《毕业生》导演迈克·尼科尔斯去世Mike Nichols, one of America's most celebrated directors, whose long, protean résumé of critic- and crowd-pleasing work earned him adulation both on Broadway and in Hollywood, died Wednesday. He was 83.
迈克·尼科尔斯(Mike Nichols)是美国最著名的导演之一，在其漫长多变的事业生涯中，诸多叫好又叫座的作品为他在百老汇与好莱坞都赢得了赞誉。他于周三逝世，享年83岁。
His death was announced in a statement by the president of ABC News, James Goldston.
ABC新闻台总裁詹姆斯·戈德斯通(James Goldston)在一份声明中宣布了他去世的消息。

Dryly urbane, Nichols had a gift for communicating with actors and a keen comic timing, which he honed early in his career as half of the popular sketch-comedy team Nichols and May. He accomplished what Orson Welles and Elia Kazan, but few if any other directors have: He achieved popular and artistic success in both theater and film. He was among the most decorated people in the history of show business, one of only a handful to have won an Oscar, a Tony, an Emmy and a Grammy.
尼科尔斯为人冷淡而彬彬有礼，却有一种同演员沟通的天赋，以及强烈的喜剧节奏感。这是他事业生涯早期在颇受欢迎的喜剧小品二人组“尼科尔斯与梅”(Nichols and May)中磨练出来的。他在舞台剧和电影界都获得既叫好又叫座的成功，这一成就堪比奥逊·威尔斯(Orson Welles)和伊利亚·卡赞(Elia Kazan)，罕有其他导演能及。他是演艺史上获得荣誉最多的人之一，也是少数几个同时获得奥斯卡奖、托尼奖、艾美奖与格莱美奖的人之一。
His career encompassed an entire era of screen and stage entertainment. On Broadway, where he won an astonishing nine Tonys (including two as a producer), he once had four shows running simultaneously. He directed Neil Simon's early comedies “Barefoot in the Park” and “The Odd Couple” in the 1960s, the zany Monty Python musical, “Spamalot," four decades later, and nearly another decade after that, an acclaimed revival of Arthur Miller's bruising masterpiece, “Death of a Salesman.”
他的事业生涯涵盖了电影与舞台娱乐的一整个时代。在百老汇，他获得了惊人的九个托尼奖（其中两次是以制作人身份），他一度有四部舞台剧同时上演。20世纪60年代，他执导了尼尔·西蒙(Neil Simon)创作的早期喜剧《新婚燕尔》(Barefoot in the Park)和《单身公寓》(The Odd Couple)；40年后又执导滑稽的“巨蟒”(Monty Python)的音乐剧《火腿骑士》(Spamalot)，在那之后又过了将近十年，他将阿瑟·米勒(Arthur Miller)激烈的杰作《推销员之死》(Death of a Salesman)重新搬上舞台，大受欢迎。
In June 2012 at age 80, he accepted the Tony for directing “Salesman.” When his name was announced at the Beacon Theater on the Upper West Side of Manhattan, the neighborhood where he grew up, he kissed his wife, broadcaster Diane Sawyer, stepped to the stage and recalled that he once won a pie-eating contest in that very theater.
2012年，80岁的他因执导《推销员之死》获得托尼奖。他的名字回响在曼哈顿上西区灯塔剧场之中，他儿时就是在这个街区长大成人。他亲吻了妻子——新闻主播黛安·索耶(Diane Sawyer)，走上舞台，开始回忆自己当年曾在这个剧场赢过一次吃馅饼竞赛。
“It was nice but this is nicer,” he said. “You see before you a happy man.”
“那次很不错，但这次更好，”他说，“你们看，在你们面前的我是一个多么快乐的人。”
Between 1970 and 2000 his work included revivals of classics like Chekhov's “Uncle Vanya” and “The Little Foxes” by Lillian Hellman; astringent dramas tied to world affairs like “Streamers,” David Rabe's tale of soldiers preparing to be shipped out to Vietnam, and Ariel Dorfman's “Death and the Maiden,” about the revenge of a former political prisoner; incisive social commentaries including “The Real Thing” by Tom Stoppard and “Comedians” by Trevor Griffiths; and comedies by turns acid (Rabe's “Hurlyburly”), sentimental (“The Gin Game” by D. L. Coburn), dark (Simon's “Prisoner of Second Avenue”) and light (Simon's “Plaza Suite,” a tripartite work that goes from melancholy to loopy to slapstick).
在1970到2000年之间，他曾把若干经典剧目重新搬上舞台，如契诃夫(Chekhov)的《万尼亚舅舅》(Uncle Vanya)和莉莉安·赫尔曼(Lillian Hellman)的《小狐狸》(The Little Foxes)；还有针砭时弊的讽刺喜剧，如《北极光》(Streamers)，剧本由大卫·拉贝(David Rabe)创作，讲述准备乘船去往越南参战的士兵们的故事，艾瑞尔·道夫曼(Ariel Dorfman)的《死亡与少女》(Death and the Maiden)，讲述获释政治犯复仇的故事；此外还有尖锐的社会评论剧如汤姆·斯托帕德(Tom Stoppard)的《真正的东西》(The Real Thing)和特莱沃·格里菲斯(Trevor Griffiths)的《喜剧演员》(Comedians)。他也导演过若干喜剧，有的辛酸（拉贝的《浮世男女》[Hurlyburly]）、有的伤感（D·L·科伯恩[D.L. Coburn]的《洋麻将》[The Gin Game]）、有的黑暗（西蒙的《第二街的囚犯》[Prisoner of Second Avenue]），有的光明（西蒙的《幸福大饭店》[Plaza Suite]，这是一部三幕戏，从忧郁到疯狂，最后成为闹剧）。
The first time Nichols stepped behind the camera, in 1966, it was to direct Richard Burton and Elizabeth Taylor, in an adaptation of Edward Albee's scabrous stage portrayal of a marriage, “Who's Afraid of Virginia Woolf?” The film was nominated for 13 Academy Awards, including one for best director. Though he didn't win then, the film won five.
尼科尔斯初次踏入电影界是在1966年，执导由爱德华·阿尔比(Edward Albee)的舞台剧《谁害怕弗吉尼亚·伍尔夫》(Who's Afraid of Virginia Woolf?)改编的同名电影，原剧是对一段婚姻充满情色意味的舞台展示，电影由理查德·伯顿(Richard Burton)和伊丽莎白·泰勒(Elizabeth Taylor)主演。影片获得13项奥斯卡提名，包括最佳导演奖，尽管他最终未能获得这项荣誉，但该片赢得了五项大奖。
Nichols did win an Oscar for his second film, “The Graduate” (1967), a shrewd social comedy that defined the uncertainty of adulthood for the generation that came of age in the 1960s and made a star of an unknown actor, Dustin Hoffman, who was nearly 30 when he played Benjamin Braddock, the 21-year-old protagonist of the film, a Southern Californian and a track star who sleeps with the wife of his father's best friend and then falls in love with her daughter. A small, dark, Jewish New Yorker, he was an odd choice for the all-American suburban boy whose seemingly prescribed life path has gone awry.
不过尼科尔斯的第二部影片《毕业生》(The Graduate, 1967)为他赢得了奥斯卡奖，这是一部老道的社会喜剧，精确地勾勒出在60年代成长的一代人成年后的不安定感，令籍籍无名的演员达斯汀·霍夫曼(Dustin Hoffman)一举成为影星。当时霍夫曼已经年近30，却要饰演21岁的主角本杰明·布拉德多克(Benjamin Braddock)，本杰明是南加州人，田径明星，和父亲最好的朋友的妻子上床，之后又爱上她的女儿。霍夫曼是个黝黑矮小的纽约犹太人，选他来饰演一个既定人生道路走上歧途的典型美国郊区男孩似乎很奇怪。
“There is no piece of casting in the 20th century that I know of that is more courageous than putting me in that part,” Hoffman said in an interview in The New Yorker in 2000.
“就我所知，20世纪的电影选角史上，没有比让我出演这个角色更加大胆的了，”2000年，霍夫曼在接受《纽约客》(The New Yorker)采访时说。
By the end of Nichols' career, he was bravely casting the star Hoffman of a different generation — Philip Seymour — with whom Nichols made the rollicking political film “Charlie Wilson's War” (2007), and, later, more provocatively, the Broadway production of “Death of a Salesman.” He cast Hoffman, then 44, to play Miller's tragic American in defeat, Willy Loman, a man in his 60s. In addition to Nichols' Tony Award for directing, the play won for best revival.He had also turned his attention to television, winning Emmy Awards for directing adaptations of two celebrated plays for HBO: Margaret Edson's “Wit” (2001), about a woman dying of cancer; and Tony Kushner's epic AIDS drama, “Angels in America” (2003).
尼科尔斯事业生涯的末期再次大胆地选择了另一代人的另一个霍夫曼——菲利普·塞默·霍夫曼(Philip Seymour Hoffman)——尼科尔斯让他在欢谑的政治电影《查理·威尔森的战争》(Charlie Wilson's War, 2007)中饰演角色，后来又让他主演了百老汇版《推销员之死》(Death of a Salesman)，这一举动更富争议。霍夫曼当时44岁，要饰演米勒笔下遭受失败的悲剧性美国人威利·洛曼(Willy Loman)，一个60多岁的老人。该剧为尼古拉斯赢得了托尼奖最佳导演奖，以及最佳翻拍剧奖。他的目光还曾投向电视，为HBO台导演了两部由著名舞台剧改编的电视剧：玛格丽特·爱德森(Margaret Edson)创作的《抛开自我空间》(Wit, 2001)，讲述一个身患癌症的濒死女人的故事；以及托尼·库什纳(Tony Kushner)关于艾滋病的史诗戏剧《天使在美国》(Angels in America, 2003)，两部剧为他赢得了若干项艾美奖。
Driven, forceful and, for all his wit and charm, known occasionally to strafe the feelings of cast and crew members, Nichols was prolific — too prolific, according to some critics who thought he sometimes chose his projects haphazardly or took on work simply for money.
尼科尔斯极其努力、令人信服，同时极具才智和魅力，但有时也会伤害演员和剧组成员的感情，他非常高产——有些评论家因为他实在过于高产了，觉得他接片太随意，有时候只是为了钱。
Not every project was a winner; he had a number of duds, and for periods — part of the 1970s, when he made the science fiction thriller “The Day of the Dolphin” and a period comedy about bumbling hustlers, “The Fortune”; and the late '80s and early '90s, when his uninspired work included “Regarding Henry,” a sappy tale about a hard-driven lawyer who learns the true meaning of life as he recovers from a shooting; and “Wolf,” the macabre tale of a book editor (Jack Nicholson) who turns into a werewolf — his career lost a bit of luster.
他也有过若干平淡无聊、转瞬即逝的作品，并不是每个项目都能获得成功，比如70年代他的科幻惊悚片《海豚日》(The Day of the Dolphin)和关于笨贼的时代喜剧《财富》(The Fortune)；80年代末到90年代初，他枯燥乏味的作品包括《意外的人生》(Regarding Henry)，这是一个多愁善感的故事，讲述一个拼命工作的律师如何从枪击事件中复原，了解到人生的真谛，还有《狼人生死恋》(Wolf)，这是一个恐怖故事，讲述杰克·尼克尔森(Jack Nicholson)饰演的图书编辑变成了狼人——这些作品令尼科尔斯的事业生涯略为减色。
Still, his projects almost always had a high-profile glow, mainly because stars flocked to work with him.
但是，他的作品一直都笼罩在高调的光辉之中，主要是由于他身边总是簇拥着与他合作的影星。
“A director's chief virtue should be to persuade you through a role; Mike's the only one I know who can do it,” Burton said after “Virginia Woolf” was finished, a remarkable compliment from a renowned actor for a fledgling director. “He conspires with you to get your best. He'd make me throw away a line where I'd have hit it hard. I've seen the film with an audience and he's right every time. I didn't think I could learn anything about comedy — I'd done all of Shakespeare's. But from him I learned.”
“导演最大的美德就在于说服你进入某个角色，迈克是我认识的人里唯一能做到这一点的，”伯顿在拍完《谁害怕弗吉尼亚·伍尔夫》后说，一位著名演员对新手导演如此赞美实属非同寻常。“他和你一起努力，让你做到最好。在我不满意的地方，他让我即兴发挥台词。我坐在观众们当中看了这部电影，而他每一次都是对的。我演过全部莎士比亚戏剧，觉得自己已经不能从喜剧当中学到什么了，但我从他身上学到了东西。”