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The fact is, many older shows are difficult for us as modern audience members today.
事实上，许多旧的艺术作品对于我们现代观众来说很难欣赏。
And honestly, that is one of my greatest joys because it is a direct sign of progress.
实话实说，这是我最开心的事情之一，因为这是进步的直接标志。
Frankly, I would be a little bit worried if sensibilities had not changed in 156 years.
如果 156 年来我们的审美观都没有改变，我真的会有点担心。
Remember that foundation-shifting question?
还记得那个我们最开始的问题吗？
How do we approach aging art?
我们该如何看待老旧艺术？
Well, we haven't been approaching it.
嗯，我们一直没有正面回答它。
The industry at large has been avoiding this question since the nostalgia craze of the 1970s.
自从 1970 年代的怀旧热潮以来，整个行业都在回避这个问题。
So great is the avoidance that we don't even really have the language that we need to have these conversations.
这种逃避如此强烈，以至于我们根本没有可用的表达方式来进行这些对话。
We have to start thinking of theater as something that is alive rather than a static museum piece.
我们必须开始将戏剧视为一种有生命力的东西，而不是静态的博物馆展品。
It contains a piece of the creator's soul which lives on in the work.
它包含着创作者的灵魂，这个灵魂在作品中得以传承。
We have to start thinking of theater like a dynamic, aging community member.
我们必须开始将戏剧看作一个动态的、老去的社区成员。
What does this piece of theater trying to communicate?
这部剧作想要传达什么信息？
Is it still communicating that message effectively long after its initial creation?
即使在它最初被创作之后，它仍然能够有效地传达这个信息吗？
Or does something else communicate that message better now?
或者现在是否有其他载体能够更好地传达这个信息？
Is it doing more help than harm?
“它对大众的帮助是否大于危害？
These are the questions that I ask myself every time I dust off a musical from yesteryear.
”每次我在老歌剧中拍拍灰尘时我都会问自己这个问题。
I'm here to give you my personal framework, which I teach to students across the globe.
这个问题是我个人思考框架的一部分，我给全球各地的学生传授了这个框架。
Now it is not perfect, and I'm going to spend the rest of my life refining it.
这个框架不是完美的，我会用余生不断完善它。
But it is a start; it is a start in looking at the American musical as a progression and in finding language to talk about how things do and do not age in the modern zeitgeist.
但这是一个开始，一个从发展的角度来看待美国音乐剧的开始，一个寻找如何讨论传统艺术在现代的时代精神中老化的表达方式的开始。
The five categories are as follows.
框架中的五个类别是：
Category one: "Active."
第一类为“活跃”，
The piece, while not perfect, communicates its message effectively without any potential problems getting in the way of that communication.
虽然不完美，但作品有效地传达了信息，没有任何潜在问题干扰其传达；
Category two: "Tricky."
第二类为“棘手”，
The problems within the piece can be mitigated by how the piece is directed or performed.
作品存在问题，但可通过导演或表演来化解；
Category three: "Troublesome."
第三类为“麻烦”，
The problems are baked into the piece itself, but if they are addressed in a cognizant manner, the show still has something salient to say.
作品本身存在问题，但如果以一种认真的方式加以处理，仍然能传达出有意义的信息；
Category four: "Augmented."
第四类为“加强”，
You need to completely redo an aspect of the piece in order to make it palatable.
你需要彻底重做这个作品的某个方面，使其更易被接受，
This is where the concept of a revisal comes in.
这时就需要进行修订；
Category four: "Archived."
第五类为“归档”，
The piece has value historically, but it does not need to be publicly performed anymore.
这类作品在历史上有一定的价值，但它们不需要再公开演出了。
It has more value as a piece of where we have been than where we are going.
它作为我们曾经走过的阶段的一部分会比作为我们未来的方向更有价值。
Now, the divisions between these five categories are porous.
现在，这五个类别之间的分界是模糊的。
A show may be tricky to one person and troublesome to another.
一个作品可能对一个人来说是棘手的，但对另一个人来说则是麻烦的。
We all approach art from different vantage points and therefore have different opinions.
我们每个人都从不同的角度接触到艺术，因此有不同的观点。
However, for the sake of giving you an example of the framework, I would like to take the canon of one of the American musical's greatest and most influential ancestors and present it to you within the framework.
为了给你提供一个该框架的例子，我想将美国音乐剧最伟大和最有影响力的始祖之一的作品，放在框架内进行解析。
Oscar Hammerstein II.
奥斯卡·哈默斯坦二世。
Now first up is the "Active" category.
现在我们来看看“活跃”这一类别。
Now Oscar died in 1960, which means that two artistic generations have passed since he passed.
奥斯卡·哈默斯坦二世逝于 1960 年，这意味着自他去世以来已经过去了两代艺术家。
He's essentially the great grandfather to our current artistic generation.
他相当于我们当前艺术家这一代的曾祖父。
But many of his insights remain as cuttingly clear as they were when he first presented them.
但他的许多见解仍然像他第一次呈现它们时那样清晰而尖锐。
Consider "The Sound of Music."
例如《音乐之声》。
Its message of heart, hope and humanity resonates with audience members across the world, making it one of the most performed regional, community and educational theater pieces in the entire country.
它传达的关于心灵、希望和人性的想法，在全世界观众中引起共鸣，使其成为全国最受欢迎的地区、社区和教育戏剧作品之一。
