致拉森 | Lin-Manuel Miranda：与时间赛跑的追寻缪斯之

安东尼·拉普扮演的马克·科恩

《吉屋出租》在很多方面颠覆了我对音乐剧的认知。这是我第一次见到一部音乐剧里的演员那样形形色色，跟我乘地铁上学途中看到的一样。这是我看的第一部以当下生活为背景的音乐剧，听上去也是当下的。故事中那些角色忧虑的也正是我所忧虑的：寻找归属感，做一个艺术家，以及，在纽约活下去。

最重要的是，它让我觉得我也能写我所在社区的故事。我在曼哈顿上城区的一个主要说西班牙语地方长大，那儿到处都是音乐和人物。我仿佛听见《吉屋出租》在我耳边低语：“你自己的故事，跟戏里的一样真实，一样有力。”不像剧院的幽灵、巴黎的革命或者月下的猫，他们就生活在纽约东村，就在下城区。

因为《吉屋出租》，我在高中的时候开始创作一部独幕音乐剧。后来，我到了卫斯理大学学习电影和戏剧，后又为专心创作音乐剧而放弃了电影。（永别了，马克。）大二的时候我写出了《身在高地》的第一稿草稿。这是一部80分钟的独幕音乐剧，与《吉屋出租》有许多相似的主题：寻找归属感，做一个艺术家，以及在纽约活下去。我曾经强烈地觉察到，为了送我和姐姐上学，我的父母在经济上牺牲甚巨——一次，当我姐姐说她可能还要多花一个学期才能毕业时，餐桌边的妈妈突然掉了泪。回应这一切的，是我在大学四年里尽一切可能地去写很多很多剧本。

与RENT主题相似的《身在高地》，获得了2008年托尼奖最佳音乐剧

2001年11月11日，美国东部时间。

在卫斯理，我大四了。女朋友艾琳给了我个惊喜，外百老汇正上演的乔纳森·拉森的《Tick, Tick ... Boom!》的演出戏票。我们从学校一路开车去西十四号街南边的珍街剧院。两个月前的恐怖袭击对每个人来说都记忆犹新。那是恐袭以来，我们第一次去上城区。整个世界都惊恐不安；而我们是正面临毕业的戏剧专业的学生：在这世上，我们到底能做些什么？当观众席的灯光暗下，饰演乔纳森的劳尔·埃斯帕扎登上舞台时，这世上的一切就又都改变了。

《Tick, Tick... Boom!》是乔纳森·拉森在写《吉屋出租》的时候同时创作的一部自传体音乐剧，剧作家大卫·奥本后来把它改编成一部三人剧。故事很简单：1990年，主人公乔纳森正挣扎着迈上三十岁的大关。他想用写音乐剧来维持生活，但为了糊口不得不在一家小餐馆工作。他最好的朋友为了一份市场调研的工作而放弃了表演；他的舞蹈演员女朋友想要离开纽约。他听见时间在一点一滴流逝，朋友和爱人都放弃了梦想，但他一人还要坚持前行。

就像那时《吉屋出租》抓住17岁的我宣告“这才是你应该做的！”那样，《Tick, Tick ...Boom!》一把抓住了我21岁的心就再也不放手了。它不仅仅是一个年轻艺术家的自画像，这简直是预演了我二十多岁时的情形：剧本朗读会和戏剧工作坊毫无进展；没个稳定工作；女朋友散了，因为我把写作放第一位，但写作必须永远以及绝对是第一位的；眼看着才华横溢的朋友们改变他们的梦想，在其他稳定的工作中享受人生乐趣。每一个年轻艺术家都得面对这些现实，乔纳森把它们清晰明确、生动真实地展现了出来。是他一直没放弃，咬牙坚持，鼓舞了一代剧作人跟随他的脚步，而我也是其中一个。

《Tick, Tick ... Boom!》

乔纳森·拉森的真实故事已经是戏剧界的一段传奇了。在第一次艾滋病危机大潮来袭时，他目睹了身边许多密友和同事面临死亡的侵袭，他写下了《Tick, Tick ... Boom!》和《吉屋出租》。（《吉屋出租》中的配角是以他现实生活中去世的朋友命名）《吉屋出租》让乔纳森实现了变革音乐剧的梦想，但他却没能活着见证这一刻：1996年1月25日清晨，35岁的乔纳森因大动脉瘤破裂去世，而那天是《吉屋出租》在外百老汇首演的日子。这个令人极度伤心的事实更突显了他作品的核心：不管你是否在意时间的流逝，都要有直面生命消逝的勇气。趁今天，用力爱，这是我们每个人都该给自己的允诺。

《RENT》和《Tick, Tick ... Boom!》的作者乔纳森·拉森Jonathan Larson

在这个世界上，《吉屋出租》几乎在每个国家上演，也被翻译成各种语言演出。因为故事的主题是全球性的，世界各地观众们会站起身鼓掌尖叫。《吉屋出租》的成功证明了乔纳森的人生，不是他的离世。

2014年6月22日，美国东部时间。

我34岁了。我坐在键盘前练习着开场曲“30/90”，这是拉森的一首关于跨过三十岁大关的恐慌的歌曲。在纽约城市中心的安可音乐会上的三天时间里，我都在弹奏乔纳森作曲的外中心版《Tick, Tick ... Boom!》。同我一起的有凯伦·奥利沃和小莱斯利·奥多姆，他们的职业生涯都开始于《吉屋出租》。（说到《吉屋出租》，因拉森而免于加入权益协会的演员，大概远多于任何其他年轻作曲家，我们又欠他一个人情）我一直练习到手指发疼，或者正如乔纳森在歌词里所写的那样，“一遍一遍又一遍，直到我做对了。”

林-曼努尔·米兰达与小莱斯利·奥多姆出演《Tick, Tick ... Boom!》

我翻着剧本，读到一段乔纳森的独白：“我是作曲家，不好意思，一个‘前途远大的年轻作曲家’。这个年纪我本该有了孩子，有了事业，但实际是我在这远大前途上走得又累又疲，恐怕不得不停止前行了。”

乔纳森，如果你能听见，你实现了你的每一个志愿，并不止这些。我们继续排演着你的作品，并且因此，一些人的生活已经被改变。一些人因你讲了你的故事而讲述属于他们自己的故事。一些人追逐和你的梦想一样大的梦想。一些人挣扎奋斗，拼尽他们仅有的时间去做到他们的最好。另外一些人想尽力找到那些合适的词对你说，感谢，感谢，感谢。

*受权转载自《纽约时报》

Lin-Manuel Miranda：获得了托尼奖的演员、作曲家和词作者。他的音乐剧《汉密尔顿》创纪录性地获得托尼奖16项提名，并获得了包括最佳音乐剧在内的11项托尼奖。

诚如Lin-Manuel Miranda所说，一代剧作人跟随Jonathan Larson的脚步创作了一批新的具有影响力的作品。

在百老汇历史上，受RENT影响的作品远不止《汉密尔顿》这一部：《春之觉醒》《Q大道》……

RENT不仅重新定义了百老汇，也改变了很多观众的生活。全世界各地的观众都会被RENT所传达的内容所感动与激励。

没有别的路，没有别的方式，只有趁今天，用力爱。

《纽约时报》原文

Pursuing the Muse Against the Clock

By Lin-Manuel Miranda

June 19, 2014

Jan. 16, 1997, Eastern Standard Time.

It is my 17th birthday, and my girlfriend Meredith has surprised me with tickets to see “Rent” by Jonathan Larson on Broadway. We climb to our seats in the last row of the second mezzanine of the Nederlander Theater. Despite a young lifetime of memorized cast albums, I haven’t seen many musicals on Broadway: “Les Misérables,” “Phantom,” “Cats,” that’s about it. The house lights go down, and from thismoment on, nothing is ever the same again.

Everyone has their own coping mechanisms for surviving high school: Mine was showing up every day with a VHS camcorder and making movies, because I found it so much easier than actually talking toother kids. It’s much easier to say, “I’m making a movie, and I have a part foryou” than “Wanna hang out?” So you can imagine my elation at seeing a character with a camera glued to his hand — Mark Cohen (played by Anthony Rapp), the friend who films everything. The one who stands outside the frame. That was me. When his best friend, Roger, challenges him, singing, “You pretend to createand observe when you really detach from being alive,” it felt like a punch in the gut.

“Rent” rocked my perception of what musical theater could be in several ways. It was the first musical I had ever seen with a cast as diverse as the subway riders I sawon the way to school. It was the first musical I had ever seen that took placein the present day, and sounded like the present day. The characters were worried about the things I worried about: finding a community, being an artist, surviving in New York.

More than anything, it gave me permission to write about my community. I grew up in a predominantly Spanish-speaking neighborhood in Upper Manhattan that burst with music and characters, and “Rent” whispered to me, “Your stories are just as valid as the ones in theshows you’ve seen.” These were not Phantoms or revolutionaries in Paris, orcats. They lived in the Village. Right downtown.

I began writing one-act musicals in high school because of “Rent.” I went to Wesleyan University to study film and theater, and dropped film studies to focus on writing musicals. (Goodbye,Mark.) I wrote the first draft of “In the Heights” in my sophomore year, an 80-minute one-act musical with many familiar “Rent” themes: finding acommunity, being an artist, surviving in New York. I was keenly aware of the financial sacrifices my parents were making to send us to school — once, when my older sister announced she might need an extra semester to graduate, my mother burst into tears at the kitchen table — and I responded by writing as many shows in four years as college would allow.

Nov. 11, 2001, Eastern Standard Time.

I am a senior at Wesleyan, and my girlfriend Aileen has surprised me with tickets to see “Tick, Tick ...Boom!” by Larson Off Broadway. We drive down from school to the Jane Street Theater, south of West 14th Street. The terrorist attacks of two months earlier are still fresh in everyone’s minds, and it is our first time so far downtown since. The real world is terrifying, and we are theater majors about to graduate: What on earth do we have to offer it? The houselights go down, and Raúl Esparza comes onstage as Jonathan, and nothing is ever the same again.

“Tick, Tick... Boom!” is an autobiographical musical that Jonathan Larson wrote concurrently with “Rent”; the playwright David Auburn later adapted into athree-person show. The story is simple: It is 1990, and Jonathan is grappling with turning 30. He is trying to make a living writing musical theater, but he worksat a diner to pay the bills. His best friend has given up acting for a job in market research; his girlfriend, a dancer, wants to leave New York. He hears time ticking away, he sees friends and lovers abandoning their dreams, but he keeps going.

Just as “Rent” grabbed 17-year-old me and announced, “This is what you should be doing,” “Tick, Tick ... Boom!” grabbed the 21-year old me and refused to let go. It was more than a portrait of the artist as a young man; it was a sneak preview of what my 20s would be: readings and workshops going nowhere, jobs allowing only flexible hours, relationshipsending because the writing comes first and must always come first, watching talented friends adjust their dreams and find happiness in other careers with more stability. Every young artist deals with these realities, and Jonathan gave them specificity and vitality and truth. He kept going, and, in doing so,galvanized a generation of songwriters to follow his lead, myself included.

Jonathan Larson’s real-life story is already the stuff of theatrical legend. He wrote both “Tick, Tick ... Boom!” and “Rent” in the wake of the first wave of the AIDS crisis, as he witnessed close friends and colleagues dying all around him (the characters in the support group in “Rent” are named after his real-life friends who died). His dream of revolutionizing musical theater came true, but he did not live to see it: Larson died at 35 of an aortic aneurysm on Jan. 25, 1996, the morning of the first Off Broadway preview of “Rent.” This real-life heartbreak underlines the themes in Jonathan’s work: bravery in the face of the ticking clock, which ticks away whether one chooses to hear it or not. No day but today. That is allwe are promised.

“Rent” has been produced in seemingly every language and every country in the world.The audiences who stand screaming and applauding do so because these themes are universal. The success of Jonathan’s work is a testament to his life, not his death.

June 22, 2014, Eastern Standard Time.

I am 34 years old. I sit at my keyboard and practice the opening strains of “30/90,” a Larson song about the terror ofturning 30. In three days, I am playing Jonathan in the Encores! Off-Center production of “Tick, Tick ... Boom!” at City Center. I am joined by Karen Olivoand Leslie Odom Jr., both of whom got their professional theatrical starts in“Rent.” (Through “Rent” alone, Larson is probably responsible for more minority actors’ receiving their Equity cards than almost any other young composer, another debt of gratitude we owe him.) I practice until my fingers ache, or, as Jonathan puts it in his lyrics, “Over and over and over till we got it right.”

I flip to my libretto and read this passage from one of Jonathan’s monologues:

“I’m a composer. Sorry, a ‘promising young composer.’ I should have kids of my own by now, a career, but instead I’ve been ‘promising’ for so long that I’m afraid I’m starting to break the [expletive] promise.”

Jonathan, if you can hear me, you fulfilled every promise and then some. We continue to perform your work, and when we do, someone else’s life is changed. Someone else has permission to tell their story because you told yours. Someone else has permission to dream as big as you did. Someone else will struggle to do his best with the time they have. Someone else will try to find the right words to thank you, thank you, thank you.

百老汇经典原版音乐剧

《吉屋出租》

2018年中国巡演信息

上海 上汽·上海文化广场 8.30-9.16

南京 荔枝大剧院 9.18-9.20

杭州 杭州剧院 9.22-9.23

广州 广东演艺中心大剧院 9.26-9.30

深圳 南山文体中心剧院大剧院 10.3-10.7

北京 世纪剧院 10.11-10.21

成都 锦城艺术宫 10.24-10.28

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