西雅图创新表演艺术 Innovative and Insightful Arts Performances to See in Seattle

一个世纪以来，西雅图一直以商业和技术创新中心的身份享誉全球——从波音公司成为飞机制造业之王，到现在微软公司和亚马逊公司，几乎每天都在革新技术和网络零售业。同时，西雅图艺术爱好者也越来越期待创意和新颖。近年来，一些当地的艺术表演者不仅探索着新的作品和题材，同时也在寻找着联系艺术与观众的新方法。

两个剧院承担了以传统的音乐喜剧形式培育新作品的使命，而它们在本土创作的演出在百老汇大获好评，并取得了非常可观的票房。西雅图市中心的第五大道剧院 (1308 5th Ave; 206.625.1900; 5thavenue.org) 以新作品的试验场地而享有盛誉，仅在本世纪就已推出19部音乐剧首演，其中包括Hairspray, A Christmas Story, Aladdin和 Memphis。Issaquah的Village 剧院 (303 Front St N; 425-392-2202; villagetheatre.org)自2001年以来每年八月都会举办一场Festival of New Musicals (新音乐剧节)，在常规季节期间，还推出一系列的测试剧目研讨会和戏剧作品 (Beta Series)。它最引人注目的成功作品是Next to Normal，此剧是于2002和2005年期间研磨尝试，最终完成推出的音乐剧，并最终获得了2009年托尼奖之最佳原创音乐奖和2010年普利策戏剧奖。今年的测试剧目ZM于6月1日至10日演出，这是一部由Mark Hollmann和Greg Kotis共同创作的新型”僵尸音乐”，值得一提的是，这两位也是Urinetown的创作者。

第五大道剧院 (the 5th Avenue Theatre) 以新作品的试验场地而享有盛誉

另有一些剧院也以特定主题策划演出季节的剧目，旨在为传统戏剧所不常展示的群体的故事及其作品提供舞台。例如，2016年，Intiman剧院 (Seattle; 201 Mercer St; 206.441.7178; intiman.org) 就把5月到10月的整个夏季表演季节奉献给了黑人妇女的戏剧作品。ArtsWest剧院 (West Seattle; 4711 California Ave SW; 206.938.0963; artswest.org) 当季剧目则聚焦在”I AM” (我是) 的主题上，这一主题是对自我认知的需求和对他人认同的渴望之间的一种微妙关系的探讨。

西雅图交响乐团 (Seattle; 200 University Street; 206.215.4747; seattlesymphony.org) 因2011年Ludovic Morlot的加入而蒸蒸日上。他对当代音乐的浓厚兴趣使得[untitled]这一系列受欢迎的作品问世，这一系列是在该交响乐团的大本营Benaroya Hall大厅的非正式深夜室内音乐会；同时是其常规季节的数个全球首演的音乐会。其中最富盛名的是Become Ocean，这是阿拉斯加作曲家John Luther Adams的史诗级作品；它荣获了2014年普利策音乐奖和2015年格莱美最佳当代古典音乐作曲奖。Adams还谱写了续集Become Desert，于3月29日和31日首演。 此外，西雅图交响乐团在其音乐发行媒体Seattle Symphony Media录制发行的音乐也引领潮流；其中包括法国作曲家Henri Dutilleux创作的音乐专辑，为西雅图交响乐团在2017年又获得了一个格莱美奖项。

西雅图歌剧院 (Seattle Center, McCaw Hall; 321 Mercer St; 206.389.7600; seattleopera.org) 推出了一系列非常成功的当代室内歌剧。如上述的剧院一样，本系列歌剧旨在给新群体一个发声的平台，并建立培养新的歌剧观众群体。这一类型的歌剧都将在西雅图歌剧院找到理想之家。位于西雅图中心(Seattle Center) 的新剧院是个多用途场所，紧邻McCaw Hall内的大舞台，它有办公空间、排练场地和制作室。为了与民众聚焦，剧院沿着Mercer 街道的墙面采用了大玻璃窗结构，路人能够看到内部的排练空间，并可一睹正在创作中的歌剧点滴。新歌剧院计划于今年秋天启用，将包含一个供民众表演的小场地——这是总指挥Aidan Lang计划的一部分。正如他在最近的一个讲话中所说的： “我们将注重”带来荡气回肠的故事，并确保我们的作品反映我们地区的年龄、性别、种族、性取向、性别认知、族群渊源和社会经济背景。”

西雅图歌剧院 (Seattle Opera) 2018年2月23日首映的 The (R)evolution of Steve Jobs融汇科技和艺术，演绎了苹果公司联合创始人乔布斯的一生

2018年，西雅图歌剧院大舞台季推出了个大胆的创作：2月23日首映的The (R)evolution of Steve Jobs, Mason Bates作曲，该作品通过电子效果在音乐和视觉方面的运用，探索了苹果公司这个富有远见卓识的联合创始人的一生。这部作品融汇了科技和艺术，尽管这两者之间鲜有交集，但都以各自的方式使西雅图成为世界创新之都。

English Version
INNOVATIVE PERFORMING ARTS 
Local arts groups get creative, finding new ways to bring art and audiences together 

Seattle has had a worldwide reputation as a center of business and technological innovation for a century—from Boeing’s reign as the king of aircraft manufacturing to the present day, when Microsoft and Amazon are revolutionizing the technology and online-retail industries on practically a daily basis. Similarly, Seattle’s arts audiences have grown to expect innovation and novelty as well, and recent years have seen several local arts presenters explore not only new work and new genres, but new ways of bringing art and audiences together. 
 
Two local theaters have taken on the mission of nurturing new work in the traditionally conservative form of musical comedy, and their homegrown shows have gone on to financial success and critical acclaim on Broadway stages. The 5th Avenue Theatre in downtown Seattle (1308 5th Ave; 206.625.1900; 5thavenue.org) has a strong reputation as a testing ground for new work, premiering 19 musicals in this century alone, including Hairspray, A Christmas Story, Aladdin, and Memphis. The Village Theatre in nearby Issaquah (303 Front St N; 425.392.2202; villagetheatre.org) presents a Festival of New Musicals each August (since 2001) and runs a Beta Series of workshop productions of works-in-progress during its regular season. Its highest-profile success is Next to Normal, workshopped at Village Theatre in 2002 and 2005; it went on to win a Tony Award for Best Original Score in 2009 and the Pulitzer Prize for Drama in 2010. Its next Beta Series show, ZM, running June 1-10, is a new “zombie musical” from Mark Hollmann and Greg Kotis, the creators of Urinetown. 
 
Some theaters are curating their seasons based on an overarching theme, with the goal of presenting stories of and by communities not often served by the traditional theater canon. For example, in 2016, Intiman Theatre (Seattle; 201 Mercer St; 206.441.7178; intiman.org) devoted its entire summer festival, May–October, to plays by black women. ArtsWest (West Seattle; 4711 California Ave SW; 206.938.0963; artswest.org) programmed its current season according to the theme of “I AM”, which looks at questions of identify—the tension between needing to identify ourselves and the desire of others to identify us.  
 
The Seattle Symphony (Seattle; 200 University Street; 206.215.4747; seattlesymphony.org) has thrived under the leadership of Ludovic Morlot since his arrival in 2011. His strong interest in contemporary music led to the creation of a popular series, called “[untitled]: informal late-night chamber-music concerts in the lobby of Benaroya Hall, the orchestra’s home, as well as several world premieres as part of the orchestra’s regular concerts. The most acclaimed of these is Become Ocean, an epic work by Alaskan composer John Luther Adams; it won the 2014 Pulitzer Prize for Music and the 2015 Grammy Award for Best Classical Contemporary Composition. Adams has composed a sequel, Become Desert, which the orchestra premiered on March 29 and 31. In addition, the Seattle Symphony has led the way in releasing recordings under its own record label, Seattle Symphony Media; these include recordings of music by French composer Henri Dutilleux, one of which won the Seattle Symphony yet another Grammy Award in 2017. 
 
Seattle Opera (Seattle Center, McCaw Hall; 321 Mercer St; 206.389.7600; seattleopera.org) has launched a highly successful series of contemporary chamber operas; like the theaters mentioned above, this series is designed to give new communities a voice and reach out to new audiences. Operas like this will find an ideal home at Seattle Opera at Seattle Center, a new multipurpose building containing office space, rehearsal space, and production facilities next door to the company’s mainstage in McCaw Hall. To connect to the public, a big glass window along Mercer Street will allow passers-by to look into the rehearsal space and see the opera in the making. Set to open this fall, it will also contain a smaller space for public performances—part of General Director Aidan Lang’s plan, as he put it in a recent statement, to focus on “bringing incredible stories to life, and ensuring that our work reflects our region in age, gender, race, sexual orientation, gender identity, ethnicity, and socioeconomic background.”  
 
And in 2018, Seattle Opera’s mainstage season will include one daring production, opening February 23. The (R)evolution of Steve Jobs, with music by Mason Bates, explores the life of Apple’s visionary co-founder through the use of electronic effects in both its musical and visual aspects. This show will bring together the two worlds, technology and the arts, which too rarely intersect but which each in their own way have made Seattle a world capital of innovation.