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为什么要读《等待戈多》?

Why should you read "Waiting For Godot"? - Iseult Gillespie

埃斯特拉冈:我们走吗 弗拉季米尔: 好的 我们走
(他们都没有动)
A shabby man named Estragon,
有一位叫做埃斯特拉冈的人 衣衫褴褛
sits near a tree at dusk and struggles to remove his boot.
黄昏时分坐在树边 艰难的脱掉靴子
He’s soon joined by his friend Vladimir,
不一会儿 他的朋友弗拉季米尔来了
who reminds his anxious companion that
埃斯特拉冈提醒他焦虑的同伴
they must wait here for someone called Godot.
他们必须在这儿等待一个叫做戈多的人
So begins a vexing cycle in which the two debate
接下来两人开始了激烈的论战
when Godot will come, why they’re waiting,
戈多什么时间会来 他们为什么要等待戈多
and whether they’re even at the right tree.
甚至是 他们是否在正确的树下等待
From here, Waiting for Godot only gets stranger –
从这时开始 等待戈多开始变得奇怪
but it’s considered a play that changed
但等待戈多这部戏剧被认为
the face of modern drama.
改变了现代戏剧的面貌
Written by Samuel Beckett between 1949 and 1955,
塞缪尔·贝克特在1949年到1955年写的这部剧
it offers a simple but stirring question –
提出了一个简单但迷惑的问题
what should the characters do?
剧中的角色们都应该做什么呢
Estragon: Don’t let’s do anything. It’s safer.
埃斯特拉冈: 我们什么都不要做 这样更安全
Vladimir: Let’s wait and see what he says.
弗拉季米尔: 我们等等看他会说什么
Estragon: Who?
埃斯特拉冈: 谁?
Vladimir: Godot.
弗拉季米尔:戈多
Estragon: Good idea.
埃斯特拉冈:好主意
Such cryptic dialogue and circular reasoning are
这种隐秘的对话和循环的逻辑
key features of the Theatre of the Absurd,
是这出荒诞派戏剧的关键特点
a movement which emerged after the Second World War
荒诞派运动兴起于第二次世界大战后
and found artists struggling
艺术家们挣扎着
to find meaning in devastation.
想要在毁灭中找到意义
The absurdists deconstructed plot, character and language
荒诞主义的解构情节 角色和语言
to question their meaning and share their profound uncertainty on stage.
质疑他们的意义 并且在台上呈现了极大的不确定
While this may sound grim, the absurd blends its hopelessness with humor.
虽然听上去凄凉 但这种荒诞在绝望中掺杂了幽默
This is reflected in Beckett’s unique approach to genre in Waiting for Godot,
贝克特在等待戈多中这部剧中运用的独特体裁 体现了这种幽默
which he branded “a tragicomedy in two acts.”
贝克特称这种独特的体裁为“两幕悲喜剧”
Tragically, the characters are locked in an existential conundrum:
悲剧在于 角色被困在一个现实主义谜题中
they wait in vain for an unknown figure to give them a sense of purpose,
他们徒劳的等待一个未知的人物来给他们一个目标
but their only sense of purpose comes from the act of waiting,
但他们唯一的目标 却来自于等待这个动作
While they wait, they sink into boredom,
在等待时 他们陷入困倦
express religious dread and contemplate suicide.
流露出对宗教的恐惧 考虑过自杀
But comically, there is a jagged humor to their predicament,
滑稽的是 他们的困境有一种生硬幽默
which comes across in their language and movements.
并全程体现在他们的语言和动作中
Their interactions are filled with bizarre wordplay, repetition and double entendres,
他们的互动充斥着怪诞的文字游戏 重复和双关
as well as physical clowning, singing and dancing,
他们还做着滑稽的肢体动作 唱歌 舞蹈
and frantically swapping their hats.
并疯狂的换帽子
It’s often unclear whether the audience is supposed to laugh or cry
观众经常不知道该哭还是该笑
or whether Beckett saw any difference between the two.
不知贝克特自己能否搞清二者的区别
Born in Dublin, Beckett studied English, French and Italian before moving to Paris,
贝克特出生在都柏林 曾学习英语 法语和意大利语 后移居巴黎
where he spent most of his life writing theatre, poetry and prose.
在法国时 贝克特大部分时间都在写戏剧 诗歌和散文
While Beckett had a lifelong love of language,
贝克特一生都对语言充满热爱
he also made space for silence by incorporating gaps,
他通过在作品中插入间隔 停顿和空白片段
pauses and moments of emptiness into his work.
给沉默留下了空间
This was a key feature of his trademark uneven tempo and black humor,
不均衡节奏和黑色幽默是贝克特作品的重要特征
which became popular throughout the Theatre of the Absurd.
这一特征席卷了整个荒诞派戏剧
He also cultivated a mysterious persona,
他还有着一种捉摸不透的个性
and refused to confirm or deny any speculations
他拒绝承认或否认任何
about the meaning of his work.
关于他作品意义的猜测
This kept audiences guessing,
这使得观众不断猜测
increasing their fascination with his surreal worlds
并且更加着迷于他的荒诞世界
and enigmatic characters.
和令人费解的人物
The lack of any clear meaning makes Godot
由于缺乏明确意义
endlessly open to interpretation.
“戈多”可以被任意解读
Critics have offered countless readings of the play,
剧评家对于这部剧给出了无数的解读
resulting in a cycle of ambiguity and speculation
导致了无止境的模糊与猜测
that mirrors the plot of the drama itself.
这与“等待戈多”中的情节如出一辙
It’s been read as an allegory of the Cold War,
有人声称 这是对冷战
the French Resistance,
法国抵抗运动
and Britain’s colonization of Ireland.
和英国对爱尔兰的殖民统治的影射
The dynamic of the two protagonists has
戏剧中两位主角的关系
also sparked intense debate.
也引起了激烈的讨论
They’ve been read as survivors of the apocalypse,
他们被解读成为世界末日的幸存者
an aging couple, two impotent friends,
年迈的夫妇 两个无助的朋友
and even as personifications of Freud’s ego and id.
甚至是弗洛伊德本我和自我的化身
Famously, Beckett said the only thing he could
众所周知 贝克特说 他唯一确定的事情是
be sure of was that Vladimir and Estragon
弗拉季米尔和埃斯特拉冈
were “wearing bowler hats.”
都戴着礼帽
Like the critical speculation and maddening plot,
与剧评家的的猜测和令人抓狂的情节一样
their language often goes in circles as the two
他们的语言经常是在兜圈子
bicker and banter, lose their train of thought,
斗嘴和互开玩笑 找不到思考的方向
and pick up right where they left off:
又在停顿的地方重新开始
Vladimir: We could start all over again perhaps
弗拉季米尔:我们或许可以重新开始
Estragon: That should be easy
埃斯特拉冈:应该不难
Vladimir: It’s the start that’s difficult
弗拉季米尔: 开头是最难的
Estragon: You can start from anything
埃斯特拉冈:你可以从任何地方开始
Vladimir: Yes, but you have to decide.
弗拉季米尔:没错 但你必须决定从哪里开始
Beckett reminds us that just like our daily lives,
贝克特提醒我们 就像每天的生活一样
the world onstage doesn’t always make sense.
舞台上的世界并不总是有据可循
It can explore both reality and illusion,
它既可以探索现实 也可以研究虚幻
the familiar and the strange.
聚焦人们熟悉或陌生的领域
And although a tidy narrative still appeals,
尽管人们仍然喜欢有条理的情节
the best theatre keeps us thinking – and waiting.
但最好的戏剧能让我们不断思考 不断等待

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视频概述

“等待戈多”是塞缪尔·贝克特创作的一部荒诞派戏剧 长久以来这部剧的意义受到剧评家和观众的广泛讨论 并引发我们无数的思考

听录译者

收集自网络

翻译译者

早早

审核员

审核员PAN

视频来源

https://www.youtube.com/watch?v=Cz5ey3RqDBI

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