评论
打印
Basically, how can you theatre at a time like this?
说白了：你怎么能在这种时候表演戏剧呢？
In 1647 parliament published another edict threatening punishment for anyone who put on a play.
1647年国会颁布了另一项法令 威胁要惩罚所有表演戏剧的人
The next year they passed a law saying actors should be apprehended as criminals and theatres should be demolished.
第二年他们通过了一项法律 规定演员应该作为罪犯被逮捕 剧院应该被拆除
An actor caught acting once was whipped, twice, treated as an incorrigible rogue, which actually sounds fine, but probably it was awful.
演员犯表演罪一次会被鞭打 犯两次会被当作不可救药的流氓对待 处罚听起来并不重 不过不好说
Anyone found attending a play would be fined five shillings which was a mint then,
被发现去看戏剧的观众会被罚款 数额为5先令 在那时这是一笔巨款
and in 1649, a few months after they beheaded Charles I, the Puritan Parliamentarians appointed a provost marshal
1649年 在查理一世被斩首的几个月之后 清教徒国会议员任命了一名宪兵司令
who was tasked with imprisoning all ballad singers and shutting down stage plays. No fun allowed.
负责监禁所有的民谣歌手以及关闭舞台剧 禁止娱乐!
So, did the theatre disappear entirely? Sort of.
那么 戏剧是不是彻底销声匿迹了呢？算是吧
Public performances were semi-secretly held until the king was beheaded but they really dried up after that.
在国王被斩首之前公开演出是以半隐秘的形式进行的 不过在那之后表演就真正销声匿迹了
Late in the 1650's, the playwright William Davenant basically invented English language opera because musical performances hadn't been specifically forbidden.
16世纪50年代后期 剧作家威廉·达文南特发明了英语歌剧 因为音乐表演并没有被明确禁止
He was like, look, everybody's singing all the time! This definitely isn't a play. No, no, not at all.
他说：看 大家整场都在唱歌 这肯定不是戏剧啊 不 不 绝对不是戏剧
Otherwise, performances were small and clandestine, held in private homes, tennis courts, and inns, and this would be the case for about 12 years.
此外 表演都是小型的 而且是秘密进行 一般设在私人住宅、网球场或者旅馆里 这种情况持续了12年
In 1658, Oliver Cromwell the leader of the Commonwealth, died.
1658年 英联邦的领袖奥利弗·克伦威尔去世
His son lost the confidence of the military, the Royalists started rising up again, and in 1660, Charles II was restored to the throne.
他的儿子失去了军队的信任 于是保皇党开始重新崛起 1660年 查理二世重新登上王位
Almost immediately, he started licensing theater companies and helping theaters reopen.
他登基后便即刻授权戏剧公司帮助剧院重新开张
In London, there were two main companies. One, led by William Davenant, the opera guy, and the other led by Thomas Killigrew.
伦敦有两家重量级的戏剧公司 一个是歌剧大师威廉·达文南特的公司 另一个是托马斯·基利格鲁的公司
Descendants of these companies basically had a lock on spoken drama in London until 1843.
直到1843年 这些公司的后代依旧对伦敦的话剧持有浓厚兴趣
At first, the restoration theater relied on old plays.
戏剧的复辟最初依赖于一些旧的戏剧
Tragic comedies were popular, especially those by Beaumont and Fletcher.
悲喜剧很受欢迎 尤其是博蒙特和弗莱彻的戏剧
Shakespeare was almost immediately revived, but with a difference.
莎士比亚的戏剧几乎彻底复苏了 但有一点不同
Remember those tragedies where everyone died and it was very moving? Yorick does. He knows them well.
还记得那些个人人都死于非命的悲剧吗 尤里克记得 他很懂悲剧
Restoration audiences were not into it.
而复辟时期的观众们对那些戏剧不感兴趣
After that whole civil war thing people wanted happy endings, not a stage full of corpses.
内战结束后人们想要快乐的结局 而不是满是尸体的舞台
So, playwrights rewrote Shakespeare.
所以 剧作家们改写了莎士比亚的戏剧
Suddenly, Juliet gets to wake up before Romeo kills himself. And Lear survives.
然后突然就变成了：朱丽叶在罗密欧自杀前醒来了；李尔幸存了下来；
Also Edgar and Cordelia get married and Miranda gets a sister.
埃德加和考狄利娅结婚了；米兰达有了一个妹妹
Companies also started using all those fancy scenic design elements that Inigo Jones had introduced, but the biggest difference was women.
公司也开始使用伊尼戈·琼斯引入的所有那些花哨的风景设计元素 不过 最大的不同之处在女性身上
Women on stage, Charles II approved it. Why? It's unclear.
女人们登上了舞台 查理二世批准的 为啥呢？不清楚
Though, actresses were common in France, where he had been hiding out.
不过 女演员在查理二世的避难处—法国是很常见的
Women not only took on female roles, they also took on male roles or breeches parts.
女人们不仅扮演女性角色 还扮演男性角色 叫作“女扮男角”
Maybe they did it for the actorly challenge, or maybe they did it because theater managers realized that
她们这么做或许是为了挑战演技 也或许是因为剧院经理们发现
male audience members went crazy when women wore pants and showed their ankles. Ooh, la la.
当女人穿上裤子、露出脚踝时男性观众朋友们会发疯 哦啦啦!!!
And women not only appeared on stage, there were also several important female restoration playwrights, including Aphra Behn and Susanna Centlivre.
女人不仅可以当演员 还有几位复辟的重要女剧作家 其中就有阿芙拉·本恩和苏珊娜·森特利弗
The restoration also brought some new styles of playwriting to England.
复辟也使得英国发掘了一些新的剧本创作风格
Most were heroic tragedies and swashbuckling romances borrowed from Spain and France, but it did birth one homegrown genre: the restoration comedy.
其中大部分借用了西班牙和法国的英雄悲剧和有传奇历险情节的传奇故事 但确实也诞生了一种新的本土体裁：复辟喜剧
Restoration comedies are smutty, even by today's standards.
复辟时期的喜剧很低俗 即便以现在的标准来看
They're witty, sexy, outrageous plays about upper-class people looking for love. Lots of that love is adulterous.
诙谐、性感、荒诞 讲述的是上流社会人士寻找爱情的故事 大都是不忠的爱情
Like most comedies, they rely on familiar types and while they don't have that Shakespearean depth of characterization, they are funny.
和大多数喜剧一样 “复辟喜剧”依赖于熟悉的人物类型 虽然塑造得没有莎士比亚式的人物那么地有深度 不过还是很有趣的
A bunch of those hoots and hollers derived from voicing a cynical distrust of conventional morality, because
由于对传统道德的不信任 大众发出了一堆谩骂和抱怨之声 因为
after that whole beheading the king and living under Puritan rule, conventional morality just doesn't look so great.
在国王被砍头之后 人们生活在清教徒的统治之下 所以传统道德看起来就没有那么地重要了
In fact, it looks downright oppressive. Marriage isn't the happy ending here. No social contract is treated as objectively rad.
事实上这些戏剧是非常压抑的：婚姻成了爱情的坟墓 社会契约等同于废纸
These plays are skeptical of airy concepts like love honor and fidelity; they're much more about lust, and envy, and covetousness as motivating forces.
这些戏剧对爱情、荣誉和忠诚这些虚无缥缈的东西持怀疑态度，它们更多的是将欲望、嫉妒和贪婪化作行动的动力。
For example, William Wycherley's 1675 play The Country Wife is sort of based on Moliere, but luder.
比如 威廉·威切利1675年的戏剧《乡下女人》就是以莫里哀为原型的 不过更下流
Take us to the country, Thought Bubble.
把我们带到那个乡下去吧 思想泡泡
Harry Horner, check out that name, decides that the best way to sleep with all the women in town is to spread the rumor that he's impotent,
哈里·霍纳 看看这个名字 他认为能和镇上所有女人上床的最好的办法就是散布谣言说自己阳痿
so that husbands will leave their wives alone with him.
这样丈夫们就能放心把妻子单独留在他身边
It works! That Horner.
奏效了 这位霍纳先生
Meanwhile, Pinchwife has just gotten married to Margery, and is so worried about adultery
与此同时 平奇伊弗和玛杰里刚刚结婚 他非常担心妻子通奸
that he won't let her out of the house, won't let her have any friends, and keeps her in the country.
所以不让妻子出门 不让妻子有任何朋友 并把妻子留在乡下
Get it? She's the country wife.
懂了吗？所以她就是那个“乡下的妻子”
Finally, he agrees to take her for a walk in town, but only after disguising her as a boy.
最后 平奇伊弗同意带妻子去城里散步 不过前提是把她伪装成一个男孩
Horner meets the disguised Margery, clocks that she's a woman, and runs off with her.
霍纳和伪装后的玛杰里相遇了 他发现玛杰里是个女人 之后和玛杰里一起私奔了
When she and Pinchwife are reunited, he tells her that she can never see Horner again,
当玛杰里和平奇伊弗再次重逢时 平奇伊弗告诉玛杰里说她再也见不到霍纳了
and makes her write a letter saying how disgusting she finds him.
他还让玛杰里写封信给霍纳说她发现他超级恶心
But, instead of a weird chaste affidavit, she writes a love letter.
但是 玛杰里写的并不是一封奇怪的贞洁宣誓书 而是一封情书
Horner likes her too, but still finds time to horn Lady Fidget in a scene that uses a lot of ceramics metaphors. It's hilarious.
霍纳也喜欢玛杰里 不过在一个使用了大量隐喻的场景里他还是会寻找时机勾搭菲杰特女士 很搞笑
He also sleeps with all of her friends, and maybe you'd expect to playwright to try to protect Margery from sex-addict Horner,
他还睡了菲杰特女士所有的朋友 或许你还期待剧作家会试图保护玛芝莉不受性上瘾的霍纳的伤害
but Wycherley would rather see his characters happily bonking than unhappily chaste.
不过比起难受地守着贞洁威切利更愿看到自己笔下的人物可以快乐地性交
Margery dresses up as Pinchwife's sister and goes to Horner's room.
玛杰里伪装成平奇伊弗的妹妹来到霍纳家里
Pinchwife finds them, but owing to some fast-talking, Horner and Margery get off scot-free
平奇伊弗找到了他们 不过由于被花言巧语蒙骗 所以霍纳和玛杰里并没有受到惩罚
and Pinchwife seems to believe the tales of Horner's impotence, leaving him to carouse another day.
平奇伊弗似乎相信了霍纳阳痿的故事 留给了他改天继续作恶的机会
So it all ends: smutilly ever after.
所以大结局是：淫秽至不眠不休
Take that, Puritans.
拿走不谢 清教徒们
Thanks thought-bubble. That was permissive.
谢谢思想泡泡 这很放纵~
So, we can see that this is a lot rowdier than the Shakespeare style of comedy and even a bit wittier in the text, too.
所以 我们可以看到 这部剧比莎士比亚式喜剧要粗暴得多 甚至还更诙谐
Restoration comedy encouraged anti theatricalists, too-Jeremy Collier's 1698 pamphlet
复辟时期的喜剧也鼓励反戏剧家 杰里米·科利尔在1698年出版的小册子
A Short View of the Immorality and Profaneness of the English Stage is 300 pages. Short by Prynne's standards.
《对英国舞台的不道德和亵渎的短视》有300页 白兰说：太短了
Collier writes, Nothing has gone farther in debauching the age than the stage poets, and play-house,
科利尔写道：唯有舞台诗人和剧院能让这个时代堕落至极。
and his ideas were so influential that he encouraged some playwrights to reform.
他的观点很有影响力 他鼓励一些剧作家进行改革
He also caught the attention of James II, who decreed that plays should maybe be less money. Boring.
他还引起了詹姆斯二世的注意 詹姆斯二世颁布法令规定戏剧应该减少资金投入 无聊~~~
Now, but okay, we're gonna get less money, too-as we head to Spain and France to explore Golden Age drama on the continent.
现在 好吧 我们的资金投入也要减少 因为我们要前往西班牙和法国去探索欧洲大陆黄金时代的戏剧
But until then, curtain.
下集见 闭幕！
