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Antoine wanted sets that looked and felt like places in real life.
安东尼想要的布景看起来和感觉上都和现实生活中的场景极像
He had designers create four-walled sets and then decided which wall should be removed.
他让设计师设计出四面墙的布景 然后决定哪面墙应该被移除
And his sets went far beyond just the walls.
而且他的布景远不止是墙壁
For the play The Butchers, he hung dripping beef carcasses on the stage space and littered the ground with intestines.
在《屠夫》这部剧中 他把滴着血的牛的尸体放在舞台上 把牛肠散落在地上
For the play Old Heidelberg, the set called for a dorm room. So he went out to an actual dorm room and bought it and put it on stage.
在《奥特·海德堡》这部剧中 布景需要一间宿舍 于是他去了一间真正的宿舍 买下了它 并把它放到了舞台上
Some audience members were annoyed by the dark subject matter and the up stage facing actors.
有一些观众被暗黑的主题和背对着观众的演员惹恼了
But most of Antoine's plays were huge successes.
不过安东尼的大部分作品都大获成功
But each of them ran for three nights at most and beef carcasses don't come cheap. So
但是 他的每一部剧最多要演上三天 而且 牛肉并不便宜 所以
Maybe this wasn't the all-time greatest economic model?
或许这并不是有史以来最牛逼的经济模式？
The theater closed in 1894, though Antoine would go on to lead the theater Antoine and the Odeon.
该剧院于1894关闭 不过安东尼还有另外两家剧院“安东尼”和“奥迪安”
For a closer look at the kinds of plays that were upsetting and exciting audiences.
为了能够近距离了解那些令观众不安和兴奋的戏剧
Let's take a look at one of Antoine's great successes Leo Tolstoy's "The Power of Darkness".
咱们来看看安东尼演出的最伟大的一部剧 列夫·托尔斯泰的《黑暗的势力》
Like the way thought-bubble.
来看思想泡泡
Antoine had been discouraged from doing "The Power of Darkness".
安东尼曾被劝阻不要演出《黑暗的势力》
Tolstoy had written the play in 1886 based on an actual murder. But the czar banned it immediately.
1886年 托尔斯泰根据一桩真实的谋杀案创作了这部戏剧 但是沙皇立即对它下了禁令
Antoine's production would be the world premiere, but as an influential critic told him the play was way too much of a downer.
安东尼是首次演出这部作品的人 但正如一位有影响力的评论家告诉他的那样：这部剧太丧了
The play centers around an irresistible farmhand named Nikita.
该剧围绕一个名叫尼基塔的农场工人展开 他特别没有自控力
First he impregnates a young orphan girl.
刚开始就把一个年轻的孤儿搞怀孕了
Then instead of marrying her, he marries Anissa who has murdered her rich husband in order to make herself available.
但是他并没有娶她 而是娶了艾妮莎 艾妮莎为了能让自己再婚而谋杀了自己的丈夫
Nikita then seduces Anissa's stepdaughter who has his baby.
然后尼基塔又引诱艾妮莎的继女怀上了自己的孩子
But Nikita murders and buries the baby. So that he can get the stepdaughter married off.
但是尼基塔谋杀并埋葬了孩子以便能把继女嫁出去
On her wedding day, Nikita tries to hang himself and then confesses his sins. Yikes.
在继女的婚礼上 尼基塔试图上吊然后坦白自己的罪行 呀！
Antoine played Nikita's virtuous father.
安东尼扮演尼基塔的善良的父亲
The rest of the characters were played by clerks, salesmen, an architect, a pharmacist, a dressmaker, and a bookbinder.
其余的角色分别是店员、推销员、建筑师、药剂师、裁缝和装订工
Instead of adapting the play, Antoine commissioned a word-for-word translation
安东尼并没有对该剧进行改编 而是委托别人进行了字对字的翻译
and then hired a russian speaker to make sure that the slang they were using was correct.
然后还雇了一个会说俄语的人来确保他们使用的俚语是正确的
He borrowed costumes and props from the local russian emigre community.
他从当地的俄罗斯移民社区借来了服装和道具
Here's a review of opening night:
以下是对开幕式当晚的回顾：
…The audience was enraptured. I never noticed an instant of relaxation or inattention during the whole four hours.
……观众欣喜若狂 在整整四个小时里 我注意到没有人有片刻的放松或者走神
For the first time, a setting and costumes truly borrowed from the daily customs of Russian life appeared on the French stage,
这是真正借鉴了俄罗斯日常生活习俗的布景和服装第一次出现在法国的舞台上
without comic opera embellishments and without that predilection for tinsel and falsity that seems inherent in our theatrical atmosphere.
没有对喜歌剧的修饰 也没有偏爱戏剧氛围中似乎固有的那种华丽和虚伪
Thanks thought-bubble.
谢谢思想泡泡
Accurate representation of russian life. For hours of rapture. Good job, bookbinders.
准确地反映了俄罗斯人的生活 几个小时的狂喜 表现不错 装订工
Antoine wasn't the only guy gutsy enough to produce controversial stuff, though he probably was the only guy gutsy enough to cast dressmakers as actors.
安东尼虽然是唯一一个敢于让服装师来当演员的人 但他并不是唯一一个敢出演有争议的作品的人
Die Freibuhne in Berlin and the Independent Theatre Society in London were also subscription houses working to bring realistic drama to the people,
柏林的“迪弗布呢”和伦敦的“独立戏剧协会”也在努力将现实主义戏剧带给人们
who need more plays about child murder and syphilis, I guess? Can't argue with the public.
我想他们想看更多关于儿童谋杀和梅毒的戏剧？一切要随观众意
The Fra Buna or Free Stage was founded in Berlin in 1889 by a bunch of writers, including the writer director Otto Brahm.
“Fra Buna”或者叫“自由舞台”是1889年由一群作家在柏林创立的 其中包括编剧加导演的奥托·布拉姆
It performed mostly on sunday afternoons when actors would be free from their other engagements.
该公司主要在下午演员们没有其他约会的时候进行演出
It never managed to attract any set troupe. But it gave censored plays a hearing.
它并没有吸引某个特定的剧团 但它给了那些被设限的戏剧一个审理的机会
The company started with Henrik Ibsen's Ghosts and produced several works by future nobel winner Gerhart.
该公司首演作品为易卜生的《鬼魂》 同时还出演了之后的诺贝尔奖获得者格哈特的作品
It disbanded a few seasons later.
几季后它解散了
In london, the independent theatre society was founded by the dutch drama critic JT Grein.
荷兰戏剧评论家JT格林在伦敦成立了独立戏剧协会
The society also performed on sunday afternoons and also started with henrik ibsen's ghosts.
该协会也在周日下午进行演出 同时首演作品也是易卜生的《鬼魂》
The independent theatre society also produced zola and tolstoy and were the first company to produce george bernard shaw. They disbanded in 1897.
独立戏剧协会还演出了左拉和托尔斯泰的戏剧 并且还是第一个演出萧伯纳作品的剧团 后来于1897解散
Now, maybe you're thinking that all of these realistic plays and realistic settings are gonna demand a realistic style of acting. And you would be right...kind of.
现在 或许你在想 所有这些现实主义戏剧和现实主义场景都需要一种现实主义的表演风格 有那么点儿对
Francois Delsar, who was born in france in 1811, thought that it was time to take all these fun and new scientific theories and apply them to the theatre.
1811年出生于法国的弗朗索瓦·德沙特认为 是时候把这些有趣的新科学理论应用到戏剧中去了
While working as an opera singer, he became dissatisfied with how arbitrary most theatrical gestures were.
在他还是一名歌剧演唱家的时候 他开始不满于大多数戏剧动作的随意性
So he came up with the "Delsarte method", a method of actor training
于是他想出了“德沙特肢体教学法” 一种训练演员的方法
which stipulated that each internal emotion could be connected to and conveyed by a specific outward gesture.
它规定每一种内部情绪都可以通过一个特定的外部手势联系起来并表达出来
And if you're like, wait a minute, wait, wait, wait, wait, sanskrit performance got there first.
如果你想说：等一下 等等 等等 等等 等等 梵语表演是首创
You're right. But "Delsarte method" Was a little different.
没错 但是 “德沙特肢体教学法”有一点儿不同
To create his system, he undertook a thorough study of people, noting how they moved and spoke according to the mood that they were in.
为了创建自己的体系 他对人进行了深入的研究 观察人是如何根据当时的情绪来行动和说话的
Gesture is the direct agent of the heart, he wrote.
他写道：姿势是心灵的直接载体
He even made trips to asylums to observe people undergoing emotional extremes.
他甚至还去了精神病院观察经历过极端情感的人
Once he'd collected all of his data, he systematized it into what he called "The laws of expression".
一旦他收集了所有数据 他会将其系统化 形成他所谓的“表达法则”
And maybe this seems kind of stagey, the idea that each emotion has only one expression. But
或许这看起来有点儿舞台化 因为每种情绪只有一种表达 但是
This system was one of the first attempts to apply scientific methods to acting.
该系统是将科学方法应用于表演的最初尝试之一
Here's what one of his disciples writes:
他的一个门徒这样写道：
There is no Delsarte walk, no Delsarte standing position, no Delsarte way to sit down…
没有什么德沙特走路方式 没有什么德沙特站立姿势 也没有什么德沙特坐下方式
The only way Delsarte sought is nature's way.
德沙特唯一追求的就是“自然的方式”
Man can no more make natural things than can he create truth…
人无法创造真理 更无法创造自然
At best he can discover nature's way, and live and express correctly the truth.
最多是说他们能够发现创造自然的方式、正确地生活和表达真理
What do you think that conveys?
你觉得这个动作表达了什么
If you guessed that it conveys we're at the end of this episode, you nailed it.
如果你觉得它表达的是“本集接近尾声” 那么你猜对了
Next time, we're gonna look at the famous rivalry between two of northern Europe's most renowned playwrights, Henrik Ibsen and August Strindberg.
下集我们将讨论北欧的两位著名的剧作家“亨利克·易卜生”和“奥古斯特·斯特林堡”之间的一场大战
But until then, a very realistic, curtain.
下集见 非常现实的…… 闭幕！
