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This makes Millwood crouching. But then she remembers that George has a rich uncle
而妓女米尔伍德一直坐等时机出手 后来她想到乔治有一个有钱的叔叔
whom she convinces George to rob and murder. That must have been some dinner.
她便说服乔治去抢劫和谋杀自己的叔叔 肯定又请他吃了晚饭
George arrives in disguise and murders his uncle.
乔治乔装后来到叔叔家将叔叔谋杀
With his dying words the uncle asks: forgiveness for both his nephew and his murderer.
叔叔临终前的遗言是：请宽恕我的侄子还有这个凶手吧
And George is like, they're both me.
然后乔治说：侄子和凶手都是我
And with more dying words the uncle is like, it's okay. So George is too sad to rob him.
之后叔叔又说了一些遗言：那好吧 不过最后乔治因为太伤心了所以并没有拿走叔叔的财产
When George shows up at Mill Woods without the money. She has him arrested.
当妓女米尔伍德看到乔治空手而归时就报警把乔治抓走了
But then her servants have her arrested. And they're both sentenced to death.
不过之后妓女的仆人也报警将妓女抓了起来 乔治和妓女都被判了死刑
Millwood doesn't repent, because evil. But George does. And he goes to his death peacefully.
妓女米尔伍德因为太邪恶所以没有忏悔 而乔治忏悔了 所以他安详地死去了
Then his friends come out to remind everyone to learn from George's mistakes.
之后乔治的朋友出来提醒大家要从乔治的错误里吸取教训
The play upholds basic sentimental beliefs: people are mostly good but can be led astray by evil influences.
该剧支撑了基本的情感信念：人们大多是善良的 但也会受到邪恶的影响误入歧途
We should learn from the moral errors of others. Don't Rob or kill people, especially rich people.
我们应该从别人犯的道德错误里吸取教训 不要抢劫或谋杀别人 尤其是有钱人
which probably explains why for almost a century London apprentices or sent by their bosses to see this play every year.
这或许也是近一个世纪以来为什么每年都会有伦敦的学徒被老板叫去看这部剧的原因
You know, just like, as a friendly reminder. Thanks thought-bubble.
你懂的 就是一种善意的提醒 谢谢思想泡泡
Sentimental comedies and Bourgeois tragedies weren't the only kinds of theatres on offer in early modern England.
“情感喜剧”和“中产阶级悲剧”并不是近代英国早期仅有的两种戏剧
Remember how every so often government's decide that theatre is dangerous and needs a lot of regulating.
还记得政府是如何如何将剧院视为危险的东西并进行严格管制的吗？
Well, this is one of those times.
没错 这段时期也发生过
In the 1730's, regulation of the theaters was divided up haphazardly among the Lord Chamberlain, the Treasury and the occasional judge.
18世纪30年代 剧院被随意分配给宫内大臣、国库和临时法官进行管理
Which means it wasn't being regulated much at all.
这说明当时对剧院的管制还不严格
There were a bunch of political satires, mocking Parliament and the king, most of them written by Henry Fielding.
后来出现了很多讽刺政治、嘲笑国会和国王的戏剧 其中大部分都是亨利·菲尔丁的作品
In response, some ministers were like, hey, remember when the master of revels could just sense her stuff? Let's bring that back.
作为反击 一些大臣说：嘿 狂欢大师能感应到自己的东西 还记得吗？咱们把尊严讨回来吧
Robert Walpole convinced him to pass the Licensing Act of 1737 by taking one of the most offensive plays The Golden Rump and reading it aloud in Parliament.
罗伯特·沃波尔(英国历史上第一位首相)被那部最具攻击性的戏剧《金色的臀部》说服通过了1737年的《特许法案》并在议会中大声朗读
Worth noting though, that no manuscripts of The Golden Rump exists. And it doesn't appear to have ever been performed in public. How suspicious.
不过值得注意的是 《金色的臀部》的手稿并不存在 而且似乎也曾未在公共场合表演过 这太可疑了
One theory is that Walpole commissioned it himself for political purposes. So tricky. So effective.
有一种说法是 沃波尔是出于政治目的委托他人写的这部戏剧 太狡猾了 不过效力强悍
The licensing Act said that only two London theatres—Drury Lane and Covent Garden could present spoke and drama,
《许可法案》规定 伦敦只能有两家剧院可以拉横条、演戏剧 即“德鲁里巷剧院”和“科芬园剧院”
though Parliament later gave license for the summer months to Samuel Foot at the Haymarket, as repayment for a prank
尽管后来议会批准了干草市场的“塞缪尔福特剧院”可以在夏季进行演出 作为对约克公爵搞的一个恶作剧的回报
the Duke of York pulled, betting that foot couldn't ride an unridable horse.
他赌那只脚骑不了一匹不能骑的马
It turns out he couldn't. And then they had to amputate his leg.
事实证明他错了 之后他们不得不截掉他的腿
The Licensing Act also said that no plays could be performed for gain, hire or reward without the prior approval of the government.
《许可法案》还规定 没有政府的事先批准 任何剧院都不能为了盈利、租赁或者奖励进行演出
Of course, a lot of theatres got around this. They charge for a concert or a beer or an option and then accidentally stage a play. Whoops.
当然 很多剧院都避开了这个问题 他们转而对演唱、啤酒或者某项选择收费 然后一不小心就演了一出剧 哎呦
But sometimes theaters were caught and many of them closed.
不过也有剧院被抓住 很多被抓住的剧院都关门大吉了
The closure of the New Wells Theatre let its proprietor William Hallam to send a troop of players to America.
“新威尔斯剧院”的关闭致使他的老板 威廉·哈勒姆 将一个演出团送至美国
And as we'll see, that helped get American theater going.
后期我们会讲到 此事带动了美国剧院的发展
Another workaround was to avoid presenting spoken dramas by dancing them, miming them, were using puppets.
另一种逃避方法是通过跳舞、模仿、使用木偶来避免表演口语化的戏剧
A rule known as the Birla Rule said that a drama wasn't spoken as long as there were five pieces of incidental music in it.
“贝拉规则”称：只要带有五首配乐的戏剧就不能算是戏剧
So suddenly there was a lot of musical theater.
所以突然出现了很多音乐剧
A version of Commedia Dell'arte also appeared in this period, now called Pantomime.
那段时期还出现了另外一种“即兴喜剧” 现在被称为“童话剧”
Acting also underwent some changes in the 18th century. The main style of the period was declamatory.
表演在18世纪也发生了一些变化 这一时期主要的文体变成了“演说”式
Actors faced front and aloudly or rated it. Even when the characters were supposed to be talking to each other.
演员们面向前方大声演说或者评价 即使角色之间本该互相交谈
But just as Bourgeois Tragedy was taking baby steps towards realism, acting likewise inched towards the lifelike.
不过 随着“中产阶级悲剧”进一步向现实主义方向发展 其表演也同样变得越来越真实
The trend is started with Scottish actor Charles Macklin.
这种趋势是从苏格兰演员查尔斯·麦克林开始的
But its biggest proponent was David Garrick, the most famous and versatile actor of his day.
不过它最大的推崇者是当时最著名、最才华横溢的演员 大卫·加里克
Like other actors, Garrick delivered his speeches facing front. but
就像其他演员一样 加里克也是面朝前方发表自己的演讲
He departed from the singsong style of verse speaking and tried to make his lines sound natural and conversational.
他脱离了单一的诗歌说话风格 试图让自己的台词听起来更自然、更口语化
One of his techniques was to make his character's stammer in moments of great emotion. Its natural, right?
他的技巧之一是让人物在情绪激动的时候变得口吃 很自然吧
At the time, actors would only rehearse a new play three hours per day for two weeks. But
那时 一个新剧演员们一周只能排练两周 每天只能排练三个小时 不过
Garrick extended that rehearsal period and asked the other actors to actually act during the rehearsals,
加里克延长了排练时间 并要求其他演员在别人排练的时候去进行实际的表演
instead of just marking queues and blocking. Man, what an actual acting taskmaster?
而不是在那里拥挤地排长队 哥们 你简直就是个监工！
Theaters have become very big swelling to accommodate more than 3,000 spectators.
那时剧院的规模已经很大了 可以容纳3000多名观众
Because if you're one of two licensed theaters in the city, you're gonna pack them in.
因为 如果你是这个城市唯一的两家授权影院之一 你也会收吞并掉其他的小剧院
By the later half of the 18th century, they had big elaborate scenery to match to.
到了18世纪下半叶 剧院有了那种大而精致的风景来作搭配
The whole situation became even more theatrical when Garrick kicked the audience off the stage.
后来加里克把观众席设在离舞台稍远的位置 整个场面变得更夸张了
Scenic innovations were becoming more realistic as well, while sets used to be generic.
景观上的创新也变得越来越现实 以前的舞台背景单一
Every theater would have go to temple or go to palace or garden.
但是每部戏都需要不同的背景 有寺庙、宫殿或者花园什么的
Some theater managers started to insist on a specific settings for each production. And hired scene painters to realize them.
于是一些剧场经理开始坚持为每一部作品布置专属背景 并专门聘请了风景画师
Today Sentimental Comedy and Bourgeois Tragedy don't seem especially realistic. And 18th century acting would strike us as ridiculous.
现在的“情感喜剧”和“中产阶级悲剧”好像并不怎么现实 而18世纪的戏剧表演会让我们觉得非常地滑稽
But these were some of the first actors trying to close the gap between drama and real life. So to speak.
不过 他们是第一批试图缩小戏剧与现实生活之间差距的演员 可以这么说
And some of the first serious plays to focus on middle-class characters,
也是第一批真正意义上以中产阶级人物为主人公的戏剧
insisting that real conflicts and emotions don't belong to the nobility alone. And that was a big deal.
他们坚定地认为真实的矛盾和情感并不只属于贵族 这个问题很大
As the 18th century became the 19th, theatrical changes abound.
随着十八世纪渐渐进入十九世纪 戏剧也在这个过程中不断变化
Next time sturm clouds on the horizon stir me weather and sturm front a-comin.
下一集 地平线的乌云将掀起狂风暴雨
We'll head to Germany for the first time since we discussed the morality plays.
在讲完道德类戏剧之后我们将开启我们的第一次德国行
And we'll check in on Sturm Drang and Romanticism. Things aren't looking so moral this time. But until then, curtain.
我们会讲到“狂飙运动”和“浪漫主义” 这次道德不怎么起作用了 下集见 闭幕！
