翻译&科普 音乐剧中“十一点钟歌曲”的定义和用途11 O'Clock Numbers in Musicals

2023年8月6日发(作者：桑调元)

200条眼镜蛇外逃-

中文翻译本身，允许引用或摘编。禁止全文转载。

中文翻译的引用和摘编的要求是，需要注明这个说法的英文来源（不强制要求是否注明翻译译文来源）：要么注明英文原文标题，要么注明英文原文链接；如果因故无法规范标注来源，最低要求是，注明这个说法的出处是“PLAYBILL网站”。

如果引用/摘编本译文，却不注明英文原文出处，如被我发现，我会截图示众。

这么做没有别的意思，我只是希望引用术语的解释的时候，应当规范注明这种解释的来源。我管不了太多人，自然就从我做起。免得再次出现“四大音乐剧”，“概念音乐剧”这种望文生义越用越错的东西。

原文标题："This Time For Me": The Essential 11 O'Clock Numbers

原文链接：/article/this-time-for-me-the-essential-11-oclock-numbers-com-324660

作者及刊登日期：

BY BEN RIMALOWER

JULY 19, 2014

“轮到我出场”：不可不听的“十一点钟歌曲”

作者 BEN RIMALOWER

刊登日期 2014年7月19日

通讯员Ben Rimalower提供了一份百老汇音乐剧当中，最激动人心的十一点钟歌曲的曲目单。

“十一点钟歌曲”是音乐剧当中最容易被望文生义的术语。在过去，演出开场时间是晚上8:30（或8:45），晚上11点正属于演出开始收场的时刻；于是，十一点钟的曲目，就可以一石二鸟地承担起一些功能。这其中的重点是，十一点钟歌曲是一个激动人心的高光时刻的唱段，能够让观众在演出结束的那一刻非常满足；它也是一段容易被人记住的旋律，观众可以哼着它离开剧场；而且，它通常是一些积极向上的曲调，可以使观众的心情快活起来。随着有剧情的音乐剧越来越依赖角色来推动一整个演出，十一点钟歌曲就成了主角可能会梦想成真或者内心发生转变的时刻，这一刻能够使得剧情完结。在Lehman Engel/BMI工作坊（译注：这个工作坊是位于纽约，帮助音乐剧的词曲作家/剧本作家进行剧目创作的一个机构）提供的音乐剧的结构模型当中，你可以把十一点钟歌曲看成是，像书立把书籍支撑起来那样，能够把第二幕的收尾立住的那一个东西；而另一侧的“书立”是，某个特定角色在第一幕中演唱的“我想要”曲目。显而易见，会有各式各样的歌曲占用“十一点钟”的位置（或者更有可能的，在今天是10:15），然后，它们总会有用途上的例外的。

（译注：“I want” song（“我想要”曲目），又称为"I wish" song。音乐剧中的一种曲目类型；角色用它来表达对现状的不满，介绍他们所寻求的事物。迪士尼动画电影大量使用这种歌曲，使得这一词汇为人熟知。

与之对应的还有“I am” song（“我是谁”曲目），作用是在角色出场的时候用来介绍角色的身份及其行事动机。

这两种曲目通常出现在音乐剧中第一幕，又统称为“the character song”（角色歌）。译注转引自维基百科。）

correspondent Ben Rimalower offers a collection of the most exciting 11 o'clock numbers from Broadway musicals.

The 11 o'clock number is the greatest misnomer in musical theatre. In the old days, when showtime was 8:30 (or 8:45), 11 PM was just when things were about to start wrapping up and the 11 o'clock number could kill a few birds with one stone. First and foremost, the 11 o'clock number was an invigorating highlight to leave the audience delighted at the end of the show, a memorable melody they could leave the theatre humming, and often something of an up tune to brighten their mood. As book musicals became more character-driven, the 11 o'clock number was when the main character might have the realization or change-of-heart to bring the story to a close. In the Lehman Engel/BMI Workshop model for musicals, you could think of the 11 o'clock number as the bookend to the character's Act One "I want" song. Of course, lots of songs have occupied the 11 o'clock space (or 10:15 as it tends to happen nowadays) and they can't be all things to all people.

滑动浏览，继续阅读我选出的最佳十一点钟歌曲。

Click through to read my selections for the top eleven o'clock numbers.

11. "So Long, Dearie" from Hello, Dolly!《你好，多莉！》的《So Long, Dearie》

It may start out silly, as Dolly's hilarious "goodbyes" seem to be another manipulation — sarcasm? reverse psychology? — to finally win over Horace Vandergelder, but "So Long, Dearie" soon escalates into a jubilantly defiant anthem of independence and personal empowerment. With a title song as insanely popular as "Hello, Dolly!" there's perhaps little room for discussion of an 11 o'clock number, but no one who sees Hello, Dolly overlooks "So Long, Dearie."

10. "The Winner Takes It All" from Mamma Mia! 《妈妈咪呀！》的《赢者通吃》

No, it wasn't written for a musical (as everyone on earth knows, Mamma Mia! is comprised of pre-existing ABBA hits), but "The Winner Takes It All" is so dramatic and theatrical, it inspired producer Judy Craymer to conceive of Mamma Mia! and the entire plot is based around the story inherent in the song. I'm sure I'm not the only belter-loving musical theatre fan who went to see Mamma Mia! with his arms crossed, attempting to resist the onslaught of earworm pop and then finally caved to the emotional and vocal explosion of "The Winner Takes It All."

9. "Memory" from Cats 《猫》的《回忆》

If the producers of Mamma Mia! thought they had a chance selling pop power ballads on Broadway, they certainly got the idea from the original pop Broadway power ballad mega-hit "Memory," from Cats. It's a dance theatre piece about our feline friends until Grizabella steps out to sing her big song. Andrew Lloyd Webber hit his peak pop relevance just as his pure operatic inclinations were revealing themselves, resulting in his musical apotheosis.

8. "I Know Where I've Been" from Hairspray《发胶星梦》的《I Know Where I've Been》

"I Know Where I've Been" is an example of an 11 o'clock number sung, not by the main character, but by a secondary character expressing a common theme of the show. Hairspray is, after all, not just the story of Tracy Turnblad's quest to dance on TV and find true love, but the larger movement of racial integration and social change against which she struggles. This movement is given heart and soul by Motormouth Mabel in Marc Shaiman and Scott Wittman's tearjerking, goosebump-inducing Motown-adjacent R&B gospel power ballad.

7. "Fifty Percent" from Ballroom《舞会现场》的《百分之五十》

Few songs in modern musical theatre pop out and stand alone as strongly as the exciting and passionate "Fifty Percent." As powerful as it is out of context, it must have been beyond the beyond to see Dorothy Loudon, after an evening spent torn Between her unsatisfying life and an unavailable man, come out and declare her unabashed love and commitment to him.

6. "If He Walked Into My Life" from Mame《梅姑》的《如果他进入我的生活》

Mame has a lot of great songs, but near the top of everyone's list will be "If He Walked Into My Life." Clearly conceived as an 11 o'clock showstopper, "If He Walked Into My Life" always delivers the emotional and visceral goods, whether on stage, in concert or on disc.

5. "Back To Before" from Ragtime《拉格泰姆时代》的《回到曾经》

在《拉格泰姆时代》所描绘的错综复杂的社会与城市的转型过程的画面中，各色人等登台亮相，成为关于那个年代的故事中的焦点。剧情最终交织在一起，此时，做母亲的角色就是该剧的主心骨，她演唱出高潮曲目《回到曾经》。这是一首关于女性的颂歌，能够引起人们普遍的共鸣。

In the swirling social and civic upheaval depicted in Ragtime, various characters take the stage and the focus of the story for periods of time. It all comes together with Mother as the rock at the heart of the show when she sings the climactic "Back To Before," an anthem for women with resonance across a wider spectrum.

4. "Cabaret" from Cabaret《卡巴莱》的《卡巴莱》

"Cabaret" serves as more than a typical 11 o'clock number in Cabaret; it is also the portal wherein the two axes of the score fuse (the book songs' axis where the characters sing as if they live in a musical world and the diegetic songs' axis where the characters perform songs on stage in the Kit Kat Klub). Sally begins "Cabaret" as a performance at the Kit Kat Klub, but by the end of the song, we forget we are watching a scene at the club, and experience Sally singing from her heart to the audience of Cabaret.

3. "Lot's Wife" from Caroline, or Change《卡罗琳的零钱》的《Lot's Wife》

The heart-stopping climax of Tony Kushner and Jeanine Tesori's Caroline, or Change is perhaps the ultimate realization of the 11 o'clock number in a book musical; "Lot's Wife" occupies that spot in the show purely on dramatic power, without any reliance on Broadway razzmatazz. It is a rare achievement for a moment in a musical to have the integrity of a great play without sacrificing any of the carnal pleasures of musical theatre. Tonya Pinkins's Broadway performance as Caroline embodied this with singular pathos and glory, and the material will shine for generations.

2. "I'm Going Back" from Bells Are Ringing《Bells Are Ringing》的《I'm Going Back》

High ranking among the classic musicals people complain don't work without the idiosyncratic original star, Bells Are Ringing was certainly a tour de force for the great Judy Holliday, as exhibited by her performances both on the sterling original cast recording and in the enjoyable 1960 film adaptation. Only a pull-out-all-the-stops socko showpiece could top everything Holliday had done in the show by 11 PM, and that is exactly what Jule Styne, Betty Comden and Adolph Green gave her in "I'm Going Back."

1. "Rose's Turn" from Gypsy《玫瑰舞后》的《萝丝出场》

The mother of all 11 o'clock numbers, "Rose's Turn" is the apex of traditional musical comedy as well as the dawn of darker, contemporary musical theatre. The song reprises various melodies and tropes heard in the show, inverting their context and reframing them for Rose's cataclysmic breakdown — the moment the entire evening has built towards.

(Ben Rimalower is the author and original star of the critically acclaimed Patti Issues, currently on a worldwide tour. Read more about the solo show here. Visit him at and follow @benrimalower on Twitter.)

（Ben Rimalower是本文作者以及备受赞誉的独角戏《Patti Issues》的初代主演，目前正在进行一趟环球旅行。点击此处了解独角戏的更多信息。您可以在他个人网站和推特上关注他。）

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