休·格里菲思副教授，英国文学评论托米·墨菲改编自蒂姆·康尼格雷夫斯回忆录的新作《抓住男人》。 他说，1995年的这本书是一份难得的礼物，记录了在艾滋病病毒到来之前的几十年里，同性恋成长的感受。 穿过奇彭代尔，在去悉尼贝尔沃街剧院的路上，我经过了约克剧院，这部《抓住男人》正在上演。 1985年，该剧的原回忆录作者蒂莫西·科尼格雷夫在剧院排练尼尔·西蒙的《布莱顿海滩回忆录》巡回演出。 在一次预约排练中，他得知自己被诊断为艾滋病病毒阳性，不得不原谅自己。 然后，我沿着山走到萨里山，来到了贝尔沃街剧院。 在最初的诊断五年后，科尼格雷夫的戏剧《小偷男孩》在贝尔沃剧院进行了第一次排练。 他没能参加，因为他因肺孢子虫肺炎（pcp）住院，这是一种定义艾滋病的疾病。 观看托米·墨菲（tommy murphy）根据科尼格雷夫（conigrave）的回忆录《贝尔沃剧院》（at the belvoir）精心改编的这部作品的复兴，就是居住在充满这本书记忆的空间里。 回忆录能做的一件事就是为世界上的记忆打开一个生存的空间，否则就会失去的个人记忆。 科尼格雷夫1995年出版的《抱着男人》是一本罕见的礼物，完美地捕捉到了在艾滋病病毒到来之前的几十年里，同性恋成长的感觉。 注意到这本书的核心是蒂姆和他高中时的恋人约翰·卡莱奥之间的欢乐爱情故事。 当然，约翰之死的总体轨迹以及艾滋病病毒对他们的朋友和家人的影响。 但这本书通过让你了解某人生活的微小细节，对读者产生了非凡的魔力。 在康尼格雷夫的作品中，最感人的往往是一些小事：人们穿着什么，在听什么，在特定的光线下看起来如何，性爱的尴尬和乐趣，是什么让他们微笑或大笑。 汤姆·康罗伊（右）扮演的核心角色非常出色。 照片：布雷特·博德曼/贝尔沃伊雷蒙·弗拉克的作品很好地捕捉到了这种转瞬即逝的记忆，尽管如此，我们仍然可以获得这种记忆。 汤姆·康罗伊扮演的核心角色非常出色。 他把我们从九岁的蒂姆带到悲伤的情人，带着这个角色所需要的所有同情和嬉戏。 康尼格雷夫的书和墨菲的剧本都没有回避蒂姆的缺点；他有时脾气暴躁，自私，但总是很有魅力，很容易被人认出，很有人情味。 加入康罗伊的还有一个出色的演员阵容：丹妮·鲍尔饰演他的爱人约翰，还有四位演员（拉塞尔·戴克斯特拉、丽贝卡·马西、盖伊·西蒙和shannen alyce quan），他们在蒂姆的生活中与所有其他人打成一片。 它们都很棒，但特别提到了massey，他戴的假发比cher多，而且全身都很陶醉。 盖伊·西蒙两次以同学妈妈的身份出现也是一种绝对的快乐。 艾蒙·弗拉克的作品平衡了泪水和笑声。 照片：布莱特·博德曼/贝尔沃开场的机智、魅力和爱（男生般的迷恋、舞蹈、音乐和大量的笑声）与后半段的悲情（爱、失去和眼泪的承受力，还有更多的笑声）很好地平衡了。 弗拉克的导演将焦点的不断转移——回忆录和记忆剧的重要组成部分——以一种看似毫不费力的轻松方式编织在一起；这是对舞台和剧本的巧妙运用。 这部作品及时地再现了转瞬即逝的记忆。 照片：《布雷特·波特曼/贝尔伏瓦》也是一部知道它将在2024年向观众发表演讲的作品，而不是在1995年康尼格雷夫的书首次出版时，也不是在2006年墨菲的改编作品首次上演时。 从那以后，我们经历了很多，不仅是澳大利亚激烈的婚姻平等投票，还有一种全球意识，即酷儿的生命可能会受到新的威胁。 男同性恋者、我们的朋友和家人的生活和爱情不可避免地会被20世纪80年代和90年代发生的事情所撕裂。 这部作品是一个重要而及时的提醒，提醒我们失去了什么，获得了什么，以及我们需要活下去的珍贵记忆。 开幕当晚，新南威尔士州议会正在听取一项法案的一读，该法案将禁止同性恋皈依行为，受害者证明该行为对他们的生活产生了腐蚀性和暴力影响。 我们希望，禁止这种做法是恢复我们城市和州酷儿生活乐趣的又一步。 该男子在悉尼贝尔沃被扣留至2024年4月14日。 蒂姆·科尼格雷夫斯的回忆录《抱着那个男人》在书店里有售。 休·格里菲斯副教授是英国文学的讲师和研究员。 这个故事第一次发表在谈话中。 布雷特·博德曼/贝尔沃摄影。 布雷特·博德曼/贝尔沃摄影。associate professor huw griffiths, in english literature, reviews holding the man, a new production of tommy murphys adaptation of tim conigraves memoir. he says the 1995 book is a rare gift, capturing what it was like to grow up gay in the decades before the arrival of hiv.walking through chippendale on my way to sydney’s belvoir street theatre, where this production of holding the man is playing, i pass by the york theatre. this was the theatre where, in 1985, timothy conigrave, author of the original memoir upon which the play is based, was rehearsing a touring show of neil simon’s brighton beach memoirs. he had to excuse himself from one rehearsal for an appointment where he learned his hiv-positive diagnosis.then, walking up the hill to surry hills, i get to the belvoir street theatre itself. five years after that initial diagnosis, conigrave’s play, thieving boy, was getting its first rehearsed reading at the belvoir. he wasn’t able to attend because he’d been kept in hospital with pneumocystis pneumonia, pcp, an aids-defining illness.to watch this revival of tommy murphy’s beautifully crafted adaptation of conigrave’s memoir at the belvoir is to inhabit spaces that are filled with the book’s memories.one of the things that memoir can do is to hold a space open for memories to live on in the world, personal memories that would otherwise be lost. conigrave’s 1995 book, holding the man, is a rare gift, perfectly capturing what it was like to grow up gay in the decades just before the arrival of hiv.noticing the small thingsat the book’s heart is a joyous love story between tim and his high school sweetheart, john caleo. there is, of course, the overarching trajectory of john’s death and the impact of hiv on their friends and families. but the book works its remarkable magic on a reader by disarming you with the tiny details of somebody’s life.it is the small things that are often the most affecting in conigrave’s writing: what people were wearing, what they were listening to, how they looked in certain turns of the light, the awkwardness and fun of sex, what made them smile or laugh.tom conroy (right) is superb in the central role. photo: brett boardman/belvoireamon flack’s production captures well – and with a lovely, light touch – this sense of fleeting memories that are, nevertheless, still available to us. tom conroy is superb in the central role. he takes us from nine-year-old tim to grieving lover with all of the empathy and playfulness that the part requires. neither conigrave’s book nor murphy’s script shy away from tim’s flaws; he is, at times, petulant and selfish, but always charming, recognisable and human.conroy is joined by a wonderful cast: danny ball as john, his lover, but also an ensemble of four performers (russell dykstra, rebecca massey, guy simon and shannen alyce quan) who cycle through all the other people in tim’s life. they are all great, but special mentions for massey who wears more wigs than cher and revels in every part. guy simon’s two appearances as a schoolfriend’s mum are also an absolute joy.eamon flack’s production balances tears and laughter. photo: brett boardman/belvoirthe wit, charm and love of the opening act (schoolboy crushes, dancing, music and a lot of laughter) are balanced well with the pathos of the second half (the endurance of love, loss and tears, but also more laughter). flack’s direction knits together the constant shifts in focus – an essential part of memoir and of memory plays – with an ease that only seems effortless; this is a compelling and skilful use of stage and script.a timely reminderthis production captures the sense of fleeting memories. photo: brett boardman/belvoirthis is also a production that knows it is addressing an audience in 2024, not in 1995, when conigrave’s book was first published, nor in 2006 when murphy’s adaptation was first staged. we’ve lived through a lot since, not only the bruising marriage equality vote in australia, but also a global sense that the lives of queer people might be newly under threat.the lives and loves of gay men, our friends and families, are unavoidably threaded through (pulled apart and drawn together) by what happened in the 1980s and 1990s. this production is an important and timely reminder of what was lost, what was gained, and of the precious memories that we need to keep alive.on the day of the opening night, the nsw parliament was hearing the first reading of a bill that would outlaw gay conversion practices, the victims of which testify to its corrosive and violent impact on their lives.here’s hoping the ban on such practices is one more step in restoring joy to the lives of queer kids in our city and state.holding the man is at belvoir, sydney, until april 14, 2024. tim conigraves memoir holding the man is available in book stores. associate professor huw griffiths is a lecturer and researcher in english literature. this story was first published in the conversation. photos by brett boardman/belvoir. .本文来源： 《在贝尔沃拥抱男人》为酷儿群体留下了珍贵的回忆
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