评论
打印
Hey there, I'm Mike Rugnetta, this is Crash Course Theater, and today we are hanging with playwright and poet Bertolt Brecht.
嘿 大家好 我是迈克·鲁格内塔 这里是“戏剧速成课堂” 今天我们就要和剧作家兼诗人贝托尔特·布莱希特见面了
As theatrical modernists go, Brecht is the lace to Artaud's leather. Or is it the other way around?
就戏剧的现代主义剧作家而言 布莱希特不过是阿图德皮衣上的花边 或者反过来？
His plays are hugely literary and staunchly political—surprise surprise!
他的戏剧作品极具文学性和坚定的政治色彩 彩蛋！彩蛋！
But they're also designed to wake up the audience, providing a more intense and essential vision of reality.
不过他的戏剧也有唤醒观众的目的 提供一种更强烈、更本质的现实视角
Feeling alienated yet? Lights up!
感觉被冷落了？打灯！
Bertolt was born in Augsburg, Germany, in 1898. He studied medicine, but he also took classes in theater.
贝托尔特于1898年出生于德国奥格斯堡 他学过医 也上过戏剧课
And in 1924… he apprenticed himself to the director Max Reinhardt.
1924年 他师从了导演马克斯·莱因哈特
His early works were episodic plays about macho heroes and fragmenting societies in the expressionist style of Ernst Toller or Georg Kaiser.
他早期的作品是恩斯特·托勒或者格奥尔格·凯泽的那种关于大男子主义英雄和分裂社会的表现主义风格的情景剧
In the late 1920s, he began to work with the theater director Erwin Piscator, who we briefly discussed in our episode on expressionism.
20世纪20年代末 他开始和戏剧导演埃尔文·皮斯卡托合作 我们之前在表现主义那一集里简要讨论过他
One of the first multimedia directors, Piscator created a theater that was overtly political.
作为最早的多媒体导演之一 皮斯卡托创建了一个带有明显政治色彩的剧院
He thought that theater could be a means of educating the audience. And boy, did he love scaffolding.
他认为戏剧可以成为教育观众的一种手段 还有 天哪 他喜欢脚手架
Brecht combined Piscator's technique with elements borrowed from cabaret, silent film,
布莱希特将皮斯卡托的技巧和借鉴了卡巴莱歌舞、默片和莎士比亚历史剧的元素相结合
and Shakespeare's history plays to create his own unique style.
创造出了属于自己的独特风格
In 1928, he had maybe his greatest success with "The Threepenny Opera," a tale of the criminal underclass, co-written with the composer Kurt Weill.
他在1928年与作曲家库尔特·威尔合著的《三便士歌剧》或许是他最为成功的作品
This became the runaway hit of Weimar Germany.
成为了德国魏玛的巨作
Brecht, however, sensed that his politics weren't a great fit for Nazi Germany.
然而 布莱希特意识到自己的政治主张不太适合纳粹德国
He left in 1933, first for Denmark, then Sweden and Finland, and then the United States.
他于1933年离开德国 先是去了丹麦 后来又去了瑞典和芬兰 然后是美国
In exile, he wrote several of his major plays, "Mother Courage and Her Children,"
流亡期间他写了几部重要剧作 《大胆妈妈和她的孩子们》、
"The Life of Galileo Galilei," and "The Good Person of Setzuan," and he formally articulated his theories.
《伽利略·伽利雷的一生》、以及《塞祖安的好人》 同时正式阐述了自己的理论
In 1947, he was summoned before the House UnAmerican Activities Committee.
1947年 他被“众议院非美国活动委员会”传唤
He agreed to testify. But, while he didn't name names, he also didn't win any popularity contests with Hollywood.
他同意作证 不过 虽然他没有指名道姓 但也没有在好莱坞赢得什么人气
So he left the U.S., ultimately resettling in East Germany.
于是他离开了美国 最终定居在东德
Back in Germany, he and his wife, Helene Weigel, created the Berliner Ensemble,
回到德国后 他和妻子海伦·魏格尔创建了柏林剧团
a theater company that would perform his texts and put his theories into practice.
该剧团将演出他的作品并将他的理论付诸实践
Brecht died in 1956. Brecht is credited with developing the idea of "epic theater," although Piscator used that term first.
布莱希特于1956年去世 他被认为是“史诗剧”这个概念的始创者 尽管是皮斯卡托首先使用了这个词
Epic theater is supposed to be the opposite of dramatic theater and also the opposite of Aristotelian theater.
“史诗剧”被认为是戏剧性戏剧的对立面 也是亚里士多德戏剧的对立面
It's largely achieved using the Verfremdungseffekt or the V-effekt.
它在很大程度上是通过Verfremdungseffekt”或者“V-effekt”实现的
That's often translated as the "alienation effect," or the "distancing effect"; a better translation is "the estrangement effect."
通常被翻译为“陌生化效果”或者“间离效果” 更好的一个翻译版本是“疏离效果”
Why would you want to estrange or alienate an audience?
为什么会想要疏远观众呢？
Like a lot of dudes in the non-realist camp, Brecht worried that conventional plays were too easy to sit through.
就像非现实主义阵营的许多人一样 布莱希特担心传统戏剧太容易让人坐着看完
You see a psychologically realistic show, you have all the feels,
你看了一场心理上的现实主义表演 你有了所有的感觉
and then you leave the theater mostly worrying about whether the currywurst stand was still open.
然后你离开剧院时最挂念的事情是咖喱香肠摊是否还开着
And, I mean, currywurst is delicious! But using theater as mere escape is no way to topple exploitative capitalism!
我的意思是 咖喱香肠是很美味 但是仅仅把戏剧作为一种逃避手段是不可能推翻剥削的资本主义的
Instead, Brecht tried to create plays that would force an audience to think critical and uncomfortable thoughts about money, power, and ethics.
取而代之 布莱希特试图创作一些能够迫使观众对金钱、权力和道德产生批判的、令人不安的想法的戏剧
"Art," he wrote, "is not a mirror with which to reflect reality, but a hammer with which to shape it."
“艺术” 他写道 “不是一面反映现实的镜子 而是一把塑造现实的锤子”
Yes, this is about waking up an audience. Just like Artaud!
是的 艺术是为了唤醒观众 像阿尔托一样
But it's not about working on an audience's unconscious and waking them up to myth and magic and violence and ritual.
不过 这并不是要唤醒观众的潜意识 把他们唤醒到神话、魔法、暴力和仪式中去
Epic theater is about working on their waking brains and waking them up to the political realities just beyond the door of the playhouse.
“史诗剧”就是要唤醒他们清醒的大脑 让他们意识到剧院门外的政治现实
The appeal is intellectual, not emotional. There's no crying in Dialectical Materialism.
这种吸引力是智力上的而不是情感上的 辩证唯物主义没有哭泣
Brecht believed that an estranged audience would be forced to engage with a play's content actively and intellectually. Here's how Brecht put it:
布莱希特认为 疏远的观众将被迫积极地、理智地参与戏剧的内容 布莱希特是这么说的：
"The dramatic theatre's spectator says: Yes, I have felt like that too—Just like me—It's only natural—It'll never change …
“剧院的观众说：是的 我也有过那种感觉 就像发生在我身上一样 自然而然的 永远不会变……
I weep when they weep, I laugh when they laugh.
他们哭我就哭 他们笑我就笑
The epic theatre's spectator says: I'd never have thought it—That's not the way—That's extraordinary, hardly believable—It's got to stop …
史诗剧的观众说：我从来没有想过 不是这样的 太离奇了 难以置信 它必须停止……
I laugh when they weep, I weep when they laugh."
他们哭的时候我笑 他们笑的时候我哭。”
How do you do this?
怎么会这样？
Well, you know how, in most productions, lights, sounds, sets, costumes, and songs all work together to produce one coherent vision?
嗯 你知道 在大多的戏剧演出中 灯光、声音、布景、服装和歌曲会融合在一起来产生一个统一的视觉效果
Brecht was like, how about not?
布莱希特说：如果我不这样呢？
He wanted a theater in which the various elements wouldn't integrate but actually sort of cage fight each other,
他想要的是各种元素不融合在一起、而是相互对抗的剧场
continuously ejecting the audience from the theatrical illusion. DISBELIEF WILL NOT BE SUSPENDED.
以此来不断将观众从剧场的幻觉中驱逐出去 怀疑不会停止
A good example is in "The Threepenny Opera," when the sweet and virginal Polly Peachum steps out to sing the violent revenge ballad "Pirate Jenny."
一个很好的例子是在《三便士歌剧》中 甜美纯洁的波莉·桃琴走出来唱暴力复仇民谣《海盗珍妮》
The audience is supposed to be like, what!? Why would she sing that!?
观众的反应应该是这样：啥？她为什么唱这个！？
But often the audience is like, hey! This is a Fun song!
但通常观众会说：嘿 这首歌是来搞笑的嘛！
Because mimesis is powerful. And estrangement is hard.
因为模仿很强大 疏远很难
Brecht also encouraged a style of acting in which actors don't fully embody characters,
布莱希特还提倡一种表演风格 在这种风格中 演员并不完全代表角色
but just sort of gesture at them, often with an actual repeated, symbolic gesture that Brecht called the "gestus."
而是对着角色做手势 通常是重复的、象征性的手势 布莱希特称之为“姿态”
Brecht also provided dialogue in which actors speak about their characters in the third person.
布莱希特还为演员们提供了一种用第三人称来叙述角色的对话
He described this model in his essay "The Street Scene."
他在他的论文《街景》中描述了这种模式
