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Hey there. I'm Mike Rugnetta. This is Crash Course Theater and today we're exploring the Harlem Renaissance.
嘿 大家好 我是迈克·鲁格内塔 这里是“戏剧速成课堂” 今天我们将探索哈莱姆文艺复兴
This 1920s movement centered in an uptown Manhattan neighborhood encouraged a dynamic reawakening and reimagining of art, music, and literature.
这场20世纪20年代的运动以曼哈顿住宅区为中心 激发了艺术、音乐和文学领域的活力觉醒和再次构想
It was a very necessary corrective to all of those decades of melodramas minstrel and blackface.
是对几十年的情节剧、吟游诗人和黑脸的一个非常必要的纠正
And unlike the other Renaissance, there was no bubonic plague.
它和别的文艺复兴不同的是 没有黑死病
We'll take a look at the Harlem Renaissance more broadly and then explore the playwright's and theatre companies at Birds. lights up.
今天我们将进一步了解哈莱姆文艺复兴 探索一些剧作家和戏剧公司 打灯！
The Harlem Renaissance roughly span to the 1920s, spreading out from Harlem and across America's Northeast.
哈莱姆文艺复兴持续至20世纪20年代左右 从哈莱姆区到美国东北部地区
Writer James Weldon Johnson wrote about the Harlem of that era
作家詹姆斯·韦尔登·约翰逊曾这样描写那个时代的哈莱姆区
"not merely a colony or a community or a settlement…but a black city,
它不只是一个殖民地、社区或定居地……而是一座黑人城市
located in the heart of white Manhattan, and containing more Negroes to the square mile than any other spot on earth.
位于白人聚居的曼哈顿中心 这里的黑人比世界上任何地方都要多
It strikes the uninformed observer as a phenomenon, a miracle."
它在无知的观察者看来是一种现象 一种奇迹
First characterized by the writer Alain Locke as the new Negro movement,
哈莱姆文艺复兴最初被作家阿兰·洛克称为“新黑人运动”
the Harlem Renaissance was by and for people who had arrived from the south during the Great Migration
它由大迁徙期间从南方来到美国的人们发起
and others who had arrived in the United States via the Caribbean diaspora.
也为其他经由加勒比海移民来到美国的人们服务
The movement invited African American artists to practice forms of art that would shatter stereotypes, increase visibility, and uplift black Americans.
这场运动邀请非裔美国艺术家们实践各种艺术形式来打破刻板印象、提高知名度、并提升美国黑人的形象
Much of the work was celebratory, but artists didn't shy away from difficult themes:
很多作品都是快乐的 但艺术家们并没有回避忧伤的主题：
alienation, discrimination, and the discomfort of performing black identity in a white world were all explored.
疏远、歧视、以及在一个白人世界里表演黑人身份时的不适
This is an example of the phenomenon that theorist and activist W·E·B Du Bois described as "double consciousness".
这是理论家和活动家W·E·B·杜·波依斯所描述的“双重意识”现象的一个例子
The feeling of being black and American at the same time of seeing yourself as simultaneously part of and not part of society.
感觉自己既是黑人又是美国人、是社会的一份子又不是社会的一份子
In terms of form and genre, some artists of the period looked back to distinctly African and African American folk forms, like fables and spirituals,
就形式和体裁而言 一些艺术家重新回到了典型的非洲和非裔美国人的民间艺术形式 比如寓言和灵歌
While others looked to newer forms, like the fractured modernism of Gene Tumors's Cane
还有一些艺术家看向了新的形式 比如Gene Tumors的“Cane”
or the jazz echoing rhythms of poems by Langston Hughes and Geraldine Brooks.
或者兰斯顿·休斯和杰拉尔丁·布鲁克斯的节奏上和爵士乐相呼应的诗歌
The Harlem Renaissance was pretty much the moment when the white world and also a lot of the black world began to celebrate black artists.
哈莱姆文艺复兴是白人世界和很多黑人世界开始庆祝黑人艺术家的时刻
This doesn't mean that black artists were new to America far from it,
这并不是说黑人艺术家是美国的新面孔
but many of them hadn't been known or honored outside of their communities.
而是说他们中的很多艺术家在此之前在他们的社区之外并不为人所知或受到尊敬
In the 1920s, theaters in New York were still largely segregated.
20世纪20年代 纽约的剧院很大程度上仍在实行种族隔离
Blacks and whites typically sat in different sections and I'm sad to report that blackface was still a thing.
一般情况下黑人和白人要坐在不同的区域 所以遗憾地告诉大家 黑脸问题并没有得到解决
In 1903 there had been a Broadway musical comedy "In Dahomey", written by and starring African Americans,
1903年 有一部百老汇音乐剧《在达荷美》 由非裔美国人创作并主演
as well as several other Broadway adjacent musicals by black composers, though like in Dahomey these were pretty heavily on stereotype.
此外还有其他几部由黑人作曲家创作的百老汇音乐剧 虽然和《在达荷美》一样这些戏剧作品都比较刻板
In terms of serious non-musical plays, the white playwright Ridgely Torrence
在严肃的非音乐性戏剧方面 白人剧作家雷基理·托伦斯
created a sensation with "Three Plays for A Negro Theater", crafting realistic portrayals of black life.
以《为黑人剧院演出的三部戏剧》引起了轰动 这部戏剧对黑人的生活进行了现实的描绘
These plays were originally performed by white actors》
这些戏剧最初是由白人演员表演的
But in 1917, an all-black cast directed by Robert Edmund Jones led the Broadway production.
而1917年 由罗伯特·埃德蒙·琼斯执导的全黑人演员领衔百老汇演出
This was a Broadway first. "Three Negro Plays Played by Negroes" was the headline in the New York Times.
这是第一次在百老汇演出 《纽约时报》的标题是“黑人演奏的三部黑人戏剧”
The critic said that the interesting and a sympathetic plays were inadequately acted.
评论家说那些有趣且令人同情的戏剧表演得不够好
In the same year, one of Manhattan's little theaters the Neighborhood Playhouse hosted "Rachel",
同年 曼哈顿的一家小剧院“邻里剧场”演出了
a play written by a black playwright Angelina Grimke and staged with an all-black cast.
黑人剧作家安吉丽娜·格里姆克的戏剧《瑞秋》 演员全为黑人
Rachel is the story of a young African-American woman so shaken by the racism.
《瑞秋》讲述的是一位年轻的非裔美国女性被种族主义深深震撼的故事
She discovers all around her that she vows to never have children.
她发现周围的人都发誓永远不要孩子
The early 20th century saw an enormous upsurge in black theatre companies.
20世纪初黑人戏剧公司掀起了巨大的热潮
The first important African American theatre company of this era was "Anita bushes bush players", later called the "Lafayette Players" founded in 1916.
这一时期第一个重要的非裔美国剧团是“安妮塔·布什剧团” 1916改名为“拉斐特剧团”
Most of the bush players plays were written by white playwrights. But they were performed for mostly black audiences.
“安妮塔·布什剧团”的剧本都是白人剧作家写的 但观众主要是黑人
Other early companies included "the Ida Anderson players", "the Acme players"
其他的早期剧团包括“艾达·安德森剧团”、“艾克米剧团”
which later became "the National Ethiopian Art Theatre" and "the Negro players",
后来成为“埃塞俄比亚国家艺术剧院” 以及第一次为黑人剧团
the company that had first performed three plays for a Negro theater.
演出了三部剧的“黑人剧团”
In the midst of the Harlem Renaissance, Du Bois then editor of the …'s monthly magazine "the crisis", founded "Krigwa",
在哈莱姆文艺复兴中期 杜波依斯当时是……月刊《危机》的编辑 他创立了"Krigwa"
which is almost an acronym for the Crisis guild of writers and artists.
即《危机》协会的作家和艺术家名字的首字母缩写
"Krigwa" was sponsored a playwriting contest and encouraged entrance to "write about things as you know them…
“Krigwa”获得了一场剧本创作比赛的赞助并鼓励人们“写你所知道的东西……
You do not have to confine your writings to the portrayal of beggars, scoundrels, and prostitutes:
你不必把自己的作品局限在乞丐、恶棍和妓女的形象上：
You can write about ordinary decent colored people if you want.
如果你愿意 你可以写普通的、体面的有色人种
On the other hand do not fear the truth. Plumb the depths.
另外 不要害怕真相 要挖掘真相
If you want to paint crime and destitution and evil paint it… but be true, be sincere, be thorough, and do a beautiful job."
如果你想描绘犯罪、贫困和邪恶 那就写出来 但要真实、真诚、彻底 把它写好”
Opportunity, an African-American literary journal also sponsored a playwriting contest, awarding prizes to Zora Neale Hurston and you lately Spence.
非裔美国人文学杂志《机会》也赞助了一场剧本创作比赛 颁奖给佐拉·尼尔·赫斯顿和大家最熟悉的斯宾塞
In 1925, Dubois and Regina Anderson founded the Cribwere Players,
1925年 杜布瓦和里吉纳·安德森在
headquartered in the basement of a public library on a hundred and thirty fifth Street.
135街的一个公共图书馆的地下室里创立了Cribwere剧院
While it only lasted for three seasons before splitting into a number of offshoots.
不过该剧院只开办了三季就分裂成许多分支
It was probably the most influential African-American theater troupe,
不过它大概是最具影响力的非裔美国剧团
owing to its insistence that works be performed, written, and directed by black artists.
因为它坚持作品必须由黑人艺术家来表演、来写剧本、来导演
In 1926, Du Bois published an influential manifesto in the crisis, establishing what African-American theater should be.
1926年 杜·波依斯在《危机》中发表了一篇有影响力的宣言 建立了非裔美国戏剧的雏形
1. About us. That is they must have plots which reveal Negro life as it is.
1. 要写我们 也就是说 戏剧必须有情节来揭示黑人生活的本来面目
2. Buy us. That is. They must be written by Negro authors who understand from birth and continued association just what it means to be a Negro today.
2. 让我们写 就是说戏剧必须由黑人作家来写 他们从出生开始就懂得在今天作为一个黑人意味着什么
