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Hey there, I'm Mike Rugnetta, and this is Crash Course Theater. Yorick, you are looking especially dead today.
嘿 大家好 我是迈克·鲁格内塔 这里是“戏剧速成课堂” 尤里克 你今天的死亡气息尤其重怎么回事
How fitting! Because today it's the Theater of Cruelty, a style developed by the French genius
不过很适合今天的话题！因为今天我们要讲的是“残酷剧场” 这种剧风是由法国天才
Antonin Artaud—a guy who believed that theater in the West had become way too hung up on realism.
安托南·阿尔托发展起来的 他觉得西方戏剧太过于依赖现实主义了
He wanted theater to get out of the living room and to return to its origins—magic, myth, and ritual.
他想让戏剧走出客厅回到它最初的样子 即巫术、神话和仪式
Today we'll be looking at Artaud's life, and his influential book of essays and one of his plays—the show
今天我们会讲到阿尔托的一生、他的极具影响力的散文集以及他的一部戏剧
about scorpions crawling out of a wet nurse's vagina that you never knew you needed. Lights up!
一部讲述了蝎子从奶妈的阴道(你可能永远不会觉得有用)里爬出来的戏剧 打灯！
Antonin Artaud was born in 1896 in Marseilles. When he was four, he came down with meningitis.
安托南·阿尔托于1896年出生于马赛 4岁时得过脑膜炎
He survived, but his health was seriously weakened.
他活下来了 不过健康严重受损
Artaud was a depressed teenager. He had his first breakdown at sixteen, and his parents arranged several sanitarium stays for him.
阿尔托是一个抑郁青年 他第一次抑郁爆发是在16岁 他的父母因此几次把他送到疗养院
In 1916, he was briefly conscripted into the French army but soon discharged for sleepwalking.
1916年 他被法国军队短暂征召入伍 但很快就因梦游被开除
He went back to the sanitarium where his doctor prescribed opium. Which is (A) not helpful for depression.
他又回到疗养院 医生给他开了鸦片 但是 首先鸦片对抑郁是没有帮助的
And (B) a really bad idea BECAUSE IT'S OPIUM. He developed a lifelong addiction.
其次这是一个非常糟糕的主意 因为它是鸦片 这致使他染上了终身的毒瘾
In his twenties, Artaud moved to Paris and hooked up with the Surrealists,
二十几岁的时候 阿尔托搬到了巴黎 开始鼓捣超现实主义
acting in a couple of films and writing the scenario for at least one other.
演了几部戏剧 至少为一部戏剧写过剧本
But the Surrealists rejected him. Not cool, Surrealists! Artaud is Surreal as heck.
然鹅超现实主义拒绝了他 逊爆了 超现实主义！小阿这么TMD的超现实
Apparently they were miffed because Artaud wouldn't renounce theater as a bourgeois commercial art form. You tell 'em Artaud!
显然他们很生气 因为阿尔托不愿放弃把戏剧作为一种资产阶级商业化的艺术形式 跟他们讲道理 小阿！
But if you consider Artaud's theories and subsequent theatrical career, this failure-to-renounce the commercialism of theater is legit hilarious.
但是 如果你考虑一下阿尔托的理论和他后来的戏剧生涯 你就会发现这种未能放弃戏剧商业化的做法确实值得拍手叫好
Because there's uncommercial… And then there's Artaud.
因为有非商业化的……然后因为他是阿尔托
From 1926 to 1928, he co-ran the Theater Alfred Jarry, producing work by August Strindberg.
1926年到1928年 阿尔托和别人一起合作经营“雅里剧场” 并为奥古斯特·斯特林堡创作戏剧
In these years, he started to develop the theories he would explain in "The Theater and Its Double"—more about that in a minute.
这些年里他开始提出一些理论 后来他在《戏剧及其两重性》中对这些理论进行了解释 稍后我们会详细介绍
And he tried some of them out in his staging of Percy Shelley's incest-heavy verse drama, "The Cenci,"
他在珀西·雪莱的乱伦诗剧《钦契一家》演出时尝试用了其中的一些理论
which did about as well with critics and audiences as you would expect an incest-heavy verse drama staged to actively unhinge the spectator to do.
如你所想 演出一部充斥着乱伦的诗体戏剧会使观众发狂 这部剧受到了评论家和观众的欢迎
Then Artaud went to Mexico, took peyote, wrote some memoirs, and detoxed from heroin (though he would later retox ).
阿尔托后来去了墨西哥 带着佩奥特掌(仙人掌的一种) 写了一些回忆录并戒掉了海洛因(不过后来又上瘾)
He returned to France, went to Ireland, and was brought back to France … in a straitjacket, literally,
再后来他回到法国 又去了爱尔兰 然后又被带回法国 确切说是穿着紧身衣被带回
because he'd suffered a major psychotic break and tried to attack some people.
因为他遭遇了一次严重的精神崩溃并试图攻击他人
He was diagnosed with "incurable paranoid delirium" and underwent electroshock treatment.
他被诊断为“无法治愈的偏执性谵妄” 接受了电击治疗
Eventually, he was released, and his friends paid for him to stay in a private psychiatric clinic.
后来他被释放出来 他的朋友付钱让他住在一家私人精神病院
He continued writing, including poems and a script for a radio broadcast that French radio never aired, because it was strange and rude.
他继续自己的写作 写了一些诗歌以及一部法国电台从未播出的戏剧 因为它很怪异、很粗俗
Diagnosed with cancer, Artaud died in 1948.
再后来阿尔托被诊断为癌症 于1948年去世
Okay, so he may have had a dramatic life, but why are we devoting a whole episode to a guy who did a little acting,
好的 所以说它的生活也很戏剧化 但是 为什么我们要用一整集的时间来讲一个在精神病发病并最终身体上发病的
a little directing, took peyote, and wrote a play or two before confronting extreme mental, and eventually physical illness?
只做过一点儿表演、只导演过一点儿戏剧、带着一棵佩奥特掌、只写了一两部戏剧的家伙
Because his theories are still a huge influence.
那是因为他提出的理论至今仍有巨大的影响
Looking at the portrait we've painted over the last number of episodes,
想想我们前几集里所讲的内容
you'll maybe have noticed that modern theater had a nonstop identity crisis about how to capture real life.
你可能会注意到现代戏剧在如何捕捉真实生活这一方面一直面临身份危机
Sometimes theater is like, we're going to make it as real as possible. Those toilets onstage are going to flush!
戏剧有时候说：我们要让它尽可能真实 舞台上的厕所该冲冲了！
And sometimes theater is like, heck no! The only way to capture real life is with myth and magic, poetry and violence.
戏剧有时候又说：管它呢 我不冲 捕捉真实生活的唯一的办法就是巫术、诗歌、和暴力
Everything on stage is a metaphor for toilets!
舞台上都是屎！
On the anti-realist side, Artaud is pretty much king.
在反现实主义方面 阿尔托可以说是王者
In 1938, Artaud published "The Theater and Its Double."
1938年 他出版了《戏剧及其两重性》
The book and its theories had a lot of important influences: Surrealism, Symbolism,
这本书及其理论有很多重要的影响 影响了超现实主义、象征主义
the works that he helped produce at the Theater Alfred Jarry, as well as the works of Jarry himself—all super significant.
影响了他在“雅里剧场”帮忙创作的作品以及贾里本人的作品 所有这些作品都意义非凡
But maybe the strongest influence was a performance by a troupe of Balinese dancers that Artaud had seen at the Paris International Colonial Exposition in 1931.
但是 或许阿尔托于1931年在巴黎国际殖民博览会上看过的一个巴厘岛舞蹈团的表演是最具影响力的
The dance consisted, he wrote, "of everything that occupies the stage, everything that can be manifested and expressed materially on a stage
他写道：舞蹈包含了“舞台上的一切 所有可以在舞台上实质表达和表现出来的东西
and that is addressed first of all to the senses instead of being addressed primarily to the mind as the language of words."
首先体现在感官上 而不是主要作为语言表达体现在思想上。”
Now, to be accurate… Balinese dance does have words. And stories. And specific meanings.
准确来说 巴厘岛的舞蹈确实有文字、故事、以及特定的含义
Artaud was doing the thing a lot of Western artists did where they saw what they wanted to see in the art of Eastern cultures.
阿尔托所做的正是许多西方艺术家所做的 他们在东方文化的艺术中看到了他们想要看到的东西
In Artaud's case, he wanted a performance style that transcended psychological realism, which he called "psychological and human stagnation."
以阿尔托为例 他想要一种超越心理现实主义的表演风格 他称之为“心理和人类的停滞”
Inspired by the dance, he imagined a style that would "restore the theater to its original destiny,"
受到这种舞蹈的启发 他想象出一种“能让剧院恢复其原有命运”的戏剧风格
a mix of dance, song, and pantomime, "fused together in a perspective of hallucination and fear."
一种舞蹈、歌曲和哑剧的混合 “融合在幻觉和恐惧的视角当中”
Real talk? Count me in.
认真的吗？算我一个
Artaud called this new form, the Theater of Cruelty, a place "in which violent physical images
阿尔托称这种新形式为“残酷剧场” 它用暴力的物理图像
crush and hypnotize the sensibility of the spectator seized by the theatre as by a whirlwind of higher forces."
粉碎和催眠了被一股更强的旋风抓住的观众的情感
Now, Artaud wasn't talking about actual physical violence—well, he wasn't only talking about actual physical violence—but
阿尔托谈论的并不是真正的身体暴力 好吧 他说的并不仅仅是真正的身体暴力
rather a violent impulse that would rupture ordinary perception and the boring normcore way that most people conduct their day-to-day lives.
而是一种暴力冲动 它打破了普通的感知 打破了多数人日常生活中那种枯燥的平凡的方式
Society, he thought, had become sick, complacent, lulled by bourgeois illusion.
他认为 社会已经变得病态、自满、被资产阶级的幻想所催眠
People needed ceremony and ritual—"a magic exorcism"—to heal.
人们需要用一种仪式 即“巫术驱魔”来治愈
