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3. For us. that is the theater must cater primarily to Negro audiences and to be supported and sustained by their entertainment and approval.
3. 为我们而写 就是说 剧院必须主要迎合黑人观众并通过他们的娱乐和认可来支持和维持
4. Near us. The theater must be in a Negro neighborhood near the mass of ordinary Negro people.
4. 靠近我们 剧院必须在黑人社区 靠近广大的普通黑人
While a lot of the innovation was happening in the Little Theatre as African-American works were making it to Broadway to.
当很多创新发生在小剧院时就像非裔美国人的作品在百老汇上演一样
In 1921, the team of noble sisal and Eubie Blake introduced Shuffle Along.
1921年 贵族席萨尔和欧比·布莱克的团队创作了《踯躅而行》
A wildly successful jazz musical that featured Josephine Baker and Paul Robeson in small roles.
这是一部非常成功的爵士乐音乐剧 约瑟芬·贝克和保罗·罗布森在里面扮演了一些小角色
Langston Hughes called it "a honey of a show… Swift, bright, funny, rollicking, and gay,
兰斯顿·休斯称它为“一场甜蜜的演出 节奏快、明亮、有趣、欢快、
with a dozen danceable, singable tunes… everybody was in the audience—including me."
有十几首可跳、可唱的调子……所有人都在观众席上 包括我”
Shuffle Along set off a minor craze for African American shows and nine more made it to Broadway in the next three years.
《踯躅而行》掀起了一股对非裔美国人表演的小热潮 在接下来的三年里 又有九部剧入住了百老汇
In 1923, Willis Richardson who had won the Craig will playwriting contest several times
1923年 曾多次赢得克雷格·威尔剧本创作比赛的威利斯·理查森
had a one-act slice-of-life play "The Chip Woman's fortune", which was produced on Broadway and earned pretty good reviews.
创作了一部反映生活片段的独幕剧《芯片女人的财富》 该剧在百老汇上演并获得了好评
In 1925, Garland Anderson's "Appearances", a melodrama about a black bellhop falsely accused of rape,
1925年 加兰·安德森的《露面》 一部情节剧 讲述了一名黑人服务员被错误指控强奸的故事
became the first full-length straight play by an African-American author to open on Broadway.
成为第一部由非裔美国作家在百老汇上演的完整长度的直演剧
But most Broadway plays about black life were still the work of white playwrights who sometimes even won Pulitzer Prizes for them.
不过大多关于黑人生活的百老汇戏剧仍是由白人剧作家创作的 有时还会获普利策奖
Let's look at two key figures of Harlem Renaissance, Langston Hughes and Zora Neale Hurston.
我们来看看哈莱姆文艺复兴的两个关键人物：兰斯顿·休斯和佐拉·尼尔·赫斯顿
Hurston, a folklorist and novelist, was an early winner of the opportunity playwriting contest.
赫斯顿是一位民俗学家和小说家 是早期机会剧本创作比赛的获胜者
"Color Struck", an opportunity winner, is about colorism among a group of black Floridians.
《撞色》 获胜作品 讲的是针对一群佛罗里达黑人的肤色歧视
the play makes use of southern black, speech which Hurston, a trained anthropologist carefully studied.
该剧运用了南方黑人的语言 赫斯顿是一位受过训练的人类学家 她对这种语言颇有研究
Hurston later channeled an interest in African and African American folk tales into several reviews "The Great Day", "from Sun to Sun", and "singing steel".
赫斯顿后来把对非洲和非裔美国人的民间故事写成了几篇评论《伟大的一天》、《从太阳到太阳》和《歌唱钢铁》
Better known as a poet, Hughes had a Broadway hit in 1935 with "Mulatto",
1935年 休斯的诗作《黑白混血儿》在百老汇大获成功
a poetic play about a mixed-race child and his desire to be acknowledged as his father's heir.
讲的是一个混血儿和他渴望成为父亲继承人的故事
Hughes subtitled to play a tragedy, but when it was produced on Broadway,
休斯的副标题说的是要演一出悲剧 但当该剧在百老汇剧院上演时
changes were made that brought it closer to melodrama, making it more palatable to a white audience.
发生了一些变化 它变得更像是情节剧 这样更适合白人观众观看
Hughes was not thrilled. He once told James Baldwin "if you want to die,
休斯对此并不激动 他曾对詹姆斯·鲍德温说：如果你想死
be maladjusted, neurotic and psychotic… disappointed and disjointed… just write plays, go ahead."
那就变成失调的神经症、神经质、精神错乱……失望、脱节……写剧本就行了 去吧”
Still, he established three theatre companies: the Suitcase Theater in Harlem,
此外 他还成立了三家戏剧公司：哈莱姆的手提箱剧院
the Negro Art Theatre in Los Angeles, and the Sky loft Player in Chicago,
洛杉矶的黑人艺术剧院以及芝加哥的空中阁楼剧院
and continued to write plays and lyrics throughout his life, including little ham, a full comedy celebrating Harlem in the 20s.
之后他继续写剧本和歌词 其中有《小火腿》 一部庆祝20年代哈莱姆的完整版喜剧
Together, Hurston and Hughes collaborated on the 1930 play "Mule Bone".
赫斯顿和休斯在1930年合作创作了戏剧《骡骨》
Based on a Florida folktale, it's a comedy about two men come to blows over a woman.
根据佛罗里达州的一个民间故事改编 这是一部关于两个男人为一个女人打起来的喜剧
But Hurston and Hughes working relationship soured and the play was never finished.
但是后来赫斯顿和休斯的工作关系恶化了 所以这部剧一直没有写完
For a closer look at the theatre of the Harlem Renaissance, let's explore "Don't You Want To Be Free?",
为了进一步了解哈莱姆文艺复兴的剧院 我们来看一下休斯于1937年
a play Hughes wrote in 1937 for the suitcase theatre.
为手提箱剧院写的剧本《你不想自由吗？》
When the play begins, the stage is bare except for a lynching rope and an auction block.
戏剧开场时 舞台上除了一根绞刑绳和一个拍卖区之外什么都没有
A young man steps out and explains the set: we haven't got any scenery, or painted curtains, because we haven't got any money to buy them.
然后一个年轻人走出来解释布景：我们没有风景 也没有带画的窗帘 因为我们没有钱买
But we've got something you can't buy with money, anyway. We've got faith in ourselves. And in you, so we're gonna put on a show.
但是我们有一些钱买不到的东西 那就是我们对自己的信任 对大家的信任 所以我们要上演一场剧
In the show he says is about what it means to be black in America. Help us out thought bubble.
该剧讲的是黑人在美国意味着什么 来看思想泡泡
Cymbals crash and tom-toms thump as a young woman begins to dance an African dance while reciting some of Hughes's poetry.
一名年轻女子一边背诵休斯的诗歌一边开始跳非洲舞 铙钹和鼓声此起彼伏
She's joined by a young man who describes the capture of slaves and their arrival at Jamestown in 1619.
一位年轻男子和她一起讲述了1619年奴隶被俘以及他们抵达詹姆斯敦的故事
Several characters are sold as slaves. But one young man resists.
有几个角色被卖作奴隶 但有一个年轻人开始反抗
While he's being whipped, other characters begin to sing his protest song "Go Down Moses".
当他被鞭打的时候 其他角色开始唱关于他的抗议歌曲《去吧，摩西》
The Civil War arrives, then sharecropping and Jim Crow.
后来内战开始了 然后是佃农制度和种族隔离制度
Then the great migration, the Harlem Renaissance, the Great Depression, the first stirrings of the civil rights movement.
再后来是大迁徙、哈莱姆文艺复兴、大萧条、民权运动的第一次萌芽
In every scene, characters chant poems and the chorus sings hymns and spirituals.
每个场景都有人物吟诗、合唱队唱赞美诗和圣歌
For the end of the pageant, the residents of Harlem begin to resist the landlords and small business owners who discriminate against them.
在表演的最后 哈莱姆的居民开始反抗歧视他们的地主和小企业主
This move culminates in the 1935 Harlem riots.
这一举动在1935年哈莱姆骚乱中达到高潮
The play then directly asks the audience to organize, join unions, and tenants leagues, and get together with members of the white working-class.
然后 该剧直接要求观众组织、加入工会和佃农联盟并与白人工人阶级的成员聚到一起
Because one character says "when black and white really get together, what power in the world can stop us from getting what we want?"
因为其中一个角色说：当黑人和白人真正团结起来时 世界上还有什么力量能够阻止我们得到我们想要的？
The show ends with the entire cast linking hands with the audience and singing:
演出结束时 全体演员和观众手挽手唱到：
Oh, who wants to come and join hands with me? Who wants to make one great unity?
哦 你想和我手牵手吗？你想让世界团结起来吗？
Who wants to say no more black or white? Then let's get together folks and fight fight fight fight fight fight. Wow.
你想让这个世界无黑人白人之分吗 那么让我们团结起来吧 大家一起战斗 战斗 战斗 战斗 战斗 哇
Thanks thoughtbubble. This pageant is modern fragmentary almost Brechtian.
谢谢思想泡泡 这场演出是现代式片段 和布莱希式差不多
We're gonna get to that adjective soon. It uses theater to make some clear political points.
我们很快就会讲到这个形容词(Brechtian) 它利用戏剧来阐明一些明确的政治观点
But in its reliance on poetry, music, and dance, "Don't You Want To Be Free?" also argues that African American performance
但在它对诗歌 音乐和舞蹈的依赖中 《难道你不想自由吗》也认为非裔美国人的表演
is inextricable from African American history, and that it will accompany people of color as they push for greater equality.
与非裔美国人的历史是不可分割的 它会一直伴随着有色人种努力争取更大平等的历史
Thanks for watching. We'll see you next time when we move from little theaters to a really really really big one the WPA's Federal Theater Project.
谢谢观看 下期我们将从小剧院转到一个非常非常大的剧院 即WPA的联邦剧院
And hang on to your seagulls everybody, because Stanislavski and realistic acting are coming to America courtesy of the group theater.
大家抓紧了 因为 斯坦尼斯拉夫斯基和现实主义表演将在团体剧院的帮助下来到美国
Group hug Yorik. No. Well, Group curtain then.
过来抱一下 尤里克 好吧 那就闭幕吧！
