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07/21/08 Randy Harrison Talks About Waiting for Godot 中文翻譯
Randy Harrison Talks About Waiting for Godot
Randy Harrison談<等待戈多>
-Extended Rehearsals Underway at Berkshire Theatre Festival
-伯克希爾戲劇節長期的彩排正在進行中
by Larry Murray - 2008-07-21
原址：http://www.berkshirefinearts.com ... id=758&catID=10
Samuel Beckett 塞繆爾.貝克特
Beckett's first major and successful play originally opened in a tiny space in Paris in 1953, and was as bewildering then as it is today. The Berkshire Theatre Festival performs Waiting for Godot from July 29 to August 23 in their smaller 122 seat Unicorn Theatre. There are less than 3,000 tickets available for the entire run, and it will be the hottest ticket of the Berkshire summer season.
貝克特首部主要且成功的作品最初在巴黎的一個小劇場于1953年首演，猶如今日仍令人困惑。伯克希爾戲劇節將于7月29日至8月23日在較小的122人座獨角獸劇場上演<等待戈多>。整場演出只銷售不到3000張的門票，但會是伯克希爾夏季最熱門的票。
What a strange yet familiar play Samuel Beckett wrote, so full of meaning for some, but to be honest, it also has its detractors. Those who prefer conventional plays often find it, as Vivian Mercier once summarized, "An evening of theater in which nothing happens, twice."
這部貝克特所寫既陌生又熟悉的劇，對一些人來說充滿意味，但老實說，它也有很多負面評論。那些更喜歡傳統戲劇的人覺得，正如Vivian Mercier曾總結的，"一個傍晚的劇場裏什麽都沒發生，兩次。"
Perhaps that is because Beckett broke all the rules, and distilled the conventions of theater down to their minimum. The set is spare, plain, with nothing more than a bare tree beside a path. The plot is... well, there really isn't one. The action is simply two homeless tramps who while away their time waiting for the arrival of someone named Godot. There is little character or plot development. The most excitement is when Lucky and Pozzo appear to provide momentary diversions. It is as if you are sitting on a park bench, doing nothing more important than simply people watching. Endlessly fascinating, but what does it all mean? And does it have to mean anything? At least it passes the time.
或許那是因爲貝克特打破所有的規則，而且把戲劇的慣例縮水到最少。布景很少很樸素，除了小徑旁一棵光禿禿的樹其他什麽都沒有。而故事的情節就是...恩，其實沒有什麽情節。整個故事僅僅是兩個無家可歸的流浪漢在等一個叫戈多的人的到來以消磨他們的時間。角色和情節的發展很少。其中最令人興奮的就是Lucky和Pozzo作勢要提供短暫娛樂的時候。那就好像你坐在公園的長凳上，什麽都不做僅僅是看著。不斷的驚喜，但它到底意味著什麽？它一定要意味什麽嗎？至少它能消磨時光。
Needless to say, those who have seen earlier productions of this enigma play will be back for another fix, hoping that maybe this production will provide some new insights and answers to the lingering questions. But Waiting for Godot is always the same, there are few answers, just lingering questions. Sure there is lots of humor, a little vaudeville, and some dramatic tension, even the suggestion of suicide. And a vague feeling that the solution to all the questions may finally arrive.
無須說，早前看過這部戯的人會回來重溫一遍，希望這次的製作會帶來一些新的觀點和對懸而未決的問題的答案。但<等待戈多>總是一樣，沒有什麽答案，只有懸而未決的疑問。當然劇中會有許多幽默的表演，少許雜技和一些戲劇張力，甚至有一些自殺的暗示。還有一個曖昧的感覺對所有問題的解決方案可能最終會來臨。
Randy Harrison
Having been bitten, bad, by the Beckett bug, I turned to actor Randy Harrison for help in understanding Godot. This fine actor has been performing since age seven, and found early success and fame soon after finishing college, playing the character Justin in the Showtime series Queer as Folk. The series lasted five seasons and 82 episodes and typecast him in many people's minds.
被貝克特神秘弄得心癢癢的，我轉向演員Randy Harrison尋求一點幫助來理解<等待戈多>。這名優秀的演員自7嵗起就開始表演，在大學畢業不久之後出演Showtime的連續劇Queer as Folk,並獲得了成功和名望。這部連續劇持續了5年共82集，使他在很多人腦中留下深刻印象。
But he has been hard at work in live theater, earning his chops, by taking on roles that will let him further develop his craft. This is the fourth summer he has worked with the Berkshire Theatre Festival. His role as Lucky in Waiting for Godot is about as against type as this actor can get. We spoke with Harrison about the upcoming production which is now in rehearsal. It plays July 29 to August 23.
但之後他致力於現場戲劇的演出，累積經驗，接演能夠讓他進一步發展自己才藝的角色。這已經是他參與伯克希爾戲劇節的第四個夏天。他在<等待戈多>一劇中扮演的Lucky一角是這位演員從未遇到過的。我們和Harrison聊了聊正在進行彩排的新劇。它將于7月29日至8月23日進行公演。
The Interview
LM: Glad to see you back in the Berkshires. How are the rehearsals going?
很高興見到你重回Berkshires. 彩排進行得怎麽樣了？
RH: I've been here for four summers now, and I love it. I feel so lucky to be able to spend time here.
這是我來到這裡的第四個夏天了，我很喜歡。我覺得很幸運能在這裡度過(夏天，時光whatever)。
We've had rehearsals underway for two and a half weeks now. I never worked on Beckett before. I love Beckett, so I was really excited to have the opportunity to work on a Beckett play.
我們已經彩排了兩周半的時間。我從沒演過Beckett寫的劇。我超愛Beckett的，所以能夠出演Beckett的劇我真的很興奮。
LM: Did you bring any Beckett baggage with you?
那你有沒有背上什麽Beckett的包袱？
RH: Nothing much beyond a love of it.
沒有什麽除了對它的熱愛。
LM: The play can be a daunting challenge.
這齣戲可以説是一個使人畏縮的挑戰。
RH: I didn't feel scared really, I just felt really, really excited about it. There's so much academic stuff, so much to study and think about it, and I just tried to scrape it all away and start fresh.
我並沒有感到害怕，我只是覺得非常非常的興奮。裏面有很多學術的東西，有許多需要學習和思考，而我只是試著把這些都解決掉然後給它一個新鮮的開始。
LM: They say that Bert Lahr (who was in the original Waiting for Godot) didn't understand a line of what he was saying.
有人說Bert Lahr（Waiting for Godot 原來的演員）完全不理解他在演什麽。
RH: I don't think you necessary need to. I just tried to be with the director (Anders Cato) and the script as I see it. It grows for me, and I think for all of us, every time we say it out loud. I worked with Anders last year on Mrs. Warren's Profession and it is great to have him at the helm again.
我認爲你不需要去理解。我只是試著按照導演(Anders Cato)的指示和劇本上寫的來演。這部戯使我成長，而且我覺得我們所有的演員每次都可以自豪地這麽說出來。我去年出演Mrs. Warren's Profession 的時候和Anders合作過，很高興能夠再度和他合作。
LM: So how did it come to be that you got Lucky?
那麽你是怎麽得到Lucky這個角色的？
RH: One day Kate Maguire just asked me on the phone. And I knew she had been thinking about doing it. She just loves Beckett and she managed to get a grant for some extra rehearsal time.
有一天Kate Maguire在打電話的時候問我的。而且我知道她已經考慮了有段時間了。她很喜歡Beckett寫的劇而且她想辦法爭取到一些捐助可以讓我們有更多的彩排時間。
LM: The NEA (National Endowment for the Arts) Grant is a precious gift of much needed development time for the production.
國家藝術捐助基金(or whatever)對一部需要時間準備的作品來説是一份很珍貴的禮物。
RH: It is just amazing, and we really need it. I am sure we could have put it up faster, like on a normal schedule, but it is so helpful to have the extra time. We can actually work with each other to develop it longer. We're never rushing. We can talk about every moment of the script. The depth of the play expands over time, I think.
它真的很棒，而且我們真的需要它。我肯定我們可以準備更快一點，像是按照正常的進度，但是能有一些額外的時間就很有幫助。事實上，我們可以互相合作讓彩排 變得時間久一點。我們從來不趕時間。我們可以討論劇本裏的每一個細節。我覺得這部劇的深度也隨著時間的過去得到延伸。
So much of Beckett is like living in a different world as a group. So to inhabit this bizarre and fascinating place together, and to have the time to explore it has really helped us as artists.
Beckett劇的很大的一部分讓我們覺得我們是生活在另一個世界的群體。在一個奇怪且迷人的地方一起居住，而且讓我們這些演員有時間去探索它真的對我們幫助很大。
LM: Have you thought much about Lucky's character? How are you approaching the role?
你有沒有思考過Lucky這個角色？你準備怎麽詮釋這個角色呢？
RH: You know the first thing I did was to memorize that speech, (the famous five minute rapidly spoken monologue) just getting through that, you know, and then a lot of the physical stuff, I mean it has been growing a lot during rehearsal. I just needed to get up and hold all those bags, see what it felt like to be burdened like that, to have a noose around my neck, to have David Schramm cling me "pig" and "hog" sort of being there and figuring it all out sort of organically. The line readings then grow out of the situations.
你知道我做的第一件事情就是去記住那個演説，（著名的五分鐘快速對白）先過一遍，你知道，然後是許多的肢體動作，我指的是這些在彩排的過程中開發出了很 多。我只需要起來然後拿著那些袋子，感受一下有那麽多負擔，有一個套索綁在我脖子上，讓David Schramm罵成是”豬” 是怎樣的感覺，然後有組織的領會出來。先是念臺詞然後再投入到場景裏。
LM: In some ways there is more information about the character of Lucky than any of the others in Godot.
在某些方面，Lucky這個角色的信息要比劇中其他角色的來得多。
RH: The characters talk about him a lot more, like his drooling...
其他角色對Lucky的談論也很多，像是他的夢話…
LM: I was thinking about his life as a slave, Pozzo complains: "He used to dance...He capered. For joy. Now that's the best he can do." There's even a line about being used up and tossed away like an old banana peel.
我覺得他的生活像是一個奴隸，Pozzo就會悲嘆:”他曾經會跳舞…雀躍.爲了開心。現在這是他唯一能做的了。”甚至有一句臺詞說他被利用之後就像是一塊香蕉皮一樣被扔掉了。
RH: Right, he has been exhausted.
是的，他被耗盡了。
LM: So, are you off-book yet?
那，你劇本都背完了嗎？
RH: Pretty much. I just stuffed the last ten lines into my head last night. We'll see how they stick. Takes a while, so much of it is rhythm and repetition. And to hear myself do it a few times out loud before I feel confident.
差不多了。我昨晚剛把最後十句臺詞塞到我的腦子裏。我們會看到我到底記住多少。我花了一些時間，因爲有很多押韻和重復。在我感覺有自信之前我會大聲的朗誦出來個幾遍。
LM: Have you looked up some of the unusual words like apathia, aphasia and athambia?
你有沒有查一些不太常用的詞像冷漠，失語症和冷靜？
RH: Ah, yes. Apathy, uncaring, can't hear and unaffected, indifferent. We have a terrific dramaturg here, Jim (James Leverett) has given us all so much information and been really helpful.
啊，是的。Apathy, 漠不關心的，不會聼也不會被影響，無關緊要的。我們有一個很棒的戲劇編劇，Jim (James Leverett)，他給了我們很多信息對我們很有幫助。
LM: One analysis I read about Lucky is that he is a metaphor for Christ.
我讀過一篇對Lucky這個角色的分析，說他是耶穌基督的隱喻。
RH: I've heard that. It's interesting how much people think about it. Another take on it is that Lucky was intended to be about Ireland, and Pozzo was England. But my initial read on it was that it is more of a class thing. But it is all of those things. It is many layers and it is just simply what it is. You follow the script, and the audience will project what is a personal meaning for them, now they will see it. The problem is that while it is all of those things, you can only pick one to play.
我有聽説過。有很多人這麽覺得我認爲很有趣。還有另外一種流行的解釋是Lucky代表愛爾蘭，而Pozzo則是英格蘭。而我一開始的感覺是這更像是關於階 級制度的東西。但它也就是那些有的沒的。它有很多層面但它僅僅就是它自己。你依照劇本演，然後觀衆會影射出一些對他們來説有個人意義的東西，然後他們來這 樣理解它。問題就是當它能代表這麽多种的東西、解釋，你只能挑一種來演。
LM: Are there any other Beckett works you would like to do?
還有沒有其他Beckett的作品你想來演的？
RH: So many. I'd like to do all of them. I love Play, Endgame, Krupp's Last Tape. But I probably won't do Beckett again for a while. I am lucky to be able to play Beckett right now. You must be older, ideally, to do all of it.
太多了。我全部都想演。我很喜歡Play, Endgame, Krupp's Last Tape。但我近期不會再去演Beckett的作品。現在能讓我演Beckett的作品我已經感到很幸運了。你必須要有一點年紀，完美的，才能出演他所有的作品。
LM: So this is the fourth or fifth role you have played at Berkshire Theatre Festival. Alan Strang in Equus, Mozart in Amadeus, Billy Bibbitt in One Flew Over the Cuckoos Nest, and Frank Gardner in Mrs. Warren's Profession are the ones I remember. Are there other roles you would like to play?
那麽這是你在BTF表演的第四或是第五個角色。我記得有Equus中的Alan Strang, Amadeus中的 Mozart, One Flew Over the Cuckoos Nest中的 Billy Bibbitt和Mrs. Warren’s Profession中的 Frank Gardner。還有沒有其他的角色是你想詮釋的？
RH: Haven't thought about it in a while. I used to have this huge list but I know I would like to play Tom again in Glass Menagerie.
暫時還沒想過。我曾經有一張超長的單子，但我知道我還想再演一次Glass Menagerie 裏的Tom。
LM: Let's talk about that for a moment. That earlier production at the Guthrie in Minneapolis was unusual in that it had two Toms, an older narrater one, and a younger one who was the son. Since you were the young Tom, you didn't get to make the famous closing balcony speech.
讓我們來談談這個。早前的在明尼阿波利斯(美国城市)的Guthrie劇場的這齣戲，很不尋常的有兩個Tom，一個是較年長的敍述者，還有一個年輕一點的是兒子的角色。既然你演的是年輕的那個，你就沒有得到機會表演最後的那個著名的閉幕演講。
RH: And I certainly hope to someday be able to make those narrative speeches. It was a really interesting project, totally different from the standard. We had to work together for each of us to play half of the same role, and make sure we were working in unison to create the picture of a single character for the audience. I think it worked for the audience, but it was frus...hard for us to really gauge, because we didn't get the full arc of what was really intended.
我當然也希望某天能夠做那樣的敍述性演説。它真的是一部很有趣的製作，和那些標準的完全不一樣。我們必須互相合作演出一半的角色，並且確保我們配合得和諧 無間讓觀衆感覺是在看一個人在演那個角色。我覺得觀衆們也接受了，但那真的很累…我們很難去評斷，因爲我們沒有演繹本來計劃中的所有故事情節。
LM: I didn't see the production, but it is much discussed. Were you both on stage at the same time?
我沒有看過這部作品，但是它被廣泛的討論。你們兩個有沒有同時在舞臺上出現？
RH: Yes, we were often on stage together. He would describe me as I stood there. We did initially have some dialogue together, but I think that ended up being cut. But he was describing me, and himself as I stood there.
是的，我們經常同時在舞臺上出現。我站在那的時候他會加以描述。我們開始有一些對話，但是我想它最後被刪了。但是那是當我站在那的時候他在描述我和他自己。
LM: One of the things that is striking about your career is that you had quite a bit of training in musical theatre, but you seem to have drifted to more dramatic roles. Certainly there are plenty of challenges in straight theatre, but how about music, is that still on your to-do list?
有一件關於你的事業很驚人的就是你接受過很多音樂劇的訓練，但是你好象更傾向于比較戲劇的角色。當然在純劇場有很多挑戰，但是音樂呢？音樂劇是不是還是你想做的事？
RH: I love music, but by the time I graduated from theatre school - Cincinnati College Conservatory of Music (CCM) - I knew I wouldn't be satisfied doing just music. I love - even adore - some of what is being done in musical theatre but I don't necessarily like everything that is being done these days. Sure I worked and made money, but I also felt unsatisfied somehow.
我熱愛音樂，但當我從辛辛那提音樂學院的戲劇係畢業的時候，我知道我不會滿足于只做音樂。我熱愛-甚至是崇拜-一些現在的音樂劇但我並沒有喜歡所有的。當然我能賺到錢，但不知何故我也感到不滿足。
LM: You did a stint as Boq in Wicked on Broadway.
你在百老匯演了一小段時間的Wicked裏的Boq這個角色。
RH: Right. And I loved doing it. But I felt it shouldn't be forever.
對。我當時很喜歡演這個。但我覺得我不能永遠演這個。
LM: There are some videos of your performance in Wicked online, one taken from the mezzanine and one from the balcony.
網上有一些你在Wicked裏表演的錄像，一個是從包廂拍的，一個是從樓廳拍的。
RH: Isn't that illegal, violate copyright rules?
那是不是違法的啊？侵犯版權？
LM: Of course. They won't be up for long, I'm sure. Legality aside, thanks to YouTube, you can see bits and pieces of great performers and performances that otherwise would never be in public circulation....Piaf, Merman, Jolson.
當然。他們不會在網上待太久的，我肯定。把法律放在一邊，感謝YouTube，你可以零零碎碎地看到一些很棒的演員和演出，否則那些永遠不會在大衆間流傳…像是Piaf, Merman, Jolson.
Let's turn to your earlier years. What happened to the daring fellow who did a production of a Mark Ravenhill play in college? Why aren't his works produced more often?
讓我們談談你早些年的作品。那個在念大學的時候出演了Mark Ravenhill的作品的大膽的傢伙發生什麽事了？爲什麽他的作品之後沒有更多的拿出來製作？
RH: Oh you mean Shopping and Fucking? I imagine audiences and producers are afraid of it. I also wonder why Sarah Kane (a brilliant but bold British playwright who died before the age of 30 in 1999) isn't represented more, though getting rights to her work is as difficult as Beckett once was. They are doing, let me think, not Phaedra's Love but her first play (Blasted) at the Ohio in New York.
哦，你是指Shopping and Fucking這部戯？我可以想象觀衆和製作人害怕這種戯。我也想知道爲什麽Sarah Kane（一個出色大膽的英國劇作家在1999年死亡，當時未滿30嵗）的作品沒有再被更多的上演，儘管為她的作品正名就像一度為Beckett的作品正 名一樣困難。有人在演，讓我想想，不是Phaedra’s Love而是她的第一部作品Blasted在紐約的Ohio鎮。
LM: Some people thought Ravenhill would emerge in ten years as the "new" Beckett.
有些人認爲Ravenhill將在十年内崛起成爲新一代的“Beckett”.
RH: But it seems that Kane is emerging as the voice of that period. I have seen three different productions of her plays. I have been seeing a lot of French theater lately, and have been interested in more contemporary French writers who haven't been produced in the states, or translated into English.
但好像在當時，Kane曾經被認爲會是崛起的新星。我有看過三部她的戲劇作品。我最近有看很多法國戲劇，而且對一些同時代的法國劇作家有了更多的興趣，儘管他們的作品還沒有在美國製作過或者翻譯成英文。
LM: Like who?
比如説誰？
RH: Bernard-Marie Koltès. I've seen a bunch of his work recently. And I have a bunch of friends in who have companies in New York who are doing new work as well. The Debate Society are friends of mine who do fascinating new work. The Nature Theatre of Oklahoma who had a big show at the Ohio this year called No Dice and are touring all over Europe.
Bernard-Marie Koltès。我最近看了他很多的作品。我有很多朋友在一些紐約的公司正在創作新作品。The Debate Society就是一些我的朋友，他們的新作品超棒的。The Nature Theatre of Oklahoma今年在Ohio有一齣大戲，叫做No Dice，現在在歐洲巡演。
LM: And the SITI Company, aren't they doing interesting things?
還有SITI Company, 他們有在做什麽有趣的東西嗎？
RH: They have a Radio Macbeth and then I think they may be doing The Seagull.
他們有一齣Radio Macbeth，然後我記得他們好像還在做The Seagull.
LM: They have something in the works in the American Museum Cycle about the Berkshire's own Norman Rockwell, called Under Construction.
他們在American Museum Cycle有一部叫Under Construction的作品正在製作當中，是關於來自Berkshire的Norman Rockwell的。
RH: I am interested in how they are going to approach that. He was a great artist.
我很想知道他們將會怎麽處理這部劇。他是個很偉大的藝術家。
LM: New plays are often difficult at first. Here's a copy of the original 1956 review of Godot by Brooks Atkinson in the New York Times. He too found it puzzling though I think he suspected it was going to be an important work.
新戯在最初總是很困難的。這是一份由紐約時報的Brooks Atkinson在1956年對<等待戈多>寫的評論。他也覺得這部戯很莫名其妙但是我覺得他當時猜想它將會是一部重要的作品。
Let's get back to your role, have you found that Lucky's speech is full of musical cadences? When I read it aloud I found it had a beat.
讓我們回到你的角色，你有沒有發現Lucky的講話充滿了音樂的韻律？我在朗讀的時候發現它很有節奏。
RH: It is the music of it that makes it possible to memorize it. I don't use the device intentionally, but especially near the end, where there is less logic, that can be assigned to it, in order to keep it memorized, I find the rhythm and the tone propels me forward and I find myself continuing to speak even when I am not sure what's coming and it is the music of it, the rhythm of it.
正是它的音樂性讓它很容易被記住。我沒有故意的運用這個技巧，但是特別是到了後面，比較沒有邏輯的時候，可以運用這個技巧來記住它，我發覺韻律和音調會驅使我繼續，而且我發現自己會繼續說即使我不確定接下來的是什麽内容，這些都是因爲其中的韻律和節奏。
LM: It is quite a tour de force.
聼上去像是個絕技。(tour de force 絕技)
RH: It's beautiful. It's just gorgeous. And it's powerful in a way that is not intellectual. You can't explain exactly why. Even when the words don't string together in a sentence that quite comes to a conclusion, there is so much power in just the way the words are assembled. It's amazing.
它很美妙，很華麗。在某种程度上很有力卻不顯聰明。你不能確切的解釋爲什麽。即使當句子裏的詞不連貫卻能得出一個結論，字句之間的組合使得它是這麽有力。很不可思議。
LM: Since re-reading it I can't get the phrase "quaquaquaqua" out of my head.
自從重新讀了它一遍之後，我無法擺脫腦中的"quaquaquaqua"這句短語。
RH: It apparently is based on a French word which means like facing in all directions. Not that anybody would know.
它顯然是基於一個法語詞彙意思好像是面向各個方向。不是每個人都會知道的。
LM: One explanation I read was that it was based on a Latin word meaning therefore.
我讀到的一個解釋是它是基於一個拉丁詞彙意思是所以。
RH: Interesting. Pozzo uses qua beforehand, "qua sky" but I think it's meant differently.
Pozzo: "Will you look at the sky, pig? (Lucky looks at the sky.) Good, that's enough. (They stop looking at the sky.) What is there so extraordinary about it? Qua sky. It is pale and luminous like any sky at this hour of the day. "
有意思。Pozzo會在句前用qua，“qua sky”，但是我覺得意思不一樣。
Pozzo: “豬，你要不要看一下天空？(Lucky擡頭看著天空.) 好，夠了。(他們停止看天空.) 那到底有什麽東西讓它這麽特別？作爲天空。它蒼白明亮就好像每天這個時候的另外每片天空一樣。”
There is this amazing workbook from the Berlin production that Beckett directed, I think it was in the late 70's. It has all of his notes on the show. It was an extraordinary and definitive production of Godot. Even he divides the speech up into four sections, it's really helpful.
有一本非常棒的手冊，是從Beckett執導的一部柏林作品中來的，我覺得是在70年代後期。上面有所有他對這部作品所作的筆記。它是一部非凡的且具權威性的<等待戈多>製作。他甚至把演説分成了四個部分，很有幫助。
LM: I noticed that it is the one speech in which he does not designate pauses, just one long speech with few breaks along the way.
我注意到那是那個他沒有標註標點，一路下來只是有幾個斷點的演説。
RH: Even "Not I" has dot dot dot (ellipses) so you can know when to breathe.
即使這樣，像“Not I”(不是我) 後面也有點點點（橢圓形的），所以你知道什麽時候換氣。
LM: In some ways studying Beckett is like delving into Shakespeare's words.
在某些方面，研究Beckett的戯好像是深入研究莎士比亞的語句。
RH: It is very similar in the way it expands when you speak it. You know, some things you get the logic of it, you understand the intention of the line and you say it, it and that's it, it doesn't go any deeper. With Shakespeare you find the more you speak it, the deeper and deeper it resonates within you. It's amazing.
當你念的時候,它詳述的方式很相似。你知道，有些東西你知道了它的邏輯，你理解了這句話的意圖，然後你念出來，就這樣，沒有更深的意味。而莎士比亞的作品，你可以發現，你念出來的越多，它和你產生的共鳴就會越來越深。很不可思議。
LM: Ever feel sorry for Lucky, he never gets to put down those damned suitcases...
有沒有同情過Lucky？他始終不能把那些該死的手提箱放下來。
RH: He does when he dances. When he falls.
當他跳舞和摔倒的時候他有放下來。
LM: ...and they are not full of sand.
…而且它們不是都裝滿沙子的吧…
RH: No. At least he is able to sleep. Some of the characters can't sleep. I'd love to be able to sleep everytime I hit the ground.
不是。但至少他能睡覺。有些角色不能睡覺。我很高興每次躺地上都能睡覺。
LM: Beckett's authorized biography was titled Damned to Fame, it is said that he despised notoriety, didn't like it very much. Do you relate to that at all?
Beckett的授權傳記題爲Damned to Fame（被詛咒了而成名），是說他鄙視名聲，不是很喜歡它。這點和你有相像嗎？
RH: Of course, I would hate being famous.
當然。我還蠻討厭成名的。
LM: What else can be said about this production, what haven't we covered?
對於這部作品還有什麽可以說的，有什麽我們還沒談到嗎？
RH: I hope the audience finds it as amazing as I have. I haven't had to rehearse for a few days because they have been working on Act II before I enter, but we ran Act I last week and I just can't get over this play. The humanity in it just kills me. For example when the boy entered - it was the first time I saw the end of Act I - it just touched me so deeply. I find it so heartbreaking, but comforting, too. I find the humanity in it to be the most rewarding (aspect), there's no sentimentality. I don't find it...cynical. I think some people just think of it as being so bleak, but there is such humor and life and humanity in it.
我希望觀衆能像我一樣喜歡它。我這幾天沒有去彩排，因爲他們在我開始之前演Act II，上週我們公演了Act I, 我無法忘記這部戯。劇中的人性對我衝擊很大。比方説當那個男孩進場的時候-這是我第一次看Act I 的結尾-它深深的觸動了我。我覺得它是這麽悲傷，也很安慰。我覺得劇中的人性化描寫是最值得看的方面，沒有什麽多愁善感。我不覺得它憤世嫉俗。我發現有些人覺得它很淒涼，但其中也有很多幽默、生命和人性的元素。
LM: It faces the facts.
它面對真相。
RH: Yeah. I feel like the fact that he honestly just faces the facts of the human existence, is what makes it so, so earned, the humor and everything.
是的。我感覺他真誠地面對人類存在的事實這方面使這一切都很值得，那種心情等等。
LM: I took a couple of pictures of the set under construction, and it too looks pared down to its simplest possible form.
我拍了幾張正在修建中的布景的照片，而且它也看上去簡單到了可能的形式的極致。
RH: Oh yeah?
哦？是嗎？
LM: I tried to find the tree under construction, and see you have one here...
我設法找正在修建中的樹，看見你這裡有一棵。
RH: A fake one. I'll have to walk over there and see how it is coming.
這棵是假的。我得過去看看那裏進行的怎麽樣了。
LM: It's a great day to do that. But you have a rehearsal soon, right?
今天做這個正合適。但是你馬上要彩排了是嗎？
RH: Exactly.
對。
LM; Well, thank you for sharing your insights.
那，謝謝你分享了你的觀點。
RH: You're welcome.
不客氣。
[ 本帖最后由 ziggy19 于 2008-9-4 14:29 编辑 ] |
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