【J评论】《星期天和乔治在公园》看到一幅活生生的画

the Park With George,’ a Living Painting to Make You See
评论：《星期天和乔治在公园》，让你看到一幅活生生的画
By BEN BRANTLEYFEB. 23, 2017
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He is a thorny soul, a man neither happy nor particularly kind, and not someone you’d be likely to befriend. But when the 19th-century French painter Georges Seurat, reincarnated in the solitary flesh by a laser-focused Jake Gyllenhaal, demands that you look at the world as he does, it’s impossible not to fall in love.
他是一个棘手的灵魂，没有快乐，也没有特别善良，一个你不可能会跟他成为朋友的人。但当19世纪法国画家修拉，孤独的肉体中通过杰克吉伦哈尔的专注重生，你像他一样看待这个世界，是不可能不坠入爱河的。

Or something deeper than love — closer to religious gratitude — is the sentiment you may experience in the finale that concludes the first act of the marvelous revival of Stephen Sondheim and James Lapine’s “Sunday in the Park With George,” which opened on Thursday night at the newly restored Hudson Theater.
或比爱更深的东西，更接近宗教的感激之情，你可能会在最后的结局中体验到，结束了Stephen Sondheim和James Lapine的《星期天和乔治在公园》伟大复演的第一幕，星期四晚上在新恢复的哈德森剧场上演。

We have watched a restless day of rest in the park of the title, where an assortment of flâneurs and poseurs have become steadily more fractious and discordant.
我们看了一个不安的休息日在标题公园，在佛罗里达州各式各样的城市漫游者们和装腔作势的人变得越来越暴躁和不协调。

But after the shouting and the frenzy, a breathtaking and infinitely consoling harmony descends, as a living painting is assembled out of a most inharmonious crowd. Though you’re feeling anything but sad, you realize there are tears on your cheeks, and a Pulitzer Prize-winning musical from the 1980s suddenly feels more incisive and urgent, even necessary, than ever.
但是在喊叫和疯狂之后，一种令人屏息的、无限安慰的和谐降临，就像一幅生动的画是由最不和谐的人群组成的。虽然你感觉不到任何东西，但悲伤，你知道有眼泪在你的脸颊上，和普利策奖获奖音乐剧从20世纪80年代突然感到更加尖锐和紧迫，甚至比以往任何时候都必要。

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This tableau vivant — which mirrors the composition of Seurat’s most celebrated painting, “A Sunday on La Grande Jatte,” and is repeated at the end of the second act — doesn’t qualify as the usual happy ending found in musicals. That’s because the quiet ecstasy the scenes inspire has little to do with the lives of the show’s characters and everything to do with what outlives them.
这生动的场面，反映了修拉最著名的画作的构成，《大碗岛的星期日午后》，“在第二幕的结束重复，不像音乐剧中常见的快乐结局。这是因为场景所激发的安静的狂喜与剧中人物的生活毫无关系和一切都与他们的生命有关。

That, in a word, is art, which insists you look again at the muddle of the familiar and perceive the rhymes and patterns that you never noticed before. “Give us more to see,” sings Seurat’s mistress, Dot, played by the luminous Annaleigh Ashford, in a plea filled with hunger and hope. At a moment when government arts subsidies are again under siege in the United States, “Sunday in the Park With George,” directed with blood-racing immediacy by Sarna Lapine, makes an emotionally irrefutable case for the importance of seeing through the awakening gaze of the artist.
总之就是艺术，它坚持要你重新审视熟悉的混乱，并感知你从未注意过的韵律和模式。“给我们更多的了解，“修拉的情妇唱，Dot，由发光的Annaleigh Ashford扮演，在充满饥饿和希望的恳求中。在美国政府的艺术补贴再次受到围攻的时候，《星期天和乔治在公园》直接由热血沸腾及时性引导，通过Sarna Lapine，在情感上无可辩驳地证明了通过艺术家的觉醒来观察的重要性。

Not that this “Sunday,” presented in an earlier version at New York City Center last year, is in any way didactic or issue-driven. On the contrary, this interpretation comes across with more personal, in-the-moment intimacy than any I’ve seen, including the dazzling Broadway debut of 1984, which starred Mandy Patinkin and Bernadette Peters, directed by James Lapine (Ms. Lapine’s uncle, as it happens).
不是说，这个“星期日”，在去年在纽约市中心的一个早期版本，是在任何方式说教或问题驱动的。相反，他的解释更加个人化，在当下的亲密关系比任何我见过的要及时，包括1984年耀眼的百老汇首演，主演曼迪·帕廷金和伯纳德塔彼特斯，导演James Lapine（碰巧是Lapine女士的叔叔）

The latest incarnation is far less opulent. The re-creations of Seurat’s master work are not nearly as sumptuous or literal as they were in the original.
最新的化身远没有那么奢华。瑟拉的杰作重新创作，并不像最初的那样华丽，也没有文字的字面意思。

Designed by Beowulf Boritt (set) and Clint Ramos (costumes) — with essential contributions by Tal Yarden and Christopher Ash (projections) and Ken Billington (lighting) — this “Sunday” retains the frills-free elegance of a concert presentation (like the current revival of “Sunset Boulevard”). The excellent orchestra remains onstage, concealed for much of the performance by a scrim, on which images of Seurat’s worldview materialize.
通过对Beowulf Boritt（布景）和Clint Ramos（服装），还有Tal Yarden和Christopher Ash（预测）和Ken Billington（灯光）的重要的贡献，和“星期日”保留了一场音乐会展示的虚饰（就像现在复演的“日落大道”）。优秀的管弦乐队仍在舞台上，通过一个小笔划来隐藏大部分的表演，形成Seurat的世界观体现的图像。

This paring down shifts the emphasis from what we see to how we see, and I don’t think anyone will feel the poorer for the trade-off. The dynamic of the show is looking, bringing the wavering and the elusive into focus. You could even say that the show’s star is not so much the isolated, obsessive Seurat as it is his eyes.
这种削减将重点从我们所看到什么转变程我们怎么看到，我认为没有人会因为权衡而感到更穷。这个节目的动态是正在寻找，带来的动摇和难以捉摸成为焦点。你甚至可以说，该节目的明星并不是太孤立，着迷的Seurat就像那就是他的眼睛。

Consider some of the descriptions of Seurat’s stare, as offered by his fellow Parisians. “Like a flash of light, right through me,” says a soldier (Claybourne Elder) whom Seurat once sketched. “But how George looks,’’ says Dot, his frequent model. “He could look at you forever. As if he sees you and doesn’t all at once.”
考虑一下对Seurat的凝视的描述，通过他的人提供。“像一道闪光，穿过我，” Seurat曾画过的一个士兵（Claybourne Elder）说。“但是乔治看起来怎么样，” Dot说，他的惯用模特。“他可以永远看着你。好像他看到了你，一下子就不见了。”

Living up to such accounts isn’t easy. But Mr. Gyllenhaal translates the intensity that has characterized his most memorable screen appearances (including “Brokeback Mountain” and “Nightcrawler”) into a searing theatrical presence, in which his eyes are his center of gravity. He embodies one of Seurat’s favorite artistic dictums, “concentrate,” with an unwavering focus that seems to consume and illuminate the dark.
靠这样的生活是不容易的。但吉伦哈尔先生转化的艺术激情，让他有最难忘的银幕形象（包括“断背山”和“夜行者”）进入一场激烈的戏剧表演，在他的眼睛是他的重心。他体现了Seurat的一个最喜欢的艺术格言，“集中”，这是一种毫不动摇的专注，似乎是在消耗和照亮黑暗。。

Of course, it takes more than a great stare to anchor a musical. The revelation of the City Center “Sunday” last November was that Mr. Gyllenhaal had the vocal chops to deliver what is one of Mr. Sondheim’s richest and most intricately composed scores, ravishingly performed here by the orchestra, under the direction of Chris Fenwick.
当然，要想固定一个音乐剧，需要的不仅仅是一个巨大的凝视。去年十一月城市中心透露的“星期日”，Gyllenhaal有声乐的能力去实现Sondheim的奢华之一，和更复杂的组成乐谱，在这里进行的令人陶醉的交响乐团，在Chris Fenwick的指导下。