加拿大媒体“Globe and Mail”访问-中英文(2011-2-22）
原文： Andrew Ryan 翻译： Be-Ti-An
凭着新剧《The Chicago Code（芝加哥法则）》里面强势的女性警官形象，Jennifer Beals最终完成自《Flashdance（闪舞）》后的蜕变。
Jennifer Beals生于风城芝加哥一个工薪阶层家庭，她十多岁的时候开始做兼职模特，其后入读耶鲁大学美国文学系并获得文学学士学位。1980年在芝加哥拍摄的电影«My Bodyguard（保镖）»里她饰演了一个不起眼的角色。但三年之后她首次担纲主角的《Flashdance》让她一炮而红。
Jennifer Beals饰演的主角Alex是白天是一位充满热情的年轻女焊铁工人，晚上则是一家酒吧里跳舞赚钱。《Flashdance》在全球掀起热潮，继而给Jennifer Beals带来了一个又一个的电影角色。其中包括了1985年的《The Bride (人造新娘)》里死而复生的新娘，1985年《人造新娘（吸血鬼之吻）》里的女吸血鬼，以及1995年《Devil in a Blue Dress（蓝衣魔鬼）》的魅惑女子。
2004年，Jennifer Beals摇身一变，成为Showtime有线电视播映的《The L Word（拉字至上）》里的强硬派角色Bette Porter。剧集一播就是六季。近年来，她在电视方面客串露面，这些作品包括《Frasier（欢乐一家亲）》和《Lie to Me（千谎百计）》。而《The Chicago Code》则成为让她故地重游的契机，也令她有机会缅怀故乡的分分秒秒。上周(2月22日)她给多伦多的媒体Globe and Mail抽空做了个访问。
《The Chicago Code》里你以谁来作为这个女警察局长的角色的模板呢？
记得中学时候我们表演《Fiddler on the Roof(屋上提琴手)》，我扮演Hodel一角。我的单人部分里面有那么一刻让我感到脱离了现实。那真是一种刹那的超脱感觉。然后我想，“哇，那真奇妙！”另外我还想到在Steppenwolf Theatre戏院我做志愿演员的时候看过 Joan Allen演的《Balm in Gilead》， 给我留下刻骨铭心的印象。那改变了我对演戏和剧院的旧有看法。
《The Chicago Code》里的角色和《The L Word》的有何种不同？
很多方面来两者算有种天然的联系。《The L Word》里面的Bette Porter要强，实在，而且也很正直。她对自己的事业充满了激情，同时透彻明白文化背景中对女性的歧视根深蒂固。恐同也是其中一种表现。我想Bette就是活在那样的世界中。《The L Word》为我饰演其他强势和坚决的角色奠定了基础。
《The L Word》是你演艺事业的巅峰吗？
我一直觉得能参与这部戏我相当幸运。某种程度上，《The L Word》促使了文化的某些改变。它让人们意识到人与人之间其实同大于异。我想这部剧真的帮助了很多人。
从你拍过的这么多部电影来看，包括《Vampire’s Kiss》、《Devil in a Blue Dress》以及《Book of Eli（末日天书）》， 如果说同样的角色你尽量不要饰演两次这样对吗？
我在温哥华拍了一部叫《A Night for Dying Tigers》的电影，对于作为演员的我来说说一种创新尝试。它有出色的演员和工作人员阵容，事实上只有10个人。故事探讨人的内心世界，从这主题方面看拍摄很有难度，但是自由度也很大。它在去年秋天多伦多电影节上试映，很可惜我因为在拍摄《The Chicago Code》的关系没法参加。
像大多数关于罪案的电视剧，《The Chicago Coe》似乎会有几季。 你会一直都在吗？
会的，我已经做好准备了。我对Shawn Ryan（注：编剧及制作人）充满信心， 而且我也期望我的角色能去更多的地方，并且讲述她的私人生活。我准备好接受挑战了。
注：本访问为浓缩版，经过编辑删节。《The Chicago Code》每周一晚上9点在Fox电视台播出。
After nearly three decades in film and television, Jennifer Beals has come home.
The striking actress has finally shed all vestiges of her Flashdance days with her new TV role as a tough lady cop on The Chicago Code, which, as the title suggests, films in her hometown of Chicago.
Born in the windy city to working-class parents, Beals was a model in her teens but also expanded her mind at Yale University, where she received her Bachelor’s degree in American literature. She took on a small role in the 1980 filmed-in-Chicago feature My Bodyguard, but three years later she was the main attraction in Flashdance.
As the film’s lead character, Alex, she played a feisty young woman who was a welder by day and exotic dancer by night. Flashdance was a global hit and thereafter Beals took on a steady succession of intriguing film roles, playing an undead beauty in The Bride (1985), a hot-blooded bloodsucker in Vampire’s Kiss (1989) and a temptress in Devil in a Blue Dress (1995).
In 2004, Beals made the transition to TV playing the strong-willed Bette Porter on Showtime’s The L Word, which ran six seasons. In recent years, she has done cameo turns in TV series including Frasier and Lie To Me. On Chicago Code, however, she’s back home, back in the spotlight and loving every minute of it. She sat down for an interview last week in Toronto.
Who was the role model for playing the female police superintendent on The Chicago Code?
There was no template, really. I mean, you look at women like Hillary Clinton. You look at her presidential campaign. How she was characterized if she was emotional, or if she wasn’t emotional. Those criticisms wouldn’t have come up had she been a man. It makes you realize that when a woman is powerful and in a position of leadership, the rules are very different.
How important is it for your character to keep up her tough outer veneer?
Well, she is tough, so that isn’t so much a veneer.
Are you the type of person who pays attention to weekly Nielsen ratings?
It doesn’t affect me. I know some people pay close attention to ratings, but it doesn’t affect how I play the character. At the end of the day I have no control over it, so it’s silly to give myself something else to worry about.
Is it a personal bonus to shoot in your hometown of Chicago?
Of course, but remember I haven’t been back in 20-odd years. The city has changed a great deal. All the neighbourhoods have changed. But I still feel a protectiveness of Chicago. I feel a great love for the city that I don’t have to feign, so that makes my job easier.
Is the show partly an homage to the city itself? Without a doubt Chicago is a character on the show. The amazing architecture and the discrepancy between the affluent neighbourhoods and the neighbourhoods that have nothing. And then there’s the constant movement–the L train is in the background all the time. There’s helicopters, buses and cars. All these characters are trying to stay ahead in this city that is in constant flux, not only physically, but politically.
Can you recall the moment or event that pushed you toward acting?
I remember doing Fiddler on the Roof in high school and I was playing Hodel. During my solo I had one little moment where reality was kind of muted. It was one tiny millisecond of being transcended. And I thought, ‘Wow, that was amazing.’ I also remember volunteer-ushering at the Steppenwolf Theatre and seeing Balm in Gilead with Joan Allen. It was so visceral and so present. It actually shifted the paradigm for me of what acting and theatre could be.
Looking back now, was Flashdance a curse or a blessing for you as a young actress?
Flashdance was certainly a baptism by fire. While all that was happening, though, I was still at university, so I was really quite unaware of what was going on. I was more concerned with my midterms and studying and where I was going to do my laundry.
How does your role on Chicago Code compare to your character on The L Word?
In many ways it’s a natural progression. Bette Porter on The L Word was very strong and grounded and righteous. She was very passionate about her job and always aware how deeply misogynistic that culture can be. Homophobia is a form of misogyny and I think Porter lived that. The L Word gave me the base of playing someone who is very strong and determined.
Was The L Word a career peak for you?
I always felt so fortunate to be part of the show. In some small way The L Word actually helped shift the culture and make people realize that the ways in which we are similar are much more numerous than the ways that we are different. The show really helped a lot of people, I believe.
For a lot of people, it gave them courage to come out. One of the more moving moments for me was when a couple came to visit the set. These women had been together 30 years and they had not come out at work or to their families. And after seeing our show they finally had the courage to come out, and people were very accepting of them. So they got to live their lives both authentically and openly.
Given your film résumé range – Vampire’s Kiss, Devil in a Blue Dress, Book of Eli – is it fair to assume you try to never play the same character twice?
I just go to whatever moves me at the time. In most cases it’s a character that has some unique quality. I always try to keep it interesting.
What was your most recent engaging movie role?
I did a film in Vancouver last year called A Night for Dying Tigers that turned out to be a seminal experience for me as an actor. It was a great cast and the crew was literally eight to 10 people. It was a very intimate film, and very tough to shoot, in terms of the subject matter, but also very freeing. It was at the Toronto International Film Festival last fall but I couldn’t go because I was working on Chicago Code.
Like most TV crime dramas, Chicago Code seems built to run several seasons. Are you in for the long haul?
Yes, I’m prepared for that. I trust [creator/executive producer] Shawn Ryan completely and I’d like to see my character go different places and create a private life for herself. I’m ready for the challenge.
This interview has been condensed and edited. The Chicago Code airs Mondays at 9 p.m. on Fox and Global