评论
打印
Hey there. I'm Mike Rugnetta. This is Crash Course Theater.
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 talking about American "modernism", which arrived late.
今天我们要讲美国的 姗姗来迟的 “现代主义”戏剧
As you may remember from our earlier episodes, it took the U.S. a long time to get a theatre at all, because of Puritans and war.
大家可能还记得 在之前的课程里我们讲到过 受清教徒和战争的影响 美国花了很长时间才有了戏剧
And then America spent most of a century doing red faced, black faced, Wild West shows,
之后美国又花了一个世纪的时间捣鼓红脸、黑脸、西大荒表演、
and bad imitations of English comedies and Uncle Tom with crocodiles, which is to say,
对英国喜剧的拙劣模仿、还有汤姆叔叔和鳄鱼 也就是说
it took American theater a really really really long time to get good, but it happened.
美国的戏剧真的花了很长、很长、很长的时间才走上正轨
Today we'll look at the United States embrace of realism, the rise of the Little Theater movement,
今天我们来讲美国对现实主义的接纳、小剧场运动的兴起
and the turn towards the kinds of experimental forms that Europe had pioneered a couple decades earlier.
以及向欧洲几十年前开创的实验性形式的转变
Why so tardy? Lights up already.
为什么这么慢？灯都亮了
As we discussed before, America loved melodrama.
正如我们之前讨论过的 美国人喜欢“情节剧”
It went hard for spectacle, intrigue and cardboard characters.
他们不擅长搞壮观的场面、阴谋、以及刻板的人物
Probably the first guy to try realism in the states was James A. Herne, an actor and eventually a playwright.
美国的现实主义第一人大概是詹姆斯·赫恩 他最初是一名演员 后来成为一名剧作家
He collaborated with David Belasco on a few melodramas and then decided that
他曾与大卫·贝拉斯科合作过几部情景剧 后来决定
maybe he should try to find a kind of playwriting that mirrored life as people lived it.
尝试创作一种能够反映人们生活的戏剧
He wrote the 1890 play "Margaret Fleming" as a vehicle for his actress wife.
他1890年的戏剧《玛格丽特·弗莱明》以他作为演员的妻子为载体
It's about a wife and mother who discovers that her mill owner husband Philip has fathered an illegitimate child.
讲的是一个妻子 也是一个母亲 发现自己的磨坊主丈夫菲利普有一个私生子
When the child's mother dies, the mother's sister attempt to shoot Philip and Philip runs away.
私生子的母亲死后 母亲的妹妹打算射杀菲利普 但是菲利普逃跑了
Margaret offers her breasts to the starving baby and then goes blind from the stress of the whole thing.
玛格丽特便开始用自己的乳房喂养这个饥饿的孩子 不过整件事情给她带来的压力导致了她的失明
Philip tries to kill himself and is eventually rescued, but it's unclear whether the couple will ever reconcile.
菲利普想要自杀 不过最终获救了 而这对夫妇是否能够和解依然未知
That is one eventful mirror of life.
这是对复杂生活的一种映射
Now maybe this doesn't seem that different from domestic melodrama,
看起来好像和英国的情节剧没啥不同
but there are no soliloquies and no tableau and no one is tying anyone to a railroad track.
不过美国的情节剧没有独白 没有生动的场面 也没有说把谁绑在铁轨上
Herne was hailed as an American Epson, although Epson might have found the sudden blindness a little extra.
赫恩被认为是“美国的爱普生” 不过爱普生可能会觉得突然失明有点多余
The writer William Dean Howells, one of the few people who saw the play wrote:
作家威廉·迪恩·豪厄尔斯是少数几个看过这部戏的人之一 他写道：
"Margaret Fleming clutched the heart. It was common: it was pitilessly plain; it was ugly; but it was true, and it was irresistible."
《玛格丽特·弗莱明》抓住了这种普遍的内心：冷酷、丑陋、但真实、而且不可抗拒
For Howells maybe, but most critics were happy to resist, even after her made the ending happier.
可能豪厄尔斯这么认为 不过大多数评论家都持欣然反驳态度 即使是一个稍显快乐的结局
It never caught on with the public either who were like, depressing, give us train tracks.
而且大众也从未接受这部剧 大众说；逊爆了！还我铁轨！！！
Herne had more success with "Shore Acres", a gentler attempt at realism
赫恩的《海岸庄园》更为成功 它是对现实主义的一种较为温和的尝试
that's about a staged Yankee type, huncle Nat, who successfully reunites his family.
讲的是一个美国佬形象的人物 他成功令家人团聚
Other writers also tried realism, Clyde Fitch, William von moody, even Henry James.
也有其他一些尝试写现实主义的作家 比如：克莱德·费奇、威廉·冯·穆迪、甚至亨利·詹姆斯
Yeah, that Henry James. His play "Guy Domville" was one of the all-time great belly flops of the late 19th century.
没错 就是那位亨利·詹姆斯 他的戏剧《盖伊·多姆维尔》是19世纪晚期有史以来最失败的戏剧之一
The audience booed him for about 15 minutes straight.
观众直接对他“吥”了15分钟
15 minutes, who has that kind of time? That seems like it would get, boo.
15分钟啊 谁遭遇过15分钟的“吥”？大概就是这样：吥~~~~~~~~！
American realism wouldn't really come into its own until the arrival of Eugene O'Neill.
直到尤金·奥尼尔的到来 美国的现实主义才开始真正崭露头角
It's funny that O'Neill became the champion of American realism,
有趣的是 奥尼尔之所以成为美国现实主义的捍卫者
because his father James O'Neill made his fortune performing in the romantic melodrama "The Count of Monte Cristo".
是因为他的父亲詹姆斯·奥尼尔通过出演浪漫情景剧《基督山伯爵》而发家致富
Eugene spent his early life touring with his alcoholic dad and his morphine addicted mom.
尤金早年与酗酒的父亲和嗜吗啡成瘾的母亲一起旅行
He went to Princeton for a year and then dropped out and sailed the ocean.
后来在普林斯顿上了一年的学 之后又辍学去航海
After coming ashore, he worked as a vaudeville actor and then a newspaper reporter.
上岸后 他先是当了杂耍演员 后来又成为一名记者
After tuberculosis landed him in a sanitarium, he studied at Harvard with George Baker
之后因肺结核被送进疗养院后在哈佛大学师从了乔治·贝克
who ran a famous class called "workshop 47" that taught the fundamentals of playwriting.
贝克开办了一个著名的名为“47工作坊”的课程 教授剧本创作的基础知识
A year or so later, he became involved with the Provincetown players. we'll talk about them in a minute.
大约一年之后 他加入了斯顿剧团 我们马上会讲到
First he wrote realistic seafaring plays and then he wrote realistic landlubber ones.
他先是写了现实主义的航海戏剧 然后又写了现实主义的旱鸭子版本
As we discussed previously, his work took a turn towards Expressionism with plays like "The Emperor Jones",
正如我们之前讨论的 他的作品转向了表现主义 比如《琼斯皇帝》
in which an African-American actor Charles Gilpin starred on Broadway a first.
由非裔美国演员查尔斯`吉尔平首次在百老汇出演
O'Neill wrote experimental plays that tried out some of those cool newfangled European techniques
奥尼尔写了一些实验性剧本 尝试了一些很酷的新奇的欧洲式写作技巧
and even invented newfangled to techniques of his own, like having the characters voice, their internal monologues.
他甚至还自己发明了新的技巧 比如人物发出声音、他们的内心独白
O'Neill was one of the first American playwrights to put lower-class characters on stage
奥尼尔是第一个把下层社会的角色放到舞台上
and to write in an American vernacular, well, an American vernacular besides stage Yankee.
并用美国方言写作的美国剧作家之一 舞台上除了美国佬 还有美国方言
Late in life, he returned to realism with a run of plays that include two acknowledged masterpieces:
晚年他又回重回现实主义 创作了一系列现实主义戏剧 其中包括两部公认的杰作：
"The Iceman Cometh" and "Long Day's Journey Into Night".
《送冰的人来了》和《长夜旅行》
"The Iceman Cometh" takes place in a seedy waterfront tavern based on a dive where O'Neill tried to kill himself as a young man.
《送冰的人来了》的故事发生在一个破旧的海滨小酒馆里 改编自奥尼尔年轻时试图自杀的一家潜水酒吧
It's frequented by drunks and lowlifes who keep themselves going with pipe dreams.
醉鬼和追逐白日梦的下等人经常到这里来
The arrival of Hickey, a traveling salesman, blows those dreams away, for a moment at least.
旅行推销员希基的到来把这些白日梦都吹走了 至少暂时吹走了
"Long Day's Journey Into Night" is O'Neill's most autobiographical play,
《长夜旅行》是奥尼尔最具自传色彩的戏剧
written "in tears and blood… with deep pity and understanding and forgiveness" and only performed after O'Neill's death.
“用泪水和鲜血……怀着深深的怜悯、理解和宽恕”写成 直到奥尼尔去世后才进行演出
It spends a day and then a very late night with the Tyrone family.
花了一整天的时间 和泰隆一家待到很晚
O'Neill isn't for everyone. The plays are long and overwrought.
奥尼尔的戏剧并不适合所有人 这些戏剧冗长而且过于考究
And O'Neill never met a theme, but he didn't want to hit again and again and again.
奥尼尔从未遇到过一个主题 但他不想一次又一次地敲打
