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Hi, there, I'm Mike Rugnetta. This is Crash Course Theater, and as much as we may all adore the violence and raunch of Roman performance…it's time to move on.
嘿，大家好，我是迈克·鲁格内塔，这里是“戏剧速成小课堂”，尽管我们都很崇拜罗马戏剧里的暴力和低俗成分，但是，是时候换个话题了
Aw, Yorick - you disappointed? I know it well, you're a fan of the rope dancing maidens aren't you?
啊哈，尤里克——让你失望了吗？我很懂你，你是钢丝少女的粉丝没错吧
So bawdy, this one! The theater of Greece and Rome is only one tradition, and today we're going to survey another: Sanskrit theater.
太下流了这家伙！希腊戏剧和罗马戏剧是同一种传统，今天我们要来研究另外一种戏剧：梵文戏剧
We could devote several episodes to classical Indian theater, but because we have two and a half millennia of opening nights from around the world to cover in this series, today is more of a highlights reel—and those highlights include happy endings, rectangular theaters, and fish bellies.
我们本可以花个几集的时间来介绍古印度戏剧，但是因为这个系列里涉及了2500个来自世界各地的开幕之夜，所以今天我们来侧重讲一些集锦——这些集锦包括“大团圆结局”、“矩形剧场”和“鱼肚”
We don't really know when Sanskrit theater started or how it evolved, but likely it followed a process similar to Greek drama and—spoiler alert!—the future reemergence of theater in the medieval period.
我们不是很清楚梵文戏剧是何时开始的，也不知道它是如何演变的，但是它可能遵循了类似希腊戏剧演变的过程——剧透警告！——中世纪戏剧的再现
Basically: People create religious rituals to honor their gods.
说白了就是：人们创造宗教仪式以此来颂扬他们的神
Someone gets the bright idea that, instead of just singing praises, it might be cool to act out some devotion.
某人想出一个聪明的点子：与其只是唱赞歌，不如将自己的忠诚表演出来更酷
And before you know it, you have characters and plots and sometimes a chorus of frogs. Theater!
渐行渐变中就有了人物和情节，偶尔还有青蛙合唱团，最后就有了“戏剧”！
Sanskrit literature starts around 1500 BCE, and like Greek literature, it was originally an oral tradition.
梵文文学大约始于公元前1500年，和希腊文学一样，它最初只是一种口头上的传统
Its great works—the Mahabharata and the Ramayana—weren't written down until much, much later.
梵文文学的伟大作品——《摩诃婆罗多》和《罗摩衍那》——直到很久很久之后才被记录成册
The Mahabharata is an epic tale of a battle between two groups of cousins.
《摩诃婆罗多》讲述的是一个关于两群表亲之间争斗的史诗般的故事
The Ramayana is a more intimate family narrative … that also involves a monkey king.
《罗摩衍那》讲述的是一个温馨些的家庭故事，里面还有猴王
Yeah. It's as dope as it sounds. Most Sanskrit dramas are based on excerpts from these epics.
是的，听起来很酷，大多数的梵文戏剧都是基于这些史诗的节选衍生出来的
There's no solid date for the first Sanskrit dramas, either, though we do have a bunch of surviving plays from the first century CE, suggesting this tradition had already been around for a while.
第一部梵文戏剧的出现也没有确切日期，不过被保留下来的出自公元一世纪的戏剧确实有很多，这表明这个传统已经存在一段时间了
The golden age for Sanskrit drama comes a little bit later, around the 4th and 5th centuries, during the Gupta Dynasty.
梵文戏剧的黄金时代来得稍微晚一些，大约在公元4世纪和5世纪，笈多王朝时期
Which was a good time if you were into science, math, or…theater. That's us!
如果你喜欢科学、数学或者……戏剧，那么，欢迎来到笈多王朝！
All told, about two-dozen dramas survive; we're going to look at one later in this episode.
总的来说，被保留下来的戏剧大概有24部，之后本集我们会来看其中的一部
The plays were typically written in a mix of Sanskrit, the fancy literary dialect, and Prakrit, the more common dialect.
这些剧本通常是用梵语(一种奇特的文学方言)和古印度语(一种更为常见的方言)混合写成的。
If the Greeks have taught us anything, it's that if you want to have a great age of drama, you need someone to come along and lecture you on how to do it right.
如果说希腊人教会了我们什么，那就是：如果你想成就一个伟大的戏剧时代，你需要有人来陪着你并指导你怎样去做
In Sanskrit theater, instead of Plato and Aristotle, we have Bharata Muni.
梵文戏剧的世界里没有柏拉图和亚里士多德，有的是婆罗达牟尼
Speaking historically, he may not actually have been a real person, but more of a literary construct like Homer, except he was also semi-divine.
从历史角度来看，他可能不是一个真正意义上的人，更像是一种类似“荷马”的文学结构，不同的是他还是一个半神。
Sorry, Homer. We still think you're fabulous.
不好意思，荷马，你在我们心里依旧棒棒哒
Sometime in the common era, Bharata Muni wrote the Natyasastra, which is basically an all-purpose guide to theater:
在西元年的某段时期，婆罗达牟尼写下著作《舞论》，这部著作说白了就是一本戏剧通用指南：
How to write it, how to stage it, how to watch it, all the different ways an actor can move her nose. And much more. So much more.
怎么写、怎么演、怎么看，各种让演员鼻子动起来的办法，等等，很多很多
It's like Aristotle's Poetics if, after writing about tragedy, Aristotle decided to write about… everything else.
就像亚里士多德的《诗学》，亚里士多德在写过悲剧作品之后，决定写一些~什么都写
Oh and the Natyasastra, is also structured as a 6000 verse poem. Obviously we're not going to have time to summarize all of the Natyasastra–turns out there are LOTS of nose movements;
哦！《舞论》也是由6000行诗组成的，显然我们没有时间来概括所有《舞论》的内容，里面都是各种“动鼻子的动作”
I'm partial to this one–but we will look at the philosophies that underlie the composition of plays.
我比较稀罕这个——但是，我们会来研究一下构成戏剧基础的哲学理论
We'll also look at how plays should be performed, at least according to Bharata Muni. But first, let's check out the Natyasatra's theory of the origins of drama.
还会研究一下戏剧应该如何表演，起码会根据婆罗达牟尼的观点来进行探讨，但首先我们要来看一下《舞论》里的戏剧起源理论
Theater, it says, was created by Brahma, because Brahma's job is creating stuff.
据说戏剧是由梵天(印度教主神之一)创造的，因为梵天的工作就是创造东西
See CC World Mythology, with this handsome half bird sir—don't worry Thoth and I still hang out on the weekends.
请去观看“戏剧课堂—世界神话学”，以及这位英俊的半鸟先生——别担心，透特(埃及神话中的月神)和我周末的时候也会出去瞎溜达
Brahma and some other gods are worried that the scriptures are just too literary, so he comes up with drama as a religious teaching tool.
梵天和其他一些神担心经文太过书面化，所以想出来让戏剧成为一种宗教教学工具
Brahma teaches it to the god Bharata, who teaches it to his 100 sons.
梵天将其传授给婆罗多神，婆罗多神又将其传授给他的100个儿子
They prepare a play about that awesome time the god Indra defeated some demons.
他们准备了一场表演，这场表演主要演绎因陀罗神打败一些恶魔的精彩桥段
The gods in the audience love the play, the demons not so much.
观众席的众神们都喜欢这场演出，但恶魔们意见就比较大了
They start wilding out, and Indra has to defeat them—again!
他们开始暴露野性，而因陀罗神必须再一次出手击败他们！
The demons are still pretty upset, but they are reassured that some plays will make fun of the gods, so they agree to stop their attack.
恶魔们还是感觉很丧，但“神”向他们保证不仅有取笑恶魔的演出，还会有一些取笑神的演出，自此恶魔们才同意停止攻击。
Man, and you thought your preview audiences were tough! YEESH!
哥们儿，是不是还以为你的预演观众很牛叉！噗嗤！
After that exciting origin story, the Natyasastra introduces the idea of rasas.
在讲完那段精彩的起源故事之后，《舞论》又引入了“拉莎丝”的概念
Greek and Roman plays were divided by genre—comedy, tragedy, satyr plays. Sanskrit theater is different.
希腊戏剧和罗马戏剧分为喜剧、悲剧和色情风味戏剧，梵文戏剧则不同
Instead of genre, plays are defined by the kinds of moods they evoke. These moods are called rasas.
梵文戏剧不是由流派、而是由各种唤起的情绪来定义的，这些情绪被称为“拉莎丝”
There are initially eight of them: erotic, comic, pathetic, furious, heroic, terrible, odious, and marvelous.
最初包含八种情绪：色情的、滑稽的、伤感的、愤怒的、英雄的、惊悚的、可憎的以及非凡的
Eventually a ninth rasa, is added: peace! A very nice mood to evoke! Not terrible or odious in the least.
后来终于加了第九种：和平！一种非常好的情绪！一点也不惊悚、可憎
How do you evoke these rasas, you might ask?
你可能会问，怎样才能唤起这些“拉莎丝”？
A playwright does it by drawing on eight major human emotions, which are called bhavas.
剧作家利用八种主要的人类情感来创作剧本，这八大情感被称为“努哈瓦斯”
There are eight of those: pleasure, mirth, sorrow, wrath, vigor, fear, disgust, and wonder.
有八种：快乐、欢笑、悲伤、愤怒、活力、恐惧、厌恶以及诧异
You put the bhavas together in the right combination and you evoke the appropriate rasa.
把这些情感正确地组合到一起就能唤起相应的“拉莎丝”(情绪)
Hold the odious phone, though: not only are there nine rasa-moods and eight bhava-emotions, there are also ten categories of play, somewhat based on length, because a Sanskrit drama can have between one and ten acts.
等等：不仅会产生九种“拉莎丝”情绪和八种“努哈瓦斯”情绪，还有十种戏剧类型，某种程度上是根据长度来划分的，因为一部梵文戏剧可以有一到十幕
These categories don't have precise English translations, but most surviving plays belong to two main categories: nataka plays and prakarana plays.
这些种类没有精确的英文译本，但是大多数现存的戏剧都归属于两种主要类别：“纳塔卡戏剧”和“普拉卡拉纳戏剧”
Nataka plays are five to ten acts long. They usually borrow stories from the classic Sanskrit epics and deal with gods and heroes and demons.
纳塔卡戏剧有五到十幕，通常是从经典的梵文史诗中借用故事，和神、英雄和魔鬼打交道
These plays are a little like tragedies, except, like most Sanskrit plays, they end happily.
这些戏剧有些类似悲剧，不同的是大多数梵文戏剧的结局都是美好的
This helps the audience live in harmony with the universe - which I mean hey, not a terrible aim for the arts, right?
这样有助于观众们与世和谐相处——我的意思是，嘿，这个目标对艺术来说不算太难，是吧？
Prakarana plays are also five to ten acts long.
普拉卡拉纳戏剧也有五到十幕
These are closer in spirit to Roman comedies in that they often have urban settings and deal with everyday human characters.
它们在精神上更接近罗马喜剧，因为它们通常会以城市为背景并描述日常生活中的人物
Other kinds include dima plays, which have 16 heroes, and anka, one-act plays in which women lament.
其他类型的戏剧包括：有16位英雄的提莫戏剧以及写女性悲叹的独幕剧安卡
Very exciting things happen in these plays—like kidnappings and battles and berserk elephants—but those things mostly happen offstage.
这些戏剧里会有非常刺激的桥段——比如绑架、战斗和暴走的大象——但是这些桥段大多都发生在幕后
Onstage, we get messengers' reports and dialogue about how people are dealing with invading monkey forces, but not usually the monkey forces themselves.
舞台上我们得知信使的报告和对话内容，关于人们如何对付入侵猴子军，但通常不是真的猴子来饰演
