紐約時報雙語 斬獲奧斯卡的楊紫瓊能否再度引領風騷？

After Her Oscar Win, Will Michelle Yeoh Get to Lead Again?

斬獲奧斯卡的楊紫瓊能否再度引領風騷？

We're conditioned to think of an Oscar win as the endpoint to a journey. For some actors, holding that trophy is the realization of a dream held since childhood. For others, it's the culmination of a well-deserved comeback.

我們習慣性認為，赢得一次奧斯卡就是演員的影途終點了。在一些演員看來，捧起奧斯卡獎杯意味着實作兒時的夢想，是一次實至名歸、再度走紅的登峰之旅。

But what happens after that win? In our eagerness to treat Oscar victories as career capstones, do we pay too little attention to the opportunities that are supposed to come afterward, yet often don't?

但赢得奧斯卡之後會怎樣呢？人們總是熱衷于把斬獲奧斯卡獎看作是演員的事業巅峰，但我們是否應更多的關注，得獎後本應得到一些機會，但這些機會卻往往并未到來？

I've been mulling that over since Sunday night, when Michelle Yeoh took the best actress Oscar for “Everything Everywhere All at Once.” It happened at the 95th edition of the Academy Awards, the kind of big, tantalizing milestone that prods you to contemplate what has come before, and Yeoh's win proved especially historic: The first Asian star to win best actress, she was greeted onstage by Halle Berry, the first Black woman to have pulled off that feat.

周日晚上，楊紫瓊憑借《瞬息全宇宙》斬獲奧斯卡最佳女主角。這之後我就一直在琢磨這件事情。這可是第95屆奧斯卡獎，是可遇不可求的裡程碑式的大事件，會讓你不由自主地回顧過去，而楊紫瓊的獲獎時刻更是極具曆史意義——作為第一位斬獲奧斯卡影後的亞裔女演員，她從首位黑人影後哈莉·貝瑞手中接過獎杯。

Asking Berry to announce the winner with Jessica Chastain (the previous year's winner) was a gamble twice over. If Yeoh had lost to one of her four competitors — all of whom were white women — the ensuing photo would have served as a stark example of a best-actress category that has been hostile to women of color for 95 years. And though Berry has returned to the Oscars several times since her 2002 win for “Monster's Ball,” it has always been as a presenter and never as a nominee. To see her there is to be reminded that an Oscar win carries no guarantees when an actress is already liable to receive fewer scripts and career opportunities than her white counterparts.

讓貝瑞和傑西卡·查斯坦（去年的影後）一起宣布獲獎者無異于一次雙重冒險。如果楊紫瓊輸給四位競争對手（全是白人女性）中的任意一名，随後安排的媒體拍照機會向世人展示，“最佳女主角”這一獎項在長達95年的時間裡一直對有色人種女性充滿偏見。2002年，貝瑞憑借《死囚之舞》摘得影後桂冠，而自那之後，她雖多次以頒獎嘉賓身份重返奧斯卡頒獎典禮，卻再未出現在提名名單上。獎台上的貝瑞提醒着我們，對于一個相較于白人女演員原本出演機會就可能更少的女演員而言，斬獲一尊奧斯卡小金人絕不等于自此就有了金飯碗。

So though Yeoh's triumph was a long time coming, and I teared up as she addressed “all the little boys and girls who look like me watching tonight,” I also found myself worrying that it won't be enough. The people in the Dolby Theater looked awfully proud of themselves after Yeoh's win, but if they really want to do right by her, they have to keep writing lead roles for 60-year-old Asian actresses; otherwise, it's just empty back-patting.

是以即使楊紫瓊的勝利“雖遲但到”，即使她向“今晚在收看（頒獎典禮）的、與我外表相像的男孩女孩們”緻意時，我熱淚盈眶，我也依然在擔心，單憑獲獎還是不夠。楊紫瓊獲獎後，杜比劇院的觀衆個個臉上都寫滿了自豪，但是如果他們真的想要給她公道，就必須繼續為年過花甲的亞裔女演員撰寫女主劇本；不然，獲獎肯定隻能流于形式（沒有實質意義）。

That, after all, was the real breakthrough of “Everything Everywhere,” Yeoh told me in October. We were at an awards event where, flanked by the “Everything Everywhere” directors Daniel Kwan and Daniel Scheinert, she reminisced about a Hollywood career that had mostly been filled with supporting parts.

“畢竟，把亞裔女演員推上主演的位置才是《瞬息全宇宙》的真正突破”，這是楊紫瓊在十月份參加一個頒獎典禮時告訴我的。我們當時在一場頒獎典禮上相遇，她在導演關家永（Daniel Kwan）和丹尼爾·施納特（Daniel Scheinert）的陪伴下回顧了自己好萊塢的職業生涯，說她幾乎都是在演配角。

“Look, I've been very blessed — I've continuously worked, and I've worked with great directors,” she said. “But for the first time, I'm No. 1 on the call sheet, thanks to these guys. I do meaningful roles, like in ‘Crazy Rich Asians’ and ‘Shang-Chi,’ but it was not my movie.”

楊紫瓊說：“這麼說吧，我一直很幸運——我一直有戲拍，也和出色的導演合作過。但是這次多虧了這些人，我才能第一次當主角。我演了許多有意義的角色，比如在《摘金奇緣》和《尚氣》裡都有戲份，但那些都不是以我為主的電影。”

Yeoh said she hoped that “Everything Everywhere” would not be a one-off, but more than a year after the film's release, it's unclear when, or if, she will have another lead film role. Coming projects — including the big-screen musical “Wicked,” the third “Avatar” movie, and the ensemble mystery “A Haunting in Venice” — all consign her to supporting parts. Though she is a headline-making superstar who led the hip studio A24 to its biggest ever worldwide hit, Yeoh is still too often treated as additional casting rather than the main event.

楊紫瓊說她希望《瞬息全宇宙》不會讓她的主角夢昙花一現，但是電影上映一年多以後，她何時能再度或能否再度擔綱主演，仍然是個未知數。她即将參演的項目，包括音樂劇電影《魔法壞女巫》《阿凡達3》和系列懸疑電影《威尼斯鬼魅》，給她的角色都是配角。雖然她現在是炙手可熱的超級明星，主演了新潮電影公司A24有史以來全球影響力最大的電影，但是她還是被看作是非主流演員，不是主演陣容。

“Even you, Michelle Yeoh — on the top of the world — has struggled to find the right roles,” Kwan told her when we met in October. “I think that has taken a lot of people by surprise.”

“即使是像你楊紫瓊這麼大的名氣，要找到适合的角色也很困難，這一點可能會讓很多人感到意外吧。”十月份我們見面的時候，關家永對她說道。

Yeoh laughed ruefully. “I read scripts and it's the guy who goes off on some big adventure and he's going off with my daughter!” she said. “I'm like, no, no.”

楊紫瓊苦笑了笑說：“我看了劇本，裡面說有個男人想要一場大冒險，還要拉着我女兒一塊瘋！”她看罷就說，“可别了吧！”

Few Hollywood movies are conceived with a woman over 50 as the central character, and the ones that are greenlit tend to offer those leads to a triumvirate of white women: Meryl if she's older, Cate if she's younger and Tilda if she's weirder. To ensure that Yeoh can be first on the call sheet again, filmmakers must think more creatively, as Kwan and Scheinert did when they revamped “Everything Everywhere” for Yeoh after conceiving the film as a Jackie Chan vehicle. (And while they're at it, can they find something juicy for last year's best supporting actor, Troy Kotsur, similarly a boundary breaker — with “CODA,” he became the first deaf man to win an acting Oscar — who has been seen in little since?)

以年過半百的女演員為主演的好萊塢電影真乃鳳毛麟角，就算有，也傾向于把角色留給白人玉女三人組：如果是個年邁的美人，那就是非梅麗爾·史翠普（Meryl）莫屬；如果角色年紀不算太大，那就定凱特·布蘭切特（Cate）；如果角色有些古怪，那必須是蒂爾達·斯文頓（Tilda）。《瞬息全宇宙》起初是關家永和丹尼爾·施納特為成龍量身打造的一部電影，後來才改成為楊紫瓊量身定做。為了確定楊紫瓊能夠再次擔任主角，電影制片人必須更具創造性地塑造角色（大家努力創造更多豐富的角色同時，是否可以為去年榮獲最佳男配角的特洛伊·科特蘇爾挖掘出一些有趣的角色呢？通過飾演《健聽女孩》，特洛伊成為首位獲得奧斯卡男配角獎的失聰人士，他的獲獎同樣是突破性的，但之後卻鮮有作品）。

As momentum in the best-actress race swung from the “Tár” star Cate Blanchett to Yeoh over the last few weeks of awards season, I kept hearing a common refrain from voters: While Blanchett already had two Oscars and would surely be nominated again — she has eight nominations overall — this could be Yeoh's only chance at gold. Though I understand the practicality of that argument, I hope those voters understand that their job isn't done simply because of how they marked their ballot. Yeoh's Sunday-night win is a big one, but the real victory will come when the lead roles that had long eluded her grasp start to become commonplace. If Hollywood can make that so, then instead of an endpoint, Yeoh's historic Oscar will serve as a long-needed new beginning.

奧斯卡頒獎季的最後幾個星期，最佳女主角的角逐勢頭從《塔爾》女主角凱特·布蘭切特轉向楊紫瓊，我不斷聽到投票人一種普遍想法：布蘭切特已兩次榮膺奧斯卡，八度提名，本屆肯定會再次獲得提名，而這一屆奧斯卡可能是楊紫瓊折桂的唯一機會。我明白這個說法很實在，但我也希望這些投票人明白，他們的工作不僅僅因為他們如何投票就完事了。楊紫瓊星期天晚上的獲獎可謂意義重大，但隻有在長久以來将其拒之門外的那類女主角色開始找上門來成為常态時，才是真正的勝利。好萊塢如果能做到這一點，那麼楊紫瓊這個名垂影史的奧斯卡獎，将是一個期待已久的新開端，而不是終點。