原文:http://mp.weixin.qq.com/s?__biz=MzU1MDQwNTgzMg==&mid=2247491381&idx=1&sn=799e4b2223670d448167da72c654dbb0&chksm=fba04c92ccd7c5848c57aa8a8587da1a8041e352f8bfa08872c5535e45a33ff9b98296e3bbb3#rd
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导读
《乱世佳人》女星奥利维娅·德·哈维兰
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听力|精读|翻译|词组
The ingénue who roared
咆哮的天真少女
英文部分选自经济学人20200808期逝者版块
Obituary: Olivia de Havilland
逝者:奥利维娅·德·哈维兰
The ingénue who roared
咆哮的天真少女
Dame Olivia de Havilland, the last great star of Hollywood’s Golden Age, died on July 26th, aged 104
奥利维娅·德·哈维兰爵士,好莱坞黄金时代的最后一位巨星,于2020年7月26日去世,享年104岁
On the first day of rehearsals for “Captain Blood”, in 1935, Olivia de Havilland and Errol Flynn returned their lunch trays together to the canteen. Already she had thought “Oh!” at the sight of him; but, being sensible, she had eaten alone at a distant table. Now they sat together on the stage ramp, by the huge doors that opened onto the street, and his first words were: “What do you want out of all this?” She answered, in her clear young English tones: “I would like respect for difficult work well done.”
1935年,《铁血船长》排练第一天,奥利维娅·德·哈维兰和埃罗尔·弗林一起将他们的午餐盘归还到食堂。她一看到他就心里惊叹“啊”;但她还是理智地选择了独自坐在远处的餐桌旁吃饭。现在他们一起坐在朝街的大门旁的舞台坡道上,弗林的第一句话是:“你想从这一切当中得到什么呢?”她用清脆充满朝气的英国腔回答道:“我想演好有挑战性的角色,并因此得到尊重。”
That sounded more modest than his aim, which was simply “success”. But it meant hard fights on several fronts. When she reviewed her proudest achievements later, they were not just her major role in “Gone With the Wind” in 1939 and her two Academy Awards for Best Actress, in 1947 for “To Each His Own” and in 1950 for “The Heiress”—still less her 49 feature films altogether. She had also broken the hold of Hollywood studios over their actors, leaving them freer to choose the roles they were best suited for.
这个答案听起来比弗林的目标要低调得多,而弗林的目标纯粹就是获得“成功”。但她的目标却意味着需要在方方面面进行艰苦的奋斗。后来当她回顾自己最自豪的成就时,这些成就可不只是1939年在《乱世佳人》中出演主要角色,以及凭借1947年《风流种子》和1950年的《女继承人》两次斩获奥斯卡“最佳女主角奖”,更不用说她出演过的49 部剧情长片。不仅如此,她还打破了好莱坞制片厂对于演员的控制,从而使演员们能够更自由地选择最适合他们的角色。
To some extent no one was free at Warner Bros in the Golden Age. She worked six-day weeks there, dressed, up on her lines and on the set by 6.30am, shooting until 6pm and until midnight on Saturdays. She once got a cameraman to blacken her eyes to show Jack Warner she was tired. That was hardly the worst of it, though. Because she was small and flawlessly beautiful she was inevitably an ingénue: the lovely and mindless girl, her pleading eyes harking back to silent-cinema days, who would lead the hero windingly but inevitably to the marriage bed. Warner Bros had one great dramatic actress, Bette Davis, and two ingénues, one blonde and one brunette. She was the brunette. And with a burst of menthol in her eyes, she could weep real tears.
在好莱坞的黄金年代,从某种程度上说,华纳公司里没有谁是自由的。她每周工作六天,早上6;30就得换好衣服,背好台词到达现场,然后一直拍摄到下午6;00。在周六则一直拍摄到午夜。她有一次让摄影师把她的眼睛拍摄得黑一些,好让杰克·华纳知道她累了。不过,这还不是最糟糕的。因为个头小又美得不可方物,她不可避免地总是扮演天真无邪的少女:可爱但却没头脑的姑娘,满是恳求的眼神让人回想起默片时代,令剧中主角即便历经曲折也必然与她步入婚姻殿堂。华纳兄弟公司旗下有一名伟大的演技派女演员贝蒂·戴维斯和两名花瓶式“天真少女”,一个金发,一个深色头发。哈维兰就是深色头发的那个。只要眼睛里薄荷脑的冲劲一上来,她就能真得哭出来。
From the start, this rankled with her. She wanted to play women who were complex and thoughtful, when the best she could hope for was spirited, wimpled Maid Marian in “The Adventures of Robin Hood” (1938). In “Gone With the Wind” (made for mgm, not Warner, after she pleaded with Warner’s wife) she went for Melanie Hamilton, dignified, loving and forgiving, rather than the flighty Scarlett O’Hara. There were deeply feminine qualities in her she wanted to explore. She did so largely by herself, after a good read of Stanislavsky’s “An Actor’s Work”; in costume as Melanie, she would keep going back to commune with her in the dressing-room mirror. One day, still struggling, she asked Jimmy Cagney for advice. “Whatever you say, mean it,” he snapped. She made sure she did.
这个定位从一开始就让她很懊恼。她想演复杂、有思想的女人,那时她能拿到的最好角色就是在《罗宾汉历险记》(1938年)中演那个戴着头巾充满活力的女仆玛丽安。在《乱世佳人》中,(这部电影不是华纳而是米高梅出品的,她向华纳夫人苦苦争取才有了出演机会),她本是奔着演庄重、体贴、宽容的梅兰妮·汉密尔顿去的,而不是轻浮的斯佳丽·奥哈拉。她想探究梅兰妮这个角色骨子里的的女性气质。她做到了,主要是靠仔细研读斯坦尼斯拉夫斯基的《演员的自我修养》之后的自我领悟。她会扮成梅兰妮,在更衣室对着镜子让自己回到影片中的年代,与梅兰妮进行交流。有一天,她自己始终(对角色)拿捏不定,便向吉米·卡格尼征求意见。他严厉地说:“不管你说什么,要带着真情实感。”她努力做到了这一点。
And she always had. To act had been her dream from the age of five, when she found her actress-mother’s make-up box and smeared her cheeks with rouge that would not come off. It grew steadily through the childhood elocution lessons, the Shakespeare-reading sessions and a local production of “Alice in Wonderland” in which she seemed to move in an enchanted world. (Her younger sister Joan, treading annoyingly on her heels, wanted just the same career and, as Joan Fontaine, got much of it, until their mutual snubbing became legendary.) Yet even after her big break, playing Hermia in Max Reinhardt’s “A Midsummer-Night’s Dream” at the Hollywood Bowl in 1934, to sign at once with a studio was terrifying. She was 18, and felt she was jumping off an Olympic diving board with no idea how to dive. That was before she found that pretty little women were hardly required to act.
她一直都说到做到。从五岁开始,做演员就是她的梦想。那时,她找到她做演员的妈妈的化妆盒,拿口红给自己涂了个大花脸,洗也洗不掉。这个梦想随着小时候的演讲课、莎士比亚阅读课和参演当地制作的《爱丽丝梦游仙境》而不断生长。而参演《爱丽丝梦游仙境》使她仿佛进入了一个迷人的世界。(而让她烦恼的是妹妹琼也亦步亦趋,以琼·芳登的名字进入了演艺圈,并且也很成功,一直到她们的嫌隙尽人皆知)。1934年在好莱坞的露天剧场,奥利维娅扮演《仲夏夜之梦》中的赫米亚,大获成功,是她事业的重大突破,但即便在这之后,马上与制片厂签约的做法却让她望而生畏。她那时18岁,觉得自己像是正从奥运会的跳水板上跳下,却完全不会跳水。那时,她还没发现,漂亮娇小的女人几乎不需要会演戏。
注:她在参加大学校内戏剧演出,即出演莎剧《仲夏夜之梦》时被导演Max Reinhardt看中,不但让她出演自己的戏,更把她推荐给了华纳兄弟。华纳兄弟娱乐公司的负责人看了她的试镜后,便和她签了一份长达七年的合约。从此,她作为该公司的主要演员踏入好莱坞影视圈。(来源:百度百科)
Almost as fast as Warner Bros kept offering her brainless work, she declined it. After all, her favourite pursuit was to do cryptic crosswords. But the studio had a hold on her. Each time she turned down a role her contract was suspended, and the days not worked were added as time owed. Infuriated, she took the studio to court in 1943 and won, as she was pretty sure she would. Henceforth, under the De Havilland Law of 1945, actors were employed for proper calendar terms and the studio stranglehold was ended.
华纳兄弟不断让她出演无脑的的角色,她都会一一拒绝。毕竟,她最大的爱好是(动脑筋)解开隐晦的字谜。但制片厂却牵制着她。她每拒绝一个角色,合同就会暂停,没有工作的日子会被加到欠制片厂的工作时间中。这激怒了她,1943年,她把制片厂告上法庭,并打赢了这场官司,她也确信自己能胜诉。此后,1945年的《德·哈维兰法》规定演员的雇用期按照日历时间计算,制片厂对演员的压制也随之结束了。
It was no coincidence that she did her best work after that. In “To Each His Own”, she played a mother trying over decades to retrieve the child she had given up, carefully changing her perfume to fix the character as she aged. In “The Heiress” she portrayed a woman who was shy and plain; scorned by her father and betrayed by her fortune-seeking lover, she took a calm, cold revenge on both of them. For “The Snake Pit” (1948) she became a wife sent by her husband to a mental asylum, striving to keep her dignity while assailed by inner demons. To research the role she consulted psychiatrists and visited a mental hospital to watch electric-shock treatment, with the horror of the body rising and forcibly held down. She knew just a little of constraint like that.
自此之后,她呈现了她最好的作品,而这并非巧合。在剧情片《风流种子》中,她饰演了一位母亲,历尽数十年想要夺回当年自己放弃的孩子。随着角色中母亲年龄的增长,她精心地地选用不同香水来贴合人物特征。在《女继承人》中,她饰演一位本来性格腼腆、相貌平平的富家小姐;因为父亲的蔑视和贪图钱财的情人的背叛,她冷静地对父亲和情人实施了无情的报复。在《毒龙潭》(1948)中,她饰演一位被被丈夫送到精神病院的妻子,一面饱受内心恶魔的折磨,一面努力维护自己的尊严。为了深入了解角色,她咨询了数位精神病医生,并到一家精神病院了解电击疗法,恐惧地看着病人身体弹起而后被强制压下。对于这种压制,她正好也有些体会。
She was alert to other curbs on her freedom, too. She avoided marrying her leading men, preferring to carry on discreetly with several, including Errol (unconsummated, she insisted, despite eight films together), Jimmy Stewart and John Huston. Instead she married writers, promptly divorcing them when mutual interest faded. In the mid-1940s, though ardently liberal, she resigned from the liberal Citizens’ Committee to protest against the leadership’s pro-Soviet line, and even informed the fbi secretly about them. No other voice or group should dare to speak for her, or use her.
她很警觉,也不愿意她的自由受到任何其它的限制。她不和她戏中的男主角结婚,宁愿小心翼翼地与其中几位交往,包括埃罗尔·弗林(虽然一起拍了八部电影,她坚称二人没有发生亲密关系)、吉米·斯图尔特以及约翰·休斯顿。她嫁的都是作家,且都在相互没有吸引力后就立即离婚。20世纪40年代中叶,尽管热衷于自由派,她还是从自由派公民委员会辞职来抗议领导层的亲苏路线,甚至向FBI告密。没有人或团体敢为她发声,或雇用她。
Her strongest bid for independence came in mid-life, when she left Hollywood behind. In 1955, having married a Frenchman, she went to live in Paris for the next 60 years. In her 19th-century mansion she would float about magnificently in Chinese silk and pearls, with a glass of Veuve Clicquot in her hand. Her screen work became rarer; she did not keep company with actors and directors, but with Voltaire and Monet. Real as she had made her characters, what she most loved now was actual authenticity: houses and churches made of stone, not canvas, and real princes to meet. On a visit to Beverly Hills in 1957 she bumped into Errol again, at a charity ball, and was surprised by the deadness of his eyes.
人到中年,她开始了对独立最强有力的争取,也在那时,她离开了好莱坞。1955年,她嫁给一位法国人,随后移居巴黎并在那生活了60年。她手持凯歌香槟,穿戴着中国的丝绸和珍珠饰品,华丽地在她那幢建于19世纪的豪宅中漫步。她的银幕作品减少了,陪在她身边的不再是演员和导演,而是伏尔泰和莫奈。她塑造角色时追求演绎真实,此刻最热爱的也是生活的真实:参观用石头砌成而非描绘在帆布上的房子和教堂,以及亲自面见真正的王子。1957年,她去贝佛利山时,在一场慈善舞会上碰巧遇见了埃罗尔,他眼神空洞,令她十分意外。
California stayed in her mind, however. She mused to Vanity Fair that if she could not come back to Earth as herself, a role she found perfectly satisfactory, she would like to be a redwood tree. Strong, deep-rooted, benevolent, tall— and reaching in unimpeded splendour for the sun, the moon and the stars.
但加利福尼亚一直在她的脑海中。在《名利场》的采访中,她若有所思地说:如果不能回到世间做真实的自己(而这个角色她完全满意),那她愿意成为一棵红杉树。树大根深、仁慈悲悯、参天耸立——一抬头便能领略太阳、月亮与星辰的无限壮丽。
翻译组:
Ronnie,动物保护主义者
Yvonne,努力中的口译新人
Sheri,坚信可以forever young的老年人
校对组:
Mona,悦读悦译,以译会友
Mosy,绘本、演讲、戏剧英文教育践行者
Rachel Zhang,学理工科,爱跳芭蕾,热爱文艺的非典型翻译
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观点|评论|思考
本次感想
Nikolai,热爱想象的小双鱼,蒙特雷候补生,AKB49
本期的主角是一名优秀的演员,巧合的是,本人也有几位大学时代的朋友走上了舞台剧演员的道路。他们个个都是独立性极强、很有表现欲的人,渴望在任何一部剧中留下属于自己的痕迹,常与导演、场务等背后的工作人员争论不休。似乎在他们看来,剧目能否成功并不重要,关键是自己要演得开心。华纳公司认为你只需要当个花瓶就够了,当个花瓶剧目就能成功,你演得开不开心并不重要。所以讣告主人反抗了这一体制,主动要求出演有思想深度的角色,甚至还将华纳告上法庭,并取得了胜利,实现了一次优秀的下克上。
说到下克上,就不得不提一提近年来的现象级职场日剧《半泽直树》。该剧以主角、银行家半泽直树和所供职的银行的不合理行为作斗争为主线,第一部12集的平均收视率达到45%,相当于全日本有一半的电视观众在收看该剧。“下属的功劳归上司所有,而上司的过错则由下属承担。”面对这样不合理的制度,以半泽为代表的下属通过不懈努力,实现了对银行的逆袭。同样,在半泽看来,银行这个组织并非一味遵从的对象,关键是“一、实事求是;二、为客户工作;三、与不公正战斗到底,无论对手是谁。”对半泽来说,银行和上司重要吗?当然重要,因为没有银行和上司,他就没有工作,没有战斗的平台;然而,关键是自己不能忘记当初为什么选择了银行家这条路,是为了帮助那些真正需要帮助的人。同理,对一位演员来说,剧目成不成功重要吗?当然也重要,因为如果剧目不成功,他们就没有表现的舞台,名气、金钱、成就感也就无从而来;可是,演出的关键在于保证剧目成功的同时,自己也要演得开心,不盲从,不忘记成为演员的初心,那就是享受演出,为观众、为自己呈现最真实的情感。
《半泽直树》之所以在日本、甚至在中国引起巨大的轰动,最根本的原因在于它弘扬的是正确的价值观,即工作不是为了上司和一己私利,而是为了实现自我和客户的最大价值。无论从事的是何种职业,只要决定自己这一生都要做这件事,有一种“啊,就是它了”的感觉,那不管战斗的对手是上司、是企业、还是比企业更大的事物,都要毫无惧色地战斗下去。《德·哈维兰法》签署成法,是讣告主人的胜利。就算失败,也可以抬头挺胸地说:我来、我战斗、我未死。
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愿景
小组
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