评论
打印
Hey, there! I'm Mike Rugnetta. This is Crash Course Theatre,
嘿 大家好 我是迈克·鲁格内塔 这里是“戏剧速成课堂”
and today we're going to be raising the curtain on a form of Japanese theatre that actually used a curtain. It's Kabuki.
今天我们要来讲一种日本戏剧 这种戏剧实际上也会使用幕布 那就是“歌舞伎”
We're also going to look at Bunraku, an uncannily lifelike form of puppet theatre that gained popularity at about the same time as Kabuki.
我们还会讲到木偶戏 一种几乎和歌舞伎同时流行起来的木偶戏剧 木偶形态栩栩如生 十分诡异
Get your hooded narrators and your twelve best kimonos ready. It's lights up.
让那位戴头巾的旁白解说员准备好 另外备上十二件上等和服 好戏要开场了
Kabuki developed during the Tokugawa Shogunate, a military government that ruled from 1603 to 1868.
歌舞伎发展于德川幕府时期 德川幕府是一个从1603年到1868年统治日本的军事政府
After a series of disastrous civil wars, the government finally achieved peace and prosperity,
在经历了一系列灾难性的内战后 政府最终实现了和平与繁荣
while practicing a strict isolationism that allowed native arts to flourish.
同时奉行严格的孤立主义政策 使得本土艺术蓬勃发展
But, all that repression needed an outlet.
不过 所有的压抑情绪都需要出口嘛
Noh just wasn't enough anymore, especially now that the new middle class wanted to go to the theatre, too.
“能剧(日本古典剧)”已经不顶用了 特别是现在 新的中产阶级也想去剧院放飞自我
So, how did Kabuki begin? Oh, hey! It's Lewd Mime.
那么 歌舞伎是怎样兴起的呢 喔 嘿 它起源于淫荡的哑剧
Welcome back, Lewd Mime. Haven't seen you since the advent of Liturgical Drama.
欢迎回来 淫荡的哑剧 自从礼拜剧出现之后就没见过你呢
Around 1603, a female dancer from the Izumo Grand Shrine named Okuni began to perform publicly on a makeshift stage in a dry riverbed in Kyoto.
大概在1603年 一名来自出云大神社 名叫奥库尼的女性舞者 开始在京都的一个搭建在干枯河床上的临时舞台上进行公开表演
Her programs got really popular, and eventually Okuni began mixing dance with little playlets and occasional cross-dressing to create lengthier shows.
后来她的表演越来越受欢迎 最后奥库尼开始将舞蹈和小短剧以及时不时的变装结合在一起 鼓捣出了一种更长的节目
Courtesans began adopting her style and making increasingly elaborate performances set to the music of the shamisen, a three-stringed lute-like instrument.
名妓也开始发挥自己的风格 在三弦琴(一种类似鲁特琴的三弦乐器)的音乐伴奏下 表演变得越来越精致
These performances included dances, jokes, and a lot of sexy costumes with scenes set in bath houses, because, I mean, you know, courtesans.
表演的项目包括舞蹈 笑话 还有很多性感的服装 表演场景就设在澡堂 因为 嗯 你懂的 妓女嘛
This style was eventually called the Onna Kabuki, or Women's Kabuki. An alternate name was prostitutes singing and dancing.
这种风格最后被命名为“歌舞伎” 或者叫“女子歌舞伎” 还有一个名字是 “又唱又跳的妓女”
Even though this was supposedly a theatre for the emergent middle class, and samurai were supposed to be above this kind of thing, samurai weren't.
虽说这种戏剧是给新兴中产阶级看的 武士也被认为是高于这种阶级的 但事实并非如此
Concerned about the corrupting influence, authorities outlawed women performers in 1629.
出于对“腐化影响”的担忧 政府于1629年将女性表演者立为非法
But Kabuki, which means to tilt, continued.
但意为倾斜的歌舞伎仍在继续
Now restricted to the Red Light District of Edo, where it could be regulated.
现在被限制在江户的红灯区 在那里可以进行管制
This Red Light District was called Ukiyo, or The Floating World, and it was pretty much the naughty, pre-1990's Times Square of its day, except, you know, more tea houses.
这个红灯区被称为“浮世” 或者“漂浮的世界” 它和90年代前的时代广场差不多 只是多了些茶馆
Since women could no longer perform, the roles were played by young boys who also prostitute themselves to samurai.
因为女性无法再进行表演 所以由年轻的男孩扮演角色 不过男孩们也会向武士卖淫
The shogun hated this and kept trying to regulate it, so in 1642 men playing women's roles were outlawed.
幕府对此深表不满并一直试图规范 因此在1642年 扮演女性角色的男性演员也被禁止
And in 1648, homosexuality was outlawed. And in 1652, all young male actors were outlawed.
1648年，同性恋被宣布为非法 1652年 所有年轻男演员都被禁止
It's almost like theatre isn't the problem.
好像戏剧并不是问题所在哈
Anyway, it was at this point that a men's Kabuki formed.
不管怎么说 就是在这个时候 一种男性歌舞伎诞生了
All the actors were grown dudes and, just to make sure they wouldn't attract samurai,
所有的演员都是成年男子 为了确保武士不被他们吸引
laws required them to shave their foreheads and abstain from making themselves attractive.
法律要求他们剃掉额发来避免让自己变得有吸引力
Sexy scenes were also vetoed. Sorry, Lewd Mime.
色色的场景也被否决掉了 不好意思 淫荡的哑剧
A typical Kabuki program lasted twelve hours until 1868, when the government passed more laws and required that there be an eight hour maximum.
这种男性歌舞伎表演一般会持续12个小时 直到1868年 政府通过了更多的法律 对男性歌舞伎设置了一个8小时的上限
A performance usually began with a historical drama called a Jidaimono, which featured battles and samurai.
它们通常会以一部以战争和武士为特色、名为《武士》的历史剧来开场
This was followed by a dance, which was in turn followed by a ripped-from-the-headlines domestic drama, or Sewamono, and for dessert: a comic dance.
接着是舞蹈 再接着是一场被大肆报道的家庭剧 或者叫做“当代剧” 最后是一出喜剧舞蹈
The performances were highly physical, with lots of stage combat and martial arts.
这种表演很耗体力 因为有很多舞台打斗和武术动作
Occasionally, actors would stop and hold a pose called a Mie, which signaled a heightened moment in the narrative.
有的时候 演员们会停下来摆出一种名为“弥”的姿势 以此提醒观众高潮要到了
While only women's roles were danced at first, eventually dance became so important to the form, that in the 1700's, choreographers were added to Kabuki companies.
一开始只有女性角色可以跳舞 但是后来舞蹈在表演中变得越来越重要 直到18世纪 歌舞伎剧团增加了舞蹈编剧
Now, perhaps you're curious how exactly Kabuki differs from Noh, then.
现在 你是不是很想知道歌舞伎和能剧究竟有什么不同呢
Well, Kabuki plays are full of plot, spectacle, sword fights, mystical creatures, and special effects.
嗯 歌舞伎情节较为曲折、场面较为壮观、剑斗也比较多、还有神秘生物和特效也比较多
They're less concerned with enlightenment, and more about just having a good time.
它们不太注重教化 而是注重享受美好生活
As theatre professor Peter Arnott wrote, Noh is austere, Kabuki flamboyant;
正如戏剧专家彼得·阿诺特所说：能剧简朴 歌舞伎华丽；
Noh ritual, Kabuki spectacle; Noh offers spiritual consolation, Kabuki physical excitement;
能剧中规中矩 歌舞伎别出心裁；能剧提供精神安慰 歌舞伎寻求身体刺激
Noh seeks chaste models, Kabuki delights in the eccentric, the extravagant, and the willfully perverse;
能剧追求贞洁 歌舞伎则取悦于怪诞、奢侈和任性;
Noh is gentle, Kabuki cruel; Noh is concerned with the hereafter, Kabuki, bound by the here and now.
能剧温文儒雅 歌舞伎嗜血暴力；能剧关心来世 歌舞伎只注重此时
Kabuki may have been fun, wild, cruel, and contemporary, but actors took it very seriously.
歌舞伎虽然有趣、狂野、残酷、现代 但是演员们演技都很在线
Most Kabuki actors were born into the profession, training from age six or seven, and not considered mature artists until forty.
大多数的歌舞伎演员都是出生于演员世家 从六、七岁便开始接受训练 直到四十岁时才会被认为是成熟的艺术家
While the plays are extravagant, the acting's often very restrained.
戏剧场面虽然奢侈 但是表演却往往很克制
As Chikamatsu Monzaemon, the greatest and most famous Kabuki playwright, once wrote,
正如日本最伟大、最著名的歌舞伎剧作家千松门曾写道：
Since it is moving when all parts of the art are controlled by restraint,
当艺术受到多重约束时它是动人的
the stronger and firmer the melody and words are, the sadder will be the impression created.
旋律和台词也会越有力、越稳重 给人留下的印象也就会愈加的悲伤
Actors were social outcasts, you are perhaps unsurprised to learn.
众所周知 演员都是社会的弃儿
For the most part, they could only marry into other actor families and were ordered to live near the theatres.
多数情况下 他们只能嫁入其他的演员家庭 并被要求住在剧院附近
But acting families were famous for their unique Kata, or style.
但是表演家族以他们独特的风格而闻名
And Kabuki actors were the rockstars of their day, attracting obsessive fans
歌舞伎演员是他们那个时代的摇滚明星 吸引着那些天天只知道说闲话谈论自己的生活和竞争对手的痴迷的粉丝
who lived for gossip about their lives and rivalries and who would offer them presents on opening night.
粉丝们在首演之夜还会为歌舞伎演员献礼
Male actors who played female roles, called Onnagata actors, were especially popular.
扮演女性角色的男演员 被称为“女形演员” 名气很旺
A lot of them lived as women, even off stage, which is very method.
其中很多在生活中就以女性身份自居 即使在舞台下 属于体验派表演方式
If an Onnagata threw a used towel into the crowd, it could cause a riot.
如果一个女形演员向人群中扔一条用过的毛巾 那么可能会引发骚乱
In Kabuki, there are a few basic types of roles: the Onnagata; Tachiyaku, brave hero types; Katakiyaku, mean villain types; and Koyaku, children's roles.
歌舞伎中有几种基本的角色类型：“女形(日语)”演员-坤角 “立役(日语)”-勇敢的英雄类型 “敵役(日语)”-反派角色 还有“子役(日语)”-儿童角色
