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第67期:俄国的现实主义戏剧(2)

来源:可可英语 编辑:Vicki   可可英语APP下载 |  可可官方微信:ikekenet

Luba is giving a ball. It is option day for the orchard and the family hopes that a rich aunt will rescue them.

柳博夫正在举办舞会 今天是果园的选择日 他们希望能一位有钱的阿姨来拯救他们
The guests drink dance and squabble until Lopakhin comes in and announces the orchard is his:
客人们喝酒、跳舞、争吵 直到洛波金走进来宣布果园是他的:
"I've bought the estate where my grandfather and my father were slaves", he says.
他说:我买下了我祖父和父亲曾经当奴隶的地产
"Where they weren't even allowed into the kitchen. I'm asleep. It's only a dream, and illusion.."
他们甚至不被允许进入厨房 我睡着了 这只是一场梦、一场幻觉……
Finally it's time for the family to leave.
最后 这一家子是时候离开了
Luba urges Lopakhin to propose to Varia. Lopakhin promises he will, but he can't bring himself to do it.
柳博夫敦促洛波金向瓦利亚求婚 洛波金承诺他会求婚 但是他无法让自己去做
Instead, he moves at her. And she throws some shoes.
最后 他走向她 她朝他扔了鞋什么的
The family departs for the train station, not realizing they've left behind the old servant, Firs.
后来一家人出发去火车站 但是他们没有意识到把老仆人菲尔斯给落下了
Forgotten Firs lays down to die. And offstage, the axes bite into the orchards trees.
被遗忘的菲尔斯躺着等死 舞台下 斧头砍向了樱桃园里的樱桃树……
Timber, thought-bubble.
树倒了 思想泡泡
We can see Chekhov's prevalent themes and style, particularly his idea that people are sitting at a table having dinner,
由此我们可以看到契诃夫常用的主题和风格 尤其是他的思想 人们坐在餐桌旁吃晚饭的时候
that's all but at the same time their happiness is being created or their lives are being torn apart.
幸福被创造出来的同时生活也在被毁掉
So I guess that's not all. That's what the ball scene is about.
我想这还不是全部 这只是举办舞会时发生的
Another playwright would have staged the auction, but Chekhov fills the act with idle conversation instead.
换一个剧作家的话会上演拍卖的场景 而契诃夫却用无聊的谈话来填充这场表演
And the moon scene with Lopakhin and Varia is a beautiful example of the power of subtext.
洛波金和瓦利亚的月亮的那个场景就是一个很美的彰显潜台词作用的例子
If The Cherry Orchard is a realistic drama, it also suggests a move toward symbolism, as do the late plays of Ebson and Strindberg.
如果说《樱桃园》是一部现实主义戏剧 那么它也暗示了一种向象征主义过渡的倾向 就像易卜生和斯特林堡后期的戏剧一样
The orchard represents more than just the orchard. It's a symbol of an old order.
樱桃园不仅仅是樱桃园 它是旧秩序的象征
And at several points in the play, a mysterious sound is heard, "The sound of a breaking string, dying away, sad."
在剧中的几个地方 都能听到一种神秘的声音 “一根弦断裂的声音 然后慢慢地消失 悲伤的”
Maybe Chekhov would have moved in a more symbolist or expressionist direction if he'd lived longer. But he didn't.
如果契诃夫活得更久一点的话 也许他会朝着象征主义或者表现主义的方向发展 不过可惜
In 1904, a few months after the premiere of The Cherry Orchard, he travelled with his new wife, the actress Olga Knipper, to recuperate at a spa town.
1904年 《樱桃园》的首映过去几个月之后 他和他新的妻子 女演员奥尔加·克尼珀 前往一个温泉疗养地进行疗养
He became very ill and after drinking a glass of champagne as ordered by a doctor, he lay down and died.
后来他病得很厉害 按照医生的吩咐喝了一杯香槟后躺下死了
His body was returned to moscow in a refrigerated car used to transport oysters.
他的遗体被放在一辆运送牡蛎的冷藏车里运回了莫斯科

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Chekhov will always be associated with the theatre that made him famous—the "Moscow art theatre".

契诃夫将永远和那家使他成名的剧院绑在一起——“莫斯科艺术剧院”。
Theatre monopolies had dissolved in 1882 and a lot of new theaters had sprung up to serve a growing urban population. But
剧院的垄断在1882年被瓦解 大量的新剧院如雨后春笋般涌现以服务日益增长的城市人口 但是
They staged mostly melodramas. But Namir Vich Den Chenko who we've mentioned and his partner
它们上演的大多是情节剧 而拿米尔威驰登辰蔻 我们之前提到过他 和他的搭档
famed theatre director Constantin Stanislavski wanted a theater devoted to realism and naturalism.
著名戏剧导演康斯坦丁斯坦尼斯拉夫斯基想要一个演出现实主义和自然主义戏剧的剧院
Stanislavski had been influenced by a visit from the ~Troupe, but was less interested in period appropriate costumes props and occasional mumbling realism
斯坦尼斯拉夫斯基受到了~剧团访问的影响 但是他对符合时代特点的服装道具和偶尔喃喃自语的现实主义不太感兴趣
and more interested in psychological realism, acting and staging that would make the characters look real, sound real, and feel real.
反而对使人物看起来真实、听起来真实、感觉上真实的心理现实主义的表演和舞台更感兴趣
The two men founded the moscow art theatre in 1898. The first play was Alexei Tolstoy "Tsar Fyodor".
这两人于1898年创建了莫斯科艺术剧院 演出的第一部剧是阿列克谢·托尔斯泰的《沙皇费奥多尔》
And later that year, they revived Chekhov's Seagull.
同年晚些时候 他们又重演了契诃夫的《海鸥》
The play was such a hit that the theater adopted a seagull as its emblem.
这次演出非常成功 剧院用一只海鸥来作为它的标志
They began with a group of amateur actors, aiming to create a troupe of colleagues rather than stars and supporting players.
他们从一群业余演员开始 旨在打造一个由同事、而不是明星和配角组成的剧团
And Stanislavski developed a hugely influential system to train those amateurs.
斯坦尼斯拉夫斯基开发了一个非常有影响力的体系来训练这些业余演员
The theater survived the Russian revolution and though it underwent several transformations and a split, it outlasted the soviet era too.
剧院在俄国革命中幸存了下来 虽然经历了几次变革和分裂 但也熬过了苏联时代
If you've studied acting in the west, then you've probably experienced some version of Stanislavski's system.
如果你在西方学习过表演 那么你可能体验过斯坦尼斯拉夫斯基的表演体系
But here's the thing. We don't really know what that system is. Stanislavski was always changing it.
但问题是 我们并不知道这个体系是什么 斯坦尼斯拉夫斯基一直在对其进行改变
In addition to Stanislavski's autobiography, we have three books: "An Actor Prepares", "Building A Character", and "Creating A Role".
斯坦尼斯拉夫斯基除了写自传 他还写了另外三本书:《演员的自我修养》、《塑造人物》和《创造角色》
All translated into English by Elizabeth Hapgood.
全部由伊丽莎白·哈普古德翻译成了英语
But it turns out that hapgood mistranslated a lot of stuff.
但是 结果是 哈普古德错译了很多东西
As for the Russian originals, the soviets made their own edits.
至于俄罗斯的原版 苏联人自己进行编辑
And the aspect of the system that's most famous in America, the part where actors are supposed to rely on their personal memories.
这个体系里在美国最著名的一条是,演员应该依靠他们的个人记忆
Stanislavski later discounted, but there are a few parts that we can pretty much agree on.
斯坦尼斯拉夫斯基后来对此不以为然 但有几个部分我们几乎可以达成一致
An actor's body and voice should be thoroughly trained.
演员的身体和声音应该进行彻底的训练
And an actor should have a thorough knowledge of other staged techniques, like combat, dancing, all that stuff.
一个演员应该对其它的舞台技巧有一个全面的了解 比如战斗、舞蹈等所有的技巧
Actors should observe how people behave in real life.
演员应该学会观察现实生活中人们的行为举止
Before rehearsals begin, the cast will study the play investigating its themes and to the motivations and the emotional arc of each character
在排练进行之前 演员们应该研究一下这部剧 调查它的主题、动机以及每个角色的情感轨迹、
and deciding on each character's primary objective and emotional through-line.
并确定每个角色的主要目标和情感主线
In order to make characters feel psychologically real, actors will familiarize themselves with a character's given circumstances
为了让该角色心理上感觉真实 演员应该让自己熟悉角色所处的特定环境
and ask how a person would behave within those circumstances.
并弄明白一个人在这种环境中会作何表现
This is called "The magic if".
这就是所谓的“有魔力的假使”
At one point, Stanislavski did suggest that actors should work with their own emotion memory to inhabit a role.
有一点 斯坦尼斯拉夫斯基确实建议演员应该运用自己的情感记忆来扮演一个角色
But he later moved away from this and encouraged more expressive physical explorations and improvisations.
不过后来他又改变了这一做法 反而鼓励更具表现力的物理探索和即兴创作。
On stage, actors should try to live in the moment, reacting with some emotional spontaneity and giving the illusion of the first time.
在舞台上 演员们应该试着活在当下 给出情感上的自发反应 给人一种第一次的错觉
And finally, actors must always keep working toward greater proficiency and skill.
最后 演员们必须不断努力变得更熟练、技能更强大
The Stanislavski system or the less than 100% faithful version of it that we have today dominates western theater, film, and television too.
斯坦尼斯拉夫斯基体系 或者说我们现在拥有的并非百分之百忠实于该体系的其它版本 主宰了西方的戏剧界和影视界
Every single one of my friends who studied acting in college took a Stanislavski class.
我的每一个大学时学表演的朋友都上过斯坦尼斯拉夫斯基的课
Of course, there are types of plays that don't support a realistic acting approach.
当然 有些类型的戏剧不支持现实的表演方法
We're gonna look at those, starting with one of the weirdest, bloodiest, and niche forms of theater ever produced.
下集我们将从一种最古怪、最血腥、最特殊的戏剧形式开始
That's right. It's the grand guignol. Thanks. Thanks for watching.
没错 就是“恐怖剧” 谢谢 谢谢观看
Or is that what I really mean? Subtext Yurik. Subtext. Also curtain.
或者 这是我真正想表达的意思吗 潜台词 尤里克 潜台词就是:闭幕!

重点单词   查看全部解释    
urban ['ə:bən]

想一想再看

adj. 城市的,都市的

联想记忆
conversation [.kɔnvə'seiʃən]

想一想再看

n. 会话,谈话

联想记忆
recuperate [ri'kju:pəreit]

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v. (使)恢复,(使)复原

联想记忆
split [split]

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n. 劈开,裂片,裂口
adj. 分散的

 
realistic [riə'listik]

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adj. 现实的,现实主义的

 
experienced [iks'piəriənst]

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adj. 有经验的

 
partner ['pɑ:tnə]

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n. 搭档,伙伴,合伙人
v. 同 ... 合

联想记忆
observe [əb'zə:v]

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v. 观察,遵守,注意到
v. 评论,庆

联想记忆
devoted [di'vəutid]

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adj. 投入的,深爱的 v. 投入 vbl. 投入

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addition [ə'diʃən]

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n. 增加,附加物,加法

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