Hamilton is utterly the first musical that blows me away from the beginning to the end and whose lyrics and melodies linger on my mind for weeks. Now after watching this documentary, I'm ready to have the songs on the loop again…Aside from the compelling narrative, I guess one of the enduring charms of Hamilton is due to its objective outlook on history, cuz there is no saint in the show. Hamilton, Washington, Thomas Jefferson, these historical figures who made great contributions to the U.S are also deeply flawed. "Some parts are ugly, some parts are abhorrent, but there's nothing we can do to change those things…There were great things that were done, but there were terrible things that were done. The best to do is to see both of them" this attitude towards history is highly appreciated. Another thing to be recognized, however, is that how much of what we have today in the 21st century is built on the backs of people whose contribution never gets acknowledged, and this marvelous musical credits them with due respect and acknowlegment.

19年三番場(chǎng)

開(kāi)始前抓拍一張

Like lmm said in the documentary, "the whole zeitgeisty moment is happening, and we are all grappling with the paradox of knowing tomorrow is not promised, but making plans anyway". I really feel pepped up by his words. Now in retrospect, I recalled the very day watching the stage surrounded by dreamers. Ignorant and innocent as I am, I was invariably overwhelmed the moment I hear the song. I feel the urge to keep my eyes open to observe, to discover, to appreciate, and to embrace my mediocre yet could be possibly more extraordinary life right away.

很喜歡也非常贊同林聚聚的父親在紀(jì)錄片中說(shuō)的一段話：移民從來(lái)不是懶人，他們也不蠢，他們聰明且工作勤奮，因?yàn)樗麄円缺镜厝烁冻龆嗵嗟呐?，才能讓自己的存在變得有意義，才能獲得成功。

這段話在現(xiàn)如今也依然適用，沒(méi)有移民可在招聘中，我看到過(guò)因籍貫在外地而初篩簡(jiǎn)歷被淘汰的例子，甚至遇到過(guò)終面咨詢伴侶是否在異地。都太蠢了，親身經(jīng)歷招來(lái)外地的伙伴因?yàn)橛蟹孔鈮毫ΧΓM本地的反而有擺爛心理：大不了回家躺幾個(gè)月。那些因?yàn)榘閭H就慌忙離職的，又有幾個(gè)是真心重視自己事業(yè)發(fā)展的呢。外地人總在風(fēng)雨中，他們深思熟慮離開(kāi)自己的家鄉(xiāng)，要比本地人付出更多的努力。

林聚聚的爸爸從波多黎各移民，在紐約長(zhǎng)期定居生兒育女，變成了一個(gè)紐約人。片中他們也說(shuō)，林聚聚要演的漢密爾頓從加勒比地區(qū)移民到紐約學(xué)習(xí)的經(jīng)歷，就是自己的父親。

林聚聚參觀漢密爾頓的宅邸，隨處可見(jiàn)紙筆，漢密爾頓本人時(shí)刻都在寫作，而漢密爾頓音樂(lè)劇的林聚聚在創(chuàng)作音樂(lè)劇期間也是如此。他在波爾房間里寫歌，神奇的是在這里他找到了很多靈感來(lái)源，比如my shot這段：

I am not throwing away my shot!

Hey yo, I'm just like my country,

I'm young, scrappy and hungry,

I probroly shouldn't brag, but dag, I amaze and astonish,

The problem is I got a lot of brains but no polish,

I gotta holler just to be heard,

I am the—，

A-L-E-X-A-N-D.

漢密爾頓音樂(lè)劇中我最喜歡的是波爾，他的扮演者音色太出眾了。小萊斯利·奧多姆（Leslie Odom Jr.，1981年8月9日-），出生于美國(guó)紐約市，畢業(yè)于卡內(nèi)基梅隆大學(xué)，演員、歌手。

2018年9月，主演傳記片《哈麗特》。2020年7月3日，參演的電影《漢密爾頓》定檔在Disney+上映。2021年3月15日，憑借《邁阿密的一夜》獲第93屆奧斯卡金像獎(jiǎng)最佳男配角提名、最佳原創(chuàng)歌曲提名。7月，憑借《漢密爾頓》獲第73屆艾美獎(jiǎng)限定劇/選集劇/電視電影最佳男主角提名。

在片頭就告訴觀眾，是波爾在決斗中殺了漢密爾頓，不給任何懸念。但他們?cè)遣⒓缱鲬?zhàn)的好友，為何會(huì)走到互相殘殺的地步，仍需在整個(gè)音樂(lè)劇中找尋答案。

如何在冗雜信息里找取關(guān)鍵，這里的對(duì)談給到了答案：就把能夠變成音樂(lè)劇的部分寫出來(lái)就行了。

之前和朋友聊，總是能遇到啰嗦說(shuō)很多但看不到重點(diǎn)的人，浪費(fèi)大家的時(shí)間甚至導(dǎo)致后續(xù)出錯(cuò)。從頭到尾摘取，音樂(lè)劇的會(huì)長(zhǎng)達(dá)四五個(gè)小時(shí)，很難有票房，就算進(jìn)場(chǎng)觀眾也容易看一半就睡著。

想起之前看一個(gè)如何提問(wèn)的文章寫得很好：使用有意義且描述明確的標(biāo)題，清晰精準(zhǔn)的語(yǔ)句，描述目標(biāo)而不是過(guò)程，低三下四不能代表你的功課。

這個(gè)紀(jì)錄片全程采用演繹者講述故事中對(duì)應(yīng)人物的方式，新舊交替和結(jié)合，方便觀眾了解更多背景。

華盛頓與漢密爾頓宛如伯牙與子期，他們找到了彼此擅長(zhǎng)的地方互相輔佐。

作為華盛頓的副官，漢密爾頓什么都做，從資料編寫到實(shí)施俘虜交換。他寫信、自學(xué)外幣知識(shí)、分析情報(bào)，他利用獨(dú)立戰(zhàn)爭(zhēng)，作為他學(xué)習(xí)歷史和政治的速成課。

漢密爾頓堅(jiān)持認(rèn)為從國(guó)家長(zhǎng)遠(yuǎn)角度發(fā)展和解決問(wèn)題。他和杰弗遜的爭(zhēng)執(zhí)中很能證明這一點(diǎn)，他主張由聯(lián)邦政府承接各州的償債義務(wù)。

同時(shí)在這部戲中，每一個(gè)人都是活生生的人，他們都沒(méi)有標(biāo)簽有缺點(diǎn)，不是圣人。

尚顯凌亂的公寓中， 《漢密爾頓》的主演從冰箱中取出一罐飲料，談到了自己剛剛出生兩個(gè)星期的孩子，還有即將開(kāi)始的音樂(lè)劇《漢密爾頓》的排練。“就像漢密爾頓在約克郡戰(zhàn)役前一樣”，他如此形容既忐忑不安又野心勃勃的自己。這幾乎是該片不斷重復(fù)的手法，將當(dāng)下人物的處境和歷史上的漢密爾頓不斷進(jìn)行對(duì)比，讓后者的形象映射到當(dāng)代美國(guó)人身上。

本片很多片中，《漢密爾頓》的演員和主創(chuàng)人員拜訪漢密爾頓，華盛頓和伯爾曾經(jīng)工作，生活的場(chǎng)所，參觀他們?cè)褂玫钠魑?。每個(gè)角色的飾演者也被安排了談該歷史人物的性格，情感。本片和音樂(lè)劇的成功之處，并非是用年輕人喜聞樂(lè)見(jiàn)的嘻哈講述漢密爾頓的生平，而是在歷史人物亞歷山大·漢密爾頓和現(xiàn)今美國(guó)人之間建立一種情感和理解的紐帶。

對(duì)稍微學(xué)習(xí)過(guò)美國(guó)歷史的人而言，喬治·華盛頓，托馬斯·杰斐遜，亞歷山大·漢密爾頓，詹姆斯·麥迪遜這些名字的偉大似乎毋庸多言。但是聯(lián)系到不久前，弗吉尼亞大學(xué)的教授寫信要求校長(zhǎng)不要再引用該大學(xué)建立者托馬斯·杰斐遜的話，以及發(fā)生在夏洛茨維爾的推倒李將軍雕像的運(yùn)動(dòng)，似乎如何看待國(guó)父?jìng)儯呀?jīng)成為美國(guó)當(dāng)今社會(huì)的一個(gè)新問(wèn)題。正如特朗普總統(tǒng)提出的問(wèn)題：難道有朝一日，我們也要推倒華盛頓和杰斐遜的塑像嗎？

有瑕疵的偉人，歷史局限性，這些說(shuō)法已經(jīng)老生常談。問(wèn)題不在于象牙塔中的歷史研究者如何評(píng)價(jià)國(guó)父?jìng)兊墓^(guò)是非，而在于隨著時(shí)間的流逝，對(duì)大多數(shù)普通美國(guó)人而言，國(guó)父?jìng)冎徊贿^(guò)是冰冷的塑像，課文上枯燥的名字，社交網(wǎng)絡(luò)上的惡搞對(duì)象，帶著奴隸主這樣的標(biāo)簽?，F(xiàn)今社會(huì)上的美國(guó)人已經(jīng)越來(lái)越失去可對(duì)國(guó)父?jìng)児睬榈募~帶。 如今的世界第一帝國(guó)和18世紀(jì)晚期初生的稚嫩國(guó)家已經(jīng)如此不同，在時(shí)間長(zhǎng)河的此岸遙望18世紀(jì)末期， 只能看見(jiàn)一個(gè)無(wú)法理解的朦朧影子，國(guó)父?jìng)兊乃妓?，喜怒哀?lè)已經(jīng)全然無(wú)法理解。從理智上，你能理解他們的局限性；但是從情感上，他們很多觀點(diǎn)不容于美國(guó)社會(huì)當(dāng)代價(jià)值觀，因而 顯得 多少有點(diǎn)可惡和陌生。

本片本質(zhì)上依然是對(duì)國(guó)父帖標(biāo)簽式，斷章取義的理解。創(chuàng)作者從一眾國(guó)父中精心挑選出了亞歷山大·漢密爾頓。 在美國(guó)建立者中，漢密爾頓來(lái)自加勒比地區(qū)，從不名一文開(kāi)始奮斗有了今天的成就；他不是奴隸主，而是廢奴主義者；一切都很政治正確，都很美國(guó)夢(mèng)。創(chuàng)作者和觀眾們皆大歡喜，一個(gè)半小時(shí)的影片中不用分出太多時(shí)間反思自己國(guó)家歷史上最丑陋的一頁(yè)。至于漢密爾頓的君主制傾向，似乎不成為一個(gè)問(wèn)題，畢竟，當(dāng)前美國(guó)社會(huì)的痛點(diǎn)是種族矛盾，而不是一位要加冕為王的總統(tǒng)。于是漢密爾頓被打上了“移民”和“奮斗者”的標(biāo)簽，幾百年后的觀眾和演員從這兩個(gè)標(biāo)簽中找到了共鳴，找到了美國(guó)夢(mèng)的一脈傳承的證據(jù)，找到了對(duì)合眾國(guó)設(shè)計(jì)者的情感紐帶。

這就是大火的音樂(lè)劇是《漢密爾頓》，而不是《華盛頓》和《杰斐遜》的原因。 主創(chuàng)人員說(shuō)，他在閱讀《漢米爾頓》傳記的時(shí)候，感覺(jué)被一下子抓住了，好像是漢密爾頓本人從書(shū)里出來(lái)要求他拍出這樣一部音樂(lè)劇。這是真誠(chéng)的，因?yàn)閷?duì)漢密爾頓的選擇并非是個(gè)別人有意識(shí)的行為，而是當(dāng)今美國(guó)社會(huì)的種族，人員構(gòu)成的自然選擇。試想，又有多少移民和黑人能從《華盛頓》和《杰斐遜》的傳記中讀出共鳴呢？

但對(duì)國(guó)父?jìng)兊脑u(píng)價(jià)，并不僅僅是對(duì)人物本身，而是對(duì)整個(gè)國(guó)家的意識(shí)形態(tài)來(lái)源的一次梳理和回顧。對(duì)漢密爾頓的描寫也許激發(fā)了移民和奮斗者的認(rèn)同。但這依然無(wú)法回避，當(dāng)代美國(guó)人如何看待交織著奴隸制的美國(guó)建國(guó)史的問(wèn)題，我們知道，國(guó)父畢竟不止一位。

邊看漢密爾頓，邊有一個(gè)感受逐漸強(qiáng)烈，究竟是何種旺盛的表達(dá)欲望與創(chuàng)作激情才能支撐如此龐大且精細(xì)的文本？臺(tái)詞文本作者在地鐵上，當(dāng)他進(jìn)入創(chuàng)作狀態(tài)時(shí)，隨著他的筆觸流淌出的辭藻何以如此精湛？當(dāng)時(shí)的他，享受著輸出這般天才之作時(shí)，究竟在享受著何種激烈的幸福之感？這個(gè)感受，貫穿整個(gè)觀影過(guò)程，對(duì)于我來(lái)說(shuō)，這就是偉大之作的絕對(duì)精神，衡量作品是否偉大的不唯一，但充分條件。

我渴望每日都能體驗(yàn)如此這般的感受，當(dāng)你清晰的知道你創(chuàng)作出的作品是卓越的，那刻無(wú)法言說(shuō)也無(wú)需言說(shuō)的喜悅，歡愉，勝過(guò)這世上萬(wàn)千的享受；他人將會(huì)如何評(píng)判你的作品，從“未知的忐忑”變?yōu)椤安恢麄兛煞窀衔业牟椒ァ?，這對(duì)于一個(gè)創(chuàng)作者而言，是最幸福的時(shí)刻。

黑格爾對(duì)于世界的絕對(duì)精神有著令人羨艷的篤定，他仿佛知道，歷史是有終點(diǎn)的，而個(gè)體自我的價(jià)值體現(xiàn)，只在于向著那絕對(duì)的精神無(wú)限靠近合而為一，作為德意志當(dāng)時(shí)的他，毋庸置疑的哲學(xué)皇帝，他并不在意臺(tái)下的聽(tīng)眾們看著講臺(tái)上呢喃自語(yǔ)的他說(shuō)著斷斷續(xù)續(xù)的夢(mèng)囈般的錯(cuò)亂話語(yǔ)是否認(rèn)為他名不副實(shí)，他了解卓越就在那里，我看到了，我竭盡所能講述于你們，但愿你們也能看到那卓越，盡管在現(xiàn)實(shí)/功利角度看來(lái)，它像極了精神病人缺少邏輯的瘋言瘋語(yǔ)。

飾演英王的喬納森格洛夫令人嘆為觀止，在及其有限的出場(chǎng)時(shí)間與重復(fù)的歌詞里，僅僅利用表情/眼神/音調(diào)，便讓我感受到了--王室貴族的超然凡人/脫離塵世帶來(lái)的絲絲癲狂/絕對(duì)權(quán)力帶來(lái)的終極傲慢/始于傲慢而引發(fā)的高級(jí)幽默，這才是“演員”，這才是“表演”。

無(wú)論這部劇是否主流，是否大眾，是否流行，都不可否認(rèn)它就是屬于這個(gè)時(shí)代的“名著”，它代表著創(chuàng)作者的絕對(duì)精神。

He wrote his way out. OMG Lin,I love this mate deeply. Honestly I can do nothing but listen to him speaking all day long. He's a genius, no doubt; he has pure love for art u can just see that in his eyes ; and he's got great passion for actually filling his days with endless wonders rather than just stay alive.He's gentle, he can be sweet but he can also be insistent and boldly speak out his mind. And his sensitivity to words——one glance he just can turn those complex articles into his own tunes. And about the true figure Alexander Hamilton.Now I really have the passion,also the courage, to read his biography. He was the one founding father often left behind by us. But Lin told his story, especially as an immigrant. That's a landmark. This documentary is amazing .It shows us how a great was created,all those 6 years of Lin 's life, and how Lin 's own experiences magically parallel Hamilton 's. The film editing is also legendary. Each period is accompanied with corresponding song from the musical, and scenes of the background story, the show itself,and Lin 's life were linked wonderfully together. I can say this from the bottom of my heart that this musical is a landmark of my own life.

“And sometimes, a couple of days, I’ve written in Aaron Burr's bedroom. It’s pretty amazing to be in the space where he was in the later of his life. Talk about artist in residence-literally.”

“This is one of those nights where you feel the earth shake a little bit, you feel the world start to change. This is opening night of Hamilton.”

“I have never in my life witnessed a musical that has penetrated the American culture faster than Hamilton.”

“After the first two songs, I looked at my wife, and we were like, ‘This might be the greatest thing, like, we’ve ever seen ever.’ And you kind of look around at the other people sitting there, like, ‘Are we right?’ Like, ‘This is the best thing that’s...right?’ We’re all on the same...but you can’t say that cause people are casting and performing, but you’re almost in tears.”

“What Lin was able to do is create different styles for each character. So, George Washington raps in this very sort of metronomic way because that is similar to how he thinks. It’s all right on beat. You know, Lafayette has to figure it out. Lafayette is rapping in a real, like, simple, sort of like early-‘80s rap cadence at first and then, by the end, is doing these crazy double- and triple- time things.”

“I’ve read ‘The Federalist papers’ many times over. As an elected official, as a person who takes office, by swearing oath to the Constitution, I pretty much want to know what that means, right? And so it’s important not only to understand what the Constitution is, but to understand what the principles are behind it. And that’s why you look at Hamilton. That’s why you look at ‘The Federalist Papers’. That is the cornerstone of this beautiful idea we call the American experiment.”

“I’m not a really bright student in the history department. I’ve learned so much from this musical that I wouldn’t have normally learned in a history class. And for you guys to convey history in the manner that you did - was that your initial goal, to inspire kids like me?”

“You might find a world there to unlock. And after the performance, I think all of us understand not only how much potential it had, but what it did was capture the fact that, you know, the founding fathers were, to some degree, flying by the seats of their pants and making it up as they went along. And the fact that the experiment worked was a testimony to their genius. And you can draw a direct connection between what the founders were doing and what we do today.”

“Hamilton has to create much of the federal government from scratch - first budget systems, first tax systems, first customs service, first Coast Guard, first monetary policy, first central bank, which was the direct forerunner of the Federal Reserve.”

“These are not perfect people. These are deeply flawed people. But they make contributions.”

“These were real people who lived and died. I think one of the things we really tried to do with the show is show them all as flawed. There’s no saints in this show, not a one.”

“I think that our show is doing a really good job of reminding us that all of us are more than one thing.”

“How much time do we get on this Earth? We don’t know. They don’t tell us at the outset how much time we get. It’s something I’ve been sort of grappling with and terrified with. I think we all grapple with it, with the paradox of knowing tomorrow’s not promised, but making plans anyway.”

“Hamilton is one of the more uniquely American founders because this man came from nothing and rose to the highest levels of serving this country. He proved, the condition of your birth should not determine the outcome of your life.”

“It wasn’t easy to get to where we are today. But it was dictated by and led by a vision. We’re a blessed nation to have had our founders - such remarkable men.”

“I think when faced with the incredible three lifetimes Hamilton lived while he was on this Earth, it forces you to reckon with, ‘Well, what am I doing with my life?’ That’s the thing you’re always up against when you’re writing something that’s big.”

“I knew that Hamilton was gonna change my life. But I didn’t anticipate how much we’d help Hamilton’s legacy in turn. Not just Hamilton but also Eliza, for whom Hamilton’s legacy was so important.”

“I feel like Hamilton chose me. He reached out of the Chernow book and grabbed me and wouldn’t let me go until I told his story. You can’t manufacture another Hamilton. Hamilton is singular, the man and the creation of the show. I feel like my responsibility is just to sort of keep my eyes open and live it as slowly as possible, because I am aware musical theater does not get off the arts page often. And here we are.”

I can’t wait to see you again.

It’s only a matter of time.

Who lives, who dies, who tells your story?

My world turned upside down.