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  • Hey there I'm James Barbour thank you for tuning into my channel

    嗨我是詹姆斯鮑伯,謝謝你們收看我的頻道

  • you know today I'm gonna talk about something that I'm asked all the time.

    我今天要講的是之前被問過很多次的事情:

  • You know I'm asked all the time what was it like to play the Phantom on Broadway

    在百老匯演魅影、

  • in the longest-running and most successful Broadway show of all time the

    在史上上演最久、最成功的百老匯音樂劇演出是什麼樣的體驗?

  • Phantom of the Opera? So Phantom has been running for over 30 years.

    歌劇魅影已經上演超過三十年了,

  • Again the longest-running show on Broadway and more importantly people ask

    是百老匯最長壽的音樂劇,更重要地是大家會問我:

  • me what's it like to sing "Music of the Night"?

    唱〈夜之樂章〉覺得如何?

  • Now Andrew Lloyd Webber, for those of you who don't know, wrote The Phantom of the

    跟不知道的人說一下:安德魯洛伊韋伯是歌劇魅影的創作者,

  • Opera. I mean undoubtedly everybody in the

    毫無疑問大部分人都會知道這個,

  • world knows of it. I mean they may have heard of it somewhere, I'm sure there are

    可能有在哪裡聽過,

  • people that haven't and in certain parts of the world. But it is the most famous

    但我確定還是會有人對他一無所知,

  • show of all time and when you say the Phantom of the Opera chances are people know

    歌劇魅影是史上最有名的表演,所以大家可能都知道,

  • it. And chances are people know the music or they've heard some of it so Music of

    他們也可能知道或聽過某些歌劇魅影的歌曲,

  • the Night is undoubtedly one of the most famous Tunes in all of theatrical

    〈夜之樂章〉絕對是最有名的音樂劇歌曲之一,

  • history and it was written by Andrew Lloyd Webber.

    是由安德魯洛伊韋伯創作,

  • So I'm asked all the time what's it like to sing that music? What's it like to

    所以我常常被問唱那首歌覺得怎麼樣?

  • sing the music of Andrew Lloyd Webber? What's it like to be around him? What's

    唱韋伯的歌覺感覺如何?跟他相處如何?

  • it like to be there? So the awesome thing about being in Phantom is that it's it's

    演歌劇魅影是什麼樣的感覺?在歌劇魅影演出很棒的點是

  • filled with so much history and so much amazing stuff. So you know there's the

    這部戲歷史悠久、有很多令人驚嘆的事情,

  • makeup that I had to go through, the phantom sits for an hour,

    你們知道我必須化妝,必須坐一小時讓化妝師幫我上妝,

  • there's the costumes, there's the set, there's the cast, the creative team, Hal

    還有戲服、舞台、演員、創意團隊,

  • Prince, Cameron Mackintosh, Andrew Lloyd Webber, Gillian Lynne, all of whom you

    成員包括哈爾普林斯 (導演)、卡麥隆麥金托許 (製作人)、吉莉安林恩 (編舞)、

  • know are very much a part of the show today. They're very much involved and

    你們都知道這些人是歌劇魅影製作期的重要功臣,

  • they're there on a continual basis. But number one question what is it like to

    他們花費大量心力持續投入。不過粉絲問我的第一多問題是

  • sing Music of the Night. Well, I'm gonna tell you...it's incredible! And what I

    唱〈夜之樂章》感覺怎麼樣,我會跟你說非常棒!

  • thought was incredible when I started the show has just grown and grown and

    因為我開始演魅影後持續成長,

  • grown and grown because I have so much more knowledge about the song and about

    更了解這首歌的起源與相關知識,

  • where it came from. So here's a little tidbit I recorded

    我分享一點有趣的事,

  • Music of the Night on a CD called Bring Me Giants. This is it right here.

    我在這張專輯〈賜我巨能〉有錄〈夜之樂章〉,

  • Sorry for the flashy paper it's still in its plastic. Bring Me Giant you can get

    抱歉包裝塑膠紙會反光,還沒拆下來。你可以在 iTunes 買到〈賜我巨能〉專輯,

  • it on iTunes. It has Music Of The Night on it and a lot of other great tunes. So

    裡面的歌曲包括〈夜之樂章〉和其他好聽的歌,

  • when I recorded that song I took it out of context cause I wasn't doing the full

    當我錄這首歌時並沒有在表演,所以能脫離歌劇魅影的情境,

  • show. And normally when I do a concert or I'll do you know a couple of songs at an

    我在演唱會時會唱一些歌,

  • event. You know you take them out of context and you sing them

    脫離那些歌的原屬戲劇脈絡,以單一歌曲來詮釋,

  • as standalone pieces. So that's what I did. And I made it my own. And I

    這就是我的作法,用自己的方式唱,

  • interpreted it the way I wanted to interpret it. So when I started rehearsal

    用自己想詮釋的方法詮釋。我開始排練時很習慣這樣唱,

  • that's how I was used to singing it. Right? And I knew this song because I'd

    我以前唱過這首歌,所以知道怎麼唱,

  • sung it before. And I started rehearsal and I got through music and then a

    排練時我唱了幾次歌劇魅影的歌,

  • couple of times. I'm like okay great here's the difference; that's not how

    好了,這就是兩者不同,我的唱法跟韋伯當初寫這首歌的原意不符合,

  • it's written and here's why. I was given restrictions on this is how you have to

    導演規定我唱得方式、需要做的動作,

  • sing it this is what you need to do and I and I started saying you know I guys I

    後來我唱歌時覺得被束縛住,

  • feel I feel restricted. I feel like I don't have freedom as a performer to

    覺得沒有演員該有的自由,

  • sing the song. And these were just conversations that you have in rehearsal

    這些只是排練時你會碰到的事情,

  • right like help me figure this out. So David Caddick who's the musical

    我需要幫助以消除受到束縛的感覺,

  • supervisor incredible guy goes "the freedom is in the music" I'm like what do

    音樂劇監督大衛凱迪克很厲害,他跟我說:「自由就在音樂之中。」

  • you mean? "The freedom is in the music. "If you trust the music, if you trust what

    我不太懂意思,「自由就在音樂之中,如果你信任音樂、相信韋伯寫的音樂、

  • Andrew wrote literally wrote and stick to that you'll find it incredible amount

    並堅持這份信任,你會找到許多自由。」

  • of freedom." And I was like hmm, okay. Now I usually approach things as an actor I

    我想說好吧。我現在常常以演員角度對待事情。

  • start to interpret I start to you know pull lines out and put emphasis on

    我開始詮釋、開始知道如何脫離歌詞、專注在不同事情。

  • on different things. Well with music and if you're gonna stick directly to the

    跟著音樂時,如果要直接專注在旋律會很困難,

  • music that's hard to do because each note has a specific length it has a

    因為每個音都有特定長度、

  • specific strength it has a specific pitch all of that kind of stuff so

    強度、音調等等,

  • initially I was reticent I was like I was I was backing off against that or

    一開始我很畏怯,打算放棄或蒙混過去,

  • rigging on it and as I started rehearsing and as we started going

    之後當我開始排練、走過表演每個部份,

  • through it and as I started learning now you have to think about this too when is

    我漸漸學到更多,你也必須思考這點:

  • when a song is written for a show it's written to take the characters journey

    歌曲創作是為了讓角色

  • right from point A to point B to Point C and ultimately through the end of the

    經歷各種事情,持續到最後,

  • show. When you take it out of context it's just a standalone right. So Andrew

    如果將歌曲脫離表演,就變成只是單獨一首歌,

  • wrote the music to take this character The Phantom on his journey just like he

    所以韋伯寫了這首是為了讓魅影有不同經驗,

  • did all of the other characters so Christine has her music Raoul has his

    其他角色也是,所以克莉絲汀有她自己的歌,勞爾

  • music you know the Managers have their music

    和經理們也有,

  • there's ensemble music. When you put it all together it creates this amazing

    另外也有全體大合唱,所有人一起唱歌時能創造出更驚人的效果,

  • journey. so inserting Music Of Th eNight where it is it's the Phantom's first song is

    因此韋伯在適當情節加入〈夜之樂章〉,是魅影的第一首歌,

  • very impactful right it's the first thing really that the Phantom does on a

    效果非常好,這是在歌劇魅影中魅影第一次獨唱、大顯身手,

  • large scale in the show so I took it and put it back into context

    所以我將這首歌放回歌劇魅影的表演情境裡,

  • well that opened up huge range of options and as I started

    這讓我有非常廣泛的選擇,

  • trusting the music and I started trusting what Andrew had written now why

    我開始信任旋律、信任韋伯的音樂,

  • would anybody not trust what andrew has written? He's brilliant. but it was just

    為什麼會有人不信任韋伯的創作?他這麼有才華,

  • that mindset of having not sung it that way before it did create freedom now

    他們只是還沒唱過這首歌,受主觀影響,跟著旋律走真的會很自由,

  • here's the thing I want you to think about the Phantom is written as a tenor

    現在我要你想一想這點:魅影是男高音,

  • role right I'm a baritone tenor is a higher-pitched role a higher time a

    但我是男中音,男高音的音高都比較高,

  • higher pitched voice you know Michael Crawford the original Phantom was a

    像是你們熟悉的首位魅影演員麥克克勞佛德,就是男高音,

  • tenor I'm one of only a handful I mean less probably less than five baritones

    我只是為數不多的男中音魅影之一,

  • that have ever sung this role specifically on Broadway. so it creates a

    特別是在百老匯,男中音魅影可能還不到五個,

  • different different aspects so notes that are very very very easy to sing for

    這使他們唱歌的感覺也有所不同,男高音覺得好唱的音

  • a tenor they might be at the top of my range right and notes that are hard to

    可能是我音域的最高音;

  • sing for a tenor might be in the mid of my range so I had to think about it that

    男高音難唱的低音可能在我的音域中,

  • way and and figure out how my voice was going to attack this role and attack

    因此我必須思考一周八場表演中我如何用聲音詮釋這個角色與這首歌,

  • this song eight times a week you know six days a week one day off a week and

    我是說一週六天,一天休息、兩天有兩場,

  • be able to recover and do all this kind of stuff that's the fun part now I also

    以及如何休息恢復體力等等,這是演歌劇魅影好玩的地方,

  • want you to think about this picture yourself walking down the street and

    我也想讓你想像:當你走過街道、

  • then all of a sudden somebody says run and sprint and you're sprinting down the

    忽然有人大喊:「快跑,衝啊!」,你便在街上全速奔跑,

  • street and it's hot the sun's beating and then they're like okay stop crawl

    當時太陽很大很熱,他們說:「停!爬行!」

  • and you start to crawl okay now run it's almost like an aerobic exercise right so

    因此你開始爬,他們又說:「好了,現在用跑的,」,這簡直就是有氧運動,

  • you have to think about Music of the Night in the same way there's the

    你必須這樣思考怎麼唱〈夜之樂章〉,

  • emotional content of the scene where the Phantom is focusing on Christine that's

    在那首歌的情境中,魅影情感豐富,專注在克莉絲汀身上,

  • the other direction we were given as Phantoms is like you're focused on

    我們演魅影時導演都會指示要這樣演:試著專注於克莉絲汀,

  • Christine you're trying you're watching what her reactions are focused on her if

    觀察她的反應,密切注意她,

  • you notice in the show The Phantom rarely ever in that scene takes his eyes

    你會注意到在那首歌中魅影幾乎沒有把視線移開克莉絲汀,

  • off of Christine doesn't happen always looking at her always focusing on her

    絕對不會把眼睛移開的,魅影會一直注視她、專注於她、

  • always seeing what's happening what his words are doing Hal Prince is very

    觀察發生的事情以及歌聲對她造成的影響。

  • focused on the words night time sharpens heightens each sensation darkness stirs

    導演哈爾普林斯非常重視這行歌詞:夜晚使每個感官敏銳;黑暗激起...,

  • right you're you're watching what she's doing and how she's reacting to this

    你看著克莉絲汀,

  • environment in which she's never been in right

    觀察她對這陌生地方的反應,

  • all the while having to focus on singing this incredible song and starting off

    我必須持續專心唱這首美妙的歌,

  • very very powerful loud You have come here right and then into nighttime sharpens

    一開始要很有力量、將「你已來此」唱得很大聲,然後進入情感豐富的「夜晚刺激...」、

  • then into powerful music then into soft falsetto

    後面又有大聲的片段、接著是溫柔的假音,

  • and then powerful powerful but where you long to be right really powerful and

    然後再一次來到力道強的樂段「你渴望的地方」,非常強烈,

  • then bringing it down again so that's what I'm talking about in terms of an

    之後情緒急轉直下,這就是我說的有氧運動,

  • aerobic exercise my heart is pounding you're pounding the emotions are going

    我心跳很快、身體顫動、情緒湧動,

  • and you have to control your breath so that you can get that final falsetto note

    必須控制好氣息,唱穩最後的假音,

  • out and hold it right unbelievably difficult right eight times a week and

    每周八場都樣這樣,困難到難以置信的地步,

  • it wasn't until my last six months oh my gosh I'm finally understanding I'm sort

    一直到我演魅影的最後六個月,我才比較了解

  • of starting to get an understanding of what this song really means you know it

    〈夜之樂章〉的意涵,

  • it was ingrained in me it was part of my body and then that's when the freedom

    當這首歌深印在我腦海中、成為我身體的一部份,就是自由來臨之時,

  • happened that's when you know the David Caddick note you know allow the music to

    這就是大衛凱迪克說過的「讓〈夜之樂章〉帶著你,

  • carry you allow the freedom to be in the music it's written there Andrew has

    讓自由流淌於這首歌,它原本就已經在這音樂裡了,

  • written everything into the music that you need so that's my quick story about

    作曲者韋伯已將所有事物寫進〈夜之樂章〉中。

  • Phantom of the Opera and Music of the Night I know you guys are really really

    這是我關於歌劇魅影夜之樂章的簡短故事,

  • interested in it if you have any more questions about you know what it's like

    我知道你們都非常感興趣,如果有更多關於我唱夜之樂章的問題、

  • to sing Music at Night or my experience I'm sure it's different for all the

    或是對想知道我其他的經歷─

  • different guys John Owen Jones, Norm Lewis you know all those people you know

    我的經歷跟約翰歐文瓊斯、諾姆路易斯 (其他魅影演員) 等人都不一樣

  • who have done the roles over years Howard McGillin, Hugh Panaro everybody

    演過魅影好幾年的霍華麥克吉林、休帕奈羅等,

  • approaches it differently but we all have been given the same structure

    都以不同角度詮釋魅影,但我們接受的指導都一樣,

  • that's what's kind of cool about it and I also think that's why Phantom has run

    這蠻酷的,我也認為這是歌劇魅影可以上演這麼久的原因,

  • so long no matter who's doing the role there is a structure in which we have to

    無論誰演魅影,對魅影的詮釋都有一個共同框架,

  • fit and we bring ourselves to that structure so it's always going to be

    我們必須讓自己符合那個框架,

  • different because each performer is different but the structure is gonna be

    每個表演者風格都不同,所以會用各種方法表現,

  • the same you'll see the same movements basically you'll see the same blocking

    但框架都一樣,有同樣的動作與走位,效果都很好,

  • you know it's worked all these years and as Hal Prince says you know what why not

    就像導演哈爾普林斯說的:既然效果這麼好,何不就維持那樣,為什麼要改掉?

  • keep it why change it it works right so that's my story of Music in the Night

    這就是我與〈夜之樂章〉的故事,

  • guys oh just a reminder you can grab the CD Bring Me Giants on iTunes Music the

    再次提醒大家:你可以在 iTune 買到《賜我巨能》專輯,

  • Right is right on there on the back along with some other great tunes if you

    裡面有〈夜之樂章〉,其他歌也不錯,

  • have any questions about Music of the Night put it down in there please

    如果你對夜之樂章還有問題,就在下面留言,也請訂閱我的頻道

  • subscribe there's gonna be some more great videos coming out but I wanted to

    之後還會上傳更多好看的影片,

  • hit this because it's the number one question I am asked so that's my brief

    我這次想分享〈夜之樂章〉是因為這是我最常被問的問題,

  • story on Music of the Night I hope you enjoyed it I'll talk to you real soon

    總之這是我和〈夜之樂章〉的簡短故事,希望你喜歡,下回見。

Hey there I'm James Barbour thank you for tuning into my channel

嗨我是詹姆斯鮑伯,謝謝你們收看我的頻道

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A2 初級 中文 美國腔 魅影 樂章 歌劇 詮釋 克莉絲汀 排練

詹姆斯-巴伯在《歌劇魅影》中談及"夜間音樂"。 (James Barbour talks "Music Of The Night" in Phantom Of The Opera)

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    陳明頤 發佈於 2021 年 01 月 14 日
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