shadows

“好莱坞报道”“圆桌会议”原文+自制翻译 part 4

Who taught you the most?

谁教你们收益最多?

Cumberbatch:My first-ever teacher taught me extraordinary truth by literally line-reading Shakespeare at me, so I can read it like prose. My modern drama teacher opened the doors of American theater to me and the wonders of Mamet and Miller and Tennessee Williams; the whole raft of it. And then, beyond that, you get incredibly nuggets of wisdom -- about being present, about grounding a truth from within. I grew up doing a lot of stuff at school. I went from playing Titania, queen of the fairies, [in A Midsummer Night’s Dream] and Rosalind in As You Like It to playing Willy Loman [in Death of a Salesman] at age 17. So I had this huge kind of showing-off period.

Redmayne:But that’s the thing that drama schools and even schools did in England: You’re playing old people, women, from an early age and you’re pushing the boundaries, particularly in [repertory theater], when you were playing characters that sometimes weren’t your casting type.

本尼:我真正意义上的第一位老师,是通过一行一行地读莎士比亚作品来教我真理,所以我才能自然地读莎士比亚的句子。我的话剧老师让我了解了美国喜剧,教我发现领悟到Mamet,Miller和Tennessee Williams的完全魅力【注:Mamet马梅,即大卫·马梅,美国当代声誉卓著的剧作家、电影编剧。Miller米勒,即阿瑟·米勒,美国著名剧作家,著作有《推销员之死》等。Tennessee Williams田纳西·威廉斯,美国著名剧作家,著作有《欲望号街车》《热铁皮屋顶上的猫》等等。】。因此,你就可以令人难以置信地去挖掘那些智慧——关于活在当下,关于践行真理。我在从学校里学到的东西中逐渐成长,扮演过《仲夏夜之梦》里的仙后Titania,《皆大欢喜》中的Rosalind,到后来有扮演《推销员之死》里的Willy Loman,那时我17岁。我就有了这些可以赤果果炫耀一下的辉煌过去。

小雀斑:但是英国的戏剧学校甚至是其他学校都爱干一件事:当你在年轻的时候,你就要通过扮演老人、女人来拓宽自己的戏路界限,在由固定剧团定期换剧目的剧场中尤甚,这时你表演的角色有时根本不属于你能表演的类型。

 

What’s the most difficult character you’ve played?

你表演过最困难的是哪个角色?

Redmayne:My first professional play, playing Viola in Twelfth Night opposite Mark Rylance. Having had that experience, being able to play people so far from who you are, gives you a sense of where you can go. That’s the other thing: The [British] films that make it over here are often to do with heritage and legacy and history.

Spall:That’s very true, but Hollywood is a broad church. Never, never underestimate how much the British yearn to work in Hollywood. It’s not like, “Oh, darling, we just do it ’cause we’re slumming.” That’s a load of balls because most people, if they were given a play or a part in a Hollywood movie, would jump at it and they’d say, “You can stick Polonius straight up your arse.”

Hawke:Our system isn’t built to teach young people the craft. You know, Julia Roberts came to New York to do a play and of course the critics are gunning for her -- and of course she has no experience. It’s a difficult thing to excel [at], and yet we know there’s a lot to be learned from it because our whole culture is worshiping actors who come from this theater background.

小雀斑:我在我的第一次正式演出中扮演《第十二夜》的Voila,和Mark Rylance一起出演【注:Mark Rylance马克·里昂斯,英国著名演员,曾在话剧《第十二夜》中饰演Voila一角;在小雀斑大学时和他同台演过《第十二夜》。】。自从有了那次经历,你就能扮演与你截然不同的人了,它拓宽了你的领域,指引你表演的方向范围。还有另一件事,在好莱坞制作拍摄的英国电影一般都和遗产、传统和历史脱不了钩。

斯波:确实是这样的。但好莱坞就像广教派,永远永远都不会低估英国演员对想在好莱坞拍戏的渴望。并不是如传闻中所说的“亲爱的,我们这儿的行业经济大不如从前了,你快来好莱坞拍戏吧。”这些全是胡说八道。因为很多人如果得以有机会能在好莱坞的电影中得到一个角色,他们肯定会兴奋地飞上天了,然后会说:“你可以把波洛涅斯插进你的屁股里。”【注:Polonius波洛涅斯,《哈姆雷特》中的大臣。】

霍克:我们这儿的制度并非要教年轻人如何演戏,你知道的,当Julia Roberts【注:Julia Roberts茱莉亚罗伯茨,美国著名电影演员。】刚开始来到纽约表演时,那些评论人就开始炮轰她,因为她没有任何表演经验。人很难去精通一件事,我们也从一些事例中得知,我们的整个文化都艳羡那些有戏剧表演背景的演员。

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