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Hey there, I'm Mike Rugnetta, this is CrashCourse Theater, and today the bodies hit the floor:
嘿 大家好 我是迈克·鲁格内塔，这里是“戏剧速成小课堂”，今天尸体将倒在地板上：
We're talking about Shakespearean tragedy. Remember how the Greeks left the violence offstage?
我们要讲的是莎士比亚悲剧。还记得希腊人是如何把暴力转移到台下的吗？
Well, Shakespeare goes another way, with poisoning, stabbing, strangling, and baking people into pies.
莎士比亚用下毒、行刺、绞死和把人烤成馅饼另辟蹊径。
Get in line, Sweeney Todd. There are already a couple of Crash Course Literature episodes about "Hamlet"
排好队，斯温尼·陶德。我们已经讲过《哈姆雷特》
and that Scottish King whose name I could totally say right now if I felt like it,
和那个苏格兰国王，他的名字，如果我愿意，我现在完全可以说出来
but I'm just not going to, so we'll be looking at "King Lear".
但是我不说，所以我们要说的是《李尔王》。
And to set it all up, we'll look at the staging conventions of Elizabethan drama,
在此之前，我们先来看看伊丽莎白时代戏剧的舞台惯例，
and how all those soliloquies and storm scenes were acted. Macbeth! Ok, fine. I'm sorry. I'm sorry.
以及那些独白和风暴场面是怎么演的。《麦克白》！好吧，我很抱歉抱歉。
Because of changes in vagrancy laws, actors organized themselves into companies named after some royal patron.
由于《流浪法》的更改，演员们组成了以某位皇室赞助人命名的公司。
They mostly performed at purpose-built playhouses, but when those were closed—
他们大多在专门建造的剧场里表演，但是当那些剧场关闭的时候——
looking at you, bubonic plague—they would tour around the country.
看看你，黑死病——他们会在全国巡回演出。
A company would be made of 8–12 shareholders, 3–4 boys, a few hired players, some musicians,
一个公司由8到12个股东、3到4个男孩、一些雇佣的伶人们、一些音乐家
and a couple of stagehands, who ran around with whatever the Renaissance equivalent of headsets and clipboards were.
以及几个舞台工作人员组成，他们拿着文艺复兴时期的耳机和写字板满场跑。
Actors tended to specialize. There were king types, queen types, lover types, and even a few different types of fool—
演员倾向于专业化。有演国王的、王后的、情人的，甚至还有几种演傻瓜的——
like slapstick fools and clever fools ... like Yorick here. Shakespeare was an actor.
像闹剧傻瓜和聪明的傻瓜……比如约里克。莎士比亚是个演员。
We don't know the roles he played, though there's a rumor that he played the ghost in "Hamlet." Who said that!?
我们不知道他演什么角色，虽然有谣言称他在《哈姆雷特》中演鬼混。谁在那！？
But even specialized actors had to do more than just act. They also had to sing and dance and sword fight.
但即便是专业化的演员要做的也不仅仅是表演。他们还需要唱歌、跳舞和击剑。
And boy did they have to memorize. Actors would spend their mornings learning a new play and their afternoons performing an old one.
那些男孩们，他们要记台词么。演员们上午学习新戏，下午表演老戏。
Because plays ran in repertory, there could be several plays on the go in any given week, and many actors had several parts within them.
因为戏剧都是轮演剧目，所以在任何一个星期里都可能有几出戏在上演，许多演员在其中都有几个角色。
The boys in the company played the women's roles—and some of those women have a lot of lines.
公司里的男孩会扮演女性角色，其中一些女性角色有很多台词。
With a schedule like that, actors didn't spend a lot of time sitting around speculating about themes and motivations.
有了这样的日程安排，演员们就不会花很多时间坐在那里思考主题和动机。
Especially because actors didn't get copies of the full script, just pages of lines and cues.
尤其是因为演员们没有完整的剧本，他们只有几页台词和提示。
The goal was to learn the lines and recite them without too much overacting.
他们的目标是学习这些台词并背诵它们，表演不要太做作。
We don't know if Shakespeare hated overacting, but Hamlet sure does.
我们不知道莎士比亚是否讨厌过度表演，但哈姆雷特肯定讨厌。
Here's his speech to the traveling players: Speak the speech, I pray you, as I pronounced it to you,
以下是他对伶人们的讲话：请你念这段剧词的时候，要照我刚才读给你听的那样子，
trippingly on the tongue: but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines.
一个字一个字打舌头上很轻快地吐出来；要是你也像多数的伶人们一样，只会拉开喉咙嘶叫，那么我宁愿叫那宣布告示的公差念我这几行词句。
Nor do not saw the air too much with your hand, thus, but use all gently;
也不要老是把你的手在空中这么摇挥；一切动作都要温文，
for in the very torrent, tempest, and, as I may say, the whirlwind of passion,
因为就是在洪水暴风一样的感情激发之中，
you must acquire and beget a temperance that may give it smoothness.
你也必须取得一种节制，免得流于过火。
Hamlet is telling the actors don't yell, don't gesticulate wildly. Just get the words out, and if you need to emote, do it with some elegance.
哈姆雷特告诉演员们不要大叫，不要疯狂地做手势。只要把话说出来，如果你需要表达，也要用优雅的方式。
No mouthing! No sawing! Wait… am I an overactor?
不要拉开喉咙嘶叫！等等，我是不是太过了？
As we mentioned last time, the outdoor Elizabethan playhouse was a smaller, chintzier version of the Greco-Roman amphitheater.
正如我们上次提到的，伊丽莎白时代的露天剧场是一个更小、更中国式的希腊-罗马圆形剧场。
It had an acting area backed by a tiring house--the place where players got changed --
剧场有一个表演区，后面是一个后台区——演员换衣服的地方——
overlooked by tiers of semi-circular seating and a pit, the area where workingmen who had paid a penny could stand and watch.
由一排排的半圆形座位和一个场地俯瞰着，工人只需付一便士就可以站在这里观看。
Plays were performed in the afternoon, to take advantage of natural light.
演员在中午表演，这个时候可以借助自然光线。
And since this was an era before wireless headset mics,
由于这个时代没有无线耳机麦克风，
actors had to project so they could be heard above all the chit-chatting groundlings.
演员们需要突出自己的表演，这样观众才能听到。
The stage was bare except for big-deal furniture like a throne or maybe a bed.
除了像宝座或床这样的大家具，舞台上空无一物。
So to make things visually interesting, actors relied on sumptuous costumes and hand props.
所以为了让视觉效果更有趣，演员们要以来华丽的服装和手工道具。
But this isn't the Japanese theater. If an actor held a fan, he was probably just using it to fan himself.
但这里不是日本剧院。如果一个演员拿着一把扇子，他可能只是用它来扇自己。
There were only a few special effects, but a couple of those were fire-based, which is not the greatest idea in a theater made of wood.
舞台上特效也不多，但是几个特效需要用到火，这在一个木头做的剧院里不是最好的主意。
On that flammable stage, actors performed some of the most fire tragedies ever written.
在那个易燃的舞台上，演员们表演了有史以来最严重的火灾悲剧。
Many written by Shakespeare who borrowed from Greek tragedy and the medieval morality play
许多作品都是莎士比亚的作品，他借鉴了希腊悲剧、中世纪道德剧
and earlier Elizabethan forms to create a whole new genre.
和早期伊丽莎白时代的形式，创造了一个全新的流派。
Seneca, who we met in our episode on Roman drama, is also an influence, especially on Shakespeare's first tragedy, "Titus Andronicus."
塞内卡，我们在罗马戏剧那一集里见过，他对莎士比亚的第一部悲剧《泰特斯安特洛尼克斯》也有影响
Still, let's remember that in terms of genre, tragedy is a flexible term.
不过，我们要记住，就体裁而言，悲剧是一个灵活的术语。
As we mentioned last time, it was the editors of the posthumous First Folio who decided to group his plays into Comedies, Histories, and Tragedies.
正如我们上次提到的，是《第一对开本》的编辑们决定把他的剧本分成喜剧、历史和悲剧。
In Shakespeare's life there was a lot more slippage.
在莎士比亚的人生中有很多滑点。
A quarto of "Hamlet" was published as "The Tragicall Historie of Hamlet," which seems clear enough.
《哈姆雷特》的四开本出版时名为《哈姆雷特的悲喜剧历史》，这似乎再清楚不过了。
But the history play "Richard III" was published in quarto as "The Tragedy of King Richard III," so that's confusing. More confusing?
历史剧《理查德三世》的出版四开本名为《理查德三世的悲剧》，这有些令人困惑。还有更令人困惑的。
"King Lear" appeared in quarto as the "True Chronicle Historie of the life and death of King LEAR and his three Daughters,"
《李尔王》四开本名为《李尔王和他的三个女儿生死实录 》，
which makes it sound like a history play, but its not. So we propose a shortcut:
这听起来像历史剧，但其实并不是。所以我们提出了一个捷径：
When it comes to Shakespeare, a tragedy is a play that ends unhappily and is not about a recent king.
说到莎士比亚，悲剧是结局不愉快的戏剧，不是关于最近的国王。
Like the other plays, the tragedies are mixtures of prose and verse,
和其他剧一样，悲剧是散文和诗篇的混合，
though they tend to go heavy on the verse, and the language is typically more ornate than in the comedies.
尽管它们倾向于用大量的诗句，而且语言通常比喜剧更华丽。
As in Greek tragedies, they are action-packed.
希腊悲剧内容丰富。
With all the prophecies and soothsayers and vengeful ghosts—shush it up! I don't wanna hear it anymore!—
莎士比亚用所有的预言、预言家和复仇的鬼魂——小点声，我不想再听到这种声音了！——
Shakespeare sets up related conflicts between fate and free will, individual desire and public good.
在命运和自由意志、个人欲望和公共利益之间设置了相关的冲突。
Reversal and recognition? They're here, too. Mostly. So is the idea of hamartia, or mostly good characters missing the mark,
反转和认可？他们也在这里。主要是。哈玛蒂亚的想法也是如此，或者说大部分没有抓住要点的优秀角色都如此
like when Hamlet gets caught up in his father's revenge story, or Brutus joins the conspirators,
比如哈姆雷特在他父亲的复仇故事中被抓，或者布鲁图加入了阴谋者的行列，
or the Scottish characters in the play I could totally name if I wanted to … agree to kill the king.
或者这部剧中的苏格兰人角色（不想说名字）同意杀死国王。
