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标题: 【揽瓜阁3.0】Day8 2020.07.27【人文科学-艺术】 [打印本页]

作者: 妥妥 时间: 2020-7-26 22:18
标题: 【揽瓜阁3.0】Day8 2020.07.27【人文科学-艺术】

揽瓜阁俱乐部第三期

Day8 2020.07.27

【人文科学-艺术】

Watching Hamilton Is Like Opening a Time Capsule

（1253字精读必做篇）

In an ideal world, I'd expect a Disney+ edition of Hamilton to have some real Broadway flavor. Perhaps there'd be a filmed rendering of waiting in line to have your ticket ripped at the Richard Rodgers Theatre, or a re-creation of buying an overpriced drink before taking your seat. But the stage recording of the hit musical, which starts streaming today, offers no such thing. It begins instead with a Skype clip in which the show's writer and star, Lin-Manuel Miranda, acknowledges the sad circumstances of Hamilton's online release: The musical wasn't supposed to arrive on Disney+ until October 2021, but it dropped early to help distract audiences from the ongoing pandemic.

Watching the show from my couch in 2020, four years after I saw it on Broadway, was a strange throwback in more ways than one. I was reminded of the cruel reality that Broadway's theaters will remain closed for the rest of the year because of COVID-19, a blow for an industry that relies on packed houses. Revisiting the show during another election year, it was hard not to think about how Hamilton was indelibly shaped by the more hopeful times of Barack Obama's presidency.

The musical is, after all, an earnest work that celebrates patriotism and diversity, one that tries to distill the Founding Fathers' revolutionary vigor into something modern. But in 2020, pride in most American institutions is at an all-time low, and the iconography of figures such as George Washington and Thomas Jefferson feels ever more fraught. So when households across the United States watch the streamed version of Hamilton this holiday weekend, the musical might register as a surreal artifact—of a political moment that was defined by optimism, and of a pre-pandemic live experience that people clamored to see.

Hamilton is a definitive cultural work of the Obama era. The show can trace its origins to a 2009 White House poetry jam, where Miranda performed an early version of the opening number, “Alexander Hamilton,” and earned cheerful applause from the president. What started out as a 2013 Vassar College workshop production evolved into a 2015 smash hit at the Public Theater and quickly leaped to Broadway. Miranda had succeeded in making a hip-hop musical about the first secretary of the Treasury feel stunningly dynamic, with talented young actors of color taking on mythic roles such as Hamilton, Washington, and Jefferson. Disney+'s filmed recording of Hamilton captures that vitality—it was shot in June 2016 as the show's original cast prepared to depart, lending it the aura of a swan song.

The show's bubble of optimism burst that November, days after the election of Donald Trump. Vice President-Elect Mike Pence went to see the musical, and after the curtain call, the cast member Brandon Victor Dixon addressed him from the stage: “We truly hope this show has inspired you to uphold our American values and work on behalf of all of us,” he said, adding, “We are the diverse America who are alarmed and anxious that your new administration will not protect us, our planet, our children, our parents.” The statement, crafted by Miranda and the producer Jeffrey Seller, was predictably slammed by Trump on Twitter. The entire episode, a cultural flash point from the beginning of the Trump era, feels like it happened a thousand years ago. Where Obama had greeted the tenor of Miranda's project with enthusiasm, Trump responded with angry tweets.

The Hamilton performance recorded that year still plays powerfully today. The first act of Disney+'s film, which focuses on the Revolutionary War, is as vigorous as ever—full of patriotic fervor as the characters foment rebellion and fight their war of independence. I had worried that the musical's energy might fall flat compared with the Broadway performance I saw, but rewatching “My Shot”—the show's third, tone-setting song—largely assuaged those fears. In that angry and bold number, a young Hamilton (played by Miranda) entreats fellow revolutionaries such as Aaron Burr (Leslie Odom Jr.) and the Marquis de Lafayette (Daveed Diggs) to “rise up” with the American colonies and overthrow British rule. The song is also a marker thrown down by Miranda for the viewing audience. He's a Latinx performer stepping into a role he would've been traditionally barred from playing, just like the Black and Latinx actors alongside him, and he's proudly seizing the opportunity.

Hamilton is a very sincere work, one that filters out some of the more uncomfortable and ugly realities of the American Revolution to present a familiar narrative of freedom and justice overcoming oppression and tyranny. Hamilton himself didn't own enslaved people, but he was involved in purchasing them for family members; in general, the show's references to slavery present Hamilton as an activist for abolition, which historians have criticized as overstated.

Though the show's potted American history is a little too glossy, that's mostly because Miranda's storytelling focuses on characterization, depicting an ambitious immigrant (Hamilton was born on the Caribbean island of Nevis) trying to effect real change in the world. Miranda brings an impressively angry streak to his performance, and is at his best when he highlights the massive chip on the shoulders of Hamilton and his rival Burr. Both characters know they belong at center stage; each resents any person or institution that might hold him back. That sense of determination and pride is even more profound in the context of a show that has a whole ensemble of actors playing historically white figures—something that wouldn't have happened in an earlier Broadway era.

What most stuck out to me about the show in retrospect was how Miranda wove his own ambition into the character he played. Divorcing Hamilton from the ecstatic praise that quickly surrounded it can be difficult, but the filmed presentation helps underline how risky a proposition the musical was. Miranda's passion for the subject is clear, but this is still a show in which people in tricornered hats twirl around the stage as politicians have rap battles about fiscal policy; it could've very easily come across as too nerdy to find any mainstream success.

The Hamilton film's moving cameras and quick editing can't convey the experience of seeing the story unfold all at once onstage, of course, but there are some advantages. The director Thomas Kail swoops in dramatically close to the actors' faces, capturing raw emotional moments that would've been impossible to see if you were seated in a mezzanine. This intimacy particularly benefits Miranda, Phillipa Soo (as Hamilton's wife, Eliza), and Renée Elise Goldsberry (as her sister Angelica), a trio whose quieter, melancholic moments in the second act get more of a showcase on camera. Kail does his best to take in the total spectacle too, but there's no way to absorb the full power of a Broadway show without being, well, in the room where it happens.

The time-capsule quality of Hamilton can serve as a bracing throwback, both for new viewers and returning fans. Yes, there was once a time, not too long ago, when a Tony-winning composer could debut snippets of his new American-history-themed musical at a White House poetry event. Pop culture has continued to move at warp speed since then, and Hamilton's brassy tale of the founding of America's governmental institutions plays in a different light in 2020. But the show is not irrelevant. Hamilton existed to both celebrate and reframe the past; it now functions as a reminder that the country's history and future alike are still being written and rewritten.

Source: The Atlantic

【人文科学-艺术】

How Yo-Yo Ma’s ‘Songs of Comfort’ are inspiring musical collaboration

（358字 3分46秒精听必做篇）

先做精听再核对原文哦~

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Finally tonight, our occasional look at the Songs of Comfort project that world-renowned cellist Yo-Yo Ma launched on social media.

Jeffrey Brown looks at the growing collaboration in these mini-performances, as tough times bring people together through music and technology.

It's part of our ongoing arts and culture series, Canvas.

In a time of isolation, a desire to connect through music.

As the psychology of pandemic changes through the weeks, you can see that play out in the #SongsofComfort project through more and more collaborations.

That includes the man who started it all, Yo-Yo Ma, who recorded a distanced duet with celebrated West African singer Angelique Kidjo, and another with Syrian-born clarinetist Kinan Azmeh.

The urge to merge is often a family affair, as with this young mother and father in their Berlin, Germany, living room, their new baby adding a little percussion.

In Arizona, six women family members put the '70s song "I'd Like to Teach the World" to sing to multistringed accompaniment, joined by the whistling of the person capturing it all on camera.

And a violinist with the Washington, D.C.-area National Philharmonic sat down with her guitar-playing son for a piece by Astor Piazzolla.

There are also more elaborate cross-genre collaborations, a delightful Bach to the Barre breakfast scene created by musicians from the Toronto Symphony and dancers with the Canadian National Ballet, plus two children, who performed their roles to perfection.

Much older children at Potomac, Maryland's St. Andrews Episcopal School sang, "Oh happy Day," joined by alumni and faculty. And 24 student cellists from around the world managed to get together for a performance of Saint-Saens' "The Swan."

In Houston, members of the symphony, used to playing together on stage, created a virtual quartet. And while it can be a lonely time for many, technology allows another kind of quartet, all the parts performed by one individual.

Songs played alone, songs played together. And, as we saw in that Berlin living room, some things don't change, the desire to share and maybe inspire the next generation.

For the "PBS NewsHour," I'm Jeffrey Brown.

Songs of Comfort, that has to continue after this pandemic.

Source: PBS

【笔记格式要求】

精读笔记格式要求：

1.总结文章中心大意

2.总结分论点或每段段落大意

3.摘抄印象深刻或者觉得优美的句子

4.总结文章中的生词

5.记录阅读时间、总结时间、总时间

精听笔记格式要求：

1.逐句听写整篇文章

2.对照原文修改听写稿，标记出错原因

3.总结文章中心大意

4.总结精听过程中的生词

5.记录听写时间、总结时间、总时间

这里也给大家两点学习小建议哦~

精读：如遇到读不懂的复杂句，建议找出句子主干，分析句子成分，也可以尝试翻译句子来帮助理解~

精听：建议每句不要反复纠结听，如果听 5 遍都没听出来，那就跳过，等完成后再回听总结原因，时间宝贵，不要过于执着哦~

作者: 妥妥 时间: 2020-7-26 22:18

揽瓜阁俱乐部，自「language」一词谐音而来，是一个为帮助大家提升英语语言能力而建立的学习小团队。在这里，我们将定时发布涵盖各类话题的外刊语料，供大家练习听、读。同时还设置了严格的打卡机制，督促大家克服懒惰坚持学习。

同时我们也招募volunteer协助维护团队，确保学习活动顺利开展~大家一起营造积极向上的学习氛围~

想要提升英语能力的小伙伴，快快添加微信（theTOEFL）报名加入吧，大家一起观尽天下新鲜事，览遍四海热议瓜～

作者: Dannibiubiubiu 时间: 2020-7-27 00:01
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作者: Dovis 时间: 2020-7-27 22:02

揽瓜阁 Day 8

精读 Watching Hamilton Is Like Opening a Time Capsule

一文章大意

作者在看完百老汇版本的Hamilton之后观看了音乐剧版，百老汇版本的从公众剧院到百老汇一路大放异彩，充分展示了爱国主义；新版本通过电影摄影剪辑，演员的精心演绎，也是别出心裁。

二段落总结

作者畅想着迪士尼版的Hamilton拥有百老汇风味，但因为疫情提前发行的Hamilton与作者想象场景完全不符。
四年后重温Hamilton，让人想起百老汇因COIVID-19关闭，总统选举时刻又一次到来，风光不再，境况倒退。
音乐剧是一部爱国主义和多样性糅合的作品，Hamilton能够将开国元勋的革命活力提炼成现代的东西，给人带来乐观和自豪感。
Hamilton是O任职时代的权威文化作品，从公众剧院到百老汇一路大放异彩，甚至得到总统表彰。
Hamilton节目的乐观主义泡沫破灭于T当选的11月，它并不被T看好，也让演员产生了忧虑。
作者曾担心音乐剧的能量与之前百老汇演出相比可能会下降，但观看之后打消了他这种顾虑。
作者介绍了Hamilton的作品内容，关于自由与正义的叙事。
介绍了Hamilton音乐剧演员Miranda对于其角色的演绎。
介绍了该音乐剧中最令作者印象深刻的片段。
对比了音乐剧和现场表演的不同：Hamilton电影摄影及编辑不能传达像百老汇舞台的效果，但是能捕捉演员面部情感，增加观众的亲密度。
对于新观众和回头客来讲，该音乐剧的质量都是不错的。Hamilton的存在是为了庆祝和重构过去，也是在提醒和警示当代。

三生词摘录

rip (突然或猛烈地) 撕破，裂开; 猛地扯开; 突然拉开

throwback 返祖者; 返祖; 返祖型的东

indelibly 不能消灭

earnest 非常认真的; 诚实的; 真诚的

patriotism 爱国主义; 爱国精神

distill 蒸馏，提取；滴下

vigor 智力，精力，元气

artifact 人工制品; (尤指具有历史或文化价值的) 手工制品，手工艺品

fraught 充满(不愉快事物)的; 焦虑的; 忧虑的; 担心的;

clamor 喧嚷; 用吵吵嚷嚷的方法迫使; 吵吵闹闹地发出[表示

Smash 破碎; 打碎; 破碎(或打碎)的哗啦声; 撞车; 高压球; 扣球

Patriotic 爱国的

rebellion 谋反; 叛乱; 反叛; (对权威的) 反抗，不服从; 不顺从; 叛逆

assuage 缓和，减轻(不快)

oppression 压迫; 压制

glossy 光滑的; 光彩夺目的; 有光泽的; 浮华的; 虚有其表的; 虚饰的

resent 愤恨; 感到气愤; 愤愤不平

retrospect 回顾，回想

Ecstatic 狂喜的; 热情极高的

tricorner 手机传感器; 三录仪

twirl 旋转，转动; 使轻快地转动; 使旋转; (用手指) 缠绕，盘绕，卷曲

nerdy 傻瓜似的; 呆傻的; 蠢的

mezzanine (介于两层楼之间、比其他楼层小的) 夹层; (戏院的)最低层楼厅(前座)

intimacy 亲密; 密切; 关系密切; 亲密的言语(或行为); 性行为; (尤指) 性交

trio 三人小组; 三件一套; 三合一; 三重奏乐团; 三重唱组合

Melancholic 忧郁的; 忧郁症的

snippet 一小条(消息); 一则(新闻); 一小段(谈话、音乐等)

brassy 声高刺耳的; 喧闹的; 嘈杂的; 衣着艳俗的; 黄铜色的; 黄得耀眼

reframe 再构造; 重新制订; 给某物装上新框架

四句子摘抄

Perhaps there'd be a filmed rendering of waiting in line to have your ticket ripped at the Richard Rodgers Theatre, or a re-creation of buying an overpriced drink before taking your seat.

五用时记录

通读 16min 总结 40min 共计 60min

作者: cynwis 时间: 2020-7-27 22:16
Day 8

作者: 啊哒 时间: 2020-7-27 22:19
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作者: rebeccaaaaaa 时间: 2020-7-27 22:22
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作者: 龙驾马 时间: 2020-7-27 22:24
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阅读笔记

中心大意

最近，改编自音乐剧《汉密尔顿》的同名电影由迪士尼搬上大荧幕，作者回顾了这部剧的原始音乐剧版本，给出了很详细丰富的评论，并认为这是一部经得起历史考验的杰出作品。

段落大意

1-缘起（1-2段）作者由最近热映的音乐剧电影《汉密尔顿》，开始聊起它原来的音乐剧版本。
2-近年来该剧的情况（3-5段）这是一部描述美国早期历史的音乐剧，但由于最近受到疫情的影响，该剧只能停演
3-该剧的特色（6-10段）作者围绕该剧的剧中角色，戏剧冲突，以及相关的美国历史展开了比较详细的讨论
4-总结（11段）作者认为这部剧是一部可以经得起时间考验的，长时间被观众喜爱的经典剧目。

句子摘抄

The musical is, after all, an earnest work that celebrates patriotism and diversity, one that tries to distill the Founding Fathers' revolutionary vigor into something modern.

The Hamilton film's moving cameras and quick editing can't convey the experience of seeing the story unfold all at once onstage, of course, but there are some advantages.

Hamilton existed to both celebrate and reframe the past; it now functions as a reminder that the country's history and future alike are still being written and rewritten.

生词摘抄

presidency n.任期
clamor n.喧闹
Latinx n.拉丁的
retrospect n.回顾
tricornered a.三色的
melancholic a.抑郁的
brassy a.厚脸皮的，刺耳的

阅读用时 18分钟总结 36分钟共计 54分钟

听力笔记

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中心大意

疫情期间，世界各地的音乐家们通过网络来进行跨国合作，为全球观众献上在线演出，通过音乐来陪伴大家，并送出祝福。

生词摘抄
occasional a.临时的
collaboration n.协作
Philharmonic a.爱乐的

用时 19分钟总结 32分钟共计41分钟

作者: xxnmm 时间: 2020-7-27 22:30
Day8

作者: Dovis 时间: 2020-7-27 22:42
精听 How Yo-Yo Ma’s ‘Songs of Comfort’ are inspiring musical collaboration
一文章大意
世界著名的大提琴家马友友在社交媒体上发起的“舒适之歌”项目，鼓励大家在艰难的时期通过音乐建立联系。他本人身体力行与他人进行了音乐录制，同时也介绍了项目中其他人员的录制情况。
二生词摘录
percussion 打击乐器; 敲击乐器; (管弦乐团的) 打击乐器组
whistle 吹口哨; 打呼哨; 吹哨子; 鸣叫; 呼啸; 发出笛声
violinist 小提琴手; 小提琴演奏者
Symphony 交响乐; 交响曲
Episcopal 主教的; 主教制的
cellists 大提琴手; 大提琴演奏者
quartet 四重奏乐团; 四重唱组合
三用时记录
听力 7min 听写35min 总结11min 共计55min

Finally tonight, our occasional look at the Songs of Comfort project that world-renowned cellist Yo-Yo Ma launched on social media.
Jeffrey Brown looks at the growing collaboration in these mini-performances, as tough times bring people together through music and technology.
It's part of our ongoing arts and culture series, Canvas.In a time of isolation, a desire to connect through music.
As the psychology of pandemic changes through the weeks, you can see that play out in the Songs of Comfort project through more and more collaborations.
That includes the man who started it all, Yo-Yo Ma, who recorded a distanced duet with celebrated West African singer XXX, and another with XXX.
The urge to merge is often a family affair, as with this young mother and father in their Berlin, Germany, living room, their new baby adding a little percussion.

In Arizona, six women family members put the '70s song "I'd Like to Teach the World" to sing to multistringed accompaniment, joined by the whistling of the person capturing it all on camera.And a violinist with the Washington, D.C. area National XX sat down with her guitar-playing son for a piece by XXX.
There are also more elaborate cross-genre collaborations, a delightful Bach to the Barre breakfast scene created by musicians from the Toronto Symphony and dancers with the Canadian National Ballet, plus two children, who performed their roles to perfection.
Much older children at XX School sang, joined by alumni and faculty. And 24 student cellists from around the world managed to get together for a performance of XX The Swan.
In Houston, members of the symphony, used to playing together on stage, created a virtual quartet. And while it can be a lonely time for many, technology allows another kind of quartet, all the parts performed by one individual.
Songs played alone, songs played together. And, as we saw in that Berlin living room, some things don't change, the desire to share and maybe inspire the next generation.

作者: cgvmc 时间: 2020-7-27 22:51
DAY8

作者: 木辛青 时间: 2020-7-27 22:53

阅读笔记阅读：16min 总结：42min

观看汉密尔顿就像打开了时间仓一样

1.我希望迪士尼版本的汉密尔顿有真正的百老汇风格，原本定于2021年档期的汉密尔顿为了分散疫情的注意力而提前上映
2.四年后我再重新看这部剧，无法忘记百老汇还因疫情关闭，汉密尔顿是在奥巴马当政之时被塑造出来的
3.这部音乐剧在于其对多样性和爱国主义的颂扬，将开国元勋的精神现代化
4.汉密尔顿在一定程度上是奥巴马的文化象征
5.该剧目的乐观主义泡泡在川普当选之后被打破
6.汉密尔顿所记录的精神到今天依旧充满着力量
7.汉密尔顿真切地讲述了美国关于正义、自由战胜压迫的故事
8.尽管这部剧有点浮夸，但是依旧展现了一个移民想要为世界带来改变的精神
9.真正打动我的是米兰达对角色的演绎
10.电影没有办法传递出剧目的全部，但是也有一定的好处
11.汉密尔顿无论是对于老粉丝还是新观众都是一次令人振奋的回归

Capsule 胶囊航天仓
indelibly 无法忘记的
iconography 肖像学标志
surreal 离奇的超现实的

The musical wasn't supposed to arrive on Disney+ until October 2021, but it dropped early to help distract audiences from the ongoing pandemic.

Revisiting the show during another election year, it was hard not to think about how Hamilton was indelibly shaped by the more hopeful times of Barack Obama's presidency

Hamilton is a very sincere work, one that filters out some of the more uncomfortable and ugly realities of the American Revolution to present a familiar narrative of freedom and justice overcoming oppression and tyranny.

听力笔记听力：35min 总结：35min
yoyo-ma的歌如何激发了一次音乐的合作

collaboration 合作

Finally tonight, our occasional look at the Songs of Comfort project that world-renowned cellist Yo-Yo Ma launched on social media.

Jeffrey Brown looks at the growing collaboration in these mini-performances, as tough times bring people together through music and technology.

It's part of our ongoing arts and culture series, Canvas.

In a time of isolation, a desire to connect through music.

As the psychology of pandemic changes through the weeks, you can see that play out in the #SongsofComfort project through more and more collaborations.

That includes the man who started it all, Yo-Yo Ma, who recorded a distanced duet with celebrated West African singer AK，and another with Syrian-born clarinetist Kinan Azmeh.

The urge to merge is often a family affair, as with this young mother and father in their Berlin, Germany, living room, their new baby adding a little percussion.打击乐器

In Arizona, six women family members put the '70s song "I'd Like to Teach the World" to sing to multistringed accompaniment, joined by the whistling of the person capturing 俘获it all on camera.

And a violinist with the Washington, D.C. area National Philharmonic 爱好音乐的sat down with her guitar-playing son for a piece by A P

There are also more elaborate cross-genre collaborations, a delightful Bach to the Barre breakfast scene created by musicians from the TS and dancers with the Canadian National Ballet, plus two children, who performed their roles to perfection.

Much older children at Potomac, Maryland's St. Andrews Episcopal School sang, "Oh happy Day," joined by alumni and faculty. And 24 student cellists from around the world managed to get together for a performance of Saint-Saens' "The Swan."

In Houston, members of the symphony, used to playing together on stage, created a virtual quartet. And while it can be a lonely time for many, technology allows another kind of quartet, all the parts performed by one individual.

Songs played alone, songs played together. And, as we saw in that Berlin living room, some things don't change, the desire to share and maybe inspire the next generation.

For the "PBS NewsHour," I'm Jeffrey Brown.

Songs of Comfort, that has to continue after this pandemic.

作者: ling0602 时间: 2020-7-27 22:53
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作者: ste蔡 时间: 2020-7-27 23:48
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