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Artaud believed that the theater had learned all the wrong lessons from Aristotle,
阿尔托认为 戏剧从亚里士多德那里学到了所有错误的教训
with his emphasis on plot and language, and his meh attitude toward spectacle.
亚里士多德强调情节和语言 而他对奇观的态度则是平庸的
The Theater of Cruelty was going to be all spectacle, all the time!
“残酷剧场”将造就所有的奇观而且屹立不倒！
It would use music, dance, and certifiably bananas lighting design that would wake up the audience to how bizarre and violent real life actually is.
它使用了音乐、舞蹈和香蕉照明设计 这样能够让观众意识到现实生活是多么的怪异和暴力
He wanted a theater that would "leave an ineffaceable scar."
他想要一种“会留下难以抹去的伤疤”的戏剧
In his words: "The Theatre of Cruelty has been created in order to restore to the theater a passionate and convulsive conception of life,
用他的话来说：“残酷剧场”的创造是为了让戏剧恢复一种充满激情和惊心动魄的生活观念
and it is in this sense of violent rigor and extreme condensation of scenic elements that the cruelty on which it is based must be understood.
正是在这种暴力的严肃性和场景元素极端浓缩的意义上我们必须理解它所基于的残酷
This cruelty, which will be bloody when necessary but not systematically so,
这种残酷(必要时会是血腥的 但不是系统性的)
can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid."
可以被认为是一种不害怕为生命付出必须付出的代价的高度的道德纯洁
Catharsis! Let's book a babysitter and go!
太净化了！咱们订个保姆然后开始吧！
Artaud called for a style of performance that would emphasize the mise-en-scene—sound, lights, costumes, basically everything that isn't text.
阿尔托提倡一种强调场景的表演风格：声音、灯光、服装 其实就是除了文字之外的所有其它元素
And yet, he didn't really believe in sets or props.
不过 他并不依赖于布景或者道具
He wanted actors who would operate not from a place of psychological realism, but from a place of emotion, sensation, and pure physicality.
他想要演员表演时不要从心理现实主义的角度出发 而是从情感、感觉和纯粹的身体上出发
He called these actors "Athletes of the Heart."
他称这些演员为“心灵运动员”
He envisioned a theater in which the audience would sit in the center, helpless, and the play would surround them in an act of "organized anarchy."
在他设想的戏剧里 观众们无助地坐在中间 而演出则将他们包围在一种“有组织的无政府状态”之中
Take that, proscenium arches!
学学吧 舞台口！
Oh, and what's the Double after "Theatre and its…"?
噢 《戏剧及其……》后面的“两重性”指的是什么？
That's tricky and not completely articulated in the essays, but the basic idea seems to be that it's life, or what life could be
这个在散文集里不好表述 没有办法可以完全说清楚 它大概的意思就是“这就是生活 或者如果我们让戏剧影响我们的感官、
if we allow theater to work on our senses and awaken us to something better, truer, stronger, and way more intense than life as we know it.
让我们意识到比我们所知的生活更好、更真实、更强大、更强烈的东西 那么生活会是怎样的呢？
To Artaud, good theater should actually be more "real" than boring everyday life.
对阿尔托来说 好的戏剧应该比无聊的日常生活更“真实”
Let's put these theories into blood-spattered practice by looking at Artaud's early play "The Jet of Blood" or "The Spurt of Blood."
我们通过看一部阿尔托的早期戏剧《血的喷射》或者《血的大喷射》来把这些理论应用到“溅血”的实践当中
I guess it all depends on how you like your high-velocity blood flow.
怎么称呼完全取决于你对“高速血流”的喜爱程度
The play was written in 1925—maybe in a single day. Help us out, ThoughtBubble:
该剧写于1925年 大概是在一天之内完成的 来看思想泡泡
A young man and a young girl, who may be brother and sister, are being all lovey-dovey.
一对青年男女 或许是兄妹 正在卿卿我我
Then a hurricane arrives, and here's a fun stage direction:
然后一场飓风袭来 下面是一个有趣的场景：
"Two stars are seen colliding, and from them fall a series of legs of living flesh with feet, hands,
两个星星相撞 星星上伸出来很多会动的腿 有脚、手、
scalps, masks, colonnades, porticos, temples, alembics, falling more and more slowly, as if falling in a vacuum:
头皮、面具、列柱、门廊、寺庙、喷泉 不断旋转 速度越来越慢 仿佛在真空中一般：
then three scorpions one after another and finally a frog and a beetle which come to rest with desperate slowness, nauseating slowness."
然后出现三只蝎子 最后出现一只青蛙和一只甲虫 它们躺在那里 动作缓慢 令人作呕
Then a knight comes in, pursued by a wet nurse who is holding her swollen breasts.
接着出现一个骑士 后面跟着一个拖着肿胀乳房的奶妈
The knight eats some cheese and chokes.
骑士吃了一些奶酪噎着了
Night falls, the earth quakes, lightning flashes, and an enormous hand comes out and grabs a prostitute by her hair and shouts, "…look at your body."
夜幕降临 地震电闪 一只巨大的手伸出来抓住一名妓女的头发叫道：看看你的身体
The prostitute shouts, "Leave me alone, God!"
妓女大叫：滚开 上帝！
And she bites him. Cue enormous jet of blood.
然后妓女咬了那只手 手喷了一大堆血
That title was not a metaphor!
所以剧名的喷血是真的喷血！
More lightning—because God does not like to be nibbled upon!
闪电还在继续 因为上帝不喜欢被咬
—and then everyone is dead except for the prostitute and the young man. They fall into each other's arms.
再然后除了那个妓女和那个年轻人 所有人都死了 他俩彼此拥抱在一起
The wet nurse, who doesn't have breasts anymore, re-enters, dragging the corpse of the young girl.
没有了乳房的奶妈拖着小女孩的尸体再次登场
Scorpions crawl out from underneath the wet nurse's dress and here's another fun stage direction:
蝎子从奶妈的裙子下面爬出来 然后又是一个有趣的场景：
"Her vagina swells up, splits and becomes transparent and glistening like a sun."
她的阴道膨胀起来 裂开 变得透明 像太阳一样闪闪发光
The young man and the prostitute run away, at which point the young girl sits up and says, "The virgin! Ah that's what he was looking for." And scene.
然后年轻人和妓女跑开了 这时 那个年轻的女孩坐起来说道：啊！处女！这就是他在寻找的东西 剧终！
Thanks, Thought Bubble. A lot … going on there. And it all happened in about three pages of text!
谢谢思想泡泡 剧情还挺多 但是剧本只有大概三页
The whole history of the universe, from the Garden of Eden to the apocalypse, in three gonzo pages.
从伊甸园到天启 整个宇宙的历史 只用了三页奇奇怪怪的纸
I'm gonna go ahead and say, yup, that's the Theater of Cruelty.
我只想说：没错 这就是“残酷剧”
I don't know about you… I definitely feel fused together in a perspective of hallucination and fear.
我不知道别人……但我知道我确实在幻觉和恐惧的视角下感觉到融合在一起了
"The Jet of Blood" was scheduled for the Theater Alfred Jarry season of 1926–1927.
《血的喷射》定于1926-1927年在“雅里剧场”上映
But it was never produced in Artaud's lifetime.
不过阿尔托在世时它从未被演出过
Artaud spent a lot of his life in various institutions, and various states of mental discombobulation.
阿尔托一生有很长一段时间都是在各种机构中度过的 精神处于各种紊乱状态
His writing and art, especially in his later years, is cryptic, strange, and sometimes gross.
他的写作和艺术 尤其在晚年 是神秘的、怪诞的、有时是粗俗的
Still, he's been a huge influence on theater-makers and theater companies who feel let-down by realistic writing and Stanislavski-style acting.
尽管如此 他仍对那些对现实主义写作和斯坦尼斯拉夫斯基式表演感到失望的戏剧制作人和剧团产生了巨大的影响
Jean Genet, Jerzy Grotowski, Peter Brook, the Living Theater—all big fans.
让·热内、格洛托夫斯基、彼得·布鲁克 舞台剧 都是他的超粉
Also John Cage, Merce Cunningham, and even Jim Morrison.
另外还有约翰·凯奇、康宁汉、甚至吉姆·莫里森
As legacies go, not too cruel.
还遗产自由 别太过分！
Thanks for watching! We'll see you next time, when we explore yet one more way to give the theatrical finger to realism.
谢谢观看 下集见！下集我们将探索另外一种朝现实主义竖中指的方式
We're going to meet the mostly Marxist, totally dialectical, often smelly theatrical mastermind Bertolt Brecht.
我们将会见到以马克思主义为主、完全辩证、满身臭味的戏剧大师贝托尔特·布莱希特
It's going to be epic. But until then…Curtain.
届时会很精彩 咱们下集见 闭幕！
