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In "A Slap In The Face of Public Tastes", a 1912 manifesto written in part by the playwright Vladimir Mayakovsky,
1912年 由剧作家弗拉基米尔·马雅可夫斯基撰写的宣言《给大众品味一记耳光》中
the Russian futurists said that we should throw Pushkin, Dostoevsky, Tolstoy, etc, etc overboard from the ship of modernity.
俄罗斯未来主义者说：我们应该把普希金、陀思妥耶夫斯基、托尔斯泰等人从现代这艘船上抛下去
Mayakovskiy was also against the slaughter of World War 1, though so that's a nice change of pace.
马雅可夫斯基也反对第一次世界大战的屠杀 所以这点转变还是好的
Russian futurists wanted new words and new forms and they didn't mind if the audience booed them for it.
俄罗斯的未来主义者想要新的词汇和新的形式 他们并不介意观众的嘘声
The most fervent years of Russian futurism were before the Russian Revolution,
俄罗斯未来主义最狂热的年代是在俄国革命之前
but it's most famous theater performance happened after when avant-garde theater and avant-garde politics had a brief honeymoon.
不过它最著名的戏剧表演出现在先锋派戏剧和先锋派政治渡过一个短暂的蜜月之后
Help us out the bubble.
来看思想泡泡
In 1917, during the October Revolution which actually happened in November,
1917年 十月革命实际上是在11月发生的
a group of Bolsheviks took over the winter palace where the provisional government was meeting.
一群布尔什维克占领了冬宫 那里是临时政府召开会议的地方
Originally, the palace was defended by 3,000 soldiers. But most of the soldiers skedaddled when the Bolsheviks arrived.
宫殿最初由3000名士兵守着 然而等到布尔什维克到达的时候大部分士兵都吓跑了
So it wasn't exactly a pitched battle.
所以并没有发生激战什么的
Three years later, in 1920, the director nikolay ivanov created a play about it.
三年后 也就是1920年 导演尼古拉·伊万诺夫为此创作了一部戏剧
"The Storming of The Winter Palace", which was an all-night show staged on site in front of a hundred thousand spectators.
《突袭冬宫》 这是一场在十万观众面前连夜演出的戏剧
It included 2,500 performers, including the entire class of the Imperial ballet, as well as a bunch of tanks and armored car.
有2500名表演者、整个帝国芭蕾舞班、以及一群坦克和装甲车
This wasn't really a reenactment, or it was a reenactment in a Bolshevik kind of way:
这并不是真实的再现 或者说并不是以布尔什维克的方式再现
It ignored most of the details of the real event, like the fact that it had actually happened during the day and that there was almost no opposition.
它忽略了真实事件中的大部分细节 比如真实事件其实是在白天发生的 不过很少有人对此提出异议
Actors playing the workers gathered on a red stage to the left.
扮演工人的演员们聚集在左边的红色舞台上
And actors playing the provisional government assembled on a white stage to the right.
扮演临时政府的演员们聚集在右边的白色舞台上
Then the actors playing the workers swarmed the white stage chanting Lenin, Lenin.
接着 扮演工人的演员们涌向白色的舞台并高喊着：列宁！列宁！
There was a car chase and shadow plays in the windows of the palace.
宫殿的窗户上有汽车追逐和影子戏
The performance ended with a cannon ball being fired from a ship and then a bunch of fireworks. landing for all.
最后表演以一颗炮弹从船上发射和一堆烟花结束
Thanks thought-bubble.
谢谢思想泡泡
What's neat about this performance is that it's one of the first we've talked about that was captured on film.
这场演出的精妙之处在于：它是我们所讲过的第一个被拍摄下来的演出之一
Obviously, this is longer than most futurist performances, but it's reminiscent of futurism's total break with the past,
很显然 这场演出比大多的未来主义的戏剧演出都要长 是对未来主义与过去的彻底决裂的回忆
embrace of modern technology, modern weaponry, and revolutionary politics, use of multimedia and multiple focus,
它拥抱现代技术、现代武器、革命政治、多媒体和多重焦点的使用
and interest in spectacle and astonishment over psychology.
同时也展现了对壮观场面的兴趣和对心理的惊讶
Futurism kept going for a couple more decades in Italy.
未来主义在意大利延续了几十年
But it was the preferred aesthetic of the fascist regime not a rebellious countercultural style.
但这只是法西斯政权偏爱的审美 并不是叛逆的反文化风格
Unsurprisingly, young artists were way less into it after World War 1.
所以不出所料 在第一次世界大战之后 年轻艺术家们对艺术的热情大大降低
Meanwhile, Stalin pretty much shut down futurism in Russia.
与此同时 斯大林几乎关闭了俄罗斯的未来主义
He preferred propaganda that glorified the present and his regime too dreamy glimpses of future utopia.
他更喜欢“美化现在和他的政权的”宣传 而不是对未来乌托邦的幻想
But we can still feel futureisms influence in theater today in multimedia performance, multifocal performance,
不过 我们仍能从今天的戏剧中感受到未来主义的影响 比如多媒体表演、多焦点表演
works that mix actors and audience together and works that veer away from psychology and logic.
将演员和观众融合在一起的作品 以及那些怪诞、毫无逻辑的作品
Now we've talked about manifesto and playwrights.
现在我们已经讨论了宣言和剧作家
But before we wrap up for today, we should talk about a famous director and producer from the period—Vsevolod Meyerhold,
但是 在今天的课程结束之前 我们还要讲一位这一时期著名的导演和制片人“弗塞沃洛德·迈耶霍尔德”
who only took from futurism what he needed and nothing more.
他只从未来主义中获得了他所需要的东西
Meyerhold was born in 1874. He was a law student and an accomplished violinist who fell in love with the theater,
迈耶霍尔德出生于1874年 他是一名法学生 同时也是一个爱上了戏剧的颇有造诣的小提琴家
eventually joining Stanislavski's Moscow Art Theatre.
并最终加入了斯坦尼斯拉夫斯基的莫斯科艺术剧院
In the famous production of "The Seagull", Meyerhold played Constantin, the young writer who keeps telling everyone "we need new forms".
在其著名的作品《海鸥》中 迈耶霍尔德扮演的年轻作家康斯坦丁一直不停地告诉每个人：我们需要新的形式！
And Meyerhold himself believed that too.
而迈耶霍尔德自身也坚信这一点
He and Stanislavski clashed often. A Stanislavski wanted realism and Meyerhold wanted a theater that was unashamedly theatrical and dreamlike.
他和斯坦尼斯拉夫斯基经常发生冲突 斯坦尼斯拉夫斯基想要的是现实主义 而迈耶霍尔德想要的是毫无羞耻的戏剧性和梦幻般的戏剧
Meyerhold left the company after four years.
四年后迈耶霍尔德离开了公司
Meyerhold went on to direct for the Imperial theaters and that's where he started to pioneer new trends in staging,
后来担任了帝国剧院的导演并在那里开始引领舞台表演的新潮流
like eliminating curtains and backdrops and leaving the house lights on throughout the show.
比如在整个演出过程中去掉窗帘和背景 让灯光一直亮着
Like the Futurists, he loved the fairground and the variety theater.
和未来主义者一样 他喜欢游乐场和杂技剧院
And he incorporated elements of circus and Commedia Dell'arte into his productions.
他还将马戏团和即兴喜剧融入到自己的作品当中
But he wasn't a fan of the Italian futurists.
不过他不喜欢意大利的未来主义
When Marinetti came to Russia, Meyerhold wrote that his visit reinforced the anarchy that was an unhappy tradition of the Italian theater.
在马里内蒂来到俄罗斯的时候迈耶霍尔德写道：他的访问带来了混乱 这是意大利戏剧的一种令人不快的传统
Meyerhold didn't dig the wild, uncontrolled, deliberately offending the audience style.
迈耶霍尔德并没有挖掘那种狂野、不受控制、故意冒犯观众的风格
He believed that without self-restraint, there is no craftsmanship. But restraint didn't mean realism or naturalism.
他认为没有自制就没有技艺 而自制并不一定指现实主义或者自然主义
In his essay On the Fairground Booth, he wrote, "When man appeared on stage,
他在《On the Fairground Booth》一文中写道：“当一个人出现在舞台上时
why did he submit blindly to the director who wanted to transform the actor into a puppet of the naturalistic school?
他为什么要盲目地服从一个想把他变成自然主义派傀儡的导演？
The actor of today will not understand that the duty of the comedian and the mime is to transport the spectator to a world of make-believe."
今天的演员不会明白 喜剧演员和哑剧演员的职责就是把观众带入一个虚幻的世界”
He believed that the truth of life would not be found in realistic surfaces but beneath them.
他认为生活的真谛无法通过现实的表象去寻找 而是要透过现实
Only theater at its most theatrical, fantastical, and acrobatic could help an audience understand it.
只有最具戏剧性、最奇幻、最杂技的剧院才能帮助观众去更好地理解它
He emphasized the primacy of the director rather than the play, writing
他强调导演比戏剧更重要 他写道：
"A play is simply the excuse for the revelation of its theme on the level at which that revelation may appear vital today."
“戏剧只是揭示其主题的借口 而这种揭示的层次在今天可能显得至关重要。”
Meyerhold is also famous for pioneering a new method of actor training that he called "Biomechanics".
迈耶霍尔德还因开创了一种新的演员训练法而名声大噪 他称之为“生物力学”
"biomechanics" has been linked to ideas like Fordism and Taylorism that were all about how to make the worker more efficient.
“生物力学”与福特主义、泰勒主义等观点有所关联 所有这些观点都是在说明“如何让工人变得更有效率”
But in esthetic, terms we can link it to constructivism, another modern artism.
而在审美方面 我们可以把它和另外一种现代艺术主义——“建构主义”联系起来
In keeping with early Russian revolutionary goals, constructivism glorified industrialization and mechanization.
建构主义和早期俄国的革命目标一致 即提倡工业化和机械化
No expressionist anxieties at all, transforming theater into a meaning factory.
它没有表现主义的焦虑 而是把戏剧变成了一个意义工厂
Constructivist stage designs for example look kind of like theatrical assembly lines, covered in treadmills and windmills.
例如 建构主义的舞台设计看上去有点儿像剧院的装配线 上面覆盖着跑步机和风车
Initially, Meyerhold collaborated with the Bolsheviks and was briefly an official of the theater division
最初迈耶霍尔德与布尔什维克合作 在政府将戏剧推向更保守的方向之前
before the government pushed drama in a more conservative direction.
他曾短暂地担任过戏剧部门的官员
Meyerhold founded his own theater and continued to produce plays, but socialist realism,
后来他创立了自己的剧院并继续创作戏剧 而社会主义现实主义
the favorite a style of Soviet Russia was never really his thing.
这一最受苏联欢迎的风格从来就不是他真正喜欢的
He was accused of boudoir formalism. and in 1938, the government liquidated his theater.
再后来他被指控为闺房形式主义 1938年 政府清算了他的剧院
"The pitiful and wretched thing called socialist realism had nothing in common with art.
“社会主义现实主义这种可怜的东西与艺术毫无共通之处”
Meyerhold is reported to have said.
据报道 迈耶霍尔德曾说过这么一句话
"In hunting a formalism you have eliminated art."
“你在追求形式主义的过程中已经将艺术消灭”
That didn't go over well. he was arrested tortured and then secretly killed by firing squad.
迈耶霍尔德的结局并不好 他被逮捕并进行了严刑拷打 最后被行刑队秘密处决
In exploring theater and modernism, we've seen a lot of conflict and a lot of riots.
所以在探索戏剧和现代主义的过程中 我们看到了很多冲突和骚乱
But this is one of the first examples in which aesthetic choices can actually get you killed. No jokes about that.
而他是第一个因审美选择而丧命的人 这是一件很严肃的事情
Next time, we'll be heading to America for a look at some mid-century modern Eugene, O'Neill, and Gertrude Stein.
下节课我们将前往美国 认识一下本世纪中叶及现代的尤金、奥尼尔和格特鲁德·斯坦
Until then, the curtain, is a curtain, is a curtain, is a curtain, unless it's not.
下集见 闭幕！闭幕！闭幕！再闭幕！除非它不愿意……
