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Hey there I'm Mike Rugnetta. This is crash course theatre and I hope you're wearing your stockings cross-gartered
大家好，我是迈克·鲁格内塔，这里是戏剧速成小课堂。希望大家都穿好了交叉袜带的长袜，
because today is all about forests, twins, bed tricks, cross-dressing and a wrestling match.
因为今天讲的内容都是关于森林、双胞胎、船戏、反串和摔跤比赛。
That's right, Shakespearean comedies because when Shakespeare wasn't killing off all of his characters
没错，就是莎士比亚的喜剧，因为当莎士比亚还没杀光他笔下所有角色时，
he wrote some pretty sparkling humor. Comedy is maybe the most complicated of all the Shakespearean genres
他也写过一些幽默的文章。喜剧可能是莎翁所有流派中作为复杂的一种
because along with a Midsummer Night's Dream and as you like it,
因为除了《仲夏夜之梦》之外，
it also includes works now referred to as problem plays and romances.
它还包括现在被称为问题剧和爱情剧的作品。
Today we'll look at what constitutes a comedy, Shakespeare's kick-ass heroines
今天我们开看看喜剧的构成，莎士比亚笔下的女主角
and the unfunny kinds of comedies with a closer exploration of Cymbeline no fooling well, some fooling.
以及探索像《辛白林》这样复杂的喜剧。
A Shakespearean comedy is a play that's not based on a recent historical figure and that ends happily.
莎士比亚喜剧不是根据近代历史人物改编的，而且结局也是皆大欢喜。
Now happy is a relative term even for Shakespeare but it's a safe bet that if the floor isn't littered with dead bodies,
即使对莎士比亚而言，快乐也是相对的，可以肯定的是，如果地板上没有散落的尸体，
it's probably a comedy and if it ends with a marriage, it's definitely a comedy.
那它可能就是一部喜剧，如果它以一场婚姻结束，那它肯定就是一部喜剧。
There's more variety in this genre than Shakespeare's others.
这种体裁比莎士比亚的其他体裁更丰富多彩。
Comedy spans everything from the Comedy of Errors, a straight-up loudest ripoff and a knock about farce
喜剧涵盖了一切内容，从《错误的喜剧》中直言不讳的哄骗和闹剧，
to the bittersweet melancholy of the Winter's Tale.
到苦乐参半的《冬天的故事》。
Uncomfortable but nonetheless funnyish plays like Measure for Measure and the Merchant of Venice sit somewhere in between.
虽然让人难受，但还是很有趣的喜剧，比如《以牙还牙》和《威尼斯商人》则介于之间。
Comedies like Midsummer and Twelfth Night usually revolve around themes of separation
像《仲夏夜之梦》和《第十二夜》这样的喜剧通常围绕着人们的分离和重聚、
and reunion of guys and disguise and mistaken identity.
伪装和错误的身份等主题展开。
There's often a retreat away from civil society into a forest, a place where some
人们往往会远离文明社会，进入森林，在那里
social niceties fall away and more authentic behavior emerges.
一些社会理解消失了，更真实的行为从而显现。
There are usually songs though often they're weirdly sad like,
通常会出现奇怪又悲伤的歌，比如
come away come away death. And in sad cypress, let me be laid.' Lol or not lol.
‘come away come away death. And in sad cypress, let me be laid.’
Shakespeare often works with stock characters who you'll remember from Roman comedy
莎士比亚的作品中经常有一些固定角色，你可能还记得罗马喜剧中的
and its inheritors, the disapproving dad, the headstrong lover, the wily servant.
继承者、持反对意见的父亲、固执的爱人、狡猾的仆人。
But part of the genius of Shakespeare is that these characters don't feel like stock characters,
但莎士比亚的部分天才之处在于这些角色都不像是固定角色，
they feel like real people with real fears and real desires.
他们更像是有着真实恐惧和欲望的真人。
And in a lot of the place, by Shakespeare's contemporaries, we laugh at the characters
相比之下，很多其他剧中此类人物会受到观众嬉笑，
but in Shakespeare we laugh with them, they demand our sympathy.
但在莎士比亚的笔下，我们和他们一起笑，他们需要我们的同情。
In Twelfth Night, we laugh at the arrogant servant Malvolio
在《第十二夜》中，我们嘲笑自大的仆人马伏里奥
but when we see Malvolio is hurt, suddenly we don't feel so great about giggling.
但是当我们看到马伏里奥受伤时，我们突然为嘲笑他而感到抱歉。
Shakespeare's comedy always comes with a hefty dose of empathy.
莎士比亚的喜剧总是带有强烈的同理心
And if the tragedies are about men( and yes, Cleopatra I am generalizing), the comedies are very much about women.
并且如果是关于男性人物的悲剧，那么喜剧主要是关于女人的。
Sometimes, they're about women trying to protect themselves, sometimes, they're about women trying to marry the men of their choice,
有时，喜剧是关于女人如何保护自己的，有时，是关于女性试图嫁给自己喜欢的男人，
usually they're about both and in most of these plays, the women have to step away from their ordinary lives in order to succeed.
通常两种皆有，在大部分剧中，为了成功，女性不得不从日常生活中抽身出来。
They're gonna run away into the forest, they're gonna put on pants.
她们跑进森林中，穿上裤子
If they are Rosalind and Imogen, they're gonna run into the forest in pants
如果她们是罗莎琳德和伊莫金，她们会穿着裤子跑进森林
which is just sensible really it's how people should be running into the forest if you ask me.
这是明智的，如果你问我，人们应该穿成这样跑进森林。
Unlike the heroines of tragedies who are trapped in terrible circumstances,
和身处厄境的悲剧女主角不同，
the heroines of comedy find ways to escape those circumstances.
喜剧中的女主角找到了逃避这些情况的方法。
I'm not trying to victim blame but if Desdemona or Juliet or Ophelia happened upon a forest
我并不是要去责怪受害者，但如果苔丝狄蒙娜或朱丽叶或奥菲莉亚碰巧在森林里
and some pants maybe things could have been different.
并且她们穿上了裤子，事情或许会不一样。
Perhaps this is a commentary on how limited the opportunities for most women were
也许这是对大多数妇女的机会是多么有限
and how few choices they had when they're at home wearing a corset.
以及在家里穿着束腹的她们机会少之甚少的一种评论。
But it's also important to recognize that if Shakespeare's heroines defy social norms, it's only for a bit.
但同样重要的是，我们要认识到，如果莎士比亚笔下的女主人公无视社会规范，那也只是一小部分而已。
None of them wears pants forever, their defiance is limited and always correctable.
她们不用永远穿着裤子，她们的反抗是有限的，而且总是可以纠正的。
Nothing they do is ever that unladylike and at the end of the play,
她们不会一直做出不淑女的事情，但在故事结尾，
men order them to leave the forest and put their dresses back on so that they can get hitched.
男性角色会命令她们离开森林，穿上她们的裙子，等待结婚。
Plus remember that all those spunky heroines were played by boy actors during Shakespeare's time,
要记住在莎士比亚时期，所有这些勇敢的女主角都是由男性演员扮演的，
so the cross-dressing is really double cross-dressing. Boys dressed as girls dressed as boys. It is Hecate Mehta.
所以反串其实是双反串。男孩子们扮演假装自己是男孩子的女性角色。
Shakespeare also emphasizes how great and swoony love marriages are
莎士比亚还强点婚姻是多么的美好和甜蜜，
at a time when marriage was typically an economic undertaking.
当时的婚姻是一项典型的经济事业。
And not only are these love marriages, they're also marriages of equals or almost equals.
不仅是爱情婚姻，他们也是平等的婚姻或几乎平等的婚姻。
The women are almost always a little braver, more clever and more sensible than the dudes as per use.
其中的女性大部分都更勇敢、聪明和明智。
For our final thoughts about Shakespeare's women, let's turn to Sir Walter Raleigh courtier, spy, explorer
关于莎士比亚笔下的女人，我们最后再来看看沃尔特罗利爵士：朝臣、间谍、探险家
and all-around Elizabethan badass who made his own love marriage and went to the tower for it.
也是伊丽莎白时代的坏蛋，他因为自己的婚姻而被关进了伦敦塔。
Sir Walter wrote of Shakespeare's ladies, they are almost all practical impatient of mere words, clear-sighted as to ends and means.
沃尔特罗利爵士评价莎士比亚笔下的女性，她们大部分都很现实，对言辞缺乏耐心，对目的和手段看得很清楚。
They do not accept the premises to deny the conclusion or decorate the inevitable with imaginative lendings.
她们不接受前提来否定结论或用富有想象力的结尾来装饰必然。
But ok, the consolation prize for the dudes in the comedies, men tell most of the jokes.
好吧，喜剧中花花公子的安慰奖，大部分笑话都是男人讲的。
How funny are the jokes? It really varies. Some of the funniest jokers are in the tragedies like Mercutio in Romeo and Juliet
这些笑话有多好笑？这得看情况。一些最滑稽的笑话出现在像《罗密欧与朱丽叶》中的马库修这样的悲剧人物身上
or the gravediggers in Hamlet or Hamlet himself when he's dragging Polonia.
或是《哈姆雷特》中的挖墓人身上，或者当哈姆雷特拖着波洛尼亚的时候，他自己就很好笑。
And some of the jokes in the comedies are kind of sad, like the fool Festes bittersweet cracks in Twelfth Night.
喜剧中的一些笑话有点伤感，就像《第十二夜》中的愚人Festes苦乐参半。
While some of Shakespeare's jokes are sophisticated, the most memorable ones are not.
虽然莎士比亚的一些笑话很深奥，但最令人难忘的却不是。
Macbeth basically invents the knock-knock joke, all of the plays contain puns, some of which are great
麦克白创造了敲门的笑话，所有的戏剧都包含双关语，其中一些很棒
and some of which are tragic like the way Dogberry mixes up suspect and respect
其中有些是悲剧性的，比如Dogberry将'怀疑'和'尊重'这两个词弄混
and Bottom says odious when he means odorous. Why are you laughing Yorick? Well. it tickled my funny bone. Tragic.
Bottom把‘odorous’错说成‘odious’。你笑什么呢？搞得我也想笑啦。
