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美国父母中国养女,一段上海迪士尼的奇妙旅行

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
美国父母中国养女,一段上海迪士尼的奇妙旅行

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

电话在早上六点响起。巴斯光年叫我们起床拯救银河系。

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.

这个来自动画人物的电话,是今天的第一个提醒,告诉我和我的家人,我们此刻身在全新的上海迪士尼度假区内的玩具总动员酒店。客房的墙上画着云彩。地毯上有土星和警长星。伍迪的塑像耸立于草木繁茂的庭院中,也就是“玩具总动员”系列电影里那个牛仔玩偶主角。浴帘上有伍迪的朋友们的图案。

The Enchanted Storybook Castle, which sits just outside the center of Shanghai Disneyland.
坐落在上海迪士尼乐园中心位置的奇幻童话城堡。

The minibar was filled with nothing.

迷你酒吧塞满了没意思的东西。

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.

我们走在一条几乎看不到尽头的走廊上,自觉像蹒跚走向目的地的婴儿。终于到了电梯。伍迪的声音响起,用英语和普通话说,“一层。”

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?

我们到这个三维卡通片里干什么?在这里,大堂的柱子和建筑构件没有完美对齐,看上去就像一些巨婴搭起来的东西。前台由柚子大小的大理石构成。

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.

这是我和丈夫厄恩斯特(Ernest)给今年10岁的女儿姗的奖励,表彰她的坚忍和正能量。过去四天里,她熬过了从纽约到上海的14小时航班,还要忍辱负重,看着她的父母用笨拙的手势与当地人沟通。

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.

然后就是重回出生地的情感压力。九年前我们在中国领养了14个月大的姗。这是我们第一次回来。离开西方世界的母舰后,上海是我们途经的一个气密过渡舱。我们将很快前往江西省一座小城,拜访她出生那一年待过的孤儿院。我们会去井冈山。最后还有四川省,火锅,大熊猫。

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.

在这之前,姗不时提出要去迪士尼乐园,遭到我们的断然拒绝。我认为迪士尼主题公园是个干净而欢快得不自然的地方。而厄恩斯特从小受到的教育就是要做一个多少有点原则的犹太人,迪士尼乐园在他看来就像圣诞节——不是该他去享受的乐子。

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.

但上海的迪士尼乐园就不一样了。这座主题公园里有那么多熟悉的角色,会让姗颇为舒适地重新接触中国。而且我和厄恩斯特会发现,购买一日门票(我们三人总共花费约230美元),去看经由一个曾长期抵制迪士尼化的国家诠释的米奇及其伙伴,是很值得的。

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.

我们于去年7月的一个周六现身上海迪士尼乐园时,它开张还不到一个月。我们把行李留在玩具总动员酒店——那是一栋低矮的蓝色玻璃幕墙建筑,周围则是沥青地面和修剪得短短的草坪,让厄恩斯特联想起硅谷一个科技公司园区——随后上了一辆前往主题公园的大巴。

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.

同车的乘客看上去都是亚裔,其中包括时髦的年轻伴侣(戴雷朋[Ray-Bans]太阳镜和猪肉派帽),把仅有的一个孩子夹杂中间的家长,还有一些家庭带着不止一个孩子。他们会是中国人吗?这个国家始于1970年代的一孩化政策最近已经被取消了。此前随着政策的松动,一些中国夫妇可以有两个孩子,我们面前的人似乎就是这种情况。姗注意到他们了吗?在我们多次谈及迫使中国父母放弃孩子的绝望境况之后,眼前的情形是否会让她感到困惑?委屈?她有一张适合玩扑克的不动声色的脸。你很难猜透她的心思。

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.

在主题公园入口处,我们看到了枫树以及一家星巴克(Starbucks)。喷泉喷出一波波很粗的水流,像是沸水里的意大利面;天气炙热难当。进门要花很长时间,警卫正在检查包裹,没收违禁食物。游客只能光顾园区的餐厅,要不就得饿着。我们站在一个统一戴橙色棒球帽的成人旅游团旁边,一个穿百慕大短裤、留着仿莫西干发型的小男孩在玩他妈妈的手机。很多人都穿着黑白两色横纹衬衫。

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.

那群人回过头来,带着同样浓厚的兴趣打量我们,好奇于我们的中国女儿以及她身旁皮肤苍白的同伴。我们抵达上海的第一个早上,当我在几米开外的饺子摊前买早点的时候,一个女人在街头凑近我的女儿。她一边用自己的语言快速发问,一边朝我这边指了指。我是姗的母亲?看护人?还是诱拐者?我女儿只会说英语,不明白她是什么意思,但随后一直待在我和厄恩斯特身后半米的地方,近到足以把我们置于视线之内,但又远到足以避免受到关注(或者说她希望如此)。

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.

我们读到的报道中引用了相关官员的话,他们解释说,独生子女政策给人口结构造成的干扰意味着上海迪士尼游客的平均年龄会比其他迪士尼公园游客大。照我们看来,除了有一个标志建议我们,要寻找吸烟场所,可向“演员”(也就是迪士尼公园的员工)求助之外,上海迪士尼乐园没有其他特别方式来满足成年人的需求。另一个标志上写着,轮椅可以在出租婴儿车的地点附近找到。

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.

我和欧内斯特提出轮流排队。我们不是完全无私的。漫威英雄总部是一个黑色瘤状亭式建筑,男孩们到处乱跑,大声尖叫,这里有空调。但是,姗的性格是进行任何冒险之前都先要在周边看看。所以我们徘徊了一阵子。

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.

在冒险岛的营地发现景点,一个戴着飞行员墨镜的13岁中国男孩说自己叫里弗斯(Rivers),想跟我们练英语。

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

“你多大了?”他问我丈夫。

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.

超大游戏室的主题还原了玩具们在电影中的视角,代表着另一种黄金时代:童年。但是,这家酒店打破了它的模式。皮克斯动画公司(Pixar)镜头下的年轻人并不轻松愉快——2006年迪士尼买下了皮克斯。《玩具总动员》的有趣之处在于,伍迪(Woody)和他的伙伴们只在周围有人时假装不是活的。在私下里,他们是活着的,那意味着,就像真人经历真实的发展一样,他们也在冲向死亡,在慢慢成熟的过程中不断吸取痛苦的教训。在电影中,玩具们遭到顽劣孩子们的粗暴对待,受到焚烧的威胁,而这家收费最低每晚125美金的服务型酒店除了舒适和爱,没有其他东西。哪怕只是进入餐厅,也会有一群演员对我们欢呼。

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.

我们是临时住在被亚洲的神秘所包围的奇特美国梦幻乐园中的陌生人,看着一个怪诞角色组成的家庭努力对抗自己的怪异,最后胜利地团结在一起。我们像土狼一样大笑,然后睡去。

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