘‘Hamilton produced over 7 volumes of written work,’’ Miranda says. ‘‘I think it’s appropriate that we would need a musical style that transmits more words per minute than any other genre.’’米兰达的汉密尔顿是个“年轻、好斗、饥渴”的新贵,从纽约街头开始打拼,全凭自己的本事,跟Jay-Z的霍雷肖·阿尔杰(Horatio Alger)式成功轨迹颇有些相似汉密尔顿有种接近Tupac和Notorious B.I.G.的宿命倾向(后者的“Im y to die!”[我已经做好了死亡的准备],和米兰达写给汉密尔顿的台词:“我对死亡有太多想象,它现在更像是回忆,”似乎相差不远)最重要的是,汉密尔顿极为聪慧,有一张合不上的嘴,一放不下的笔——他把自己的命运寄托在自己的言语表达上“汉密尔顿写下了7卷作品,”米兰达说“我觉得,我们需要用一种能在单位时间内传递更多词语的音乐剧风格”The score of ‘‘Hamilton’’ is a treat sharp-eared hip-hop fans, packed with references to songs by Grandmaster Flash and the Furious Five, Mobb Deep and others. One song, a précis on the rules of 18th-century combat called ‘‘Duel Commandments,’’ is a cheeky rewrite of the Notorious B.I.G.’s ‘‘Ten Crack Commandments.’’ Cabinet meetings are staged as rap battles, with Hamilton and Jefferson trading volleys of rhymes about issues of debt assumption and federalism.《汉密尔顿的曲谱对嘻哈乐行家的耳朵会十分受用,许多曲子参考了Grandmaster Flash、Furious Five和Mobb Deep等乐人的作品其中一首介绍十八世纪对战规则的《决斗戒律(Duel Commandments),戏谑地仿制了Notorious B.I.G.的《霹雳十戒(Ten Crack Commandments)内阁会议是以说唱对战的形式进行的,汉密尔顿和杰弗逊用洋洋洒洒的押韵说唱词句争论债务承担和联邦制之类的问题But to call ‘‘Hamilton’’ a ‘‘rap musical’’ is to mischaracterize it. Miranda’s score includes Destiny’s Child-style Ramp;B, choral ballads in a contemporary Broadway vein and, in the case of ‘‘You’ll Be Back,’’ sung by a haughty King George III, chiming ’60s Britpop. All of the songs perm the magic trick of making drama (or, sometimes, comedy) out of heavy-going political and bureaucratic history.然而说《汉密尔顿是“说唱音乐剧”却是不得要领的米兰达的谱曲包括了Destiny’s Child风格的节奏布鲁斯,当代百老汇合唱叙事曲,趾高气昂的乔治三世演唱的《你们会回来的(You’ll Be Back)散发着六十年代Brit-pop气息所有的歌曲都是为了让严肃的政治和官僚历史产生戏剧(有时是喜剧)的魔力Perhaps the biggest testament to the ce of ‘‘Hamilton’’ is how easily audiences acclimate to its color-blind casting, accepting a Latino Alexander Hamilton, a black George Washington, a Thomas Jefferson who swaggers like the Time’s Morris Day, sings like Cab Calloway and drawls like a Dirty South trap-rapper. The crucible of American popular theater was the minstrel stage, where white actors blacked up to perm racist caricatures of African-Americans. ‘‘Hamilton’’ flips minstrelsy on its head, offering sympathetic and insightful portrayals of the archetypal white Americans, the founding fathers and mothers, by a cast composed almost entirely of people of color. ‘‘The show reflects what America looks like now,’’ Miranda says.最能说明《汉密尔顿魔力的一点也许是,观众会迅速适应完全不把肤色当回事的演员阵容,接受了拉丁裔的亚历山大·汉密尔顿,黑人乔治·华盛顿,托马斯·杰弗逊走起路来大摇大摆仿佛The Time乐队的Morris Day,唱歌如Cab Calloway,说话拖着“肮脏南部”说唱乐手的长腔口音当年的黑脸秀(minstrel show)由白人演员演绎充满种族歧视色的黑人滑稽角色,曾是美国民俗戏剧成形的地方而《汉密尔顿将黑白颠倒,对美国白人原型和建国先贤们的形象做出了正面而深刻的描绘,所选用的演员却几乎全是有色人种“这个戏反映的是今日美国的面貌,”米兰达说‘‘Hamilton’’ isn’t just a historical drama — it’s a historiographical one. The show ends with another question: the closing number, ‘‘Who Lives, Who Dies, Who Tells Your Story,’’ which reflects on the mation and transmission of historical narratives. The old Broadway adage holds that a musical should send its audience home humming. ‘‘Hamilton’’ does that, but it also sends you out thinking — stewing over questions about the country’s past and future; about the way we sort historical players into winners and losers, heroes and villains, martyrs and murderers; about the gray area where fact grades into myth.《汉密尔顿不仅仅是历史剧——它是一部史学剧结尾提出了另一个问题:也就是闭幕曲《谁生,谁死,谁来讲述你的故事(Who Lives, Who Dies, Who Tells Your Story),这是对历史叙事的形成与传递的反思百老汇流传着一句老话:一部音乐剧应该让观众在回家路上哼唱这一点《汉密尔顿做到了,但它还让你在路上思考——有关这个国家的过去与未来的种种问题;我们把历史人物分成赢家与输家、英雄与奸贼、圣徒与凶手的做法;介乎事实和传说之间的灰色地带,这些都让我们纠结不已‘‘We could all be dead tomorrow,’’ Miranda says. ‘‘Who tells our story? Will it be told? We have no way of knowing. In essence, that’s what the show is about. We are telling the story of someone who I don’t think would expect it to be told in this way, if he were alive. But he very much wanted his story told. He was outlived by all his enemies. The next four presidents — Jefferson, Madison, Monroe and John Quincy Adams — all hated Hamilton, and did their best, not even to assassinate his character, but to bury him by omission.’’“说不定明天我们就全死了,”米兰达说“谁来讲述我们的故事?有人会讲吗?我们不可能知道这基本上就是这个戏要说的我们在讲某个人的故事,这个人如果活到今天,恐怕想不到会是这样一种方式来讲但他非常希望有人讲述他的故事所有敌人都比他活得久接下来四任总统——杰弗逊、麦迪逊、门罗、约翰·昆西·亚当斯——全都讨厌汉密尔顿,为此他们竭尽所能,甚至都不是去诋毁他的名声,而是要把他的存在从历史中隐去”‘‘ ‘Who lives? Who dies? Who tells your story?’ It’s a question the characters on that stage, and it’s also a question the audience. It leaves you reckoning with: Wait, who does tell my story? What am I doing with my life? I think that’s why, when I get emails about this show from people in the audience, they usually come at three in the morning. They’re dark-night-of-the-soul emails. Because it’s a question we’re all grappling with. It’s a question that we all pose at the end.’’“谁生,谁死,谁来讲述你的故事?”这是台上人物的问题,也是观众的问题它促使你去想:不对,那谁来讲述我的故事?我该如何面对我的人生?我想这就是为什么观众来跟我聊这个戏的时候,邮件经常是凌晨三点发来的那都是来自“心灵的黑夜”(指圣十字若望的名诗《Dark Night of the Soul——译注)的邮件因为这是个我们都避不开的问题到最后我们都得面对”Stephen Sondheim ON THE MUSICAL史蒂芬·桑德海姆(Stephen Sondheim)谈音乐剧WHEN I FIRST HEARD Lin-Manuel’s songs, I immediately thought of ‘‘Rock Island,’’ the opening number of ‘‘The Music Man.’’ It’s one of the most brilliant numbers ever written, and the first time anybody had attempted to make music out of speech in the American theater. It doesn’t have the attitude of rap and nobody thinks of it as rap, but the technique is rap.第一次听到林-马努艾尔的歌,我立刻想到了《音乐人(The Music Man)开幕曲《石岛(Rock Island)那是一首无比杰出的曲子,是美国戏剧史上第一次有人尝试通过言语来做音乐它没有说唱的姿态,没人会认为它是说唱,但手法是说唱的At some point, Lin-Manuel started telling me about ‘‘Hamilton,’’ which, back then, was called ‘‘The Hamilton Mixtape.’’ He sent me lyrics printed out, and recordings of the songs. This raised obvious red flags: I worried that an evening of rap might get monotonous; I thought the rhythm might become relentless.有一天,林-马努艾尔开始跟我说起《汉密尔顿,那时候还叫《汉密尔顿拼盘带(The Hamilton Mixtape)他把打印出来的歌词发给我,还有歌的录音这里面的风险是很明显的:我担心一整晚的说唱太单调了;我以为这会是一种让人感觉没完没了的节奏But the wonderful thing about Lin-Manuel’s use of rap is that he’s got one foot in the past. He knows theater. He respects and understands the value of good rhyming, without which the lines tend to flatten out. Jokes don’t land the way they should. Even emotional lines don’t land the way they should. Rhyme does something to the listener’s perception that is very important, and Lin-Manuel recognizes that, which gives the ‘‘Hamilton’’ score a great deal more heft than it might otherwise have. Most lyrics are by their very nature banal — it’s the way they’re expressed that makes them soar.但林-马努艾尔对说唱的运用妙在,他有一只脚是踩在过去的他懂戏他尊重和理解押韵的价值,没有这个,台词就会很平板笑话出不来效果连感情戏也会走样押韵会对听众的感知产生重要影响,林-马努艾尔清楚这一点,韵律让《汉密尔顿的谱曲格外有分量,没了韵律,分量也就不会这么足多数的歌词本身都是很乏味的,但这种表达的方式大幅提升了它们‘‘Hamilton’’ is a breakthrough, but it doesn’t exactly introduce a new era. Nothing introduces an era. What it does is empower people to think differently. There’s always got to be an innovator, somebody who experiments first with new ms. The minute something is a success, everybody imitates it. It’s what happened with ‘‘Oklahoma’’; everybody immediately started to write bad Western musicals. ‘‘Hair’’ also had that effect. But eventually people stop imitating and the m matures. ‘‘Hair’’ allowed young writers to say, ‘‘Hey, let’s use rock as a way of telling a story.’’ Now they’ll say, ‘‘Let’s use rap as a way of telling a story.’’ So we’ll certainly see more rap musicals. The next thing we’ll get is Lincoln set to rap. If you think I’m kidding, talk to me in a year.《汉密尔顿是一次突破,但它并没有完全带我们走进一个新的时代那不是一出剧目能做到的事它要做的是让人能有不一样的想法总会有一个革新者,一个率先尝试新形式的人一旦成功了,所有人都会来模仿《俄克拉荷马(Oklahoma)就是这样;一夜之间大家都开始写蹩脚的西部音乐剧《毛发(Hair)也有这个效果但最终模仿会停止,这种形式会成熟起来《毛发让年轻的剧作者开始想,“对啊,我们可以用摇滚乐讲故事”现在他们会说,“我们可以用说唱讲故事”肯定会有更多的说唱音乐剧出现接下来我们要让林肯说唱起来信不信由你,咱们明年见The Roots ON HIP-HOPThe Roots乐队谈嘻哈WE WERE INVOLVED WITH ‘‘Fela!’’ and I really didn’t think that another musical could hit me as powerfully as it had. So when people started hyping ‘‘Hamilton,’’ I was like, ‘‘Eh, we’ll see.’’我们参与过《费拉(Fela!)的制作,我以为不会再有哪出戏给我那么强烈的感受了所以听人开始捧《汉密尔顿的时候,我心想,“哦,是么”I’ve been brought into two or three other meetings potential projects, where everyone’s like, ‘‘Let’s be the first hip-hop musical on Broadway!’’ And it just wasn’t happening. I saw the beating that the Tupac musical, ‘‘Holler If Ya Hear Me,’’ took. So when it came to ‘‘Hamilton,’’ I thought, ‘‘I’m just not into rap and spirit fingers. I’ll see it, but it won’t move me.’’ And, Jesus, was I wrong.我还参加过几个创作会,就潜在项目展开讨论,每个人都说,“咱们要做百老汇第一个嘻哈音乐剧!”可就是做不出来我眼看着那个Tupac音乐剧《听见我说你就吼一声(Holler If Ya Hear Me)被骂成然后《汉密尔顿就来了,我心想,“我就是不怎么喜欢一边说唱一边两手呼扇呼扇的我会去看,但不会被有什么感觉”但这回可真是错的离谱Normally, it’s hard me to enjoy any sort of concert or show because I’m dissecting it. I’m looking at the production, figuring out which microphones they’re using — that sort of stuff. Ten minutes into ‘‘Hamilton,’’ though, I was just so stunned. It was such a sucker punch. With the exception of, like, a Prince concert, I don’t go to anything to just enjoy myself and let it move me. But ‘‘Hamilton’’ swept me up.通常我在看音乐会或演出的时候是很难投入其中的,因为我会去剖析我会看这个戏的制作,推断他们在用哪个话筒——诸如此类但是《汉密尔顿开场十分钟下来,我已经傻眼了被杀了个措手不及我可是从来不会就这么完全投入,任由他们来打动我的,除了看Prince的现场但《汉密尔顿把我彻底地拉了进去Watching the show I realized, ‘‘O.K., Lin-Manuel knows hip-hop. This guy has totally done his homework.’’ I knew that he came up in the backpack-rap era. Most of his references were between ’9 and — you know, the Rawkus Records hip-hop era. But I still love the fact that this play works even if you don’t get the Mobb Deep references. It’s multilevel.我边看边想,“嗯,林-马努艾尔懂嘻哈这家伙绝对是做过功课的”我知道他成长于地下说唱时代他参考的东西大多在9年到年之间——就是Rawkus唱片那个嘻哈时代我非常喜欢这个戏的地方是,就算你不知道他用了Mobb Deep的典故,你还是能看明白它有很多层次I pray Broadway embraces the show. I’ve seen how the politics game can work, the way certain stuff is treated. But with ‘‘Hamilton,’’ you have to see it. It is everything Broadway and New York City in should be. — AHMIR ‘‘QUESTLOVE’’ THOMPSON我真心希望这戏能在百老汇火起来我知道政治游戏有多大本事,某种东西会受到某种对待但你一定要去看《汉密尔顿年百老汇和纽约市的头等大事——AHMIR“QUESTLOVE”THOMPSONWHAT HIT ME INITIALLY was the accessibility. It’s just really easy to follow the dialogue. I imagined that ‘‘Hamilton’’ would be a show where, you know, some dialogue was delivered, and then the permers would break into song. But from the jump, everything was rap, everything was bars. Some of the cast members are rappers, some arent. But even the ones who aren’t M.C.s rise to the occasion. You can‘t tell, ‘‘Oh, this one feels like an M.C., this one doesnt.‘‘ Everyone lines are delivered seamlessly. This can be your introduction to hip-hop — on Broadway. And it’s a valid one. It’s a credible one. — TARIQ ‘‘BLACK THOUGHT’’ TROTTER首先注意到的是它很好懂这戏的台词非常容易理解我原以为《汉密尔顿是那种先来几句对白,然后演员开始唱可实际上从一开始就是说唱,全是说唱,一切都是分成小节的有的演员是说唱乐手,有的不是但即使不是的那些,也完全胜任你无法分辨出来,“噢,这个感觉是个MC,那个不是”所有人的台词都完美地连在一起你可以把它当成百老汇开了一个嘻哈乐入门课而且可是正经的、靠得住的课程——TARIQ“BLACK THOUGHT”TROTTERRon Chernow ON HISTORY罗恩·彻尔努(Ron Chernow)谈历史BACK IN , a mutual friend told me that Lin-Manuel Miranda had ‘‘Alexander Hamilton’’ and that it had made an impression on him. Lin-Manuel was still starring in ‘‘In the Heights,’’ of which I was vaguely aware. He invited me to a matinee one Sunday and I was captivated by the show. He also asked me to come backstage and I was no less charmed by him personally.年,一个认识林-马努艾尔·米兰达的朋友跟我说,他在读《亚历山大·汉密尔顿,而且评价很高林-马努艾尔当时还在演《高地人生,那戏我只是大概有个了解有个礼拜天他请我去看了个日场,我非常喜欢他还让我去了后台,我对他本人很欣赏He told me that while he had been ing the book on vacation in Mexico, hip-hop songs started ‘‘rising off the page’’ — not a typical reaction to one of my biographies. He said he was planning to produce a concept album based on Hamilton’s life and, if all went well, it would be his second musical. When I asked whether hip-hop — of which I was abysmally ignorant — could be the vehicle telling such a rich, complex story, he answered, ‘‘Ron, I’m going to educate you.’’ And, boy, did he ever. He pointed out that with dense, rapid lyrics, you could pack an enormous amount of inmation into the songs. He also noted the use of rhyme, including internal rhyme, and all of the clever wordplay that was possible.他跟我说,他是在墨西哥度假的时候看的这本书,看着看着嘻哈乐就开始“从书本里冒出来了”——很少有人看我的传记看出这个效果他说他打算根据汉密尔顿的生平做一个概念专辑,一切顺利的话,这会是他的第二部音乐剧对嘻哈乐我是茫茫然一无所知的,我问他,这种形式能不能撑起这么一个丰富、复杂的故事,他说,“罗恩,我要给你上一课”哈,可真是实打实地受教育了他告诉我,密集、快速的词汇可以在歌里注入大量的信息他还说可以用押韵,包括内韵,此外有许许多多聪明的文字游戏可以尝试That day on the spot, Lin-Manuel asked me to be his historical consultant. He said, ‘‘I want the historians to take this seriously.’’ Now, usually, historians are considered pests and kept a million miles from productions. It showed great strength and integrity that Lin-Manuel was willing to let me hang around the show and incorporate me into the creative team. I have been continuously involved with ‘‘Hamilton’’ six years now.那天,他当场就问我能不能做历史顾问他说,“我希望这是一部历史学家会正眼看待的戏”要知道,历史学家通常是讨人嫌的,排戏的时候滚越远越好林-马努艾尔却主动要我参与,让我成为主创团队的一员,这说明了他是个大气、端正的人我一直参与《汉密尔顿的制作,已经有六年了Two or three months after our first meeting, Lin-Manuel asked if he could come over to my house and sing something me. He sat on my living room couch, began to snap his fingers, then sang the opening song of the show — ‘‘How does a bastard, orphan, son of a whore, etc.’’ When he finished, he asked me what I thought. And I said, ‘‘I think that’s the most astonishing thing I’ve ever heard in my life.’’ He had accurately condensed the first 0 pages of my book into a four-minute song. And he had ged a unique idiom that blended mal 18th-century speech with 1st-century slang. Filtered through Lin-Manuel’s extraordinary mind, the lyrics sounded natural and spontaneous and all of a piece. Next thing I knew, he sent me an email and said to go on YouTube, that he had permed that first song at the White House and gotten a standing ovation from the Obamas. I thought to myself, ‘‘Wow, I am strapped to a real rocket with this young guy.’’在第一次见面两三个月后,林-马努艾尔问我能不能上我家来,要唱一些给我听他坐在我家客厅沙发上,打着响指开始唱开场那首——“一个孤儿婊子和苏格兰佬的私生子……”唱完后他问我想法我说,‘这辈子没听过这么震撼的东西’他把我的书的前0页,准确地浓缩成了一首四分钟的歌他还锻造了一种语言风格,融合了十八世纪的庄重言语和二十一世纪俚语这些词在林-马努艾尔的非凡头脑里过了一遍,变得自然、随性、浑然一体接下来没多久,他给了我一封电邮,让我上YouTube去看他在白宫演唱第一首歌,得到奥巴马一家的起立鼓掌我心说,“哇,我跟这家伙在一起,简直就是拴在火箭上了” a period of a year or two, Lin-Manuel sent me one or two songs a month. I would hear him at the keyboard, crooning tunes alone. And I thought they were sensationally good — fresh, witty and always moving. I can remember laughing uproariously when he first sent me King George III’s satirical song to the colonists, ‘‘You’ll Be Back.’’ I was thrilled when he sent me ‘‘The Schuyler Sisters’’ and I realized that the family saga I had explored would be translated intact onto the stage.有那么一两年的时间,林-马努艾尔每个月会发给我一两首歌我听到他弹着键盘,一个人哼着歌在我看来,这些歌都太棒了——新鲜、妙趣横生,并且始终都是动人的我记得,他第一次给我听那首乔治三世唱给殖民地居民的讽刺曲《你们会回来的时,我都笑疯了听到他发来的《舒依勒(Schuyler Sisters),我意识到我在书里探索的家庭故事,将会原封不动地搬到舞台上Then he invited me to one of the first rehearsals at a small studio in the Garment District. I remember poking my head into the room and seeing eight actors standing in front of eight music stands, thinking, ‘‘Oh my goodness, they’re all black and Latino! What on earth is Lin-Manuel thinking?’’ I sat down with Thomas Kail, the director, and Jeffrey Seller, the producer, thinking to myself, ‘‘When this is over, I need to sit down and talk to Lin-Manuel alone. We’re talking about the founding fathers of the ed States.’’ But after a minute or two I started to listen and got the color or ethnicity of these astonishingly talented young permers. Within five minutes, I became a militant on the subject of color-blind casting.后来他邀请我去看最初的排练,那是在时装区一个小工作室里我记得当时我往房间里探了一下头,看见八位演员,站在八个乐谱架前,我心想,“天哪,全是黑人和拉丁裔!林-马努艾尔是怎么想的呢?”我跟导演托Thomas Kail、监制Jeffrey Seller坐在一起,心想“等排练结束了我得跟林-马努艾尔单独谈谈这可是合众国的创始人啊”然而,几分钟下来,我的心思已经全在那些才华横溢的年轻人的歌声上,忘了他们的肤色或民族不到五分钟,我就成了一名鼓吹“色盲选角”的激进分子The whole concept of ‘‘Hamilton,’’ I realized, was inseparable from casting. The miracle of the play is that it shows us who we were as a nation but also who we are now. This young, multiracial cast has a special feeling the passion, urgency and idealism of the American Revolution, which maybe shouldn’t surprise us. Our history is the saga of outsiders becoming insiders — of the marginal and dispossessed being welcomed as citizens. Lin-Manuel offers us an Alexander Hamilton who is the quintessential immigrant and outsider who lends his talents and energies to creating the new nation.我意识到,《汉密尔顿的整体概念跟选角是不能分开来看的这部戏的奇迹在于,它让我们看到我们作为一个国家的过去,也看到我们的现在这个年轻的、多种族的演员阵容,对美国革命的、迫切和理想主义有一种特殊的感受,而这可能并不出人意料我们的历史是局外人变成局内人的故事——被驱赶的边缘人被接纳为公民林-马努艾尔带给我们的亚历山大·汉密尔顿,是一个移民和局外人的典范,他用自己的才华和活力去开创一个全新的国家Seeing the story transmed into such vivid, three-dimensional life onstage, I had the strange sensation of eavesdropping on the private meditations of my own characters — the things left unsaid in the historical record. Eliza Hamilton refused to comment publicly on her husband’s notorious sexual escapade with Maria Reynolds, but Lin-Manuel has created magnificent, mournful music her as she pours out her emotions after the scandal breaks. I was infinitely touched that he closed the show the way I had the book — with a golden, elegiac scene of Eliza as a widow, remembering her husband. Much better than ending with the duel.看到这个故事变成如此生动、立体的现场舞台表演,我有了一种奇怪的感觉,我好像在偷窥我自己书里的人物,看看他们私下里在想些什么——那些史料里没有的东西对丈夫和玛莉亚·雷诺兹(Maria Reynolds)那场臭名昭著的婚外情,艾丽萨·汉密尔顿(Eliza Hamilton)在公开场合绝口不提,但在戏中,林-马努艾尔为她写了华美、悲恸的音乐,让她尽情吐露丈夫丑闻败露后的心境他在最后一场戏用了我在书里的结局,这让我无比感动——那是一个金黄色的、哀婉的场景,已成寡妇的艾丽萨回忆着她的丈夫这比用一场决斗作结尾好太多I recognize the real Alexander Hamilton in ‘‘Hamilton.’’ Sometimes Lin-Manuel shades the character differently than I do in the book, but that’s only natural. I think he has plucked out the dramatic essence of the character — his vaulting ambition, his obsession with his legacy, his driven nature, his roving eye, his brilliant mind, his faulty judgment. He gives us a very interior look at Hamilton with many well-educated guesses at what he was thinking and feeling.我能在《汉密尔顿里看到一个真实的亚历山大·汉密尔顿有时候林-马努艾尔处理人物的办法跟我的书不太一样,但那很正常我认为他把人物的戏剧精髓抽取了出来——他有气吞山河的野心,渴望千古留名,他强横的天性,游移的眼神,敏慧的才思,糟糕的判断力他向我们展示了一个内在的汉密尔顿,并凭借丰富的知识,对这个人的所思所感做出了不少猜想Both Lin-Manuel and I were motivated by a sense that Hamilton was the most overlooked and misunderstood founding father. He had an uncanny knack making powerful enemies — including Presidents John Adams, Thomas Jefferson, James Madison and James Monroe — who, in many ways, came to define his legacy. Now Hamilton threatens to become the chic and glamorous founder. From beyond the grave, Hamilton can no longer complain of neglect. He is right up there on the marquee at the Richard Rodgers Theatre. Hamilton, never bashful, would have been happy to take a bow.林-马努艾尔和我都认为,汉密尔顿是最被忽视和误解的一位国父,这种看法驱使着我们他有个奇怪的毛病,总是跟一些有权有势的人成为敌人——这里面有约翰·昆西·亚当斯、托马斯·杰弗逊、詹姆斯·麦迪逊、詹姆斯·门罗——这在某种程度上概括了他的传奇现在汉密尔顿恐怕要成为最帅气、最耀眼的国父了假使地下有知,他不能再抱怨自己被人遗忘此时此刻,汉密尔顿正站在理查德·罗杰斯剧院(Richard Rodgers Theatre)大门正上方这个从不害怕出风头的人,大概会很乐意向大家鞠躬致意的



  Oscar winner Gwyneth Paltrow and husband Chris Martin are separating after years of marriage, they have announced today.奥斯卡影后格温妮丝·帕特洛和丈夫克里斯·马汀已经结婚年,而今天他们宣布分居了The actress broke the news on her Goop lifestyle website, writing: It is with hearts full of sadness that we have decided to separate.格温妮丝在休闲时尚网站Goop上公布了这一消息,她写道:“我们带着满心的忧伤决定了分居”Gwyneth, 1, and Coldplay frontman Chris, 37, have two children, and in their emotional, somewhat bizarrely entitled, statement called Conscious Uncoupling, they admitted they had spent more than a year battling to save their marriage.格温妮丝今年1岁,酷玩乐队主唱克里斯今年37岁,二人育有两个孩子在他们充满感情而又有些诡异的“理智分居”陈述中,他们承认自己已经花了一年多时间以努力挽救他们的婚姻They wrote: We have been working hard well over a year, some of it together, some of it separated, to see what might have been possible between us, and we have come to the conclusion that while we love each other very much we will remain separate.他们写道:“我们一起努力了一年多,或两人一起、或各自行动,我们想看看我们之间还有没有可能性最终得出的结论是:尽管我们彼此十分相爱,但我们需要分居”We are, however, and always will be a family, and in many ways we are closer than we have ever been.“然而,我们将永远是一家人从某种意义上讲,我们比以前更亲密了”We are parents first and emost, to two incredibly wonderful children and we ask their and our space and privacy to be respected at this difficult time. We have always conducted our relationship privately, and we hope that as we consciously uncouple and coparent, we will be able to continue in the same manner.“首先,我们是两个十分可爱孩子的父母在这一艰难时期,我希望孩子们和我们二人的空间及隐私能得到尊重我们夫妇二人的感情关系变化没有让孩子知道,希望在我们分居并一起抚养孩子时能做得像以前那么好”The couple are said to have escaped to Eleuthera in the Bahamas with their children bee the announcement was made on Gwyneth website.据说,夫妻二人在格温妮丝的Goop网站公布这一消息之前,就带着孩子前往巴哈马群岛的路易斯岛了The letter was signed off by writing Love Gwyneth amp; Chris. Shortly after posting the statement, the website crashed.信件的结尾签名是“爱你的格温妮丝和克里斯”这一消息刚一发布,该网站的点击量就爆表了Gwyneth and Chris, who wed in a secret ceremony in Mexico in December , have spent most of their -year relationship trying to avoid being photographed together in an eft to maintain their privacy.格温妮丝和克里斯曾于年月在墨西哥秘密举行婚礼,为保护隐私,年来他们一直力免被拍到合照 96众所周知,洗澡不仅能清除汗垢油污,消除疲劳,舒筋活血,而且能提高皮肤的新陈代谢功能和抗病力表面上风光无限,倾倒众生的偶像似乎更应该是清秀整洁的,然而有的明星居然不喜欢洗澡,而且还振振有词,这样的个人卫生习惯真是让人感到吃惊当然三只小猪也认为,我们应该宽容地对待他人的缺点,而且据说法国的香水制造业之所以发达,正是得益于本国人不喜欢勤洗澡吴尊Chun Wu

  Two Fran?ois Hollandes appeared bee the world’s press today. One of them, the statesman and would-be saviour of France, refused to comment on the nocturnal escapades of the private man. He was allowed to get away with it, more or less, by the 600 journalists packed into the glittering Chambre de Fêtes of the Elysee Palace. It is difficult to imagine the leader of any other democratic country escaping so lightly.据外媒报道,三角恋丑闻缠身的法国总统奥朗德,日在爱丽舍宫举行记者会,公布经济改革方案详情不过记者一开始便追问他与女友瓦莱丽及新欢朱莉·加耶的关系,奥朗德承认与瓦莱丽正处于痛苦时刻,承诺在下月日出访美国前,向外界交代到底谁才是真正的“第一女友”President Hollande admitted to suffering “pain” in his private life, but he refused to comment on reports that he is having an affair with a 1-year-old actress, Julie Gayet. He declined to say whether his official companion Valérie Trierweiler should still be considered France’s First Lady. He said that a statement would be made bee February when the French first couple are expected to visit the Obamas at the White House. “Everyone in his private life can go through ordeals,” President Hollande said. “That is what is happening to us. “These are painful moments. But I have a principle that private matters are dealt with in private. This is neither the place nor the time to do so.”奥朗德在记者会前表明只谈经济,但仍无法阻止记者不断追问被问及瓦莱丽是否仍是第一女友时,奥朗德说:“每个人的人生都会遇到考验,这是我们面对的痛苦时刻但我有一个原则,就是私生活只能私下解决”8岁的瓦莱丽在获知总统绯闻后“非常震惊”,自日起住进医院Asked about the health of Ms Trierweiler, 9, who is in hospital recovering from a “severe case of the blues”, Mr Hollande said curtly: “She is resting. I have nothing else to say.” So much the private man. The other Hollande – the Socialist statesman and would-be saviour of France – was in more loquacious m. He spent most of a two-and-a-half hour press conference explaining a sharp lurch in his economic policy towards a more market-driven, supply-side approach.法国传媒日报道,瓦莱丽在总统绯闻传出当日,曾在推特发文,称自己选了一个“丑陋的男人”有传她和奥朗德早已分手,却不愿搬离爱丽舍宫,故男方的团队刻意爆料,迫使她受辱离开Mr Hollande did take a couple of other questions on “l’affaire Gayet” without confirming or denying that the man pictured in a motorcycle helmet leaving her flat on 31 December was indeed him. He would not sue Closer magazine publishing the images, he said, though his “indignation was total” at the breach of his right to privacy. Yes, he agreed the legal status of the French First Lady – at present she has none – should be made clear. Mr Hollande promised “transparency” on the subject.另有报道指,奥朗德之所以认识新欢加耶,居中牵线的原来是与他在一起30年的前女友罗雅尔,当年正是瓦莱丽从罗雅尔身边抢走奥朗德 385Unemployed Charlie Sheen Still TV's Highest-Paid Star Even after being fired from TV's best-rated sitcom, CBS' Two and a Half Men, "The Masheen" is still raking it in: his salary is estimated to be around #0 million, making him the highest paid actor on the small screen. That’s according to bes Magazine, which recently took a look at how much money TV actors earned between May and May . Charlie wasn't fired till March , which is why his paycheck is still so big. Of course,Sheen will probably continue earning big money: he recently inked a deal to star in a new sitcom based on the comedy Anger Management.The Top Highest-Earing TV Actors in America:1. Charlie Sheen (Two and a Half Men) — 1. In 1993, Matthew Perry pitched N a sitcom he had co-written about a group of twentysomethings called Maxwell’s House. The network turned him down because they aly had a similar TV show, Friends, in the works.1993年,马修·佩里给美国全国广播公司投稿了一部他参与编写的情景喜剧,这部叫《麦克斯韦的房子的聚集描述的是一群二十多岁年轻人的故事但最后被拒绝了,因为他们已经在制作一部类似的电视剧《老友记. Bee settling on Friends, other titles producers considered were Friends Like Us, Six of One, Across the Hall, Once Upon a Time in the West Village, and Insomnia Cafe.在确定下《老友记这个名字前,剧组曾考虑过使用其它名字,比如《像我们这样的朋友、《六位一体、《穿过大厅、《西城往事、 《不夜咖啡屋3. Originally the show was going to focus on just four characters: Monica, Ross, Rachel, and Joey. Phoebe and Chandler were going to be supporting characters.最初电视剧只有四个主角:莫妮卡、罗斯、瑞秋和乔伊菲比和钱德勒是配角. Also, Monica and Joey were originally intended to be the main couple on the show.而且,莫妮卡和乔伊原本是一对主要的情侣5. Ellen DeGeneres turned down the role of Phoebe.脱口秀主持人艾伦·德杰尼勒斯拒绝了出演菲比一角6. In the early stages of development, the writers considered making Chandler gay.在剧集最开始的时候,编剧本想把钱德勒塑造成同性恋7. The frame around the peephole originally had a mirror in it. It was accidentally broken by a crew member, but because it still looked good, they decided to leave it there.猫眼周围的相框本来是个镜子一位工作人员不小心打破了,但是框子看起来还不错,于是就把它留在了那里8.The iconic orange couch in Central Perk was found by a set designer in the basement of the Warner Bros.中央咖啡馆里标志性的橘色沙发,是由华纳兄弟电影公司组设计师从地下室找到的9.In the first couple of episodes, Monica and Rachel’s apartment number was No. 5. This was changed in later episodes to No. because the producers noted that 5 corresponded to an apartment on lower floor.在头两集中,莫妮卡和瑞秋的房门号是5,后来换成了号,是因为剧组发现5号是低楼层的公寓号码.“I’ll Be There You” was co-written by Friends producers David Crane and Marta Kauffman, along with Phil Solem and Danny Wilde, of The Rembrandts.主题曲“我在这里等你”是《老友记制片人大卫·克拉尼和玛尔塔·考夫曼还有伦勃朗乐队的菲尔·索利姆,丹尼·王尔德合作创作的 .The full names of the characters are:主角的全名是:Chandler Muriel Bing钱德勒·穆里尔·宾Rachel Karen Green瑞秋·凯伦·格林Ross Eustace Geller罗斯·尤斯塔斯·盖勒Monica E. Geller莫妮卡·E·盖勒Joseph Francis Tribbiani Jr.乔伊·弗朗西斯·崔比昂尼Phoebe Buffay (she never knew her middle name since she had never seen her birth certificate)菲比·布菲(她不知道自己的中间名,因为她从没见过自己的出生明).Season is the only season without a Thanksgiving episode.第二季是唯一没有感恩节的一季.Jennifer Aniston has stated that she hated the now-iconic “Rachel” haircut.珍妮弗·安妮斯顿曾说过她讨厌瑞秋这个傲慢的发型,虽然现在这已经是瑞秋的标志发型.Courteney Cox was the only cast member not to get an Emmy nomination her work on the show.柯特妮·考克斯是唯一没有凭借此片获得过艾美奖提名的演员.Reportedly, Christina Applegate was cast as Amy Green the Season 9 Thanksgiving episode after Reese Witherspoon was unavailable to reprise her role as Jill Green.据说,在瑞茜·威瑟斯彭不能出演吉尔·格林的角色之后,扮演艾米·格林的克里斯蒂娜·埃伯盖特在第9季感恩节那集再次出现.Bruce Willis guest starred on the show free.布鲁斯·威利斯无偿客串.Gunther was not originally a speaking part; the actor, James Michael Tyler, got the role as an extra because he knew how to work an espresso machine.冈瑟本来是没有台词的;演员迈克尔·泰勒出演这个额外的角色,是因为他知道怎么使用咖啡机18.The refrigerator in Monica’s apartment actually worked. It was filled with water and drinks the cast and crew.莫妮卡公寓的冰箱实际上是可以用的,用来放演员和工作人员的水和饮料19.In reality, Joey’s white dog statue belonged to Jennifer Aniston. It had been given to her by a friend as a good-luck gift.其实,乔伊的白雕像是珍妮弗·安妮斯顿的是一位好友送给她,希望为她带来好运.During its run, the show released twosoundtracks.在电视剧播出期间,发行了两份电影原声带1.During the first season of the show, each cast member earned $,500 per episode. By the end of the series they each made a million an episode.第一季时,演员们的酬劳是每集500美元,到剧集完结,他们的酬劳达到了每集0万美元.The final episode was watched by 5.6 million viewers and is the fourth most-watched television series finale in U.S. history.最后的大结局有56万人观看,是美国历史上最多人观看的大结局第四名 5376 million. Ray Romano (Men of a Certain Age) — $ million3. Steve Carell (The Office) — $ million. Mark Harmon (NCIS) — $ million5. Jon Cryer (Two and a Half Men) — $ million6. Laurence Fishburne (CSI: Crime Scene Investigation) — $ million7. Patrick Dempsey (Grey's Anatomy) — million8. Simon Baker (The Mentalist) — million9. Hugh Laurie (House) — million. Christopher Meloni (Law amp; Order: Special Victims ) — million 7697


  There’s a story Stephen King can’t resist telling. He was shopping cinnamon buns and potato chips one day when a woman approached him. She told him that she didn’t care horror stories like the ones he wrote, and preferred uplifting stories, like “The Shawshank Redemption.” When Mr. King told her he wrote that, too, she didn’t believe him.斯蒂芬·金(Stephen King)经常给人讲这么一个故事一天,他去买肉桂面包和薯片,一个女人走到他身边,说她不怎么喜欢他那些恐怖小说,还是更喜欢《肖申克的救赎(The Shawshank Redemption)之类振奋人心的故事金告诉她,《肖申克的救赎也是他写的,她却不肯相信If there are any lingering doubts about Mr. King’s stylistic range, they should be put to rest by his new collection, “The Bazaar of Bad Dreams,” which features stories that seem to touch on every genre imaginable, except romance. There are crime and horror stories, a narrative poem and a grim western, along with realistic stories about marriage, aging and substance abuse.金创作的体裁如此多样,就算人们对此还有任何疑虑,他的新小说集《噩梦集市(The Bazaar of Bad Dreams)也足以打消这些怀疑书中收录了个短篇小说,几乎涉及除浪漫故事之外所有能想到的类型有犯罪小说、恐怖小说、一篇叙事诗和一个阴郁的西部故事,此外还有关于婚姻、衰老和滥用药物的现实主义小说The collection also functions as a companion of sorts to his 00 book “On Writing: A Memoir of the Craft.” In his new book, Mr. King introduces each story, describing how he got the idea and what inspired him. The catalyst one, “The Dune,” about a sand dune where the names of people who are about to die appear, came to him all at once when he was walking his dog on a beach in Florida. Others came from equally unlikely sources: a glimpse of a woman sitting on a bus, losing a bet with his son, eating lunch with his wife at Applebee’s and seeing a man cutting up his older dining companion’s steak. Another, “The Little Green God of Agony,” was drawn from his near-fatal road accident in 1999 and his long recovery.这部小说集可以和他00年的《写作这回事:创作生涯回忆录(On Writing: A Memoir of the Craft)对照观看在这部新书里,金介绍了每一个故事,描述了每个故事的创意和灵感来源比如《沙丘(The Dune),讲的是即将死去的人们的名字会显示在一座沙丘上面,他是在佛罗里达州海滩上遛的时候突然想到这个点子的还有些创意的源头同样不可思议:对巴士上一个女人的惊鸿一瞥、和儿子打赌输了、和妻子在Applebee’s餐厅吃饭,看到一个男人给一起用餐的长者切牛排……《小小的绿色痛苦之神(The Little Green God of Agony)的灵感则是来自1999年那场差点要了他的命的车祸,以及其后漫长的恢复期“When ers come to a short story or a novel, the writer disappears completely, and that should be the case in the story, but it’s sort of fun to be able to talk about where the story came from,” Mr. King said. “It was a pleasure to talk about the craft again.”“读者们读到一个短篇小说或一部长篇小说时,作者就彻底消失了,故事就是这样,但是能够聊聊故事的灵感来源也不错,”金说,“能够再次聊起创作这门技巧,实在非常愉快”In a telephone interview, Mr. King spoke about what scares him, why he’d like to be known more than horror stories and why he has vivid dreams when he’s not writing. These are edited excerpts from the conversation.在电话采访中,金说起了让自己害怕的事情;他为什么希望以恐怖小说之外的作品而为人所知;不写作的时候,他为什么总能做栩栩如生的梦以下是经过编辑的谈话节选Q. This collection seems to showcase your stylistic range. Was that an intentional eft, to emphasize the diversity of your work?问:这部小说集展示了你创作体裁的多样;你是不是有意在强调自己风格的多样化?A. It was. I wanted to try to sp across this whole spectrum of different things that I’m able to do. And I guess part of that might have been a subconscious reaction to the idea of being dismissed as a horror writer and as the guy who does the monsters. I am the guy who does the monsters, but that doesn’t mean I can’t do other things as well.答:是的我想试着尽量去写各种我能写的东西我经常被错误地视为恐怖小说作家,是个只写怪兽的家伙,我觉得我对多样化的尝试部分可能是对这种看法的一种下意识的反应我确实是那个写怪兽的家伙,但这并不意味着我写不好别的Q. You’ve questioned the arbitrary divide between genre fiction and literary fiction in the past. Was that another goal of yours with this collection, to show people that those labels don’t matter or apply to you?问:过去你曾经质疑类型小说与文学小说之间的壁垒这本小说集是不是代表了你的另一个目标,向人们显示任何标签对你来说都不重要,或者说不适用于你?A. That has to happen somewhere else. It can’t happen with me. I never sat down to write a story where I said, ‘This is going to be a piece of literary fiction,’ or ‘This is going to be a piece of genre fiction.’ I picked the story “Mile 81” because it’s a perfect example of the sort of thing that people expect from me, and it does hark back to the days when I was writing short fiction to pay the electric bill, and I knew what those men’s magazines wanted. They wanted a scary story that was kind of gruesome. I loved all that pulp stuff, and that’s what “Mile 81” is, it’s a pulp story, and I like to think it has a little more texture. So you start with that, and then you move on to “Premium Harmony” — that has a little more of a Raymond Carver feel to it. It isn’t an eft to try to convince people that I’m a literary writer, that I’m a Jonathan Franzen wearing a popular fiction hat. I don’t want to do that. I can only write what I can write, but I was able to look at the range of stories and arrange them in a certain way.答:这种事可能会发生在别的什么地方,却不会发生在我身上我从来都不会坐下来写一篇小说,并且说:“我要写一个文学小说,”或者“我要写一个类型小说”我选了《81英里休息区(Mile 81)这一篇,因为它是一个完美的例子,正是人们期待我写的那种东西,它确实让人想起我当年为了付电费账单而写的那些短篇小说,我了解男性杂志的需求,他们想要那种有点残酷的恐怖故事我喜欢那些低俗杂志的调调,《81英里休息区就是一个低俗小说,我觉得它更有质感一些第一篇是这个,接下来是《和为贵(Premium Harmony),它有点雷蒙德·卡佛(Raymond Carver)的感觉它并不是为了向人们明我是个文学作家,是戴着流行小说帽子的乔纳森·弗兰岑(Jonathan Franzen)我不想这样我只能写自己能写的东西,但我可以在这些故事的范畴之内,用合适的方式把它们安排好Q. In your introductions to the stories, you often describe how an idea will stay with you half-med years, until some catalyst makes you go back to it. Do you write your ideas down somewhere?问:在你为这些故事写的介绍里,你经常说,某个酝酿了一半的点子会在你头脑停留好几年,直到某个催化剂出现,让你重新想起它你会把这些点子记下来吗?A. I don’t write anything down, any ideas ever, because that’s a good way to immortalize really bad ideas. The bad ideas fall out. It’s a natural Darwinian process. They go away somehow. It’s like throwing a bunch of crackers in a sieve. Some of those ideas shake out because the crumbs get too small, but the big ones stay.答:我什么都不记下来,什么点子都不记,因为这样就会永远记住很多真正糟糕的点子糟糕的点子会被忘掉这是一个自然的,达尔文式的过程它们自然地消失了就像把一把碎饼干扔在筛子上有些点子被过滤掉,因为碎屑太小了,但是大的都会留下来I have an idea right now about a guy who kills his wife, and then his wife shows up and she’s his wife, but she’s strange. She’s pale. I can see her right now. He knows that he’s killed her, and he goes and digs up the place that he buried her, see what I’m saying? And I don’t really know what he finds, whether it’s a body there, but it’s a story idea that stayed with me a long time.我现在就有个点子,一个男人杀掉了自己的妻子,然后他的妻子又出现了,她仍然是他的妻子,只不过非常奇怪她很苍白,她现在就浮现在我的面前他知道自己杀死了她,于是跑去挖掘他埋葬她的地方,你明白我在说什么吗?我不确定他能找到什么,有没有找到尸体但这是我想了很久的一个点子Q. You’re in an incredibly prolific phase. What do you think is driving your creativity at this late stage in your career?问:你正处于非常高产的阶段在你写作生涯的晚期,你的驱动力是什么呢?A. I’m not as a prolific as I used to be. There was a time when I published four books a year. As a college student, I had so much in my head that I had migraine headaches. Right now, I’m always happy if I have two or three ideas bouncing around that seem tasty.答:我已经不像过去那样高产了有段时间,我一年出四本书上大学的时候,我脑子里有那么多东西,结果得了偏头疼现在,如果我脑子里还有两三个看上去还不错的好点子在活跃着,我就很高兴了Q. You’ve said that when you’re not writing, if you have a break between books, you have especially vivid dreams. Why do you think that is?问:你说过,不写作的时候,在出书的间隙如果能休息,你就会做特别栩栩如生的梦你觉得这是为什么?A. You get habituated to the process, which is very mysterious, but it’s very much like dreaming. A lot of times I can’t remember where these stories came from or what it was like to write them because it’s like being in a trance state when I sit down to write.答:你已经习惯了这个过程,它非常神秘,但它非常像是做梦有很多次,我已经记不起笔下的故事是从哪儿来的,或者它们是怎么写的,因为我坐下来写东西的时候,感觉就像处于一种恍惚状态Once the book is done, the stories are done, you don’t have anything in particular that you want to do. The process goes on, but it goes on at night, your brain does that, and you have the dreams. When I write again, it stops.当一本书写完,故事结束了,你又没有什么特别想做的事这个过程还在继续,不过是发生在夜里,你的大脑非常活跃,就开始做梦等我再次开始写作,它就消失了Q. So you don’t remember your dreams?问:那你不记得这些梦吗?A. No. I don’t have them. I don’t dream when I’m writing.答:不,不记得而且一开始写作我就不做梦了Q. One of the stories was sparked by your near-fatal accident in 1999, when you were walking and were hit by a van. But in the introduction, you say that you’re “not in the business of confessional fiction” and that this story turned into a horror story instead. Why are you opposed to confessional writing?问:这些短篇小说里,有一篇是受1999年那场差点让你送命的车祸启发写下的,当时你正在走路,被一辆面包车撞了但在简介里,你却说自己“不写自白式的小说”,而且这个故事最后变成了一个恐怖故事你为什么不喜欢自白式的写作?A. You use your experiences to make the fiction more real to the er. You rely on things that you absolutely know, because that gives you bedrock to stand on when you write the fiction, and I knew about pain. Pain is one of those things like sexual ecstasy that’s very difficult to write about unless you’ve experienced it. I knew about the therapy and how much it hurts, and I did want to write about that from the standpoint of some guy who didn’t want to go through the pain to get the positive benefit of it. And then it turned out that this guy really did have this sort of demonic creature inside of him. That was kind of cool.答:你运用自己的经历,让小说对于读者来说更真实你依靠自己彻底了解的事物,因为它给了你一个写虚构小说的基础我了解这种痛苦痛苦和性高潮一样,除非你有亲身体验,否则是非常难写的我知道治疗过程是什么样,知道那有多疼,我很想站在这样一个人的视角来写故事,他不想经历这种痛苦去获得其中的好处结果这个人体内确实有那种邪恶生物这还挺酷的I don’t live that interesting of a life. All I can do is take pieces of my own experience or even stuff from my ing or viewing and put them in a story that I think will entertain people. That’s the main job, to entertain people, and confession can get boring after a while. I guess that’s why I can’t see myself ever writing a full-blown memoir. I’m not sure anybody would want to it.我的生活不那么有趣我能做的只有把自己经历的片段,或者我读过、看到过的东西的片段拿出来,放进一个我觉得可以别人的故事里别人是我的主业,而自白过段时间就可能让人厌烦我觉得这也解释了为什么我不会写一本全面的回忆录我不确定有人会愿意读Q. What made you want to write scary stories in the first place?问:你最早为什么想写那些吓人的故事呢?A. Nothing. There are certain minerals, lack of a better word, buried in our nature, that come with the DNA, that are part of the original equipment. me, I was about 8 or 9 years old, and my brother and I were going through some stuff that my mother had in this crawl space in an apartment in Stratd, [Conn.], and there were boxes and boxes of my father’s stuff. There were a bunch of paperbacks, and one of them had a cover that showed this green monster crawling out of an open grave. My brother didn’t want anything to do with that, and I looked at that and thought, ‘That’s mine.’ I want to know what that’s about. As a kid, I went to see every horror movie I could possibly see. Sometimes my brother went with me. My brother’s two years older, and he would put his hat over his face. I never put my hat over my face.答:没什么我们的天性中有某种特殊的“矿藏”——我没有更好的词来形容它——它就在我们的DNA里,就像是我们的原始装备我在八九岁的时候,和哥哥在(康涅狄格州)斯特拉特福德的公寓里,看我妈妈堆在那低矮空间里的东西,有好几箱都是我爸爸的东西有一大堆平装书,还有一本书,封面是一个绿色的怪物,从敞开的坟墓里爬出来我哥哥不想看,我盯着这本书,想:“这是我的”我想知道这本书里讲了什么小时候,我看过所有能看的恐怖电影有时候哥哥也和我一起去,他比我大两岁,看到恐怖的地方总是用帽子挡着脸我从来不用帽子挡住脸Q. What are you most afraid of?问:你最害怕的东西是什么?A. Everything? Death, but not even death so much as Alzheimer’s, premature senility. My idea of a horror movie is “Still Alice.” The things that scare me or interest me over the years are less drive-in movie horror stuff, and more, what can you find in real life that scares the devil out of you?答:最害怕?死亡,但死亡也不像阿尔兹海默症那样可怕,过早的衰老不能自理我觉得最可怕的电影就是《依然爱丽丝(Still Alice)这些年来,让我害怕,或者让我感兴趣的事不再是那种免下车影院里放的恐怖片,而是那种现实生活中能把你吓得半死的东西Q. You certainly have a talent scaring people.问:你的确很有吓人的天赋A. But I want all the people who don’t like to be scared. I want to welcome them in a gentle way, and then scare them. I want to get them in there, where they can’t get out.答:但我希望吸引那些不想被吓到的人们我想用一种温和的方式迎接他们,然后再吓住他们我想带他们进来,然后他们就别想离开 195。

  A film about a man who spends his life trading blood cash, based on a novel by one of China most celebrated writers, has finally begun shooting nearly years after it was first announced. But it wont be a Chinese film.一部讲述一个男人卖血换钱的人生故事的电影终于开拍该片根据中国知名作家的小说改编,最初宣布拍片计划已经是年前的事了然而本片将不是一部中国影片Chronicle of a Blood Merchant, based on the 1995 novel of the same name by best-selling Chinese writer Yu Hua, began in the year 00 as a collaboration between Korean producer Ahn Dong-Kyu and iconoclastic Chinese director Jiang Wen.电影《许三观卖血记(Chronicle of a Blood Merchant)根据中国畅销作家余华1995年同名小说改编早在00年,韩国制作人安东圭(Ahn Dong-Kyu)就有意与中国导演姜文合作拍摄这部电影The novel, published in 1995, tells a story of Xu Sanguan, a farmer who discovers selling blood as a shortcut to providing a better life his family and becomes expert in gaming the system to squeeze every last yuan out of his veins. The story is mainly set in the 1950s and 1960s, when China weathered a terrible famine only to then be plunged into the turbulence of the Cultural Revolution.小说《许三观卖血记于1995年出版,主人公农民许三观发现卖血能让家人更快过上好日子,渐渐成了卖血“专业户”,竭尽性命拿血换钱故事时间设定在上世纪50至60年代,当时中国在经历了严重的 荒之后,又陷入了文化大革命的动荡之中Mr. Ahn, now the film co-executive producer, told China Real Time that he flew to Beijing to meet with Mr. Yu after he the novel Korean translation in 1999. He said he met Jiang Wen on Mr. Yu recommendation, and both decided to work together to make the novel a film.现担任该片联席执行制片人的安东圭对“中国实时报栏目”(China Real Time)说,在1999年阅读了韩文版《许三观卖血记后,他飞往北京与余华见面他说他在余华的推荐之下与姜文见面,两人决定合作将小说拍成电影But Jiang Wen became officially unable to direct films due to a 7-year ban imposed on him not getting permission from the Chinese government the film he took to Cannes, said Mr. Ahn, referring to Mr. Jiang Devils on the Doorstep, a film about Japanese soldiers invading a Chinese village during World War II that won him the Grand Prix at the Cannes Film Festival in 00.但安东圭说,当时姜文因未经政府批准携片参加戛纳国际电影节(Cannes Film Festival)而被官方禁止拍片长达七年之久安东圭指的是姜文的《鬼子来了(Devils on the Doorstep),这部讲述二战期间日本军人进攻中国村庄的电影获得了00年戛纳国际电影节评委会大奖A spokesman Mr. Jiang declined to comment. Now back in the good graces of China film censors, the director is currently preparing a Gone with The Bullets, a 3D follow-up on satirical hit Let the Bullets Fly that is expected to hit Chinese theaters in December.姜文的发言人拒绝对此置评如今重获中国电影审查部门青睐的姜文目前正在筹备3D电影《一步之遥(Gone with The Bullets)该片是其年热门电影《让子弹飞(Let the Bullets Fly)的续集,预计将于月在中国上映Mr. Ahn said he later made inquiries unofficially to some Chinese regulators producing the film in China, but was rebuffed. He decided to make it a pure Korean production instead, shifting the story to Korea after the Korean War. ince Korea also experienced liberation, war and division, I found similarities in the sentiments of Chronicle of a Blood Merchant, he said.安东圭说,后来他曾非正式地向一些中国监管机构打听在中国拍电影的情况,但遭到拒绝于是,他决定拍一部纯韩版电影,将故事背景改在朝鲜半岛安东圭说,由于朝鲜半岛也经历了解放、战争和分裂,他捕捉到了一些与《许三观卖血记类似的情结Mr. Ahn has tapped Ha Jung-woo, a Korean actor turned director, to helm the film and assembled cast of Korean film stars. The film, which bag shooting in June, is expected to be released by early next year.安东圭指定由演员转型做导演的河正宇(Ha Jung-woo)执导该片并为影片挑选强大的韩国影星阵容这部电影已在6月开机,预计明年年初上映Contacted by China Real Time, Mr. Yu seemed lukewarm about the film journey across the Yellow Sea . The Koreans are making it into a commercial film with huge investment, said Mr. Yu, adding that he was unaware it had started shooting. I dont have any expectations it at all, he added, saying he believed the story would be made into a Chinese film sooner or later.在接受“中国实时报”采访时,余华似乎对这部在黄海对岸的朝鲜半岛拍摄的电影感觉冷淡余华说,韩国人把这个故事变成了一部投资巨大的商业电影,而且他对于电影的开机毫不知情他补充说,他对这部影片没有任何期望,他相信这部小说将迟早会被拍成中国电影It not the first run-in with China film censors Mr. Yu, whose novels are larded with biting critiques of Chinese society. To Live, a film directed by famed Chinese director Zhang Yimou and based on Mr. Yu novel of the same name, was banned in China after a triumphant showing at Cannes in 199.对于余华来说,这并不是他所经历的第一次中国电影审查,他的小说大都夹杂着对中国社会的尖锐批评199年,根据余华同名小说改编并由中国著名导演张艺谋拍摄的电影《活着,在戛纳电影节上获奖之后在国内遭遇禁播News that Chronicle of a Blood Merchant is finally being made into a film has met with ambivalence in the Chinese film commy, where excitement at the prospect of seeing the story on the big screen has been tempered by frustration that it had to be made abroad. It a good news but also a sad, because China cannot make this film, Han Kaichen, a Chinese film producer, wrote on his verified Weibo .在经历多重曲折后,《许三观卖血记终于将被拍成电影在大银幕上映令人激动不已中国电影制片人韩凯臣在经认的微账户中写道:这是一个好消息,但不能由中国人自己来拍摄,这多少有些遗憾I hope the adaption wins the Palm dOr at Cannes and the Best eign Language Film at the Oscars, film critic Bi Chenggong wrote on his own Weibo feed. It would be a slap to the face of this country censorship system.影评人毕成功在微上写道,我希望该片能斩获戛纳金棕榈奖和奥斯卡最佳外语片奖这将是给予中国审查制度的最大羞辱Despite the sensitivities surrounding the project, Mr. Ahn hopes this film can be released in China. This film that I am making has nothing that will violate the current Chinese censorship rules, he said, describing the movie as a story about a generation past that had to overcome hardships. Isnt China living in an era where it possible to look back at its hard past as just a memory?尽管敏感因素很多,安东圭仍希望这部电影能在中国上映他把电影描述为一个上一代人在绝境中奋力克困难的故事他说,我拍这部电影没有违反中国当前的审查规则中国现在不是处于一个可以回顾以往艰苦岁月的时代吗? 3881



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