Trans/Bolero/Drag/Migration: Music, Cultural Translation, and Diasporic Puerto Rican Theatricalities
Trans/Bolero/Drag/Migration: Music, Cultural Translation, and Diasporic Puerto Rican Theatricalities
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跨性别/波莱罗/变装/移民：音乐、文化翻译和流散的波多黎各戏剧
DOI：
10.1353/wsq.0.0118
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发表时间：
2008
期刊：
影响因子：
--
通讯作者：
L. Fountain
中科院分区：
文献类型：
--
作者：
L. Fountain
波莱罗舞曲是一种诱惑的音乐。王家卫深知这一点，这也是为什么在王家卫的《花样年华》（2000）中，波丽罗斯会以一种特殊的方式陪伴张曼玉和梁朝伟成为绝望的恋人。这是一部以20世纪60年代的香港为背景的怀旧电影，穿插着经典的拉丁美洲歌曲，由纳特·金科尔用带着浓重口音的西班牙语演绎。一部新千年的电影，以其后现代先锋风格为标志，但同时又非常保守，正如斯蒂芬·张（2001）指出的那样，与其传统的戏剧性浪漫情节有关;这是一部粤语和上海话的电影，配乐由一位以征服许多人的心而闻名的非洲裔美国人表演，黄西对拉丁美洲所有事物的吸引力是众所周知的。早些时候，在他1997年的电影《幸福在一起》中，导演将张国荣和梁朝伟描述为两个忧郁的香港男同性恋侨民，他们在布宜诺斯艾利斯的痛苦经历与《花样年华》中的痛苦经历相似。在《快乐在一起》的第一批照片中，有一张令人惊叹的伊瓜苏瀑布的航拍照片，伴随着巴西人Caetano Veloso的音乐，他不是用葡萄牙语而是用西班牙语演唱，就像他在专辑《Fina estampa》中所做的那样。西班牙电影导演佩德罗·阿尔莫多瓦（Pedro Almodovar）--他是波莱罗舞曲和拉丁美洲歌曲的忠实爱好者--在2002年的《与她交谈》中再现了这种语言姿态。在这部电影中，我们看到一位西班牙女斗牛士和她的阿根廷男记者朋友在听卡埃塔诺的演唱，卡埃塔诺在他们眼前用西班牙语演唱《Cucurrucucu Paloma》。值得注意的是，这是同一个huapango在西班牙电影中的王家卫的电影-一首歌曲由萨卡特坎作曲家托马斯门德斯，是不朽的伟大洛拉贝尔特兰。但这里是雌雄同体的Caetano，几年前，他在他的歌曲“O leaozinho”中公开宣布他对一位年轻，阳光普照的男性Bahian冲浪者的吸引力。（小狮子），同一个巴西歌手，其大型音乐作品的特点是模糊和性/性别游戏，如塞萨尔布拉加-平托（2002年）所观察到的;在朱莉·泰莫2002年的电影《弗里达》中，同样是卡埃塔诺，她和莱拉·唐斯一起用英语演唱，其中也出现了女男性双性化的查韦拉·巴尔加斯的女主人公。2在《葫芦娃》中，卡埃塔诺唱出了一个情人对他缺席的爱的哀叹，哭泣，痛苦，歌唱，呻吟，经过饥饿，最后死于“凡人的激情”，之后他的灵魂变成了一只鸟-爱和死亡，被音乐形式绑在一起。伴随着卡埃塔诺和探戈，快乐在一起的同性恋爱好者重建他们的生活作为短暂的移民在阿根廷，并成为当地的足球激情，伴侣（草药输液）和牛肉，虽然，正如弗朗辛·马塞洛指出的那样，这一过程的特点是亚洲移民工人所经历的分离，他们遭受语言异化和经济贫困，in the Southern Southern Cone（2001，141- 143）.同性恋的激情本身是通过舞蹈来调解的，在舞蹈中，主角们无言地参与到他们租来的小房间的隐私中：类似于萨尔玛·海耶克的舞蹈（饰演弗里达）和阿什利贾德（饰演蒂娜·莫多蒂）在《弗里达》中的一个场景中，两个女人跳舞，而莱拉·唐斯唱着《阿尔科巴阿苏尔》，不同的是，在后者中，她们的公众默默地注视着并渴望着她们。这种音乐激情并非巧合：探戈在许多色情和情感方面，是布宜诺斯艾利斯的墨西哥-加勒比波莱罗，葡萄牙法多，南方布鲁斯以及许多其他产生激情歌曲的流派的等价物，正如Iris Zavala（2000）在El Bolero：Historia de un amor中所建议的那样。所有这些20世纪的音乐形式，现代性（及其内在矛盾）的明确标志，都与对不可能的深刻渴望，对完美爱情的渴望交织在一起：渴望痛苦地承认那些遥不可及的东西。…
Bolero is a music of seduction. Wong Kar-wai knows it well, and that is why boleros accompany Maggie Cheung and Tony Leung extradiegetically as they become desperate lovers in Wong's In the Mood for Love (2000), a nostalgic film set in 1960s Hong Kong and interlaced with classic Latin American songs, interpreted by none other than Nat King Cole in a heavily accented Spanish. A movie for the new millennium, marked by its postmodern vanguardist style, but at the same time profoundly conservative, as Stephen Teo (2001) points out in relation to its traditional melodramatic romantic plot; a film in Cantonese and Shanghainese, with a soundtrack performed by an African American heartthrob well known for conquering many hearts, here and there.1 Wong's attraction to all things Latin American is well known. Earlier, in his deceivingly titled 1997 film Happy Together, the director had presented Leslie Cheung and Tony Leung as two melancholy gay male Hong Kong expatriates in Buenos Aires whose amorous travails anticipate those of In the Mood for Love. Among the first images in Happy Together is a stunning aerial shot of the imposing Iguazu waterfalls, accompanied by the music of the Brazilian Caetano Veloso, singing not in Portuguese, but in Spanish, as he does in his album Fina estampa. This linguistic gesture is reproduced by the Spanish film director Pedro Almodovar - a faithful lover of the bolero and of Latin American songs - in Talk to Her, of 2002, where we see a Spanish lady bullfighter and her male Argentinean reporter friend listening to Caetano, who sings "Cucurrucucu Paloma" in Spanish before their eyes. It is noticeable that it is the same huapango in the Spanish film as that in Wong's movie - a song by the Zacatecan composer Tomas Mendez that was immortalized by the great Lola Beltran. But here it is the androgynous Caetano, who years before had openly declared his attraction to a young, sun-drenched, male Bahian surfer in his song "O leaozinho" (The Little Lion), the same Brazilian singer whose large musical production is marked by ambiguity and sexual/gender games, as Cesar Braga-Pinto (2002) has observed; the same Caetano who sang in English, with Lila Downs, in Julie Taymor's 2002 film Frida, in which the grande dame of female masculine androgyny Chavela Vargas also appeared.2 In "Cucurrucucu," Caetano sings of a lover's lament for his absent love, crying, suffering, singing, moaning, passing through hunger, and finally dying of "mortal passion," after which his soul turns into a bird-love and death, tied together by the musical form. Accompanied by Caetano and the tango, the homosexual lovers of Happy Together reconstruct their lives as fleeting immigrants in Argentina and become local in their passion for futbol (soccer), mate (the herbal infusion), and beef, although, as Francine Masiello points out, the process is marked by the disjunctures experienced by Asian migrant workers, suffering from linguistic alienation and economic poverty, in the Southern Cone (2001, 141-43). The homoerotic passion itself is mediated by the dance in which the protagonists wordlessly engage in the privacy of their small rented room: a dance similar to that of Salma Hayek (in the character of Frida) and Ashley Judd (playing Tina Modotti) in a scene from Frida in which the two women dance while Lila Downs sings "Alcoba Azul," with the difference that in the latter, their public watches and desires them in silence. This musical passion is no coincidence: the tango, in many erotic and sentimental ways, is the Buenos Airean equivalent of the Mexican-Caribbean bolero, of the Portuguese fado, of the Southern blues, and of many other genres producing explicit songs of passion, as Iris Zavala (2000) suggests in El bolero: Historia de un amor. All these twentieth-century musical forms, clear markers of modernity (and of its inherent contradictions), are intercrossed with a profound desire for the impossible, for the perfect love: the longing for the painful recognition of that which is beyond reach. …