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Most scholars believe that the resurgence of drama began as part of the Easter service sometime in the tenth century CE.
大多数学者认为 戏剧的复兴始于公元10世纪的复活节仪式
This began with an exchange known as the QUEM QUAERITIS, which is latin for "whom do you seek?" or in a slightly more casual translation:
这种仪式始于一种名为“你在寻谁”的对话 这是拉丁语 意思就是“你找谁？” 或者更地道的译版是：
Hey, who you Christian ladies looking for over in that sepulcher? Where does the quem quaeritis come from? And why does it get going at all?
嘿 你们这些基督教女教徒在那座坟墓里找谁？你们打哪儿来？你们为什么来这里？
Unclear.
并不知道
It seems to be a mash-up of sections from the gospel of Luke and then a couple of apocryphal Gospels. The gospel of Peter and the gospel of Mary.
似乎是结合了路加福音的章节和一些虚构的福音书 彼得的福音和马利亚的福音
It appears in the Regularis Concordia, a sort of rule book for benedictine monasteries compiled by Ethel Wald, bishop of Winchester and around 970 CE.
它出现在《肯考迪娅规则》里 一本于公元970年左右由温彻斯特主教埃塞尔·沃尔德为本笃会修道会编纂的规则手册
We can guess that it was adopted to heighten excitement and suspense at a key moment of the Easter service.
我们可以猜到它是在复活节仪式进行到关键时用来增加刺激感和悬念的
Just before the discovery of the resurrection.
就在复活被发现之前
In the Quim Crisis, the three Mary's speak to some angels.
在《女性生殖器危机》中 三个马利亚对一些天使说话
These are the Virgin Mary, the Magdalene Mary and Mary the Sister of Lazarus, the Mary that every forgets about.
即童女马利亚、抹大拉的马利亚、和拉撒路之妹马利亚——也是被众人遗忘的那个马利亚
The parts were probably first undertaken by two sections of a choir using antiphonal singing.
这部分可能先由被分成两部分的唱诗班进行对唱
And then later by individual monks or clerics.
之后是僧侣或神职人员的独唱
It goes like so:
过程大概是这样：
Angels: Whom do you seek in the sepulcher, o followers of Christ?
天使：基督耶稣的追随者们，你们在坟墓里寻找谁呢?
Marys: Jesus of Nazareth, the crucified, o heavenly ones.
玛利亚们：拿撒勒人耶稣，钉十字架，神人
Angels: He is not here; he is risen; just as he predicted; go, announce that he is risen from the sepulcher.
天使：他不在这里；他已经复活了；就像他预知的那样；去吧，宣布他已经从坟墓里复活
And that gripping dialogue is what probably restores theater to the west.
或许正是这种扣人心弦的对话让西方重拾了戏剧的魅力
Here's an episode describing a typical staging in the thought-bubble.
这里有一段典型剧情 来看思想泡泡
While the third lesson is being read aloud, four of the brothers who should dress themselves.
在第三节被大声朗读的时候 四兄弟应该穿好衣服
One of them wearing an robe should come in as though intent on other business and go stealthily to the place of the sepulchre.
其中一个穿着长袍的人应该怀揣心事地走进来 然后偷偷走到坟墓的地方
Then while the third response is being sung, the three remaining brothers—all of them wearing copes and carrying a thurible with incense in their hands—should walk slowly and haltingly, making their way to the place of the sepulchre as if they are seeking something.
当第三段启应经开始吟唱的时候 剩下的三兄弟——他们都穿着斗篷，手里拿着插着香的香炉——应该缓慢而踌躇地走着，像在寻找什么东西似地朝坟墓走去
For these things are done in imitation of the angel seated on the tomb. And of the women coming with perfumes to anoint the body of Jesus.
因为那个坐在坟墓边儿上的天使就是这样做的 三兄弟在模仿他 还有妇女带着香膏过来擦在耶稣的身体上
When therefore the one sitting there, sees the three drawing near. He should begin to sing sweetly in a moderate voice:
坐在坟墓旁的天使看见走过来的三兄弟 他应该开始用他那温柔的声音唱起来：
Whom do you seek?
你们来找谁？
The three should answer together in one voice: Jesus of Nazareth.
三兄弟要同声回答：拿撒勒人耶稣
He to them. He is not here. He has risen as he predicted. Go tell the news that he has risen from the dead.
他不在这里 他已经如他所料地复活 去告诉世人耶稣已经死而复生
And then, having said these things, he should stand up and raise the veil, showing them the empty place where the cross had been laid.
之后 天使说完话 应该打开门 指给他们看十字架的位置
Where there should be nothing but the linen bands in which the cross had been wrapped.
那里除了缠着亚麻绳的十字架外空无一物
Seeing this, they should put down the thurible which they have carried into the sepulchre and taking up the linen cloths.
看到这一幕之后 三兄弟应该将他们带进坟墓的香炉放下 将亚麻布取下来
They should hold them out toward the assembled clergy, as though showing them that the lord has risen and is now no longer wrapped in them.
他们应该朝着聚集在一起的教士伸出手来 就像在告诉他们：主已经复活了，现在不需要再被裹着了
And they should sing this antiphon: The lord has risen from the tomb.
他们还要唱一首对唱圣歌：主已经从坟墓里复活了
Thanks thought-bubble.
谢谢思想泡泡
So there you have it—the first liturgical drama.
所以就有了——第一部礼仪剧
So called because it emerges out of the Christian liturgy or service.
之所以这么叫是因为它起源于基督教的礼拜仪式
And now, maybe you're thinking: wow, that is just~super exciting~definitely much preferable to naval battles and nude mimes.
现在 你可能会想 哇 这真是~超级刺激~肯定比海战和裸剧更受欢迎
So hang on a second. This exchange may not sound thrilling now. But then it was.
等一下 这种对话现在听起来可能没那么地惊天地泣鬼神 但后来很火
Before this, you just have a priest reciting passages from the bible.
在此之前 只有牧师才会去朗诵圣经里的段落
But this moment where, other members of the clergy step out and answer: this is a really big deal.
但此时此刻 其他神职人员会站出来答道：真的火爆了
Remember the origins of ancient greek theatre when Thespis got the bright idea to step out from the dithyrambic chorus and actually imitate some of the action instead of just singing about it.
还记得古希腊戏剧的起源吗？那时泰斯庇斯(古希腊诗人)想出一个聪明的注意：从酒神赞美诗的合唱中解脱 不再只是把它唱出来 而是实实在在地去模仿一些动作
Well, this is like that, even down to the religious context.
嗯 即使宗教背景下也是如此
So really it's not so different from the Dionysus celebrations, though this is a comparison that most church fathers of the middle ages would not have appreciated.
所以 这其实和酒神的庆祝活动并没有什么不同 尽管大多数来自中世纪的神父都会对这个比较嗤之以鼻
I'm a wager there wasn't much that they would appreciate to be quite h though.
我敢打赌 他们不会喜欢
What's most important about the QUEM QUAERITIS is that even if it sounds heck and dull, it really catches on.
关于“你在寻谁”的对话最重要的是：即使听起来很欠揍很无趣 但是它真的很火
Parishioners enjoyed a break from the usual church service. And the trend spread both throughout the liturgical year and throughout Europe.
教区居民们从平时的教堂礼拜中解脱 这种趋势在整个礼仪年和整个欧洲蔓延开来
At first these brief dramas were always in Latin and always in prose.
起初这些简短的戏剧用的全是拉丁文 而且全是散文体裁
But later were written in vernacular language and sometimes in verse.
后来变成了方言 体裁有时也有诗歌
Gradually different areas of the church were used. And the clerics made increasing use of costumes and props.
渐渐教堂里的其它场地也被利用起来 牧师们也越来越频繁地使用服装和道具
But in the 12th and 13th centuries, the liturgical drama had moved away from the life of Jesus.
但是在12和13世纪 礼仪剧已经不再单单描绘耶稣的生活
And was being used to tell favorite old testament stories and recount the lives of saints often with troubling streaks of anti-Semitism though.
而是用来讲述旧约中人们最喜欢的故事以及圣徒们的生活 尽管这些故事中常常带有令人不安的反犹太主义色彩
As we'll see in a few episodes, in due time at these small liturgical dramas flower into much longer, larger, spectacles increasingly staged, get this, outside the church.
接下来的几集里我们会讲到 适时这些小的礼拜剧会发展成为更长、更大、舞台场景更华丽、还有重要的一点——在教堂之外表演的戏剧
It has been a whirlwind day here at Crash Course.
真是在速成班度过了头脑风暴式的一天
In the first centuries of the Roman Empire, Romans hate Christians and Christians hate theater.
在罗马帝国最初的几个世纪里 罗马人讨厌基督徒 基督徒讨厌戏剧
Probably because Roman theater hated Rome and Christians.
可能是因为罗马戏剧讨厌罗马和基督徒~
Then the Roman empire endorses Christianity.
之后基督教在罗马帝国扶正
But Christians still hate theater. Because it's not Christian.
但基督徒们还是不喜欢戏剧 因为戏剧不是基督徒~
Then barbarian horns overrun the western part of the empire and destroy theater.
再之后野蛮人的号角蔓延到帝国西部并摧毁戏剧
But latish in the medieval period theater reappears in pretty much the last place you would expect to find it—the Latin Mass.
但是不久后的中世纪时期 戏剧会在你最意想不到的地方再次上演——拉丁弥撒
But it's not gonna stay there. Oh no no.
但是戏剧不会在那里定居 哦 不 不
Next episode we explore an alternate hypothesis for the reappearance of drama. This time through the work of one Terrance loving nun.
下一集我们将探讨戏剧再现的另一种假设 通过一部“特伦斯爱着的一名修女”的作品
Until next time, curtain.
下集见！闭幕！
