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/etc/nginx/nginx.conf.【音乐剧：票房火爆】
【音乐剧：票房火爆】
Musical theatre音乐剧The tills are alive票房火爆The musicals business is bigger, more global and more fabulous than ever音乐剧产业越做越大：无论是全球化程度，还是赚钱效应，都是以前所无法比拟的May 4th 2013 |From the print edition of The Economist中文音频英语音频IN MEL BROOKS'S film “The Producers”, two men plot to make a fortune from a flop. They raise more money than they need to stage a musical, by selling all the shares in it several times over. Then they try to make the worst show ever: “Springtime for Hitler”. They assume it will close in a night and they will be able to abscond with the cash, since no investor will demand a cut of non-existent profits. To their horror, the audience loves it.由梅尔·布鲁克斯执导的影片《金牌制作人》讲述了这样一个故事：两个大男人密谋通过一场失败来发一笔横财。随后，为了筹集到上演一部音乐剧所需要的资金，他们将该剧的股份反复出售了数次，结果不仅资金不成问题，而且还绰绰有余。钱到手后，他们又开始千方百计地想把这部音乐剧打造成有史以来最烂的作品。为此，他们给它取名为《希特勒的春天》。根据他们的设想，这部音乐剧也就是一个晚上的命运；之后，他们就可以带着现金逃之夭夭。这是因为，既然不存在利润，何来投资人的分红要求。但是事件的发展令他们惊讶不已：这部音乐剧不但没有失败，反而一炮走红。Musicals are risky in real life, too. So when David Geffen, a showbiz mogul, approached Mr Brooks about turning his movie into a musical over a decade ago, Mr Brooks dragged his feet. Mr Geffen tried to convince him it was worth the hassle: he had made more money on the musical “Cats” than on any film he had ever made. This helped win over Mr Brooks, says Alan Schwartz, his lawyer. They put “The Producers” on Broadway (see picture). Mr Brooks made a packet.在电影中，音乐剧被描述成一项有风险的投资。在现实生活中，事实也是如此。于是，当娱乐业大亨大卫·格芬在十年前找到布鲁克斯，建议他把这部电影改编为音乐剧时，布鲁克斯陷入了犹豫不决之中。为了说服他冒险一试，格芬无所不用其极。据布鲁克斯的律师艾伦·施瓦茨说，当格芬告诉布鲁克斯，《猫》这部音乐剧给他赚到的钱超过他之前投资的任何一部电影后，布鲁克斯才下定了决心。在两人的合作下，《金牌制作人》被搬上了百老汇的舞台，布鲁克斯也赚得盆满钵满。“You can't make a living, but you can make a killing,” goes the Broadway adage. Musicals have odds like venture capital: only one in ten makes money, and two out of ten lose it all. The hits, however, are huge (see table). “Cats” probably made a 3,500% return for its initial investors. Since it debuted in London 27 years ago “The Phantom of the Opera”, a musical by Andrew Lloyd Webber, has grossed $5.6 billion worldwide, more than any film or television show.关于音乐剧，百老汇流传着这样一种说法：“你不能指望以此为生，却能靠它来赚大钱”。这种情况有点类似于风险投资：十人之中，赚钱的只有一个人，而输光了本钱却大有人在。然而，一旦获得成功，等着你的将是巨大的回报。例如，音乐剧《猫》可能为初始投资者带来了35倍的回报；自从27年前在伦敦首演以来，安德鲁·劳埃德·韦伯的《歌剧魅影》已在全球收获了高达56亿美元的票房，这是任何一部电影或是电视节目都难以望其项背的成就。Musicals had their first big boom in the 1940s, when Rodgers and Hammerstein wrote “South Pacific” and “Oklahoma!”. In the 1980s Mr Lloyd Webber and Cameron Mackintosh, another Brit, invented the “mega musical”, with big-budget shows such as “Phantom” and Mr Mackintosh's “Les Misérables”. Now the business is belting out high notes again, with new shows, new markets and new interest in old hits.上世纪四十年代，随着罗杰斯和汉默斯坦的《南太平洋》和《俄克拉荷马！》的成功，音乐剧迎来了第一次大繁荣。到八十年代，劳埃德·韦伯和另一名英国人卡梅隆·麦金托什又发明了高成本大制作的“超级音乐剧”，其代表作为《歌剧魅影》和麦金托什的《悲惨世界》。如今，这一行业再次高歌猛进，新剧目不断涌现，新市场日益扩大，而之前曾大获成功的老剧目也不断给制作人带来新的利润。Unlike films, musicals can run in theatres for decades. “The Lion King”, based on a Disney film, has prowled on Broadway since 1997. Shows can charge a lot for all that jazz. A ticket for the “The Book of Mormon” on Broadway can cost $477, plus fees, and even more if bought from a tout.音乐剧不同于电影，它舞台寿命可以历经数十年而不衰。例如，自1997年以来，取材于迪斯尼电影《狮子王》的同名音乐剧就一直霸占着百老汇的舞台。同时，音乐剧还可以让观众心甘情愿地为剧中的炫目歌舞而掏腰包。例如，在百老汇，一张《魔门经》的门票能够卖到477美元。如果要是算上小费，或是从黄牛党手中购票的话，价格还要高出许多。Musicals in America will probably generate $1.9 billion in revenue this year, according to IBISWorld, most of that will come from tours beyond Broadway. Once a musical has been branded a success, producers roll out national tours. “Apart from holiday weeks it is hard to do $2m weeks” for big shows on Broadway, says John Gore, the boss of Key Brand Entertainment, a musical production, touring and ticketing firm. “On the road you can have $2m weeks all year long.”据市场调研公司IBISWorld预测，在美国，今年的音乐剧票房可能会达到19亿美元，而且其中绝大部分来自于百老汇之外的巡回演出。音乐剧一旦走红，制作人就会组织全美巡回演出。Key Brand Entertainment的老板约翰·戈尔说，对于大型音乐剧而言，“除了节假日之外，每周的票房难以达到200万美元；而在全美巡回演出过程中，一年到头，周周都能挣到200万美元。”Key Brand Entertainment是一家负责音乐剧制作、巡回演出和票务的娱乐公司。Musicals have long toured in English-speaking countries, Japan and Europe. In Germany, where musicals grossed nearly EUR600m ($455m) in 2011, nearly a tenth of the population goes each year. It is the third-largest musical market after America and Britain. Western musicals are spreading to South Korea, Brazil, Russia and other emerging markets. China and India, which are starting to build big theatres, could become lucrative within five years.音乐剧在英语国家、日本和欧洲等地的巡回演出一般要持续较长的时间。在德国，每年都去看音乐剧的人数接近全国总人口的十分之一，该国2011年的音乐剧票房将近6亿欧元（约合4.5亿美元——译者注：TE的编辑是不是在发昏？难道美元比欧元还值钱吗？），这使她成为紧随美国和英国之后的第三大音乐剧市场。西方音乐剧正在向韩国、巴西、俄罗斯和其他一些新兴市场扩展。中国和印度也已经开始建造大型剧场，这两个国家有可能成为今后五年内有利可图的市场。Western musicals either run in English with subtitles or are put on by actors in the local language. It helps to have been a hit on Broadway, but it is not essential. Disney's “Tarzan”, a musical about a brawny man who swings on vines, fell flat in New York but soared in Germany.在演出时，西方音乐剧或是使用配有字幕的英语，或是使用演出所在国的语言。音乐剧借助这种做法在百老汇取得了成功，但是，在别国演出时，音乐剧的内容才是必不可少的。例如，迪斯尼公司的《泰山》讲的是一位肌肉男在林间晃来当去的故事，这部音乐剧在纽约演出时反响平平，但是到了德国却轰动一时。In mature markets popular television shows, such as “Any Dream Will Do”, in which people vie to be cast in musicals, have attracted a younger crowd into theatres. “People have now grown up with musicals, and the audience has expanded vastly,” says Mr Mackintosh. And people are willing to fork out for a night out. Spending on Broadway musicals was resilient during the downturn, partly thanks to tourists. Big shows are doing well even in crisis-hit Spain, notes Mr Mackintosh.在成熟市场上，由于《梦想成真》等电视选秀节目需要参与者为了获得音乐剧中的一个角色而激烈竞争，因此此类节目将一批年轻的观众吸引到剧场中来。麦金托什说：“如今，人们都是随着音乐剧一起长大的。因此，观众人数大大增加了。”同时，人们也愿意为看一场音乐剧而付出整个晚上的时间。在经济低迷时期，人们花在百老汇音乐剧上的开销不仅没有减少反而有所增加，这部分应归功于游客。麦金托什指出，甚至在深陷危机的西班牙，大型音乐剧依旧能有不错的票房。The business today is not all song and dance, however. Margins are not what they were. Labour costs, especially in unionised New York, have risen, as has the price of theatre rentals, sets and costumes. David Ian, a British producer, reckons that putting on a musical is three times costlier than it was 20 years ago. “When I first started, if you had a hit show you'd expect to make your money back in 20-25 weeks,” he says. “Now you'd absolutely expect a year.” Producers are losing more of their profits to intermediaries. “If you want to make money off of theatre, open a ticketing company,” harrumphs one producer.如今，歌舞只是该产业的一部分，能否赚钱才是制作方最关心的问题。从目前来看，这一行业利润已经不比以前。随着剧场租金和道具费用的提高，劳动力成本也在上升，这一问题在到处是工会组织的纽约尤其严重。据英国制作人戴维·伊安估计，同20年前相比，现在制作一部音乐剧的费用是当时的3倍。他说：“在我刚出道那会儿，如果你的剧作走红了，你可以期待着在20-25周后收回本钱。而如今，这个时间绝对需要一年。”制作方的利润大都被中介机构赚走。一位制作人抱怨道：“假如你想靠舞台挣钱的话，不如开一家票务公司。”Musical-goers now expect more spectacle. “Spider-Man: Turn Off the Dark” is thought to have cost $60m, because actors fly across the stage. Other big musicals have seen their budgets scale skyscrapers, too. Opening a big musical on Broadway can cost $10m-15m, and then another $500,000 a week to run it.音乐剧的观众也在期待着更加精彩的表演。以《蜘蛛侠：终结黑暗》为例，由于演员要在演出的过程中飞越整个舞台，据说这部音乐剧的成本已经达到了600万美元。至于大制作的音乐剧，它们的预算更是在以火箭般的速度上升。据估计，如今在百老汇推出一部大型音乐剧的成本在100万-150万美元之间。如果制作方想继续运作下去，每周还得另外再支出50万美元。So producers and investors crave recognisable brands. Of the four Tony nominees for best musical, announced on April 30th, two were well-known films (“A Christmas Story” and “Bring It On”) and one a famous children’s book that had also previously been filmed (“Matilda”). “Juke box” musicals, which weave popular songs into a threadbare plot, are also in vogue. Critics say “Book of Mormon” was an unlikely hit, but its writers had “South Park”, the TV show they created, behind them.因此，公认的成名剧作就成了制作方和投资方的追捧对象。在4月30日公布的托尼奖入围名单中，获得最佳音乐剧提名的共有四部作品。其中两部（《圣诞故事》和《魅力四射》）是根据著名电影改编而来，还有一部（《小魔女》）虽说是取材于儿童读物，但是也曾经被改编成电影。在无厘头情节中加入流行歌曲的“点唱机”音乐剧也是获奖的大热门。《魔门经》虽然不被评论界看好，但是由于该剧的作者是流行电视节目《南方公园》，因此也获得了成功。An industry once composed of scrappy producers has become more corporate. Hollywood studios have muscled in. Studios have always licensed r now they are trying to produce them on stage. Disney led the way. Universal Pictures struck accidental gold with “Wicked” (the studio had bought the rights to turn the book, about the Wicked Witch of the West, into a film, but was later approached to make it into a musical, which has grossed $3 billion). In May Warner Bros will help bring “Charlie and the Chocolate Factory” to the West End.这个一度由内讧不断的制作人参与其中的产业，如今已经变得更加企业化。随着好莱坞制片公司跻身其中，过去那种总是将版权授予电影的做法已经不再流行，取而代之的是，各家公司都在力争把故事搬到舞台上去上演。在这方面，迪斯尼公司走在了前面。除此之外，环球影业也因《女巫》而收获意外的成功（该公司在购得《西方女巫》一书的版权后，原本准备将其改变为电影；但随后又改变主意，将该书改变为一部音乐剧，并且获得了30亿美元的总票房。）同时，华纳兄弟也准备在今年5月把《查理和巧克力工厂》搬上伦敦的西区剧院。More musicals are opening in non-traditional towns and moving to Broadway and the West End after kinks have been worked out. A revival of “Dreamgirls”, with music by the Supremes, opened in South Korea and came to Broadway later. Chinese producers are hoping to develop a Chinese-language show, “Shanghai, Shanghai”, and eventually take it global. Stage Entertainment, a European production firm, worked with Sylvester Stallone to turn “Rocky”, a film about a boxer, into a musical. It opened in Hamburg, in Germany, last year. Next year “Rocky: Das Musical” will open in English on Broadway.当各种症结被理顺之后，越来越多的音乐剧开始“反其道而行之”：那些没有音乐剧传统的城镇已经取代百老汇和伦敦西区剧院，成为新剧作的首演之地。例如，由美国Supremes组合创作的《梦幻女郎》的翻版作品就是先在韩国首演，随后才被搬上百老汇舞台的。在中国，为了把《上海，上海》等中文音乐剧推向全球，那里的制作人正在满怀希望地做着改进的工作。在欧洲，制作方“舞台娱乐”公司已经同西尔维斯特·史泰龙合作，把讲述拳击手生涯的《洛奇》改编为音乐剧，并于去年在德国汉堡进行了首演。除此之外，他们还准备在明年把英文版的《洛奇：从音乐剧出击》搬上百老汇的舞台。A hit about hitting people (while singing) may sound odd, but this is an odd business. The producers in “The Producers” speak for the whole industry when they ask: “Where did we go right?”讲述社会边缘人物故事的作品（还是用歌舞的形式）能够走红？听起来有点不可思议，但这就是一个与众不同的产业。当《金牌制作人》中的制作人发出“我们将会走向何方？”这一问题时，他们已经替整个产业说出了自已的疑惑。
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/etc/nginx/nginx.conf.Springtime for Hitler, Pt. 1-Mel Brooks, Springtime for Hitler, Pt. 1MP3下载,歌词下载 - 虾米音乐
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Springtime for Hitler, Pt. 1
Germany was having trouble
What a sad, sad story
Needed a new leader to restore
Its former glory
Where oh where was he?
Where could that man be?
We looked around and then we found
The man for you and me and now it's
Springtime for Hitler and Germany
Deutschland is happy and gay
We're marching to a faster pace
Look out, here comes the master race
Springtime for Hitler and Germany
Winter for Poland and France
Springtime for Hitler and Germany
Come on, Germans, go into your dance
I was born in D&A¼sseldorf
And that is why they call me Rolf
Don't be stupid, be a smarty
Come and join the Nazi party
Springtime for Hitler and Germany
Goose step's the new step today
Bombs falling from the skies again
Deutschland is on the rise again
Springtime for Hitler and Germany
U-boats are sailing once more
Springtime for Hitler and Germany
Means that soon we'll be going
We've got to be going
You know we'll be going to war
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百老汇音乐剧《金牌制作人》(The Producers)，很搞笑的作品。这是其中制作人别出心裁推出的作品“希特乐和德国的春天”，遭到大家的反对。开始是海顿创作的德国国歌旋律。
竟然越听越爱听了。。。
收藏Springtime for Hit的人们
听Springtime for Hit的人也听
关注虾米：Matthew Morrison - Springtime for Hitler我擦！！！帅爆了！！！
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