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[经济学人] [2011.08.20] The known and the unknown已知的和未知的

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发表于 2011-9-1 14:15 | 显示全部楼层 |阅读模式
Harold Pinter’s poetry
哈罗德•品特的诗歌


The known and the unknown
已知的和未知的


A celebration of a bullish bard
行情看涨的吟游诗人的颂歌

Teacher’s pet 教师的宠儿

WELL before he died of cancer in 2008, Harold Pinter knew he had earned a reputation for being “enigmatic, taciturn, terse, prickly, explosive and forbidding”. This intensity can be felt in his plays, which often consider the ambiguity of language and the tension between what is said and what is left unspoken. But from his very first scribbles, Pinter was also a poet. And while his plays were about other people, other places, born on the page, his poems were often about himself, his own anger, love and pain. Sometimes, such as when he wrote about Lady Antonia Fraser, his wife of nearly 30 years (“My dancer my bride”), his poetry turned sweet.

早在2008年哈罗德•品特因癌症去世之前,他就完全知道自己赢得了“高深莫测、沉默寡言、简洁、多刺、暴躁以及难以亲近”的名声。这种强烈的感情可以在他的戏剧中感觉到,他的戏剧往往仔细雕琢语言的模棱两可、营造说的话与未说的话之间的紧张气氛。但是从他最早的第一次涂鸦来看,品特也是一个诗人。他的戏剧跃然纸上的是其他人、其它地方,而他的诗写的往往是自己,自己的愤怒、爱与痛。有时候,比如他写到结缡近30年的妻子安东妮娅•弗雷泽(《我的舞者我的新娘》)时,他的诗就变得甜蜜。

“Reading the poems was a revelation,” says Julian Sands (pictured), whose “A Celebration of Harold Pinter” is at the Edinburgh Festival Fringe until August 21st. Amid the jamboree, Mr Sands’s portrait strikes a mature note. This one-man production, directed by John Malkovich, a friend and fellow Pinterphile, features anecdotes, personal stories and a clutch of poems. The plays are hardly mentioned. For Mr Sands the thrill is in giving voice to Pinter’s lesser-known work. The effect is enlightening. For a man who dramatised the obfuscating power of language, these poems ring with a remarkable sincerity.

直到8月21日,朱利安•詹德斯的《哈罗德•品特颂》才会在爱丁堡边缘艺术节上上演,他说(如图),“读品特的诗是一种启示。”在一片庆祝营地中间,詹德斯的画像给人留下了成熟的印象。这出独角戏由亲品特的朋友和同伴约翰•马尔科维奇导演,以轶事、个人故事和一堆诗歌为特征。几乎没有提及戏剧。对詹德斯来说让他激动的是说出品特鲜为人知的作品。其效果是有启发性的。对一个夸大语言混淆力的人来说,这些诗充满了不同寻常的真挚。

On a bare stage with a couple of heavily annotated books, Mr Sands is like an eager pupil in a natty suit, charismatic yet nervous. He opens the show with a poem, powerful enough to be read twice: “I know the place./It is true./Everything we do/Corrects the space/Between death and me/And you.” Written in 1975, Pinter’s words hang in the air, a charged distillation of his life’s work. What were his plays if not a mix of false bravado, mortal dread and the struggle for human connection?

光秃秃的舞台上只有两三本书,书上有大量的注解,詹德斯象一名热切的小学生,穿着整齐的西装、充满魅力,但也紧张不安。他用一首诗开场,这首诗太强有力,将读两次:“我知道那个地方。/那么真实。/我们做着一切/修正着空白/在死亡和我之间的 /和你之间的/”这首诗写于1975年,品特的诗句余音袅袅,是对他一生工作的高度提炼。他的戏剧假如没有了不实的虚张声势、极度的恐惧和争取人际接触这三者的揉合会怎样呢?

Like his plays, Pinter’s finer (and often later) poems are as spare as they are complex. He was notoriously pugnacious, but Mr Sands shows he could also be warm and even funny. He imbues the shortest poem, a 1986 homage to an English Test cricketer, with a wistful punch: “I saw Len Hutton in his prime/Another time/another time”. Pinter wrote poems about his cancer (“I and my tumour dearly fight./Let’s hope a double death is out.”) and to vent his political anger, particularly about the invasion of Iraq: “There’s no escape/the big pricks are out./They’ll fuck everything in sight/Watch your back.” (With keen comic timing, Mr Sands adds: “That poem is called ‘Democracy’”).

象他的戏剧一样,品特优秀些(且常是更近期的)的诗是简朴的,同样也是复杂的。他出了名地好斗,但詹德斯表演的品特也可以是温和的甚至滑稽的。他带着渴望的活力,吟咏最短的诗《1986年的敬意,献给英国测试赛板球手》:“我看到了黄金时代的莱恩•赫顿/又一次/又一次”。品特的诗写到他的癌症(“我和我的肿瘤作战,用高昂的代价。/让我们共同期待双双摆脱死亡。”),他还写诗发泄自己对政治的愤怒,特别是对入侵伊拉克的愤怒:“没有逃避/巨刺拔出了。/他们的目光会诅咒一切/小心你的背后。”(借着敏锐的漫画时机,詹德斯补充说:“这首诗诗名为《民主》”)。

But Pinter’s most poignant works are his love poems. With insight from his wife’s 2010 memoir, “Must You Go?”, Mr Sands gives shape to the lilt of works like “Paris” from 1975: “Afternoon leans, silently./She dances in my life./The white day burns.” Pinter’s very last poem, written in 2007, reaches out for one final grasp: “Remember that when I am dead/You are forever alive in my heart and my head”.

但品特最深刻的作品是他的爱情诗。从他妻子2010年写的回忆录《你一定得走吗?》中的研究心得,詹德斯认定品特的作品是轻快的,就象1975的《巴黎》:“下午倾斜,寂然地。/她在我的生命中起舞。/白色的情人节燃烧。”品特最后的诗写于2007年,抓住了最后的体会:“请记住,当我死了/你永远活在我的心中,活在我的脑海中”。

Mr Sands learned of the poems only in 2005, when Pinter asked him to read a few at a charity event (Pinter’s throat cancer was by then too advanced for him to read them himself, but he worked with Mr Sands to get the right tempo and pitch). After Pinter died, Mr Sands performed the poems for some friends, including Mr Malkovich, who thought the tribute could be adapted for a larger audience. Edinburgh marks this show’s premiere; in September they will take a slightly longer version on a national tour. Perhaps more performances will help Mr Sands to loosen up—he is undoubtedly passionate about the material, but hasn’t yet made it his own. Still, “A Celebration of Harold Pinter” is a stirring tribute to a man who lived boldly, and the trove of work—some of it overlooked—that he left behind.

詹德斯到了2005年才了解品特的诗歌,当时品特请求他在一场慈善活动上朗读几首(那时品特的咽喉癌严重到无法让他亲自来朗读,但他与詹德斯一起找出正确的节奏和定调)。品特去世后,詹德斯为一些朋友表演了这些诗,其中包括认为这篇颂歌可以感召更多观众的马尔科维奇。爱丁堡标志着此剧的首演,9月他们将在全国巡回表演中采用稍长的版本。也许更多的表演会帮助詹德斯放松,他的热情无疑是针对材料的,还没有变成他自己的。尽管如此,《哈罗德•品特颂》仍是一首激动人心的颂歌,献给一个勇敢生活的人以及他所遗留下的珍贵作品,其中一些作品曾被忽视过。

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发表于 2011-9-1 17:01 | 显示全部楼层
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