999精品在线视频,手机成人午夜在线视频,久久不卡国产精品无码,中日无码在线观看,成人av手机在线观看,日韩精品亚洲一区中文字幕,亚洲av无码人妻,四虎国产在线观看 ?

SCENE CHANGE

2020-08-14 10:05:37徐盈盈
漢語世界(The World of Chinese) 2020年4期
關鍵詞:音樂劇舞臺歷史

徐盈盈

Playwright and composer Jason Ma honors Chinese heritage in American theater

對話劇作家馬智培: 將華人歷史搬上美國音樂劇舞臺

When Jason Ma was crowned math champion of his school in southern California at age 13, he quips that his immigrant father “must have been very pleased.” Yet he claims his math prowess never quite recovered after his parents took him to see his first musical, A Chorus Line, during which “all the electrical activity in my left brain must have rushed over to the right hemisphere” and “thus, a theater artist was born.”

In 2017, the American Society of Composers, Authors, and Publishers (ASCAP) honored Ma with its Cole Porter Award in recognition of his decades-long career on dozens of Broadway and Off-Broadway shows. The Chinese-American actor, playwright, and composers skills were on full display in his most recent musical Gold Mountain, in which 19th century Chinese railroad workers in the American West chorus: “The blisters rise/ We build the tracks/ And it breaks our backs.../ We curse the heat/ And we try to eat.../ A Chinaman dreams of something.”

Sung as part of the 150th anniversary celebration of the completion of the transcontinental railroad in the US in 2019, Mas lyrics of love, longing, resistance, and survival dramatized the build-up to the Great Strike of 1867, in which thousands of Chinese workers put down their tools and demanded better wages for their oft-overlooked blood offering to American history. First staged at the ASCAP/DreamWorks musical theater workshop in 2016, versions of the musical have since graced audiences in San Francisco, Los Angeles, New York, and Salt Lake City, as well as the former railroad town of Ogden, Utah, featuring a mostly Asian-American cast and starring Ali Ewoldt of The Phantom of the Opera.

Yet Ma confesses that Gold Mountain was actually written in 1994, but was rejected by producers for decades and sat in a box under his bed until 2015, when people were ready to really “hear it.” Speaking over the phone with TWOC, Ma discusses Broadways evolving attitudes toward Chinese American voices, the forgotten stories that Gold Mountain resurrects, and the enduring emotive power of musical theater.

HOW DID YOU BEGIN WRITING AND COMPOSING THE MUSICAL?

I was performing in the show Miss Saigon on Broadway, and I became a bit restless creatively. I was waiting to go on stage, and a little tiny song fragment started to come to me. It was the part [of Gold Mountain] where the two young lovers are on a hillside in the Sierra Nevada, and they are sharing what they miss about China. The man says, the mountains here are beautiful, but they dont look like the mountains back home.

Over the next few weeks, for the rest of the summer, all my time off, and even backstage when I had some time, I was just writing and writing, obsessed with it. I had a complete draft by the middle of fall. That song fragment turned into a duet between the two lovers, and that was the first full song. You know, the young womans name is Yu Mei. Thats my moms name. And my fathers name [which is the same as the protagonists] is actually Lit Ning, and its an interesting homonym for a lit fuse. Its a special piece to me; my family and friends are embedded all over the place.

WHY DID IT TAKE TWO DECADES TO GET THE SHOW ON STAGE?

Whats been interesting about this particular piece for me is that [producers] initial reactions to this story—the idea of this piece, and the idea of me as a writer of musical theater—was actually very weird, hostile, and racist. I got comments like, “It doesnt sound like you wrote this”; “this sounds so much like a Broadway musical”; “it sounds like two white Jewish guys wrote this”; “why dont you try to make Chinese opera more accessible to other audiences?”

Back then, there was no filter on this kind of stuff. I didnt have the vocabulary to describe what was going on; I just knew it was negative, and not welcome. I put the piece away after a lot of similar rejections. But every decade, I pulled it out of its box for one reason or another. Each time, I got to see the reaction to it evolve. People began to hear it. The criticisms that it didnt sound like me, didnt sound Chinese enough, sounded too Broadway, started to go away.

Over the decades, people became more educated, or more aware. YouTube probably helped. The world started getting smaller; we started to see clips and music and movies from other countries. Particularly with China, theres been much more of a back and forth culturally since the 90s. And then there are pioneers, like [the creator of Hamilton] Lin-Manuel Miranda, and people start to see that musicals dont have to be only written by straight white men; they can be written by anybody.

So I think thats why all of a sudden in 2015, this fairly old piece of mine gained traction. When we were accepted into the ASCAP workshop, as the men were walking on stage, the audience started to spontaneously clap. And I think thats because theyd never seen an opening number where all of a sudden the stage filled up with Asian men. What musical starts with that? So that was very exciting to them, and after the opening number, the ovation was quite amazing.

WHY DID YOU CHOOSE TO RUN THE SHOW IN UTAH LAST YEAR, OVER BIDS FROM COASTAL CITIES?

Three weeks after we did a concert [version of Gold Mountain] at the NYC Times Center, I got emails from someone in San Francisco, someone in LA, and someone in Salt Lake City, all mentioning this 150th anniversary.

The SLC email came from the president of the Chinese Railroad Workers Descendants Organization, Judge Michael Kwan from Utah, and he said, “Would you bring the show here?” I said, “Of course!” Actually doing the show where the railroad was completed—they have such a strong connection to the railroad; its local history.

We had four performances, two in Salt Lake City and two in Ogden. The first night in Ogden, a group of 150 to 200 Chinese railroad workers descendants came as a group to see the show—they stormed the stage at our curtain call. They literally ran to the foot of the stage, screaming and yelling. It was crazy, and amazing. I mean, Chinese people dont do that. Definitely not American-born Chinese. You know, we try to, like, keep our heads down and stay invisible. But they were not going to be invisible that night. They felt like their ancestors were finally seen.

WHAT MAKES MUSICAL THEATER A GOOD VEHICLE FOR BRINGING CHINESE AMERICAN HISTORY TO LIFE?

[American playwright, screenwriter, and librettist] David Henry Hwang has this line in his show “Soft Power” that musical theater is the perfect delivery system for empathy. The whole point of a musical, if you write it in the correct way, is that the audience jumps into the skin of somebody or some people on stage. You somehow completely open your heart to people, and have your heart broken as you watch them go through their lives. That will stay with you. And then you will also be more empathetic to people who come from very difficult circumstances, and just want a chance to overcome them. Thats my hope with a show like this.

Another reason why the show seems so relevant right now, I think, is that were having this big debate in this country about the role of immigrants and whether they are a plus or minus to society. You know, the Chinese Exclusion Act was law until 1943. Now were labeled as the “model minority,” but back then, we were unclean; immoral; lazy; drug dealing; drug using. All the same rhetoric we hear now [about immigrants]; its just word for word.

You point out that they are actually immigrants coming from distressed circumstances who have helped build the country—literally. And somehow, they managed to become Americans and not destroy the fabric of society. Theres something cyclical about xenophobia. It seems like, especially Americans, we keep needing to learn the same lessons over and over again.

So, Id say that this story is for everyone. And it should be.

猜你喜歡
音樂劇舞臺歷史
軍迷大舞臺
軍迷大舞臺
近期國內歌劇/音樂劇演出預告
歌劇(2017年11期)2018-01-23 03:41:29
音樂劇新聞
歌劇(2017年7期)2017-09-08 13:09:37
近期國內歌劇/ 音樂劇演出預告
歌劇(2017年7期)2017-09-08 13:09:37
新歷史
全體育(2016年4期)2016-11-02 18:57:28
歷史上的6月
歷史上的八個月
歷史上的4月
吧啦吧啦小舞臺
好孩子畫報(2014年6期)2014-07-25 03:20:04
主站蜘蛛池模板: 久久永久视频| 呦女精品网站| 全部毛片免费看| 狂欢视频在线观看不卡| 亚洲日韩精品无码专区97| julia中文字幕久久亚洲| 国产亚洲精品97在线观看| 久久99国产乱子伦精品免| 91精品国产无线乱码在线| 亚洲国产亚洲综合在线尤物| 久草中文网| 97se综合| 国产精品网址在线观看你懂的| 国产精品视频第一专区| 亚洲男人的天堂久久精品| www.99精品视频在线播放| 久久不卡国产精品无码| 2022精品国偷自产免费观看| 人妻丰满熟妇av五码区| 国产系列在线| 99热这里只有精品国产99| 日韩欧美色综合| 日韩高清欧美| 动漫精品中文字幕无码| 国产精品成人不卡在线观看| 国产成人精品一区二区免费看京| 免费精品一区二区h| 波多野结衣视频网站| 久青草网站| 亚洲aⅴ天堂| 欧洲熟妇精品视频| 在线观看视频一区二区| 亚洲日韩国产精品综合在线观看| 亚洲侵犯无码网址在线观看| 青青网在线国产| 中字无码av在线电影| 最新无码专区超级碰碰碰| 亚洲欧美日韩成人在线| 精品人妻一区二区三区蜜桃AⅤ| 本亚洲精品网站| 亚洲欧洲日韩综合色天使| 日韩国产黄色网站| 一级看片免费视频| 国产美女精品在线| 88av在线| 尤物成AV人片在线观看| 国产原创第一页在线观看| 91福利免费视频| 欧美另类一区| 五月婷婷伊人网| 日韩欧美视频第一区在线观看| 久久婷婷国产综合尤物精品| 色婷婷电影网| 欧美午夜久久| 久草国产在线观看| 丁香六月激情婷婷| 欧美日韩中文国产| 丰满人妻久久中文字幕| 激情综合网址| 在线观看av永久| 欧美人在线一区二区三区| 国产精品19p| 日韩高清中文字幕| 久久精品中文无码资源站| 98超碰在线观看| 日韩国产欧美精品在线| 狠狠色香婷婷久久亚洲精品| 人人澡人人爽欧美一区| 91啦中文字幕| 精品国产自在现线看久久| 亚洲婷婷在线视频| 日本人妻一区二区三区不卡影院| 国产chinese男男gay视频网| 欧美亚洲一区二区三区在线| 国产精彩视频在线观看| 亚洲高清中文字幕| 欧美在线黄| 亚洲精品不卡午夜精品| 亚洲经典在线中文字幕 | 亚洲欧美自拍中文| 日韩黄色大片免费看| 色综合成人|