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Hey there! I'm Mike Rugnetta. This is Crash Course Theater, and today we're headed back to France.
嘿 大家好 我是迈克·鲁格内塔 这里是“戏剧速成课堂” 今天我们要重回法国
Hang onto your culturally appropriate headwear because today there's gonna be murder.
请戴上与文化相符的头饰 因为今天要发生谋杀
There's gonna be sexy times. There's gonna be tuberculosis.
会有色情 也会有肺结核
Rebels are gonna pee in the aisles. Au revoir, neoclassicism. Don't let the minimal scene changes hit you on the way out.
反叛者们会在过道上小便 再见 新古典主义 出去的时候别让场景的细微变化把你绊倒了
We'll be taking a quick look at French Romanticism before moving on to Realism and then Naturalism, which is a lot like Realism, only more realer. Allons-y!
在讲现实主义和自然主义之前 我们会先粗略地讲一下法国的浪漫主义 自然主义和现实主义其实很像 只不过现实主义更加现实 咱们开始吧
Let's start with Victor Hugo, who you may know as the author of "Les Miserables." The novel "Les Miserables." But Hugo also wrote plays.
咱们从维克多·雨果开始 大家可能都知道他是《悲惨世界》的作者 小说《悲惨世界》 不过人家雨果也写戏剧
And in 1827, he wrote "Cromwell," which we now mostly know because of its awesome preface,
1827年 他写了《克伦威尔》 大多数人都知道这部小说 因为它的序言写得很棒
in which Hugo argues that if you really wanna show how grotesque, sublime, and weird life is, you can't play by the neoclassical rules.
序言中说：如果你真的想展示生活有多荒谬、多崇高、多怪诞 那么你就不能按照新古典主义的规则行事
"Let us tear down that old plasterwork that hides the facade of art," he writes.
他写道 “让我们拆除那些隐藏在艺术外表之下的古老的石膏板。”
"There are no rules, no models; rather, there are no rules other than the general laws of Nature… Nature then! Nature and truth!"
“这里没有规则 没有模型 相反 除了一般的‘自然’法则之外 这里不会有任何其他规则……只有自然！自然和真理！”
But maybe not too much nature?
但是 也别太过自然哈？
"Everyone knows that color and light are lost in a simple reflection," Hugo writes.
大家都知道颜色和光线会在简单的反射中消失，” 雨果写道
"The drama, therefore, must be a concentrating mirror, which, instead of weakening,
“因此 戏剧必须是一面聚光镜 它不是减弱
concentrates and condenses the colored rays, which makes of a mere gleam a light, and of a light a flame."
而是聚集和浓缩彩色的光线 它能使微光成为亮光 使亮光成为火焰。”
It's sort like the old documentarian nugget about wanting to tell the truth, but don't get bogged down in all the facts.
有点像纪实小说里那种老一套的说辞 什么想要道出真相啊、不要沉迷事实啊
He tried out these natural-but-not-too-natural ideas in his play "Hernani," which premiered in 1830.
他在其1830年首演的戏剧《埃尔纳尼》中尝试了这些自然又不那么自然的想法
Kind of like "Le Cid" with a sad ending, "Hernani" is the story of a noble outlaw and his noble non-outlaw girlfriend. It ends in a double suicide.
有点像《勒熙德》 结局都比较悲惨 《艾那尼》讲述的是一个高尚的亡命之徒和他那位高贵的非亡命之徒女友的故事 结局是俩人双双自杀
But remember how Corneille was toeing the Neoclassical/Academie Francaise line?
但是 还记得高乃依是如何一丝不苟地遵循着新古典主义/法兰西学院的规则的吗
Hugo was not into it. He mixed comedy and tragedy and flipped the bird to the unities of place and time.
而人家雨果对此不感兴趣 他把喜剧和悲剧糅合在一起 巧妙地掌握了时间和地点的统一
He was cool with the unity of action though.
虽说他对动作的统一并不在意吧
And he was like, I'mma mess with your twelve-syllable alexandrine and use words that have been considered beneath the dignity of tragedy,
他说：我要打乱你们12音节的亚历山大诗行 还要用那些有失悲剧尊严的辞藻
so how do ya like me now?
所以 你喜欢这么拽的我吗？
Still going to write in verse, because… I mean, you know, I'M NOT A HEATHEN.
不过还是要以诗歌的形式 因为…… 嗯 你知道 我不是异教徒
Hugo! So rebellious! But within reason.
雨果！这个叛逆的家伙！不过 他的叛逆是有原因的
The play premiered in late February after weeks of editorials and counter-editorials about what a shock it would be.
在持续数周的评论和反评论之中 人们纷纷表示这部剧将带来很大的影响力 之后该剧在2月底进行了首次公演
One paper announced there would be riots and death and a small civil war if Hernani went on.
一份报纸称 如果不把《艾那尼》下架了 那么将会发生骚乱、死亡和小规模的内战
It went on. And there was a riot—a small and slightly gross one.
《艾那尼》没有被下架 之后就发生了一场骚乱 一场规模不大但稍微有点儿严重的骚乱
Four hours before the performance, a large group of Hugo-supporting bohemians snuck into the theater, occupying the pit and the gallery.
演出开始前4个小时的时候 一大群支持雨果的波西米亚人偷偷溜进了剧院、占据了舞台和走廊
They snacked and drank and peed in the aisles.
他们边吃边喝 还在过道上撒尿
And when the upper class patrons arrived for the show, they were not thrilled.
上流社会的观众到达剧院的时候 表现很淡定
The two groups spent most of the performance fighting each other.
表演的大部分时间里 两组人马都在互殴
But then in the last act, when everything became very sad, the two groups settled down and wept together, and the play was a hit.
直到演出进行到最后一幕 整个氛围开始变得忧桑起来 两组人马竟然安静下来互抹眼泪 所以说演出相当成功
Hugo hired a hundred people to come and applaud it every night though, so that probably helped.
不过 雨果每晚都会雇一百来号人负责鼓掌 所以 这可能起了点儿作用
Following Hugo, a few people half-heartedly attempted to make the theater a little more like life.
在雨果之后 一些人开始不那么随心地尝试写某种更贴近生活的戏剧
Mostly they did this by moving popular theater away from grandiose, avalanche-heavy melodrama ... towards intimate, sofa-heavy melodrama.
他们大多是把流行剧从浮夸的、雪崩般沉重的音乐剧中转移出来 转向亲密的、沙发般轻盈的情节剧
This form was perfected by Eugene Scribe in the Piece Bien Fait, or the
这种形式的戏剧在克利布的作品《Piece Bien Fait》(法语)或者其“佳构剧”里得到了完善
well-made play—a five-act prose drama that hooks the audience with a series of discoveries, reversals, and recognitions
“佳构剧”是一种五幕散文剧 它在最后重申美好、保守的资产阶级价值观之前
before ultimately reaffirming nice, conservative bourgeois values.
会通过一系列的发现、逆转和认可来吸引观众
Scribe, who wrote nearly four hundred plays, definitely wasn't interested in making the theater all that life like.
阿布 一个抄写了近400部戏剧的家伙 他显然对这种“完全贴近生活”的戏剧不感兴趣
He wrote: "You go to theater, not for instruction or correction, but for relaxation and amusement.
他写道：“去剧院看剧不是为了指导或者纠正，而是为了放松和娱乐
Now what amuses you most is not truth, but fiction… the extraordinary, the romantic, that is what charms you, that is what one is eager to offer you."
在剧院最能让你愉快的不是事实 而是虚构——那种非凡和浪漫才是能够吸引你的 这才是一个人渴望给予你的。”
Scribe was incredibly popular, and so were his dramaturgical roll crew, Georges Feydeau and Victorien Sardou.
阿布的名气非常高 包括他的剧组成员乔治·费度和维克托里安·萨尔杜也很有名气
Playwright George Bernard Shaw despised Sardou so much that he coined the term "Sardoodledom" to describe his plays.
而剧作家萧伯纳则非常鄙视萨尔杜 以致于他还自拟了“生硬地创造或照搬剧本”这个词来形容萨尔杜的戏剧
But other writers were starting to wonder if the well-made play could be made even better by being brought more in line with observable reality.
后来有些剧作家开始想 如果给“佳构剧”注入更多可察的与现实相符的成分 那样会不会更好呢
And this is basically where we got theatrical realism!
“现实主义”大概就是这么来的！
The term "realism" started popping up in France in the 1850s. And there was even a journal called Realisme.
19世纪50年代 “现实主义”一词出现在法国 甚至出现了一本名为《现实主义》的杂志
Theorists called for realistic situations, realistic characters, and realistic dialogue.
理论家们呼吁现实的情境、现实的人物和现实的对话
Even grammatically incorrect dialogue! A development which I am aghast…about…
甚至是在语法上错误的对话！这点令我非常地吃惊！
Alexandre Dumas fils, the son of Alexandre Dumas of "Three Musketeers" fame,
小仲马 即因《三个火枪手》出名的大仲马他儿子
was one of the first writers to shift the well-made play into an even more realistic social problem play.
是最早将“佳构剧”转变成更现实的社会问题剧的作家之一
As Dumas wrote, "invention does not exist for us. We have nothing to invent.
正如大仲马所写，“发明对我们来说并不存在 我们没有什么可发明的
We have only to look and remember, to feel, to co-ordinate and give back, under a special form,
我们只需要在一种特殊的形式下 去看、去记、去感受、去协调、去回馈
that which all the spectators should immediately remember to have felt or witnessed."
所有的观众都应该即刻记住自己感受过或者看到过的东西。”
But that special form thing is important. A true artist can't just reproduce life;
但这种特殊的形式很重要 一个真正的艺术家不能只是再现生活
"he has to discover and to reveal to us that which we do not see in things we look at every day," Dumas wrote.
“他必须发现并向我们揭示日常生活中我们所观察到的事物其背后看不见的东西，”仲马写道
