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[经济学人] [2010.02.04] A land neither green nor pleasant 无望失乐园

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发表于 2010-4-29 05:09 | 显示全部楼层 |阅读模式
British depravity: “Jerusalem”
英式堕落:“耶路撒冷”


A land neither green nor pleasant
无望失乐园

Anarchy in London’s West End
伦敦西区的混沌

Feb 4th 2010 | From The Economist print edition

JEZ BUTTERWORTH and Mark Rylance are an odd couple. Six years ago Mr Rylance was running Shakespeare’s Globe Theatre on the south bank of the River Thames, where he distinguished himself by playing Cleopatra as well as Hamlet. Mr Butterworth was a promising playwright, the singular quality of his dramatic imagination being evident at Cambridge University, where he had adapted for the stage a cookbook by Katharine Whitehorn.

杰斯•巴特沃斯和马克•里朗斯是一对奇怪的组合。六年前,里朗斯运营着泰晤士河南岸的莎士比亚环球剧场,在那里他以饰演克里奥帕特拉和哈姆雷特而声名卓著。那时的巴特沃斯则是一位颇有前途的剧作家,在剑桥大学时就显露出非凡的戏剧想象力,在校期间他曾将凯瑟琳•怀特霍恩的烹饪著作改编成舞台剧。

In 2003 Mr Butterworth sent to Mr Rylance the first draft of a play called “Jerusalem”, about anarchy and authority. It was set in rural Wiltshire, and its hero, Johnny “Rooster” Byron, was a drug taker and dealer, a seducer of adolescent girls, a hard-drinking and hard-swearing romantic fantasist. Rooster lived in a mobile home parked illegally in a glade in the woods where he held wild parties and mocked society and its institutions, especially the Kennet and Avon Council.

2003年,巴特沃斯将其首部剧本——《耶路撒冷》的初稿交给里朗斯,剧本与“无序和权威”的主题有关。故事发生在威尔特郡乡间,主人公“雄鸡”拜伦,不仅吸毒贩毒,还是玩弄未成年少女感情的骗子,同时又是个强烈嗜酒、满嘴愤恨的空想家。“雄鸡”的移动房车非法驻留在林间的空地上,在那里举办狂野派对,嘲弄社会及其制度,特别针对凯尼特和埃文委员会。

Mr Rylance liked what he read so much that he agreed to take on the part when the play was completed. Mr Butterworth took himself off to Somerset, where he breeds pigs on his smallholding and takes his dog for long walks. Having finished a successful directorship of the Globe, Mr Rylance went on to play a variety of roles in the commercial theatre.

里朗斯非常喜欢这个剧本,并且同意剧本完成时可以摘录部分上演。于是,巴特沃斯离开萨摩赛特,他曾在那里的小农场里养养猪,遛狗散步。里朗斯自从结束了在环球剧场成功的管理生涯后,前往商业性剧场发挥更多重的作用。

“Jerusalem” finally opened at the Royal Court Theatre last July, directed by Ian Rickson, their mutual friend; its reputation spread quickly by word of mouth. It soon sold out, and during the winter playwright and actor swept both major theatre awards. The success of “Jerusalem” has been phenomenal, appealing, as John Osborne’s Jimmy Porter did, also at the Royal Court, in 1956, to the instinctive rebelliousness of the young, though its contempt for “health and safety” extends its appeal to an older generation.

由他们共同的好友伊恩•瑞克森执导的《耶路撒冷》最终于去年7月在皇家宫廷剧院首映,其好评口耳相传,迅速扩散。该剧的戏票很快售罄。去年冬天,该剧的作者和男主角横扫两大主要戏剧奖项。《耶路撒冷》的成就如此出众,和1956年同样在皇家宫廷剧院上演的剧作家约翰•奥斯本笔下的杰米•波特一样,不仅将对“健康和安全”的藐视延展至对老一辈的控诉,更诉诸于对年轻的本能叛逆。

Rooster’s mobile home is parked beneath the leaves of real trees, with a hen coop, and a clutter of broken furniture. Mr Rylance makes an astonishing entry, flinging himself into a handstand on a tank of water and dunking his whole head in. He is an anarchic life force, presiding over a “Bucolic Alcoholic Frolic” attended by alienated young girls and grown-up losers, one of whom delivers a quite original definition of what makes local TV news local: “to make any sense [of it] you’ve got to have at least a chance of shagging the weather girl”.

“雄鸡”的移动房车停驻在真实的枝叶下,伴有鸡窝和一些破败的家具。里朗斯的登台方式夺人眼球,他猛然倒立在水箱中,并把整个头部全部浸入。男主人公展现出无政府主义者的生命力,主持着由年轻的边缘女孩和成年失败者组成的“农夫酒鬼嬉闹公会”,其中还有人对“是什么使得地方新闻节目如此本地化”作出了相当原始的定义:“和气象小姐搞上至少一次还有点意义。”

The action is set on St George’s Day when a fair is held in the village. The play is frenetic, uproarious and foul-mouthed, a lament for an idealised, free and easy rural England, infused with legends of gods and giants, that has succumbed to invasive bureaucracy. Rooster tells of his meeting with a 90-foot giant (“Just off the A14 outside Upavon. About half a mile from the Little Chef”). The giant, who claims, incidentally, to have built Stonehenge, warms to Rooster and gives him a drum; if he ever needs help he should bang it and the giants will come.

故事开始于圣乔治日,村里正办着集市。整个剧本充斥着颠狂、骚动和粗话,如同对理想、随性张扬的英格兰乡村生活的挽诗,被注入诸神与巨人的神话,最终屈服于入侵的官僚。“雄鸡”述说着他如何偶遇90英尺高的巨人(就在阿佩文之外的A14,离小切辅还有半英里)。他偶然提到的巨人曾建造了史前巨石柱,这个巨人他,还给了他一个鼓,一旦“雄鸡”需要帮忙,只要敲打这个鼓,巨人就会到来。

At the end of “Jerusalem”, as the Rooster is about to be evicted from his mobile home, Mr Rylance gives a virtuoso performance on that drum. In the final moments, heavy footsteps are audible offstage. Who comes? A giant—or the two dozen policemen who are about to evict him? The state sledgehammer is surely about to crack the nut, and Rooster’s subversiveness takes on a heroic grandeur.

《耶稣撒冷》结尾处,当“雄鸡”将被赶出他的移动房车时,里朗斯在这场“打鼓戏”中展现了大师级的表演。最终时刻,沉重的步伐从舞台背后传来。谁来了?是传说中的巨人还是两队警察打算来赶走主人公?当局的力锤注定要摧毁那些狂人,而“雄鸡”的颠狂呈现出英雄式的庄严。

The only problem with this absorbing play is that Mr Rylance’s brilliance may deter other actors. That would be a terrible shame. This “Jerusalem” is a memorable production. Someone should film it.

这出引人入胜的戏剧中唯一的问题就是里朗斯的光辉可能让其他演员黯然失色。那可真是个遗憾。《耶路撒冷》是一部值得回味的佳作。应该有人将它拍成电影。

“Jerusalem” runs at the Apollo Theatre, Shaftesbury Avenue, London until April 24th

《耶路撒冷》目前在伦敦沙夫茨伯里大街的阿波罗剧场热演,直至4月24日下档。
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发表于 2010-4-29 05:14 | 显示全部楼层
首次译文,差距很大,欢迎大家拍砖,帮助小弟进步。
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