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Hey there! I'm Mike Rugnetta and THIS is the first episode of Crash Course Theater. Welcome!
嘿，大家好！我是迈克·鲁格内塔，这里是“戏剧速成课堂”第一集，欢迎！
In the episodes to come we'll have it all: tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral-expealidocious.
接下来的几集里我们将接触到悲剧、喜剧、历史剧、田园剧、田园喜剧、历史田园剧、悲剧历史剧、悲剧——喜剧——历史——田园——宗教剧
Yup, this series could go on forever. And let me introduce you to Dionysus, Greek god of the theater. And wine.
没错，这个系列可能会没完没了。然后，我来介绍一下狄俄尼索斯，希腊戏剧大师，也是酒神。
They can't all be charming, genius birdmen, I guess.
他们没那么迷人，天才鸟人，我觉得。
In this series we'll explore the history of theater and how we can understand and analyze it.
本系列中，我们将探索戏剧的历史以及我们如何理解并分析它。
We'll take a look at significant plays and performances along the way, but in this episode we're going to define theater and look at some theories about how it got started.
在此期间我们会看一些重要的戏剧和表演，但本集我们将给戏剧下个定义并探讨一些有关戏剧如何起源的理论。
So, Prologue over! Act 1, Scene 1, BEGIN!
所以，开场白到此结束！第1幕，第1场，开始！
First! Let's define "theater, the building": a theater is a place in which a play is performed.
首先，我们来定义一下“剧院，建筑”：剧院是表演戏剧的地方。
If you trace the word back to its Greek origins and it literally means "the seeing place."
如果你追溯这个单词的希腊起源，它的字面意思就是“看到的地方”。
It can be big or small, indoors or outdoors, purpose-built or just borrowed.
它可以是大的或小的，可以是室内的或室外的，可以是专门建造的，也可以是借来的。
Sometimes plays are performed in spaces that aren't really theaters at all—in a park or a parking lot, on a sidewalk, or in a private home.
有时戏剧会在根本不是剧院的地方演出——在公园或者停车场，在人行道上或者在自己家里。
Theater also refers to the performance of plays and to the body of literature and other documentation that has accompanied it.
戏剧也指戏剧的表演以及伴随戏剧而来的文学作品和其他文献。
Some plays, known as closet dramas, aren't even written to be performed. And that's theater, too.
有些戏剧被称为壁橱剧甚至都不是为了表演而写的，那也是戏剧。
So are improvised plays that don't have a script and plays that have a script, but don't use words, like some of Samuel Beckett's shorts.
没有剧本的即兴戏剧和有剧本但不使用文字的戏剧也是戏剧，比如塞缪尔·贝克特的一些短剧。
A familiar definition is that theater requires at least one actor and at least one audience member and that definitely covers a lot of stuff.
一个比较常见的定义是：戏剧需要至少一名演员和至少一名观众。这肯定涵盖了很多东西。
But - what's an actor? What's an audience member?
但是，什么是演员呢？什么是观众？
While most plays use human actors, there are plays performed by robots and laptops with voice synthesizers.
虽然大多数戏剧使用真人演员，但也有使用机器人和配有语音合成器的笔记本电脑表演的戏剧。
There are plays performed by animals and by puppets, though usually there's a human helping out with those. I hope.
有动物表演的戏剧，也有木偶表演的戏剧，不过这种戏剧通常都会有一个人在旁辅助，希望是这样。
Sooooo … Is everything theater? If you want a really expansive definition, the composer John Cage said that "theater takes place all the time, wherever one is; an art simply facilitates persuading one this is the case."
所以……这些都能说是戏剧吗？如果你想要一个更宽泛的定义，作曲家约翰·凯奇(John Cage)曾说过：戏剧随时随地都在上演，戏剧只是一门艺术 它帮助说服人们告诉人们事实就是如此。
So…is this theater? Well, not for you. You're watching a video recorded earlier. But here. In this room.
所以……这就是戏剧吗？对你来说不是，你正在看我之前录好的视频，但在这里，在这个房间里，
I'm performing, right? And there's an audience if you include Stan and Zulaiha watching me. Am I doing theater?
我正在表演，对吧？还有观众——斯坦和祖拉哈也在看着我，那么我是在表演戏剧吗？
Want to hear my "To be or not to be," guys? Yorick? Aw.
想听我的“To be or not to be（生存还是毁灭）”？（《哈姆雷特》(英-莎士比亚)中的经典独白）吗，伙计们 约里克？嗯哼
They say no every time! A plague on both your houses.
他们每次都说不！画个圈圈诅咒你们。
What is and isn't theater is the kind of question that can make your head spin.
什么是戏剧、什么不是戏剧，这类问题会搞得你头晕目眩。
We'll come back to it a couple of times, especially when we talk about political theater and protest theater and immersive theater, but for now we'll use a more narrow definition: theater is a deliberate performance created by live actors and intended for a live audience, typically making use of scripted language.
我们回头还会再讨论几次，尤其是当我们谈论到政治戏剧、抗议戏剧和沉浸式戏剧的时候。但是现在我们要用一个更狭义的定义：戏剧是由现场演员精心设计、为现场观众准备的表演、通常使用脚本语言。
We may meet some exceptions along the way—lookin' at you, robo-actors—but this'll work for now.
期间我们可能会碰到一些例外，比如我对面的机器—演员，但目前这个定义是适应的。
And, before we get too far, let's confront the perennial controversy: should you spell theatre re or er?
在我们深入探讨之前，我们先来面对一个存在长期争议的问题：应该拼成theatre re还是theat er？
And the short answer is, both of them are fine!
总之，这两个都可以！
RE is more common outside of the US but for some folks, this spelling acts as a shibboleth.
RE在美国之外的地方更为常见，但对某些人来说，这种拼写方式就是陈词滥调。
You may have heard someone say "a theater is a building; but the theatre is an art!" or "theater is a destination, but theatre is a journey".
你可能听过有人说 “(a theater)剧院是一座建筑(美音)；但是(the theatre)戏剧是一门艺术！(英音)”或者“(theater)剧院是一个归宿，但是(theatre)戏剧是一段旅程”。
Here at Crash Course, we don't mind either... but have chosen to stick with er for consistency.
在速成班，我们不纠结这些。但是为了一致性，我们选择用er。
There's no origin story for theater that everyone agrees on, but there are some theories we can explore.
有关戏剧的起源大家的见解都不一样，但是有一些理论我们可以探讨一下。
In the West, at least, up until the sixth or seventh century BCE we didn't have theater as we know it today, but we did have religious ritual, which can get pretty theatrical.
在西方，至少公元前六世纪或七世纪之前，我们现在所知的戏剧都还没有出现，但那时我们已经有了宗教仪式，它可以进化成非常戏剧化的东西。
Rituals are often ways of mediating between the human and the supernatural.
仪式通常是人类和超自然之间的媒介。
They can serve to enact or re-enact significant events in the human or supernatural world—births, marriages, deaths, harvests.
仪式可以在人类或超自然世界中引发或者重塑重大事件——出生、结婚、死亡、收获。
In ritual, according to the mythology scholar Mircea Eliade, "The time of the event that the ritual commemorates or reenacts is made present."
根据神话学者米尔恰·埃利亚德(Mircea Eliade)的说法，“仪式纪念或重塑的事件发生的时间就是现在。”
So ritual represents, literally re-presents—old stories or ideas and makes them happen now, which is a lot like what theater does.
所以仪式就是：直接再现已经发生过的故事或想法，让它们发生在现在。这和戏剧的作用很像。
This doesn't mean that ritual is identical with theater. Ritual is sacred, and theater is usually secular (though not always, as we'll see!).
这并不是说仪式和戏剧是一样的，仪式是神圣的，而戏剧通常是世俗的(虽然并不总是如此，后期节目我们会看到)。
Theater and ritual can draw on similar mythological sources, but ritual typically treats those sources as fact and theater as fiction.
戏剧和仪式可以借鉴类似的神话来源，但仪式通常将这些来源视为事实，而戏剧则将其视为虚构。
In ritual the audience often participates; in theatre, they usually sit politely.
举行仪式时，观众经常会参与其中；戏剧上演的时候，观众通常都是礼貌地坐着。
Unless there's audience participation, which is universally adored.
除非观众参与的方式广受欢迎。
In the late nineteenth century, a group of classical scholars decided to search for the origins of theater.
19世纪末，一批古典学者决定探寻戏剧的起源，
They took an anthropological approach and saw theater as a direct evolution of religious ritual.
他们采用了人类学的方法 将戏剧视为宗教仪式的直接演变。
This theory really got going with James Frazer, whom we also discuss in the Crash Course Mythology episode on Theories of Myth.
这个理论是詹姆斯·弗雷泽(James Frazer)提出来的，我们在“速成班神话”那集里讲到神话理论的时候也讨论过他。
In The Golden Bough, written between 1896 and 1915, Frazer and his contemporaries, the Cambridge Ritualists (which by the way, this is obviously the name of my new band) tried to take a "scientific approach" to the question of theater's origins.
在1896年至1915年创作的《金枝》中，弗雷泽和他的同代人——剑桥的仪式学家们(顺便说一下 这是我新乐队的名字)试图用一种“科学的方法”来回答戏剧的起源问题。
He looked around at so-called "primitive" societies in Africa and Asia, societies he didn't really "know much about," and decided that theater had emerged as a sophisticated refining of ritual.
他调查了亚洲和非洲所谓的“原始”社会，这些社会他并不是真的“很了解”，他认为戏剧是作为一种复杂的仪式而出现的。
According to Frazer, here's how it goes: You start out worshipping some kind of god or practice, and that worship gets distilled into rituals to attract the attention of that god or guarantee good fortune.
弗雷泽觉得事情是这样的：你开始崇拜某种神或者某种活动，而这种崇拜最终演变成了某种仪式来吸引神明的关注或确保给自己带来好运。
Once your primitive society really gets going, those rituals generate myths and those myths get transmuted…into theater.
一旦你的原始社会真正开始运转，那些仪式就会衍生出一些神话故事，而那些神话故事就会被转化成戏剧。
Eventually you get jazz hands and sequins.
最后就是演员们的闪亮登场。
As the media theorist Marshall McLuhan puts it, in this view, "Art became a sort of civilized substitute for magical games and rituals….
正如媒体理论家马歇尔·麦克卢汉(Marshall McLuhan)所说 “艺术变成了魔术游戏和跳大神仪式的文明版替代品……
Art like game became a mimetic echo of and a relief from the old magic of total involvement."
艺术像娱乐一样变成了旧魔法的一种模仿性回应，也从完全参与的旧魔法中解脱出来。”
For an example of the (sometimes questionable) evidence that the Cambridge Ritualists drew on to support their idea that ritual evolved into theater, let's look at the Greek historian Herodotus, writing in the 5th century BCE, describing a ceremony he witnessed in Egypt.
剑桥的仪式学家们用这个证据(有时会被质疑)来支持他们的观点，即戏剧是由仪式演变而来。我们来看看希腊历史学家希罗多德于公元前5世纪描述的他在埃及目睹的一个仪式。
