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更新时间:2017-7-6 10:35:56 来源:纽约时报中文网 作者:佚名

At Shanghai Disney Resort, Mulan, Mickey and Dumplings

The phone rang at 6 a.m. It was Buzz Lightyear telling us to wake up and save the galaxy.


The call, from an animated character, was the day’s first reminder that my family and I were staying at the Toy Story Hotel, at the new Shanghai Disney Resort. After lifting our eyelids, extra heavy with jet lag, we saw other signs. The walls of our room were painted with clouds. The carpet was decorated with Saturns and sheriff stars. In the courtyard, a statue of Woody, the cowboy-doll hero of the “Toy Story” movies, towered over the vegetation. Sketches of Woody’s friends adorned the shower curtain.


The Enchanted Storybook Castle, which sits just outside the center of Shanghai Disneyland.

The minibar was filled with nothing.


As we set down a corridor whose end we could barely see, we felt like toddlers lurching toward their destinations. At last we reached the elevator. Woody’s voice hooted, “First floor,” in English and Mandarin.


What were we doing in this three-dimensional cartoon, where the lobby columns were imperfectly aligned building blocks that seemed to have been stacked by giant babies? Where the reception desk was constructed with marbles the size of grapefruit?


My husband, Ernest, and I were rewarding our 10-year-old daughter, Shan, for her stamina and good humor. In the past four days, she had endured a 14-hour plane ride from New York to Shanghai and the embarrassment of watching her parents use clumsy hand gestures to communicate with the locals.


And then there was the emotional strain of visiting the country of her birth. It had been nine years since we adopted Shan from China at the age of 14 months. This was our first return trip, and Shanghai was the air lock we were passing though after leaving the mother ship of the West. Soon we would travel to a small city in Jiangxi Province to visit the orphanage where our daughter spent her first year. We would go to the Jinggang Mountains. Eventually, there would be Sichuan Province, hot pots and pandas.


Before this, Shan had occasionally asked us to take her to Disneyland, and we had always turned her down flat. I thought of Disney theme parks as unnaturally clean and cheerful places. To Ernest, who was raised as a somewhat observant Jew, Disneyland was like Christmas — something other people enjoyed.


But Disneyland in Shanghai? That would be different. The park, with its familiar characters, would reintroduce Shan by comfortable degrees to China. And Ernest and I would find it worth the price of a day’s admission to the theme park (about $230 for the three of us) to see Mickey and company translated by a country that had long resisted Disneyfication.


Disneyland Shanghai had been open less than a month when we showed up on a Saturday in July last year. After dropping our bags at the Toy Story Hotel, a low, blue-glass building surrounded by asphalt and crew-cut grass that reminded Ernest of a tech company campus in Silicon Valley, we boarded a bus to the park.


Our fellow passengers, all of whom appeared Asian, included hip young couples (Ray-Bans, porkpie hats), parents bookending single children and a few families with more than one offspring. Could they be Chinese? The country’s one-child policy, begun in the 1970s, had been recently rescinded. As it relaxed, some Chinese couples were allowed to have two children, and here they apparently were. Had Shan noticed them? After all of our conversations about the desperate conditions that forced Chinese parents to give up their babies, was she confused? Aggrieved? She has a face made for seven-card stud. It was impossible to read her thoughts.


At the park entrance, we found maple trees and a Starbucks. Thick strands of fountain water waved like boiling pasta, and the air was steaming hot. It took a long time to be admitted. Guards were searching through bags and confiscating contraband food. Visitors had to patronize the park’s restaurants or starve. We stood around with an adult tour group wearing orange baseball caps and a little boy with Bermuda shorts and a fauxhawk, playing with his mother’s cellphone. A striking number of people wore black-and-white horizontally striped shirts.


The crowd looked back at us with equal intensity, curious about our Chinese daughter and her pasty companions. On our first morning in Shanghai, a woman approached Shan on the street, while I was a few yards away, buying breakfast at a dumpling stand. She rattled off questions in her own language, gesturing toward me. Was I Shan’s mother? Her minder? Her abductor? My daughter, who speaks only English, wasn’t sure what she was saying, but ever since had been hanging a foot or two behind Ernest and me, close enough to keep us in sight but far enough (or so she hoped) to deflect attention.


Past the park’s entry gate, the Mad King Ludwig spires of the Enchanted Storybook Castle soared in the distance, and speakers burbled music from “The Nutcracker.” Shan admired the shops on Mickey Avenue (a renamed Main Street U.S.A.), which in the tradition of Disneyland retail seemed to draw equal inspiration from the Ponte Vecchio and Keebler Elf country. She had yet to learn that the entrances opened onto a single interconnected mall selling Disney merchandise. (When she did, she would not be disappointed.)

走过公园入口处,可以看到远处奇幻童话城堡(Enchanted Storybook Castle)的疯王堡(Mad King Ludwig)尖顶,扬声器中传来《胡桃夹子》(The Nutchracker)的音乐。姗喜欢米奇大道(就是换了个名字的美国小镇大街[Main Street U.S.A.])上的商店,它们是迪士尼乐园传统的零售店,灵感似乎来自维奇奥桥(Ponte Vecchio)和Keebler小精灵。之后她又发现这些入口全部都通往一个贩卖迪士尼商品的商场。(这个发现没有让她感到失望。)

A fairy tale schloss. A Potemkin village shopping strip. Elevator Tchaikovsky. It felt like Disneyland as usual, but Shanghai Disneyland broke from the template in crucial ways. We had learned from newspaper reports that there would be no It’s a Small World ride smacking of cultural imperialism. No Space Mountain invoking our interstellar dreams. But there would be Chinese zodiac gardens, each featuring one of a dozen Disney creatures like Thumper (Year of the Rabbit), and a teahouse called the Wandering Moon.

一个童话城堡。一个波将金(Potemkin)村庄式的购物带。播放柴可夫斯基音乐的电梯。感觉和普通的迪士尼乐园没什么两样,但是上海迪士尼乐园在某些重要的方面摆脱了模板,脱颖而出。我们从报纸上了解到,这里不会有带有文化帝国主义色彩的“小小世界”(Small World)之旅。也没有激发星际梦想的“飞跃太空山”( Space Mountain)。但是,这里有中国的十二生肖园,每个园子里都会有十二个迪士尼动物中的一种,比如小兔桑普(Thumper),代表兔年,还有一个名叫“漫月食府”(Wandering Moon)的茶馆。

Other attractions were related to some of the Walt Disney Company’s acquisitions, including Marvel Comics and the “Star Wars” franchise.

其他景点与沃尔特·迪士尼公司的一些收购有关,包括漫威电影和《星球大战》(Star Wars)特许商品。

Officials quoted in the newspapers we read explained that the demographic disruptions of the one-child policy meant that the average visitor’s age would be older than it would be at other Disney parks. From what we saw, Shanghai Disneyland catered in no special way to grown-ups apart from a sign that advised us to seek out “cast members” — the term for Disney park employees — for assistance in finding a place to smoke. Another sign noted that wheelchairs could be found near the area where strollers were rented out.


Moving deeper into the park, we discovered that the wide boulevards were much less crowded than the streets of Shanghai. This must mean we could leap into any activity and cover vast tracts of the six themed sections, we thought. We were wrong. The posted wait time for the Become Iron Man entertainment at Marvel Universe, where we could virtually try on Iron Man suits, was 50 minutes. Boarding the spidery Jet Packs ride at Tomorrowland would take 75 minutes; riding the Tron Lightcycle Power Run roller coaster, 90 minutes.

进一步深入园区,我们发现,比起上海的街道,这里宽阔的林荫大道不那么拥挤。我们觉得,这意味着我们可以快速前往任何活动,走遍六个主题园区的宽敞道路。但我们错了。在漫威英雄总部(Marvel Universe)可以试穿钢铁侠套装的“变身钢铁侠”(Become Iron Man)项目入口处,告示上的等待时间是50分钟。在明日世界(Tomorrowland)登上细长的喷气背包飞行器(Jet Packs)需要等候75分钟;乘坐创极速光轮(Tron Lightcycle Power Run)过山车需要等候90分钟。

Ernest and I offered to take turns standing in line. We were not being entirely selfless. Marvel Universe, a black, wart-shaped pavilion where boys were running around shrieking, “Wow,” was air-conditioned. But Shan’s nature is to scan from the periphery before committing to any adventure. So we wandered.


Soon we hustled to the side of Mickey Avenue to watch a gorgeous parade pass by. An all-female band wearing caps drooping long red feathers stood on the back of a dragon float. The women hammered kettledrums and struck a gong suspended from a pagoda. Flames burst from the pagoda’s top. “Mulan,” Shan explained.

很快,我们匆忙赶到米奇大道的路边,观看华丽的游行队伍经过。一个女子乐队头戴拖着红色长羽毛的帽子,站在一辆龙形彩车的后面,敲着从宝塔上悬挂下来的锣鼓。宝塔顶部喷出火焰。“木兰,” 姗解释说。

At the Camp Discovery attraction at Adventure Isle, a 13-year-old Chinese boy wearing aviator sunglasses introduced himself as Rivers and asked to practice his English with us.


“How old are you?” he asked my husband.


We enjoyed reading people’s shirts. “Clothes Are Genderless” announced a small boy’s white tee. Other T-shirts said “Moschino,” “Miu-Miu” and “1-800-I-Love-You.” A man in his 20s in hot tangerine Nikes wore a shirt that said “Born to Try.” A woman in her 20s wore one that said “Everything Better.”

我们喜欢看别人T恤上的字。一个小男孩的白色T恤上写着:Clothes Are Genderless(意思是:服装是没有性别的)。还有些T恤上写着:Moschino、Miu-Miu、1-800-I-Love-You。一名穿着橘色耐克鞋的20多岁的男子穿的T恤上面写着:Born to Try(为尝试而生)。一个20多岁的女子穿的T恤上写着:Everything Better(一切更好)。

Disneyland’s propensity for turning dark, anxious European fairy tales into shiny, bulbous entertainments had long struck me as odd. With China in the picture, it was positively surreal. At Pinocchio Village Kitchen, the décor was wipe-down Tyrolean, and the menu included pork ramen and seafood lasagna. The walls were illustrated with vignettes from Disney’s 1940 “Pinocchio,” a scrubbed version of the 1883 saga by the Italian writer Carlo Collodi, who clearly saw the worst in young boys. Not merely mischievous, the original Pinocchio murders the talking cricket that tries to give him wise advice and later abuses his ghost.

迪士尼乐园把黑暗、令人焦虑的欧洲童话故事变成闪亮、欢快的娱乐的能力一直都让我感到奇怪。在中国这个环境中,更是显得颇为超现实。匹诺曹乡村厨房(Pinocchio Village Kitchen)的装饰完全是提洛尔风格的,菜单包括猪肉拉面和意式海鲜千层面。墙上画着来自迪士尼1940年影片《木偶奇遇记》(Pinocchio)的装饰图案。那部影片是根据意大利作家卡洛·科洛迪(Carlo Collodi)1883年的传奇故事改编的儿童电影。科洛迪清晰地看到了年轻男孩最糟糕的一面。原版故事中的匹诺曹不只是淘气,还杀死了试图给他提供明智建议的会说话的蟋蟀,后来更是虐待了他的鬼魂。

Shan ordered pizza with fresh tomatoes, basil and balsamic vinegar (85 yuan, about $12.50, with a Pepsi). The dumplings I bought on the street in Shanghai, by contrast, cost 3 yuan (44 cents). We paid a cashier, who wore lederhosen and a straw hat, and took our food to an outdoor patio hung with Chinese lanterns. A Chinese instrumental version of “Let It Go” from “Frozen” played on the sound system. A boy next to us ate cut-up pizza with chopsticks.

姗点了披萨,上面有新鲜番茄、罗勒,放了香醋(85元,约合12.5美元,包括一瓶百事可乐)。我在上海街头买的饺子只要3元(44美分)。我们把钱交给收银员,她穿着背带皮短裤,戴着草帽,把我们的食物端到挂着中国灯笼的户外露台上。背景音乐放的是用中国乐器演奏的《冰雪奇缘》(Frozen)的主题曲《随它吧》(Let It Go)。做在我们旁边的一个男孩用筷子夹着切开的披萨吃。

When we returned late that afternoon to the Toy Story Hotel, we found children gathered around a lobby television watching old Mickey Mouse cartoons with no volume. Cast members were twisting balloons into animals and flowers and handing them out. Shan asked for a rose. After noting the park’s bells and whistles, we expected the hotel to be more technologically impressive, with video games and animatronic characters.

那天下午晚些时候我们回到玩具总动员酒店时,发现孩子们聚集在大堂的一个电视机周围,观看老版的《米老鼠》(Mickey Mouse)动画片,电视调成了静音。演艺人员把气球拧成动物和花朵,分发给孩子们。姗要了一支玫瑰。在注意到公园的钟和口哨之后,我们期待这个酒店在科技方面令人耳目一新,有电子游戏和电子动画人物。

We forgot about the nostalgia of “Toy Story.” Set in a postwar American suburb, the movies reveal an ache for the past and not just through the grumblings of old-fashioned playthings that compete for the attention of Andy, their growing boy-owner. The longing is baked into the midcentury décor. With its International-style architecture, Charles and Ray Eames-ish plywood seats and Eero Saarinen-sort-of mushroom-shaped tables, the hotel immersed us in the idea of “Toy Story” — a lost suburban golden age — as effectively as if we were handed virtual-reality headsets.

我们忘了《玩具总动员》的怀旧性质。故事发生在战后的美国郊区,那一系列电影展现出对过去的渴望,不只是通过老式玩具的嘟囔,他们努力争夺不断成长的男主人、小男孩安迪(Andy)的关注。这种渴望体现在20世纪中叶的装饰风格上。这家酒店的国际风格建筑,查尔斯(Charles)和雷·埃姆斯(Ray Eames)风格的胶合板座椅,以及埃罗·沙里宁(Eero Saarinen)那种蘑菇形餐桌,让我们沉浸在《玩具总动员》的理念中——一个逝去的郊区黄金年代——就像给我们戴上了虚拟现实眼镜。

The oversize playroom theme, evoking the toys’ point of view in the films, represented another kind of golden age: childhood. But here the hotel broke with its model. Youth through the lens of Pixar, which Disney bought in 2006, is no picnic. The joke of “Toy Story” is that Woody and his buddies only pretend to be inanimate when people are around. They are secretly alive, which means that just like real humans experiencing real development, they are hurtling toward death, painfully picking up lessons in maturity along the way. In the movies, the toys are roughed up by mean children and threatened with incineration, whereas the hotel, being a service business that charges upward of $125 a night, offered nothing but comfort and love. A crowd of cast members cheered us simply for entering the restaurant.


There, Chinese kites shaped like Buzz Lightyear and Slinky Dog hung from the ceiling; Chinese ideograms identified the different kinds of pastry. But everywhere the language of Disney superseded all others. The carrots floating in Shan’s bowl of chicken noodle soup were circles with mouse ears. The movies on tap in our room were all produced or released by you-know-who.

餐厅的天花板上悬挂着形似巴斯光年(Buzz Lightyear)和弹簧狗(Slinky Dog)的中国风筝,中国表意文字标明不同的面食种类。但是,不管在哪里,迪士尼的语言盖过了所有其他语言。姗的鸡肉汤面里漂浮的胡萝卜做成了带有老鼠耳朵的圆圈。我们房间里随时可以点播的电影都是迪士尼出品和发行的。

Shan and I curled up with “The Incredibles” (Pixar, 2004). In this animated story of a depressed family of superheroes who are forbidden to use their powers, we again saw midcentury styles. The movie’s flashy cars and swooping furniture were throwbacks to an age of power, not impotence. They referred to the time of Superman, James Bond and tight nuclear families like the Cleavers, which were all part of the pastiche.

我和姗选择了《超人总动员》(The Incredibles,皮克斯,2004年)。这部动画片讲述的是一个郁闷的超级英雄家庭,他们被禁止使用超能力。我们再次看到20世纪中叶的风格。那部电影中华丽的汽车和线条流畅的家具再次把我们带回一个充满力量的时代,而不是无能的时代。它是超人、詹姆斯·邦德(James B ond)、以及克利弗一家(Cleavers)那种紧凑的核心家庭的时代。

We were strangers lodging in a strange American fantasyland wrapped in the enigma of Asia, watching a family of misfits come to grips with their oddities and unite in triumph at the end. We laughed like hyenas and fell asleep.