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2012年创新人物奖设计类获奖人：帕特里克•金蒙斯-第1页

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AFTER 16 YEARS OF DESIGNING OPERAS all over the world, Patrick Kinmonth made his debut as a director in 2008, with a production of Puccini's Madame Butterfly for the Cologne Opera. On the first day of rehearsals, he entered a roomful of enthusiastic, expectant and, he noted, very young singers. 'Then, as we started, I had this extraordinarysensation of being in precisely the right place at the right time,' Kinmonth recalls. 'And I thought, Oh my God, you idiot, this is something you really can do incredibly well.'


（WSJ. Magazine 2012年创新人物奖获奖者包括设计师、建筑师、艺术家和科技奇才──他们都对合作以及与广大观众互动满怀热情。本文介绍的是WSJ. Magazine 2012年创新人物奖设计类获奖人：帕特里克•金蒙斯。）



He's had the same feeling many times since, but that epiphany was a defining moment, tempered by a telling hint of self-recrimination that suggested Kinmonth knew it had been too long in coming. 'Permission is the huge issue,' he says. 'From the beginning, I gave myself permission to not have to have a completely clear definition of what I was going to be or do.' Thus empowered, Kinmonth was free to be or do whatever.


008年，在世界各地从事舞台设计十六年后，帕特里克•金蒙斯(Patrick Kinmonth)在科隆歌剧院(Cologne Opera)推出了他的歌剧导演处女作──普契尼(Puccini)的《蝴蝶夫人》(Madame Butterfly)。第一天排练时，他走进房间，看到一屋子满腔热情、充满期待而且（他发现）都很年轻的歌手。金蒙斯回忆道，"然后，我们开始排练，突然间我有了一种恰逢其时、恰是此地的奇妙感觉。接着我想，噢，天啊，你这个白痴，这是你真的能做得很棒的事啊。"



Since he graduated from Oxford in 1977, he has been a painter, an arts editor for British Vogue, an architect, a writer, a curator for, among other institutions, the Metropolitan Museum, a creative right hand to the photographer Mario Testino and an award-winning scenographer, costumer and, now, director. To a degree that is sufficient to set ordinary heads spinning, these commitments have often been juggled simultaneously.


后来很多时候他也产生过类似的感觉，但都不及那一次的顿悟那样具有决定性意义，当时暗地里的自责说明金蒙斯意识到这一刻自己已经等了很久。他说，"允许（尝试）是很重要的。从一开始，我就允许自己不必一定要成为什么样的人或者要做成什么样的事。"有了这样的余地，金蒙斯得以自由发挥，做自己想做的事。



This fall and in the coming months, Kinmonth's production of Don Giovanni debuts in Augsburg; the new retrospective of Testino's work he designed and curated has opened at Boston's Museum of Fine Arts; and 'Valentino: Master of Couture,' co-curated with Antonio Monfreda, launches at Somerset House in London. With a little less fanfare, Kinmonth's controversial 2011 revision of Saint-Saëns's Samson et Dalila is being restaged in Geneva, and Göteborg gets his latest collaboration with choreographer Fernando Melo for the GöteborgsOperans Danskompani (formerly the Göteborg Ballet). On top of all that, there will undoubtedly be a full complement of Testino editorials and advertising shoots running concurrently for clients like Burberry and Rolex.


1977年从牛津大学(Oxford)毕业后，他做过画家，在时尚杂志《Vogue》英国版担任过美编，做过建筑师、作家，在大都会博物馆(Metropolitan Museum)等机构担任过策展人，还曾是摄影师马里奥•特斯蒂诺(Mario Testino)富有创造力的副手，做过舞美设计、舞台服装设计并得过大奖，现在，他的头衔是导演。这些工作光罗列起来就有些让人眼花缭乱了，而金蒙斯有时候还会同时身兼数职。



'He's quite unusual in his world,' says Robert Carsen, the director for whom Kinmonth has designed at least a dozen operas (most notably a widely acclaimed and well-traveled production of Wagner's Ring Cycle). 'Working in so many disciplines means your approach is intuitive and instinctive, and the more you work in broader domains, the better trained you become.' But such breadth also means it takes more than a little intuition to tease out the unifying thread that runs through Kinmonth's work. The Testino exhibition in Boston is curated in a series of subcategories, including one defined by the museum as 'Establishment.' Kinmonth redefines it thus: 'The beauty of tradition is the power to create newness.' He is obsessed with the 18th century, but it's the English Revolution, rather than the radical fury of the French, that absorbs him. 'The British have a hybrid vigor,' he explains. 'They are best as mongrels. What I find wonderful about our revolution was we still understood the idea of 'extreme example.' We may not have been the greatest creators in Europe, but we were brilliant editors of all the influences, bringing the functional and the beautiful back from Italy to our gardens and interiors, adding our own practical dynamic to French clothes.' In Kinmonth's work, this sensibility translates as physicality -- a you-are-there immediacy that is almost cinematic in its appeal to the senses.


今年秋季和接下来的几个月，金蒙斯导演的《唐璜》(Don Giovanni)将在奥格斯堡(Augsburg)首演，他设计并策划的特斯蒂诺摄影作品全新回顾展已在波士顿美术馆(Museum of Fine Arts)开放，而他与安东尼奥•蒙弗雷达(Antonio Monfreda)合作策划的"华伦天奴：时装法师"(Valentino: Master of Couture)展览也将在伦敦的萨默塞特宫(Somerset House)开幕。与此同时，相对低调一点的是，金蒙斯颇受争议的2011年改版歌剧──圣•桑(Saint-Saëns)的《参孙与达丽拉》(Samson et Dalila)在瑞士的日内瓦重新亮相；而在瑞典哥德堡，金蒙斯与编舞家费尔南多•梅洛(Fernando Melo)为哥德堡歌剧院舞蹈团(GöteborgsOperans Danskompani，前身是哥德堡芭蕾舞团(Göteborg Ballet))最新合作指导的音乐剧也正在上演。此外，毫无疑问，在这一切开展的同时，与特斯蒂诺作品回顾展有关的采访，为博柏利(Burberry)、劳力士(Rolex)等客户拍摄广告等工作也会穿插其中。



The die was cast for Kinmonth as a polymath when he was just a boy. As the youngest of four, born into a medical family who split their time between Ireland and England, he claims he 'never felt part of either.' Cork meant a rough-and-tumble tribe of Catholic cousins. The English side of the family, his mother's, was Protestant and rich: Meissen porcelain in the cabinet; Poussins on the wall; a nonpareil collection of camellias in the garden. 'Ours was not a particularly artistic household at all,' says Kinmonth, 'but art was somehow in there.' His father, a plastic surgeon, would sketch out what he hoped to achieve with his operations. His mother should, Kinmonth feels, have been an actress. As for his own leanings, he painted from an early age and sang like a bird in choirs, 'totally unafraid of being artistic.' His parents maintained what he now describes as 'a benign indifference' to his endeavors, even when, at age nine, he refused to wear anything other than a floor-length green lab coat. Or when, a little later, Kinmonth insisted on swathing himself top-to-toe in a black cloak (he thinks under the influence of a Bergman film). 'It would be pouring rain, and I'd set out for the cliffs in my cloak and was never happier. And my parents never complained. Actually, it was my mother who had it made for me.'


导演罗伯特•卡森(Robert Carsen)说，"金蒙斯在他的世界里显得相当不同寻常。涉足这么多的领域意味着他是靠本能和直觉在做事，而涉足的领域越广泛，一个人就会越加训练有素。"金蒙斯为卡森的至少十余部歌剧做过设计，其中最引人注目的是广受赞誉、多场巡演的瓦格纳(Wagner)的《尼伯龙根的指环》(Ring Cycle)。但是，这种广度也意味着光凭直觉是不够的，还要求金蒙斯能够梳理出主线，将他的所有工作连接起来。按照策划，特斯蒂诺摄影作品回顾展包含一系列子主题，其中一个被波士顿美术馆定义为"确立"(Establishment)。金蒙斯将它重新诠释为："传统之美促就创新。"他醉心于18世纪，但令他痴迷的是当时的英国工业革命，而不是充满激进和愤怒情绪的法国大革命。对此，他解释道，"英国人有兼容并蓄的魄力，他们是融会贯通的最佳典范。而我从英国工业革命中发现的奇妙之处在于，我们依然理解什么是'极端的例子'。我们也许不是欧洲最伟大的创造者，但我们是所有影响力的卓越的编辑者，我们将意大利文化中的实用和美好之处引入到庭院和室内设计上，并把我们的务实态度糅合到法国人设计的服装上。"在金蒙斯的作品中，这种鉴赏力由虚入实──那种对感官的诉求会让人产生身临其境的现场感，彷佛自己就置身其中。



Clearly primed for drama by the time he hit Oxford, Kinmonth had developed a precocious appreciation of scenography that translated into a string of productions for the Oxford Playhouse, directing, designing and acting. At one point, he stirred a cauldron with Stephen Fry in Macbeth. He also shared a stage with Karl Lagerfeld muse Lady Amanda Harlech in Twelfth Night. 'I was madly in love with him,' she rhapsodizes even now. 'He has an insanenobility that's very ancient.' A quality that surely stood Kinmonth in good stead when, several years later, he and Harlech found themselves leading lights in a fashion set that played like an early '80s reanimation of the Bright Young Things. Testino was there. So were Rifat Ozbek, Hamish Bowles, Victoria Fernandez and, eventually, John Galliano. 'It was a fantastic, quite experimental time,' Harlech remembers, 'and Patrick was in the capacity that he always is: the muse.'


还在孩提时代，金蒙斯就已经注定了会成为一个博学多才的人。他出生在医学世家，是家里四个孩子中排行最小的。全家人有时待在爱尔兰，有时待在英格兰。但金蒙斯声称那时候自己"对二者都从未真正融入过"。爱尔兰的科克市(Cork)意味着一群乱哄哄的天主教堂表兄弟。而他母亲来自信奉新教的英格兰富裕阶层：橱柜里摆放着德国麦森(Meissen)瓷器， 上挂着普桑(Poussin)的画作，庭院里种着罕见的山茶品种。金蒙斯说，"我们并不是什么艺术世家，但艺术总是存在于我们的生活当中。"金蒙斯的父亲是一名整形外科医生，会将自己希望患者术后能达到的理想效果勾绘到纸上。母亲在金蒙斯的印象中极富表演天赋。至于他自己，很小的时候他就开始学习绘画，像只小鸟一样在合唱团歌唱，"对艺术一副无知无畏的样子"。金蒙斯回忆说，在他小时候，父母对他的各种尝试保持着一种"慈祥的放任"，哪怕是他九岁那年，坚持只穿长及地板的绿色的实验室外套，或者在他更大一点时，坚持把自己从头到脚的包在一件黑色斗篷里（他觉得当时应该是受到了一部伯格曼(Bergman)电影的影响），父母也没管他。"就好像外面下着瓢泼大雨，而我准备穿着斗篷去攀登悬崖峭壁，感到无比兴奋。而我的父母从未对我发过牢骚。事实上，那件斗篷就是母亲帮我做的。"



He was 24 when he started at Vogue in 1981, after winning the magazine's talent competition. As arts editor, Kinmonth did sittings with big names like Lord Snowdon and Bruce Weber, but his job sealed two other relationships that have shaped his life since. One was with Testino, the other with photographer Tessa Traeger, who was regarded as British Vogue's Irving Penn for the still lifes she created for food writer Arabella Boxer's pages. The first story they worked on together was a set in Venice, a city where Kinmonth lived for more than a year after graduation. 'From Tessa, Patrick learned a significantappreciation for the art of craft, of people who are really good at what they do in terms of making,' says Carsen. 'There aren't many people who have that understanding.' Traeger and Kinmonth have lived and worked together ever since.


金蒙斯在牛津大学就读时，就显露出戏剧方面的才能。当时他很早就开始关注透视法，并将之运用到一系列在牛津剧场(Oxford Playhouse)上演的剧目中，在这个过程中，他做过导演、设计，自己也上台参与过表演。他曾在《麦克白》(Macbeth)中与史蒂芬•弗莱(Stephen Fry)一起搅拌过（女巫的）大锅，还在《第十二夜》(Twelfth Night)中与卡尔•拉格斐(Karl Lagerfeld)眼中永远的"缪斯"阿曼达•夏力(Amanda Harlech)同过台。夏力到现在都还记得自己"当时疯狂地爱上了他。他给人一种极致的非常古典的高贵感。"这种品质令日后的金蒙斯受益匪浅。数年后，在八十年代初，他和夏力发现自己站在了时尚界的最前沿，仿若《光彩年华》(Bright Young Things)中场景的重现。这里有特斯蒂诺，还有里法特•沃兹别克(Rifat Ozbek)、哈米什•鲍尔斯(Hamish Bowles)、维多利亚•费尔南德斯(Victoria Fernandez)以及约翰•加利亚诺(John Galliano)。夏力回忆道，"那是一段梦幻般的相当具有探索性的时期，帕特里克当时就拥有了他现在也一直具备的能力：创作灵感。"



'When I met Patrick,' Testino remembers, 'he immediately pointed out I should do portraits. I was obsessed with being a fashion photographer so it was difficult to see his point.' Testino is now, of course, one of the world's premierphotographic portraitists. 'He was right all along,' the photographer concedes. 'But for many years, that's what Patrick did -- he helped others better their skills.' And that's really the point of this elliptical backstory. Kinmonth was always perfectly happy to hide his light under the bushel of others. 'Putting my head over the parapet has not been my favorite thing,' he admits. 'There may be all sorts of reasons I didn't want to take that responsibility artistically' -- the most benign rationale being that Kinmonth simply loved working with other people.


1981年，年方24岁的金蒙斯在赢得《Vogue》组织的人才竞赛后加入了这家杂志社。作为美编，金蒙斯曾为斯诺登勋爵(Lord Snowdon)、布鲁斯•韦伯(Bruce Weber)等众多大牌作画，但在这期间认识的另外两个人真正影响了他此后的生活。其中一人就是特斯蒂诺，另一人则是摄影师泰莎•崔格(Tessa Traeger)。为美食作家阿拉贝拉•鲍克思(Arabella Boxer)的专栏页面拍摄的静物照片，使崔格被誉为《Vogue》英国版的欧文•佩恩(Irving Penn)。他们首次合作时，一组镜头的拍摄场地选在金蒙斯毕业后曾住过一年多时间的威尼斯。卡森说，"金蒙斯从泰莎那里学会了对手工艺术的珍视，以及对擅长并专注于这方面创作的人的欣赏。现在没有多少人还能具有这样的理解力。"此后，两人在生活和工作上一直携手共进。



Artists often talk about their 'process.' The way Kinmonth tells it, his process has always been about that permission thing. 'If you give yourself only permission to work for yourself -- be number one, all or nothing -- you might prevail but you might just as easily lose. But if you give yourself permission, first of all, to collaborate, to enjoy what other people bring, it doesn't have to be 'rule the roost' -- you become part of a team and make something.'


特斯蒂诺回忆说，"我遇到帕特里克时，他立即指出我应该做人物肖像。当时我正痴迷于做一个时尚摄影师，所以很难接受他的建议。"当然，现在，特斯蒂诺已经成为全球最顶尖的一位肖像摄影师。特斯蒂诺坦承，"金蒙斯总是正确的，而多年来，他所做的正是这个──帮助他人精益求精。"而这正是这个简单幕后故事的点睛所在。金蒙斯总是很乐于将自己的光芒隐藏在他人的成功下面。他自己也承认，"出风头不是我的菜。可能因为种种原因，我不愿在艺术上承担责任。"──而最简单的逻辑也许就是金蒙斯喜欢与人合作。



If it's reasonable to say that the essence of a truly successful collaboration is generosity of spirit, then that's one more thing Kinmonth was born to. 'I think it's essential to have the dynamic of challenge in a given relationship,' he declares, but at the same time, what longtime collaborators like Monfreda recognize is Kinmonth's ability to transmute challenge. 'One of the first things he taught me was that working is about solving problems, not making problems,' Monfreda says of a professionalrelationship that has produced some of the most memorable exhibitions of the past decade. 'It's very challenging to work with him, but he loves to give credit' -- the upcoming Valentino show at Somerset House being a case in point. Monfreda claims their main idea usually comes to them in the first few minutes they investigate a new space, and given the long catwalk-like room they had to work with at Somerset House, it seemed obvious to stage the exhibition as a fashion show -- except that it's the visitors who will be walking down the catwalk and the mannequins sitting in the audience. 'You're looking at the clothes in the service of another idea,' Kinmonth explains. 'That's almost a directorial idea. Can the clothes bring you into that jet-set Valentino world you're discussing?' Carsen insists this is one of Kinmonth's greatest talents: 'Often you want people to be wearing real clothes, not costumes, and when people are wearing 18th- or 19th-century dress, which doesn't feel contemporary to us, it's not as easy. But as a costume designer, Patrick is a fantastic clothes designer.'


艺术家常常谈论他们的创作"过程"。而金蒙斯描述起他的"过程"来，总是离不开那个"允许"的理念。"如果你只允许自己为自己工作──争强好胜，总是不容妥协，孤注一掷，也许你会一时得意，但到头来可能还是一场空。但如果给自己一定的空间，首先，允许自己去合作，去享受其他人的给予，没必要什么都要'称雄称霸'，成为团队的一份子，共同进行创造。"



Kinmonth's worktable certainly testifies to that. It is littered with costume ideas for upcoming productions that show his knack for vernacular detail, even in a 16th-century Spanish ruff. 'I would love to do a fashion collection,' he admits. 'Fashion is an extension of the opera costume making process, but it serves to illuminate the zeitgeist of fashion rather than the raison d'être of an opera libretto and a score.'


如果说，一个真正成功的合作的本质是慷慨精神，那么金蒙斯天生就被赋予了另一个使命。他宣称，"我认为不断的挑战对一个特定关系是必不可少的。"而与此同时，他的长期合作者（如蒙弗雷达等）发现，金蒙斯具有让挑战蜕变的能力。在谈及他们过去十年来创造出多场精彩展览的专业合作时，蒙弗雷达表示，"金蒙斯首先教会我的东西中，有一点是合作是为了解决问题，而不是制造问题。跟金蒙斯合作非常具有挑战性，但他毫不吝啬对他人的赞扬。"即将在伦敦萨默塞特宫举办的华伦天奴展览就是一个很好的例子。蒙弗雷达声称他们的重要灵感通常就在他们考察新场地的头几分钟产生，鉴于萨默塞特宫狭长形的类似秀场的房间，似乎从一开始就很明确应该将展览办得像一场时装秀一样，只是沿着T台走动的将是参观者，模特儿们则坐在观众席上。金蒙斯解释说，"你是在用另一种角度审视服装，这种角度接近于导演的视觉。这些服装能将你带入你所知道的充满奢华旅行风格的华伦天奴的世界吗？"卡森坚信这是金蒙斯最非凡的才能之一："你往往希望人们穿上真正的服装，而非戏服，而当人们身着18或19世纪一点也没有现代感的戏服时，要做到这一点并不容易。但设计歌剧戏服的帕特里克同时也是一位绝妙的服装设计师。"



'Why should you restrict yourself?' Carsen wonders. 'If you do more than one thing, you're supposed to be a dilettante. But, with Patrick, none of it is about being expert, it's about being passionate and minding enough to be curious.' Aside from the fact that passion itself is innately persuasive, Kinmonth's insatiable curiosity has helped mold a livelysignature for everything to which he applies his hand. A sterling example is his first show for the Met, 'Dangerous Liaisons,' in 2004, which explored the relationship between fashion, furniture and art in the 18th century. Kinmonth designed tableaux vivants that recreated vignettes from contemporary prints: a woman falling in a faint; a husband seducing a maid; a hairdresser up a ladder; tempering a sky-high hairdo celebrating some event of the moment -- all of them frozen in mid-activity. 'You saw it almost as a play, with an opening scene and a grand reveal,' recalls Anna Wintour, benefit chair of the MET's annual Costume Institute Gala. 'The room was quite imposing, but Patrick saw a way to bring static things to life, to make them accessible, with so much wit.' The coup de grâce was the faux sunlight that streamed through the windows of the Wrightsman Galleries. The sense of 'you-are-there' was so over- whelming that Jayne Wrightsman immediately asked Kinmonth to redo the rooms when the show ended.


金蒙斯的工作台显然可以证实这一点。上面堆着为接下来的工作准备的戏服创意，显示出他将细节用"现代语言"表现出来的本事，哪怕载体是16世纪流行于西班牙的拉夫领。金蒙斯承认，"我很想做一个时装系列，时装是歌剧服装制作过程的一种延伸，但它阐释的是流行的时代精神，而非某个歌剧剧本或配乐存在的理由。"



The same intimate approach will be applied to aspects of the Valentino show in Somerset House. In 2007, Kinmonth and Monfreda designed an exhibition at the Ara Pacis in Rome that was a soaring, imperial envoi to Valentino's career in fashion. In London, the emphasis is more intimate. 'We have pictures that were never meant to be seen by anyone except Valentino and Giancarlo Giammetti for their own albums and memories,' says Kinmonth. 'I was very keen for those pictures to inform the work so you can see it's not just coming from some beautifully organized, synthesized, perfected universe, but it actually comes out of the muddle of life -- lots of travel, lots of attempts, lots of second-goes. There's a roughness that makes you feel like you are there.'


卡森说，"人为什么要限制自己呢？因为如果一心二用，就会显得不够专业。但在帕特里克身上，所有事情都与成为专家无关，他做事完全出于洋溢的激情、不断的思考和由此带来的好奇心。"除了激情本身所固有的说服力，金蒙斯永不满足的好奇心也是他如此忙碌的一个生动诠释。2004年他首次为大都会博物馆做的"危险的关系"(Dangerous Liaisons)展览就是一个很好的例子，这场展览探讨了18世纪时尚、家具和艺术之间的关系。金蒙斯在设计展览场景时，借鉴当代版画，用木偶模特创造出插图效果：一个妇女呈晕倒状；一个有妇之夫在勾引女佣；一位理发师爬到梯子上，为一位女士做一个高耸的发型，看上去是为了参加某个庆祝活动......所有这些都定格了在动作发生的过程中。《Vogue》美国版主编、大都会博物馆年度时装学院慈善晚会(Costume Institute Gala)主持人安娜•温图尔(Anna Wintour)回忆说，"现场看上去就像一幕戏，有着开放的场景和一览无遗的效果。展览的房间庄严肃穆，但帕特里克却有办法赋予静态事物以生命，彷佛触手可及，而且如此幽默。"最绝妙的一个设计是穿过怀特曼画廊(Wrightsman Galleries)窗户的人造阳光，给人以强烈的"现场"感，以至于展览一结束，杰恩•怀特曼(Jayne Wrightsman)就让金蒙斯帮着重新设计了画廊。



And, finally, Don Giovanni, which Kinmonth has re-situated in 18th-century Venice, home to Casanova and librettist Lorenzo Da Ponte, whose roots in Venetian street theatre would have given the opera's original productions an abrasive topical edge as recognizable to contemporary audiences as Shakespeare's words were to the crowds at the Globe. 'The orthodoxy in opera has become to radically modernize at all costs, to strip away the historical context and put it as fiercely and directly into modern life as you possibly can,' says Kinmonth. 'And that was definitely necessary. Opera was mired in a 19th-century way of doing things. But now is the moment when we need to go beyond the new orthodoxy. Let's try and find a way to enter into the original spirit of what this piece was about, to play with the tension between an 18th-century text and a 21st-century context.'


这种营造亲近感的方法也将被运用到华伦天奴在萨默塞特宫的展览中。2007年，金蒙斯和蒙弗雷达在罗马的和平祭坛博物馆(Ara Pacis)策划了一场展览，彷佛高唱赞歌的帝王使节，将华伦天奴本人的时尚生涯华丽地呈现在参观者眼前。而在伦敦的展览中，亲近感将更加凸显。金蒙斯表示，"这次展出的一些照片是从未打算对外公开的，都是华伦天奴和杰卡罗•吉米迪(Giancarlo Giammetti)用作留念的私藏。我很期待这些照片能够传递出他们真实的工作状态，让参观者不止看到一些经过精心组织、合成或美化的东西，而是真正来自于生活中间──大量的旅行，不断的尝试，无数次的返工。它们所呈现出的坎坷和起伏，会令人感同身受。"



Shakespeare continues to be a reference point. 'He has it -- the greatest poetry, the most ordinary, recognizable characters.' And that clarifies Kinmonth's challenge with opera. 'How to make it conversational,' he muses. 'Especially when opera is great conversations.' Meeting that challenge would undoubtedly go a long way to addressing the never-ending debate about opera's place in modern culture. Kinmonth, for one, seems to have latched on to an analogy that is alluringly accessible. 'When you direct opera, you have the possibility to do something very minutely because the music gives you the total framework: The aria starts here, ends there, in precisely three and a half minutes. It's the closest thing to making a movie but, instead of a cam- era, it's done like a rehearsal, in front of an audience.' That's why he feels the preeminence of Luchino Visconti and Franco Zeffirelli in 20th-century opera is no coincidence. 'They both came from film and they revitalized opera with the kind of behavior you'd see in a movie.'


最后，通过歌剧《唐璜》，金蒙斯重新描绘了18世纪的威尼斯──意大利冒险家卡萨诺瓦(Casanova)和剧作家达庞特(Lorenzo Da Ponte)的故乡，他们在威尼斯街头剧场的根基本应赋予这部歌剧的原作一定程度的"打磨"优势，使之仍能在当代观众中引起共鸣，就像莎士比亚的名言在全世界都能传播一样。但是，金蒙斯表示，"现在，歌剧界普遍喜欢不顾一切地追求现代化，甚至完全脱离歌剧原有的历史背景，以一种粗暴和直接的方式，竭尽全力地置之于现代生活。"他说，"当然，这么做是一个必然的过程。歌剧一度沉陷于19世纪的旧做派。但现在，是时候继续寻求突破了。我们要尝试找到一种方式，既能参透歌剧原作所传递的精神，又能在18世纪的古老剧本和21世纪的现世背景之间自在游走。"



Again, the you-are-there immediacy. 'The pinch of your soul that makes you think you're real,' Kinmonth calls it. 'A sense of discovery that is actually the most exciting thing, because it's proof that you are in the moment. That I suppose, loftily, would be my operatic ambition. You're sitting in an opera house with a lot of other people and you suddenly think, Oh my God, I'm actually alive, I am here, this is happening, and now it's over and if I don't remember it, it's gone. And there's no way of pulling it back.'


在这方面，莎士比亚依然值得借鉴。"他用最平实的市井语言，写出了最伟大的诗作。"而这正是金蒙斯在做歌剧时所面对的挑战。他沉思着说，"如何令其口语化，特别是对于有大段大段对白的歌剧？"面对这样的挑战，要为彷佛永无休止的关于歌剧在现代文化中地位的争辩盖棺定论，无疑会有很长的路要走。但金蒙斯似乎就是快要接近答案的人之一。他说，"导演歌剧使我们有了完成某些精细活的可能性，因为音乐已经给定了大框架：咏叹调从这里开始，到那里结束，中间不多不少，三分半的时间。它很像拍电影，只是少了摄像机，就像正式开拍前对着观众进行一次排演一样。"正因如此，他深信卢奇诺•维斯康蒂(Luchino Visconti)和弗兰科•泽菲雷利(Franco Zeffirelli)在20世纪歌剧界所取得的突出成就绝非偶然。"他们都来自电影界，把电影中的表现手法带入了歌剧，赋予了歌剧新的活力。"



And right there, in that romantic, melancholyacknowledgment of the necessity and the transience of beauty, is the key that unlocks the protean Patrick Kinmonth.


没错，就是那种令人身临其境的现场感。金蒙斯是这样描述的："那种对灵魂的冲击会让人觉得自己非常真实。"他说，"发现感实际上是最令人兴奋的事情，因为它证明你当时当刻正身处其中。拔高点儿来说，我想这就是我在歌剧上想要实现的目标。当你坐在歌剧院，周围都是观众，突然间你意识到，哦，天啊，我竟然活着，活在这个情节里，这是正在发生着的真事儿。而现在，事情刚刚过去了，如果我不再记得，它就那样消失了。再也没有办法把它找回来。"



TIM BLANKS

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