shadows

“好莱坞报道”“圆桌会议”原文+自制翻译 part 6

Is it harder when you’re a star? The media picks on every single thing you do.

当你是明星的时候会不会更困难?媒体总是挑剔着你的一举一动。

Tatum:They pick on us all. And I’m talking about “us all” meaning pedestrians. Everyone gets picked on. I don’t think it’s just because we’re up on the screen.

塔图姆:他们挑剔着我们所有人。我说的“我们所有人”是指在生活中行走的所有人。每个人都被盯上了。我并不认为单单只是我们在荧幕上活动的人。

 

Do you like being a star?

你享受成为明星吗?

Tatum:I don’t really look at it that way. I’ve been afforded a lot of opportunity in this world and I’ve tried to walk through every door that I’ve been given, and some of them have been great on the other side and other one’s haven’t.

塔图姆:我其实不会这样看待自己。我已经撞上了这个世界上的很多时机,也努力好好利用每一次的机会。其中有一些机会是非常不错的,而有一些却不是。

 

Which doors weren’t great?

哪一些是不好的呢?

Tatum:The pressure of what school is projected as, when you’re growing up -- that going to college is the answer, and to me it wasn’t. I went and I didn’t get it. And I failed at it miserably. And I felt like a failure for it. And so I went and tried to find another door.

Keaton:That’s not a failure at all. To me, that’s a victory. He said, “I’m going to do what’s me.”

塔图姆:譬如学校的规程操作的压力。当人们成长,大学就是成长的答案。可对我而言却不是,我进了大学,却没有寻找到答案。我把它当做我的失败,并且摔得很惨。于是我便又试着寻找下一扇机会之门。

基顿:那绝不是失败。对我而言,那是胜利。他会说:“我要去做真正的我。”

 

Benedict, I’ve always felt you resist fame to some degree.

本尼啊,我一直觉得你多多少少都有点抵触名气。

Cumberbatch:There’s so many strands of it, aren’t there? If you mean being scrutinized in your public life, which isn’t your work; if you mean requirements of your time which distract your focus and your energy from what actually brought you to that point where you’re being distracted, that’s a complete Catch-22: The more work you do,the more attention there is. You try to escape by dissolving into work, and it keeps catching up with you every time you stop because it’s part of the process of work now, to publicize it. But I feel it’s just [about] getting used to it, and knowing how to play with that and have fun, which I do. I really do.

本尼:名气有太多牵绊了,不是吗?如果你是指被大家仔细审查自己的公众生活,而这又不属于你自己的工作范畴之内;如果你是指分散你注意力和精力的一些时间上的需求的话,那就是绝对的Catch-22:你工作得越多,获得的注意力也越多。【注:Catch-22,第22条军规;亦指“不可逾越的障碍”(美国J.Heller小说的书名)】 你想逃离,试着将自己融入工作中,而每停下工作,那些注意力都一直紧跟着你不放,结果现在宣传它都成为你工作的一部分了。但我感觉自己还是在试着去适应它,怎样平衡它又从中得到乐趣。这就是我试着做的,我真正在做。

Do you have a role model whose career you emulate?

你有一个想要赶上他的职业生涯的偶像吗?

Cumberbatch:We talked before the tape was running about Stephen Dillane’s Hamlet when I was 17. That had a massive impact on me -- the sort of essential, quiet, still truth of what he did. Nobody else was Hamlet but him.

Hawke:And then you saw mine!

Redmayne:I’ve never said this to you, Tim, but when I was a kid, one of the first things I saw was A Midsummer Night’s Dream at the National Theatre. Tim was playing Bottom, and it was all set in mud and there was a contortionist playing Puck, this woman.

Spall:I had a French-Canadian contortionist on my back when I was trying to do Shakespearen comedy. And it felt like hell. You’d go backstage and there were people wearing verruca socks, which are worn [to prevent] plantar warts, you know? It was in massive pile of water, and one day somebody came in and said, “You’ve not heard the latest. Someone’s done a poo in the mud.” I said, “What are you talking about? I’m lying in that before the audience comes in!” I went to the stage doorkeeper who had been there for years, wonderful women. I said, “You’ll never guess what I’ve just heard. You know the fairies who are all diving around the mud? Someone’s done a poo in it.” She said, “Oh, we’ve had a phantom shitter at the Royal National Theatre for years.” (Laughs.) Here’s a pantheon of the most brilliant classical actors in the world, and someone was dropping a log in the [mud].

Cumberbatch:I’ve worked in the National Theatre, but I haven’t poo there. I have peed there.

本尼:我们老早之前就说到了我17岁时看的Stephen Dillane版的哈姆雷特【注:Stephen Dillane斯蒂芬·迪兰,英国著名戏剧演员。】,这对我的影响绝对是巨大的。他所表现的要素、宁静还有不变的真实让我相信,在此之前没人可以是哈姆雷特,他就是哈姆雷特。

霍克:然后你又看见了我演的版本!

小雀斑:Tim,我以前还没告诉过你这个。当我还是个孩童时,我记忆中最早的一些事情其一就是在国家大剧院看《仲夏夜之梦》。Tim扮演的是Bottom【注:Bottom波顿,《仲夏夜之梦》中的织工,戏中戏饰皮拉摩斯。】,场景设定在泥浆之中,还有一个女性柔术演员扮演Puck【注:Puck派克,又名Robin Goodfellow好汉罗宾,被仙王派去寻洒花汁。】。

斯波:那时当我要表演莎式喜剧时,我就会背上这位法裔加拿大的柔术演员,那感觉真是糟透了啊。你走向后台,有人会在穿防疣袜,是为了避免脚底长疣,因为场景设定在巨大的水堆中。某天,有人进来就说:“你们肯定没听过这个最新八卦,有人在泥浆里拉了一泡屎。”我说:“说啥呢?我在观众来之前就一直呆在那里了啊。”我去找舞台的看门人,她是位人超级好的女士,我说:“你肯定猜不到我刚听了啥。你知道仙女们都会跳进泥浆周边吧?有人刚刚在里面拉了屎。”她说:“天惹,咱们在皇家国家大剧院里的幻影清屎器都存在多少年了。”(笑)这就是世界上最杰出的古典演员们的帕特农神庙,有人在泥里做了个记号。

本尼:我也在国家大剧院工作过,不过我可没在那里拉屎。我在那儿尿尿了。

“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Viola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。