[Not Being Heard is No Reason for Silence] 【不被聽到,不是沉默的原因】


[Not Being Heard is No Reason for Silence]

By Dazi CREMONITA (Jockey Club Academy Hall)

Image: Vogue

Robert Downey Jr., Obama (twice!), Bill Gates, Steven Spielberg, Macklemore, Emma Watson among (a lot of) others have seen it. I have only heard not good, but stellar reviews of Hamilton: An American Musical, which tells the story of the youngest, most driven, and most prolific founding father Alexander Hamilton. Written by and starring the ingenious Lin-Manuel Miranda, this melting pot of 90’s hip-hop, paired with incredibly diverse cast has be called revolutionary and life-changing countless times. Just to give you a measure how much people (including me) want to go see this, the ticket for Miranda’s last show on July 9 can go up to USD 10,000.

One of the fascinating themes of Hamilton is how our circumstances today do not determine our future.  With a provocative opening – “How does a bastard, orphan, son of a whore, and a Scotsman … turn out to be a hero and a scholar?” – and a delicate closing – “Who lives, who dies, who tells your story” – Hamilton succeeds in churning audience’s minds every night. Our future and legacy is never a topic to leave our minds. We keep asking whether what we do is ever enough or too much, whether we made a difference in someone’s life, whether we’ve said whatever we needed to say. Effective self-expression is not only getting people to hear your ideas, but also getting them to understand your ideas. Find a medium that can convey your ideas best: music, painting, dance, food, formula, or whatever. By the time he died at age of 49, Alexander Hamilton has written 27-volume worth of written work. He famously proposed his own kind of government, talking extemporaneously for six hours. He wrote like he was running out of time.

Check out Hamilton: An American Musical: https://www.youtube.com/watch?v=NBkI_9cr1Ws


文: Dazi CREMONITA (賽馬會群智堂)

譯: 高路延 (陳瑞球堂)

圖: 《美國時尚雜誌》

羅拔·唐尼、奧巴馬、比爾·蓋茨,史提芬·史匹堡、麥可莫、愛瑪·華生…… 很多名人都看過《漢密爾頓》音樂劇。這部講述了最年輕,最有財富基礎的美國開國元勛亞歷山大·漢密爾頓的音樂劇,一直以來我聽過對《漢密爾頓》的評價,總是有讚無彈。這部劇由才華橫溢的林·曼努爾·米蘭達編寫和主演,它因融合了九十年代的嘻哈文化,同時擁有非常多元化背景的演出陣容而被人們無數次評價為一部顛覆性的、令人震撼的音樂劇。七月九日那次由米蘭達主演的尾場票價更高達一萬美元,我想從這個數字你或許可以知道有多少人(包括我)想去一睹它的風采。

《漢密爾頓》最精彩的主題之一是告訴了觀眾我們的當下不會決定我們的未來 。一個振奮人心的開場「一個私生子、孤兒、妓女和蘇格蘭人的兒子,是如何成為了一個學者和英雄的?」和一個耐人尋味的結尾「誰還活著,誰已死去,誰來講述你的故事」,《漢密爾頓》所講述的故事扣人心弦。我們的過去和未來是一直會被談論的話題。我們一直在問,我們是不是做得太少或是太多,我們是否給其他人的生活帶來了影響,我們是不是說了應該說的話。有效的自我表達不只是讓人們聽到你的聲音,而是讓他們去理解你的想法。找到一個可以最好表達你的想法的媒介:音樂、美術、舞蹈、食物、公式等等。亞歷山大·漢密爾頓在四十九歲去世時已經完成的文學作品,多到可以集成二十七卷厚厚的書。提及對國家的見解與治理時,他更曾滔滔不絕地說了六個小時。在寫作上他也總是爭分奪秒,對他來講,似乎時間總是不夠用。





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