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The first homegrown hit is Royale Tyler's 1787 play The Contrast.
第一部本土的热播剧是罗亚尔·泰勒1787年的戏剧《对比》
The play is basically a ripoff of the School for Scandal by Richard Brinsley Sheridan.
这部剧说白了就是理查德·布林斯利·谢里登的作品《丑闻学校》的翻版
But Tyler has the smart idea to make the bad characters snooty wanna be English types and the good characters Hardy American types.
不过泰勒有一个聪明的想法 他把那些傲慢的坏的角色全部写成了英国人 而把那些坚强的好的角色全部写成了美国人
American audiences love it. They love Duncan on the Brits.
这正合了美国观众们的胃口 他们超爱英国人版的邓肯
It also creates the stage Yankee, a stock character known for his, aw, shucks, no-nonsense attitude, and hilarious New England dialect.
他们还创作了舞台版的美国佬 即一个小丑角色 以其 啊 粗犷不击、一本正经的态度以及滑稽的新英格兰方言而闻名
Some American plays even make it back to England.
有些美国的戏剧甚至又回到了英国
The first is probably James Nelson Barker's 1808 work "the Indian Princess" or "La Belle Sauvage". Because you know, exoticism.
其中第一部就是詹姆斯·纳尔逊·巴克1808年的作品《印第安的公主》 或者也叫《美丽的少女》 嗯 你懂的 异国情调
This play is a version of the Pocahontas story written as a ballad opera.
这部戏剧是由波卡洪塔斯的故事改编而成的一部民谣歌剧
It kicks off a trend of stories about but definitely not by or for Native Americans.
它掀起了一股关于印第安人的故事潮流 不过肯定不是印第安人写的 也不是写给印第安人看的
Let's look at another one as we meet America's first American born a stage star macho-man Edwin Forrest.
还有另外一部 它成就了美国的第一个在美国出生的舞台明星 埃德温·福瑞斯特
He was so macho. He supposedly used to wear prosthetic calf muscles on stage for a little extra manliness in the gam.
他是一个极品猛男 据说曾在舞台上在小腿上绑肌肉假体 为了更能在表演中彰显自己的男子气概
Edwin Forrest was born in 1806 in Philadelphia. He was interested in theater from a young age and made his professional debut at 11 playing a girl.
埃德温·福莱斯特于1806年出生在费城 他从小就对戏剧感兴趣 11岁时便首次登台表演一个女孩
He tried to become a printer or a cooper. But while he was under the influence of nitrous oxide, he started reciting Shakespeare.
他本想当一名印刷工或者制桶工 但是在一氧化二氮的影响下 他开始背诵莎士比亚
And a lawyer who overheard him arranged a spot for him at Philadelphia's most prominent theatre what a break America is bananas.
后来有一个律师无意中听说了他 为他在费城最著名的剧院安排了一个座位
Forrest was an athletic, uninhibited actor. People called his School of Acting physical or heroic.
福莱斯特是一个健壮的、放纵不羁的演员 人们称他的表演学派是身体的或者英勇的
Basically, Forrest was a manly guy and he took on manly roles. And a lot of those roles were in blackface or red-faced.
说白了就是 福莱斯特是一个强壮的男人 他演了许多强壮的角色 其中很多角色是黑脸或者红脸
We'll talk about blackface in the next episode. So let's take a moment for red faced.
下集我们会讲到黑脸 今天咱们先来讲讲红脸
A racist American phenomenon stretching back at least as far as the Boston Tea Party, in which white people dress up as Native Americans.
这种美国种族主义现象至少可以追溯到“波士顿倾茶事件” 那时白人会装扮成印第安人
After the success of the Indian princess and James Fenimore Cooper's novel the last of the mohicans,
在《印第安公主》和詹姆斯·费尼莫尔·库珀的小说《最后的莫希干人》大获成功之后
red face became a big deal on stage, though mostly in the Northeast where the frontier wasn't a pressing issue.
舞台上的“红脸”引起了轰动 不过主要是在边境问题稍缓的东北部地区
Forrest's most popular red faced role was "Metamora", a play he commissioned.
福莱斯特饰演的最受欢迎的红脸角色是《梅塔莫拉》 别人委托给他的一部剧
He played the title character-a noble Indian chief betrayed by his treacherous white enemies.
他在里面饰演一个被背信弃义的白人敌人背叛了的高贵的印第安酋长
Is it daring to make a Native American character the good guy? Maybe, but not that daring.
把一个印第安人角色塑造成一个好人 胆儿是不是太肥了？ 是有点儿肥 不过还好
Metamora opened at the same time as the Indian Removal Act.
《梅塔莫拉》刚好在《印第安人迁移法案》的生效之际进行的演出
It made audiences cry but it didn't make them oppose the persecution of indigenous peoples.
观众们都看哭了 不过这并没有阻止他们继续迫害原住民
Metamora isn't really about Native Americans: it's about white Americans wanting to believe in the dignity and naturalness and authenticity of the American character.
不过 《梅塔莫拉》真正想要突出的并非是原住民：而是那些想要相信尊严的美国白人以及美国人性格里的自然和真实性
The play wants to help define America as a nation, but a nation by and for white people.
这部剧想要进一步将美国定义为一个国家 一个由白人组成且为白人庇护的国家
Forrest's main rival was William Charles MaCready, a Scottish actor who preferred a subtler and more intellectual style of acting.
福莱斯特最大的竞争对手是苏格兰演员威廉·查尔斯·麦克里迪 他倾向于那种更微妙、更知性的表演风格
In attribute, the poet Tennyson called him "Moral Grave Sublime".
在属性问题上 诗人丁尼生称他为“崇高的道德坟墓”
On a visit to London in 1845, Forrest decided to play Macbeth which is not a macho role and it did not go well.
1845年在一次英国之行中 福莱斯特决定要扮演麦克白 然而麦克白并不是那种有男子气概的角色 所以后来演出并不顺利
Audiences hissed at him and Forrest decided that MacCready-the most famous Macbeth of the day had put them up to it.
观众们对他的表演嘘声一片 不过福莱斯特认为这都是当时最著名的麦克白演员麦克里迪指使观众们这么做的
Actually MacCready had been really supportive of Forrest. But Forrest was not the kind of guy to let logic stand in his way.
然而实际上麦克里迪一直很支持福莱斯特 但是福莱斯特却不明就里
So Forrest went to Edinburgh where MaCready was playing Hamlet. And he hissed at him during the performance. Rivalry on. And in the thought-bubble.
后来他又去了麦克里迪演哈姆雷特的地方爱丁堡 然后故意在麦克里迪演出的时候对他发出嘘声 于是乎硝烟就这么开始了 来看思想泡泡
Forrest had support among street toughs and the working class in America.
支持福莱斯特的都是一些美国的街头恶棍和工人阶级
MaCready's fans were upper-class Anglo files.
而支持麦克里迪的都是一些上流社会的英国人
The animosity between the two groups reflected a common tension at the time between the rich and the poor, between immigrants and nativists.
这两大群体之间的仇恨同时也反映了当时的富人和穷人、移民和本土主义者之间的紧张关系
A few years after, those hissing incidents...MaCready came to America for a tour. And Forrest's fans harassed him,
几年后 嘘声事件开始升级 麦克里迪到美国进行巡回演出时 受到福莱斯特粉丝的骚扰
once throwing half a dead sheep carcass at MaCready while he was performing, which is sort of worse than a whole sheep carcass.
有一次他们甚至在麦克里迪演出的时候将半只死羊的尸体扔向麦克雷迪 这比整只羊还要过分
In May of 18-49, MaCready was playing Macbeth at the Astor Place theatre.
再后来5月18日至49日 麦克雷迪在阿斯特广场剧院演出《麦克白》
Forrest who still hadn't figured out that he was just plain bad at Macbeth was also playing him only a block away.
还没有意识到自己演麦克白很差劲的福莱斯特刚好也在另外一个街区出演麦克白
Forrest's fans bought lots of tickets to MaCready's performance and throw so many lemons and potatoes and rotten eggs on stage that it stopped the show.
而福莱斯特的粉丝们买了很多票去观看麦克雷迪的表演并向舞台上狂扔柠檬、土豆和臭鸡蛋 表演被迫停止
They also threw their own seats.
他们甚至把自己的座椅都扔上去了
MaCready tried to leave for England, but a bunch of New Yorkers including Herman Melville signed a petition encouraging him to stay.
后来麦克雷迪想要离开回到英国 但包括赫尔曼·梅尔维尔在内的一群纽约人却签署了一份请愿书鼓励他留下来
3 days later, MaCready played Macbeth again. Ad that's when things went really wrong.
3天后麦克雷迪又一次出演麦克白 这也是事件进行到白热化的时候
Forrest's supporters were prevented from entering the theater by MaCready's crew.
福莱斯特的支持者被麦克雷迪的工作人员阻止进入戏院
So they surrounded it, throwing stones, and trying to set it on fire. MaCready had to sneak out in disguise.
于是乎他们便包围了整个剧院 朝里面扔石头 还想把剧院给烧了 而麦克雷迪被迫乔装后溜了出去
But the mob didn't disperse and the state militia called in by the police chief and the mayor opened fire.
但是暴徒们并没有散去 直到警察局长和市长召集了州民兵朝他们开火
More than 20 people were killed and more than a hundred were injured.
最终这场暴乱造成了20人死亡 超过100人受伤
Thank you thought bubble. Bananas.
谢谢思想泡泡 一群疯子
Clearly, this is not a deadly riot about performance styles. It's about nativism, anti-immigrant, sentiment spurred by economic inequality.
很显然 这场致命暴乱的真正导火索并不是表演风格 而是本土主义、反移民、以及由经济不平等引发的不满情绪
But the Astor Place riots also show the anxieties that challenged theater in America
不过阿斯特广场的骚乱同时也暴露了挑战美国戏剧的焦虑
worries about who was allowed to produce theater and who was allowed to enjoy it.
他们在担忧谁来创作戏剧以及谁来欣赏戏剧
The Astor Place riots are upsetting, but the upset isn't over yet.
阿斯特广场的骚乱令人不安 而这种不安并没有结束
We're staying in America for another episode, exploring race melodrama, abolitionist drama, and minstrelsy.
下一集我们还会继续讲美国 会讲到种族音乐剧、废奴剧和吟游技艺
We're gonna keep talking about who gets to make theater and who gets to see it.
届时我们将继续讨论“谁来创作戏剧、谁来欣赏戏剧”的问题
And we're gonna see some pretty disturbing trends in stage makeup.
此外我们还将看到一些令人不安的舞台化妆趋势
Thanks for watching us strut and fret. We'll see you next time. until then, curtain!
感谢观看美国戏剧的跌宕迂回 下集见 闭幕！
