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Hey there! I'm Mike Rugnetta, this is Crash Course Theater.
嘿 大家好 我是迈克·鲁格内塔 这里是“戏剧速成课堂”
And today we're continuing our discussion of nineteenth-century American theater, with a look at some upsetting parts of our theatrical past.
今天我们继续讨论19世纪的美国戏剧 看看过去发生在戏剧上的一些令人不安的事情
In the 19th century, race and racism contributed to a unique and troubling performance culture,
19世纪 种族和种族主义促使了一种独特且令人不安的表演文化的诞生
which helped create and spread racist stereotypes that are still with us today.
这种文化助长了种族主义刻板印象的产生和传播 时至今日 这种刻板印象依旧存在
And just to be super clear, the stuff we're talking about in this episode is tough.
可以非常明确地说 本集我们讨论的东西是很“艰难的”
The images are upsetting and much of the language is fraught to put it lightly.
图片令人不安 大部分的语言也令人堪忧 难以轻描淡写
So just an upfront content warning. So you know what's coming up.
所以先来一个看前预警 这样大家能做好心理准备
While some theatrical versions of Uncle Tom's Cabin contributed to the abolitionist cause.
《汤姆叔叔的小屋》的一些戏剧版本推动了废奴运动
Other melodramas used racial themes to titillate white audiences and even to support slavery's values.
而其他的一些音乐剧则利用种族主题来刺激白人观众 甚至支持奴隶制的价值观
America's original theatrical form—The Minstrel Show reinforced ugly caricatures even as it made some African American performers stars.
美国最初的戏剧形式 “黑脸秀” 使一些丑陋的夸张描述变得更加丑陋 虽说它也捧红了一些非裔美国演员
We're also going to look at the history of African American theatre, which is a tradition as old as America.
我们还会讲到非裔美国人戏剧的历史 其戏剧传统和美国一样古老
Before we get into all the disturbing details about minstrel shows, we should take a moment to note that
在我们讨论“黑脸秀”中所有令人不安的细节之前 我们先花点时间强调一下
there's a vital tradition of African-American theater actually made by African-Americans that's almost as old as America itself.
非裔美国人有一个重要的传统实际上是由美国黑人自己创造的 其历史几乎和美国本身一样古老
In 1816, William Alexander Brown, a former ship's steward turned theatrical impresario, opened the African Grove theater in New York.
1816年 之前是一名船员的威廉·亚历山大·布朗 在纽约开办了非洲格罗夫剧院 变成了一名戏剧导演
The theater's resident company, the African company, was all-black.
剧院的常驻剧团“非洲剧团”其成员全是黑人
They played to mostly black audiences with a Shakespeare repertory, Richard The Third and A Fellow were particularly popular.
他们主要为黑人观众演出莎士比亚的剧目 其中《理查三世》和《一个家伙》极其受欢迎
Brown also wrote original plays. The Drama of King's Shotaway was performed at the Grove in 1823.
布朗还写了一些原创剧本 《国王的临街大道》于1823年在格罗夫剧院进行了演出
This play about a revolt against British colonists on the island of st. Vincent was probably the first play by an African American performed in the U.S..
这部戏剧讲的是在圣文森特岛上反抗英国殖民者 这大概是第一部由非裔美国人在美国演出的戏剧
Sadly, it has been lost.
遗憾的是 它已经丢失了
Unsurprisingly, the African growed theatre faced hostility.
不出所料的是 非洲人创作的戏剧面临着敌意
On at least one occasion, rowdy white spectators, hired by a rival theater, caused trouble, yelling during performances and threatening to riot.
不止一次 敌对剧院雇佣白人观众在其演出中大喊大叫 闹事 威胁说要制造暴乱
Other times, neighbors objected to the noise at the theatre, complaining that the conduct of the patrons was unacceptably boisterous.
其他的就是 邻居们抵制剧院的噪音 抱怨顾客们的行为太吵 令人无法接受
The theater was shuttered in 1823.
于是 剧院于1823年最终关闭
One young actor who got his start at the African Grove was Ira Aldridge.
艾拉·奥尔德里奇是一个在非洲小树林里开始演艺生涯的年轻演员
Faced with bigotry and a lack of available roles, he left New York as a young man, sailing for England.
由于偏执和缺少可演的角色 他年轻时便离开纽约到了英国
And there, he became a widely celebrated performer of classical roles, playing Othello and the rebel slave Orinoco.
并在英国因扮演经典角色“奥赛罗”和“反叛的奴隶奥里诺科”而广受欢迎
Sometimes, he also acted in Whiteface, playing Sherlock, Richard the third and King Lear.
有时 他还会出演夏洛克、理查德三世和李尔王等白人角色
He toured Europe and was especially popular in Russia and Prussia.
他在欧洲巡回演出 在俄罗斯和普鲁士大受欢迎
The first published play we have by an African-American author is by William Wells Brown, a leading abolitionist thinker and lecturer.
第一部由非裔美国作家出版的戏剧由威廉·威尔斯·布朗创作 他是著名的废奴主义思想家和讲师
Brown was an escaped slave and his 1858 play The Escape is partly autobiographical.
布朗是一名逃跑的奴隶 他写于1858年的戏剧《逃亡》有一部分内容属于自传性质
In it, two slaves, Melinda and Glenn, who have different masters, marry in secret.
剧里有两个有着不同主人的奴隶 梅林达和格伦 他们秘密结婚了
Each is horribly mistreated, and together they plan a daring escape to Canada.
由于他俩都遭到了可怕的虐待 于是他们想出了一个大胆的计划——逃往加拿大
But Wells Brown's characters are escaping from the American nineteenth-century theater too.
其实 威尔斯·布朗笔下的人物也正在逃离19世纪的美国戏剧
The play shakes off 19th century theatrical tropes and racist stereotypes.
该剧摆脱了19世纪的戏剧修辞和种族主义刻板印象
Wells Brown transforms minstrel songs which we'll discuss very soon into hymns of freedom.
威尔斯·布朗将音乐剧里的歌曲改成了对自由的赞美歌
The ideas behind The Escape that African-Americans are fully human, that they resent their masters,
逃亡背后的思想是：非裔美国人也是正常的人类 他们憎恨自己的主人
and also that the dominant genres of 19th century American theater were complicit in racist ideology—were
此外 19世纪美国戏剧的主导流派和种族主义意识形态有所牵连
incendiary enough that "The Escape" wasn't ever performed in Brown's lifetime.
这足以引起极大的争议 以至于在布朗的一生中 《逃亡》从未被演出过
He did read it himself at abolitionist rallies though which must have been amazing,
不过他本人确实在废奴主义者集会上读过这部当时肯定轰动了一时的戏剧
giving an African-American voice and perspective to a theatrical moment featuring almost entirely white performers and playwrights.
它替非裔美国人发声 给了非裔美国人一个视角 让他们看到了一个几乎全是白人演员和白人剧作家的戏剧时刻
Sadly, nuanced or thoughtful portrayal of African-Americans were far from the norm.
可悲的是 对非裔美国人细致入微或者深思熟虑的刻画远非常态
African-Americans were largely subjects of caricature comedy and racism in American theatre.
非裔美国人在很大程度上是美国戏剧中的讽刺喜剧和种族主义的主题
The minstrel show was a widely popular and deeply racist 19th century genre created by white Americans.
“黑脸秀”是19世纪由美国白人创作的一种广受欢迎且带有严重种族主义色彩的流派
It allowed other white Americans to laugh at stereotyped portrayal of African Americans.
它使得美国白人嘲笑对非裔美国人的刻板印象
Initially, it was performed by white actors in blackface,
最初 它是由白人表演的
a kind of theatrical makeup that used burnt cork grease paint and even shoe polish to darken the skin.
白人演员会使用燃烧的软木油脂漆甚至鞋油把皮肤弄黑
And other makeup to exaggerate the eyes and lips.
还会通过化妆把眼睛和嘴唇弄得很夸张
Later on, when African Americans began to perform in minstrel shows,
后来 非裔美国人开始参与“黑脸秀”表演
they had to use blackface to transforming themselves into the caricatures that white audiences demanded.
但是白人观众还是要求他们把自己弄成那种夸张的黑人形象
The genre is usually credited to T.D. Rice or Daddy Rice, a New York actor who sang and danced in blackface in variety entertainments.
这种流派的戏剧归功于“T.D.赖斯”或者叫“赖斯老爹” 他是一位在各种娱乐节目中以黑人面孔载歌载舞的纽约演员
He styled himself as an Ethiopian delineator, created a character named Jim Crow and popularized the song Jump Jim Crow.
他把自己塑造成一个埃塞俄比亚人 创造了一个名为“吉姆·克劳”的角色 还唱红了“黑人跳”这首歌
In the late 19th century, racist laws enforcing segregation in the southern United States became known as Jim Crow laws after Daddy Rice's character.
19世纪末 美国南方因执行种族隔离而创立的“种族主义法”便以“赖斯老爹”的角色命名为“吉姆·克劳法”且广为人知
Rice wasn't the first white man to use blackface in America.
赖斯并不是美国第一个使用黑脸的白人
Blackface servant characters had appeared on U.S. stages since the 18th century and let's not forget A Fellow.
18世纪之后美国舞台上就出现了黑脸仆人的形象 我们不要忘了《一个家伙》
But Daddy Rice was the first to become famous for it, even taking his act to London.
不过赖斯老爹是第一个因此出名的人 他甚至把自己的表演带到了伦敦
He later became even more famous for playing Uncle Tom in a pro-slavery version of Uncle Tom's Cabin, which we'll discuss in a minute.
后来他因在支持奴隶制的《汤姆叔叔的小屋》中扮演汤姆叔叔而更加出名 稍后我们会讲到
For a while, there was a statue of him in blackface on Broadway.
曾经有一段时间 百老汇大街上有一座他的黑脸雕像
Performers such as Al Jolson performed on Broadway in blackface well into the 20th century.
直到20世纪 阿尔·乔森等表演者还在百老汇以黑脸形象演出
Initially, performances like Rice's were solo acts.
起初 像赖斯这样的表演纯属单人表演
But in the 1840s minstrel shows formalized and became a team effort.
到了19世纪40年代 “黑脸秀”开始正规化并有了自己的团队
