原文:http://mp.weixin.qq.com/s?__biz=MzU1MDQwNTgzMg==&mid=2247491668&idx=1&sn=ca283a1d7d7f369dd6fbbde5115c7096&chksm=fba3b3f3ccd43ae5fcad3fbc680999bc5155ee1b04d7babede648662f5b04cc017ccef2cb9a8#rd
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导读
休息一下......
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听力|精读|翻译|词组
To be a king
成为王者
英文部分选自经济学人20200905期逝者版块
Obituary: Chadwick Boseman
逝者:查德维克·博斯曼
To be a king
成为王者
Chadwick Boseman, actor, died on August 28th, aged 43
查德维克·博斯曼,演员,于8月28日逝世,终年43岁。
As he slipped into each role, studiously, scene by scene, Chadwick Boseman kept one thought in mind. His character was a strong black man in a world that conflicted with his strength. It didn’t want him to be great; it tried to keep him down. But there was something in him, some particular talent, or obsession, or part of his past, that made him stand tall. That made him say, “No.”
当查德维克·博斯曼在一场又一场戏中潜心进入每个角色时,他心中只有一个念头:他扮演的角色是一个强大的黑人,却存在于一个对其力量充满了抗拒的世界里。这个世界不想让他伟大,而想让他低头,但是他身上的某种品质——某种特殊才能、或者迷恋,亦或他的一些过往——却让他昂首挺胸,让他说:“不!”
It was fitting, then, that the role he became most famous for was a tested but triumphant black king, T’Challa, in “Black Panther” in 2018. The film was a sensation. It tipped Hollywood on its head: a $1.3bn-grossing movie whose cast and makers were, almost to a man and woman, black. Black Panther (T’Challa’s moonlighting persona) had appeared in film before, but in the “Captain America” and “Avengers” series, among a crowd of white Marvel superheroes. Now he stood alone. In a white-focused world he ruled a country, Wakanda, that was more advanced than any other, both technologically and spiritually. Never colonised, never enslaved. He himself was both an acrobatic righter of wrongs and a ruler who was cool, stately, wisecracking and wise. Even before the film came out, schools were booking cinemas for pupils to see it. For him, as the lead, success was not just black children, in their Panther costumes, crying “Wakanda for ever!” and giving the crossed-arm salute. He had put in their heads the idea that they could be great. And he had also sown in little white heads the rare, enlightening thought: “I want to be him.”
2018年,电影《黑豹》中经受重重考验、最终获得成功的黑人国王特查拉是博斯曼最为著名的角色,而这一角色也与他最为契合。《黑豹》引起了轰动,成为好莱坞黑人电影的成功范例:票房总收入13亿美元,演员和制作团体几乎全部是黑人。黑豹(特查拉的另一身份)这个角色在之前的电影中也出现过,但都是在《美国队长》和《复仇者联盟》系列影片中,混在漫威众多的白人超级英雄中。如今,他是唯一的主角。在以白人为中心的世界里,特查拉统治着一个叫做瓦坎达的国家,瓦坎达在技术和精神上领先全球,从不殖民,也从未被奴役。特查拉自己既是武艺高强的匡扶正义者,也是冷酷高贵、风趣又睿智的统治者。甚至在《黑豹》上映之前,学校就在电影院订票让学生观看。对于主角查德维克·博斯曼而言,成功不仅在于黑人小孩穿着黑豹戏服,一边高喊“瓦坎达万岁”,一边交叉双臂致敬。成功更在于,他让黑人小孩萌生了这样的想法:他们也可以成为伟大的人。同时他也在白人小孩的脑袋里种下了珍贵的、启发性的念头:“我想成为他。”
Less obviously, his major roles before then had also made that point. All were men the world could not keep down. In “42” as Jackie Robinson, the first black player in modern Major League baseball, he struggled through white disdain, but always knew how good he was. In “Marshall”, as the lawyer who became the first black Supreme Court justice, he combined sharp clothes with a razor-sharp mind as he defended his innocent black client. And in “Get on Up” as James Brown, the firebrand singer who electrified music in the 1960s, he bowed to no prejudice but strutted through life, seizing what he wanted. All these were fighters in their way, as effective as Black Panther crouched on a speeding car to spring. Brown had that one-two step, then a punch like a boxer’s at the microphone. Marshall could floor a racist thug with one blow. Robinson would stand at the plate, ready, about to hit a homer that would shock the crowd into silence. Then cheers.
其实,查德维克·博斯曼之前的主要角色也表达过相同的观点,只不过没有这么明显。那些角色都是不向世界屈服的强者。在《42号传奇》中,他扮演美国职业棒球大联盟史上第一位黑人球员杰基·罗宾逊,演绎了罗宾逊忍受白人歧视,仍始终坚信自己实力的故事。在《马歇尔》中,他扮演的瑟古德·马歇尔律师后来成为了美国最高法院第一位黑人法官(我这里修改的原因是按照美国的司法管理,成为法官之后不再做律师,但是成为法官之前需要通过做律师来积累经验。所以 这部电影是截取的瑟古德做律师的一些片段,所以我认为翻译要把这两个时间段分开。)。(电影中)在为无罪的黑人委托人辩护时,马歇尔衣着考究,思维敏锐。在《激乐人心》中,他扮演震撼了20世纪60年代乐坛的歌手詹姆斯·布朗,再现了离经叛道的布朗不向偏见低头,努力寻找机会,昂首阔步走过的一生。博斯曼塑造的这些角色都是战士,就像蹲伏在疾驰的车上准备一跃而起的黑豹一样。布朗的特点是先是随节奏滑着舞步,然后像拳击手出拳一样准确地对着麦克风唱起歌来。马歇尔对种族主义份子准确出击,一击致命。罗宾逊站在本垒板旁,准备好击出一记本垒打,观众被惊得哑口无言,接着欢声雷动。
Each character he played left little bits in him, whether Brown’s sexy dance moves or Marshall’s liking for fine outfits. But Robinson taught him he should confront the world squarely, calmly, and think he was infallible. He had not been too good at doing that, in his past. Growing up in South Carolina, even well after the Civil Rights Act, he had been run off the road by rednecks, called “boy” and passed by trucks that flew Confederate flags. He had faced it, and failed at facing it. Now, in playing his characters, he could relive those things and respond in a different way.
无论是布朗性感的舞姿还是马歇尔对精致服装的热爱,查德维克·博斯曼扮演过的每个角色都在他身上留下了或多或少的痕迹。但是,罗宾逊教会他对待这个世界要坦荡而冷静,也要坚信自己的正确。之前,查德维克·博斯曼从未习惯这样看待自己。他在南卡罗来纳州长大,在那里,即便《民权法案》已经颁布了很久,他还是会被保守的当地人喊成“臭小子”赶出马路,还能见到插着南方邦联旗的卡车在他身边呼啸而过。他想从容面对但最终还是作罢。而现在,他可以在扮演的角色中重现这些情景,再以全然不同的方式回应。
注:
1. redneck: If someone describes a white man, especially a lower class American from the countryside, as a redneck, they disapprove of him because they think he is uneducated and has strong, unreasonable opinions. 红脖子,乡巴佬(尤指美国社会底层的乡下人,受教育程度较低,想法固执片面)(选自Collins)
2. boy, 在美国俚语中是白人对黑人的蔑称,“小子”,带有贬义。
3. Confederate: connected with the Confederate States (美国内战期间)南部邦联的
He prepared as thoroughly as possible. For “42” he spent weeks learning to play baseball like a pro. Mick Jagger helped him with “Get on Up”, teaching him how to tease and seduce an audience. He dug deep into the backstories of the characters, filling out their weaker sides and their humanity. It was important to walk in their shoes through the world. Black characters on screen were too often one-dimensional, as if they were second-class.
查德维克·博斯曼每次都为演绎角色竭尽全力,为了演好《42号传奇》的罗宾逊,他花了数周时间学习像职业球员一样打棒球。拍摄《激乐人心》时,他向米克·贾格尔学习怎样吸引、逗趣观众。他会深入挖掘各个人物的背景,丰盈人物的弱点,使人性更饱满。从每个人物的视角来体会这个世界尤为重要。此前黑人角色仿佛低人一等,荧幕上的角色都很单薄扁平。
Yet the fictitious role of T’Challa and his kingdom of Wakanda engaged him even more. This was a work of recovery, the celebration of a severed African past that belonged to all black people. Every part of it had to be properly done. It was he who insisted the cast spoke Xhosa, with its clicks and smacks. He found it beautiful and rhythmical, like ancient music. He helped devise the salute, which reminded him of tomb effigies of the pharaohs. (In 2016 he had played Thoth in “Gods of Egypt”, the one face of African descent among them, taking the part only because, without him, there would have been none.) For close combat he studied Zulu stick-fighting and Dambe boxing from west Africa. Costumes, sets and moves fused together different aspects of the continent he loved, a mixing and reconnection that went to his own roots: almost the moment he got the part, he had his DNA tested and found he was Yoruba from Nigeria and Limba from Sierra Leone. Last, he reinforced the film’s relevance by making T’Challa a peacemaker in the Mandela mould while his nemesis Killmonger, his abandoned cousin, was inspired by Malcolm X. That echoed a conversation he had long had with himself: forbearance, or violence.
然而,虚构角色特查拉和他的瓦坎达王国尤为吸引他。这是一部关于复苏的电影,是对分裂的非洲历史的礼赞,而非洲的过去属于所有黑人。电影的每一部分都必须准确无误。是他再三坚持演员一定要讲带着语调有着特殊吸气辅音的科萨语。他发现科萨语很像古代的音乐,优美而富有节奏。他联想到法老的墓像,协助设计了致敬动作。(2016年,他在电影《神战:权力之眼》中扮演唯一位非洲裔的神托特,只因若他不参演,便无其他演员承担此角色。)为了演好近身搏斗,他研究了祖鲁人的棍棒战和西非的丹比拳击。影片涉及的服装、布景以及动作都融合了他热爱的非洲元素,这样的融合及重新联系也带他找到了自己的根:在他快得到这个角色时,他进行了DNA检测,发现自己有尼日利亚的约鲁巴人及塞拉利昂的林巴人血统。最后,他把特查拉塑造成一位曼德拉式的调停人,让这部影片更具现实意义,而他的宿敌——被抛弃的表兄克尔芒戈这一角色则是受到马尔科姆·X的启发。这也呼应了他内心长久以来的挣扎:究竟是忍耐,还是诉诸暴力。
注:
马尔科姆·X:非洲裔的穆斯林人权活动家,原名马尔科姆·利特尔(Malcolm Little)。早年曾是不学无术的街头混混,后来在监狱中自学并加入黑人穆斯林组织,出狱后积极参加传教活动,为争取黑人的民主权利而斗争,与马丁·路德·金并称为20世纪中期美国历史上最著名的两位黑人领导人。与马丁·路德·金的非暴力斗争策略形成鲜明对比,马尔科姆主站沟通过暴力革命的方式获取黑人权利。其父亲厄尔·利特尔在公民权利问题上言辞激烈,在马尔科姆四岁时死于非命。他认为Little这个姓是美国白人强加给他们的,原姓是个未知数,于是改姓X。
The film’s huge success was difficult in one way. As an actor he worked at his craft by observing people. He had existed in the shadows, watching from a back table as he sipped a vegan smoothie or dined on Brussels sprouts. He liked to hide. Now people spotted him from the end of the street and chased after him, a star. But in all other ways success had to be good, well beyond the audience reaction. It showed the Hollywood moguls that a thoroughly black film was viable and bankable. It opened the way, or ought to, for substantial roles for more black actors. There were countless stories in their culture that had not yet been told. Or not by them.
在某种意义上,电影的巨大成功在某些方面也制造了难题。作为演员,他靠观察(各种各样的人)来打磨演技。从前他一直在身居幕后,一边小口抿着纯素奶昔或吃着球芽甘蓝,一边观察人们。他喜欢藏起来。现在,人们能从街头巷尾认出他这个大明星,并且四处跟随他。但除此以外,电影成功带来了方方面面的好处,也远远不止观众的反应。电影向那些好莱坞大亨证明,一部完完全全由黑人执掌的电影也是可行的、能赚钱的。这部电影的成功已经或者应该会为黑人演员担任重要的角色开辟了道路。黑人的文化里有数不尽的故事还未被道出。或者说,没有由黑人之口道出。
A storyteller was how he saw himself, part of an ancient tradition in both Africa and the West. When a friend had been shot dead in high school, writing a play about it seemed the best way to channel his emotions. Later, forging a path as an actor-director in New York, he wrote a hip-hop play on classic themes, “Deep Azure”, based on the shooting of a young black man by a black policeman. That victim, he explained, was not just another casualty lost to violence. He was a would-be leader, a would-be king.
他自视为一个讲故事的人,非洲和西方都有这个古老传统的角色。高中时,他的朋友被枪杀,他抒发感情的最好方式便是就此写一部剧本。后来,作为一名演员兼导演在纽约努力发展的时候,他以经典的“深邃天空”为主题,在基于黑人警察枪杀黑人青年的事件写了一部嘻哈音乐剧。他解释说,那位受害者不只是暴力的又一件牺牲品,而他本将会成为领袖,本将为王。
He was already a king in the public mind when his cancer took hold. He went on making films with as much vitality and as full a laugh as before. “Black Panther II” was on: he was in the Marvel teaser, regally striding as before. One of his last texts, to his white co-star in “Marshall”, urged him to inhale, exhale and enjoy the rare rain that was falling on Los Angeles. Fate was pushing him down, but he confronted it. For as long as he could, he said “No.”
罹患癌症时,他早已成为大众心里的王。他继续拍电影,像过去一样充满活力和欢笑。《黑豹2》开拍了:在漫威的前导预告里,他仍然是那个王者般阔步向前的黑豹。在他最后的短信中,有一条是发给他在电影《马歇尔》的白人搭档,搭档敦促他要呼气、吸气,好好享受洛杉矶珍贵的雨。命运压迫着他,但是他坦然面对。只要还有一丝力气,他都会说“不!”
注:
1. take hold: to start to have a definite effect 开始起作用,产生影响
2. teaser: 前导预告,广告
翻译组:
Ronnie,动物保护主义者
Alex,不务正业的理工男
Lixia,女,爱爬山的健身小白,美食狂人
校对组:
Fiona,口笔译小菜鸟,胡粉Lenka粉
Lee,爱骑行的妇女之友+Timberland粉
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
Vicky,少儿英语老师+笔译新人
过激?不过激?
“To be a King”,所有关于Boseman逝世的报道多少都有这样的形容。其实他本人跟什么皇族贵族血统是半点关系都没有的,为什么这么称呼?自然源自那部复联史上最高票房的《黑豹》了。
其实《黑豹》无论上映初还是上映后伴随着高票房的,一直都是巨大的争议。其中最大的争议,就是电影艺术是否献媚于政治正确?难道拼命强化黑人的元素,不是另外一种种族主义么?这一切是否过激?
其实这种类似的争议,我们最近听到了很多。
美国最近风起云涌的非裔族群集体抗议,就传出来推倒总统像,下架《飘》,抵制《老友记》,而被人质疑,种族过激。
大火的《乘风破浪的姐姐们》,由于最后一场总决赛请了一堆的男明星,引来网络疯狂吐槽,被质疑,文化过激。
《脱口秀大会》其中一期杨笠对男性的疯狂吐槽,也被质疑女权过激......
对呀,2020年已经这么乱了,为什么还要这么多的“过激”,为什么不能现世安稳,岁月静好......
《飘》是我言情小说的启蒙,对于我来说是救赎一般的存在,当我沮丧难过的时候,随手翻到梅兰妮为斯嘉丽痛骂邻里的话,总会让我感动于友情的伟大,看到瑞德为斯嘉丽费劲心力,又让我着迷于爱情的美好,这么伟大的书,要抵制到不能售卖?自然“过激”!
《老友记》是我的口语敲门砖,也是我生活的背景音乐,不记得听了多少遍,只知道那句“人生不如意,重看老友记”。这么美好的关于爱情、友情、亲情全方位进行诠释的电视剧,要被抵制到不能播放?自然“过激”!
虽然除了前两期,后面基本上就没有再对“浪姐”进行持续性的关注,可是我也觉得,一个总决赛,多请了几个男艺人么,节目组觉得OK,观众不想看到某位“好男人”,不看便是。群起挞伐到冲上热搜?太“过激”!
说实话,《脱口秀大会》里面杨笠是我喜欢的人之一(最爱的早已自我放弃,愿他不要自闭)。可是我也觉得她复联的段子比这次的要好很多,男人虽然万般不好,但“垃圾”?不至于不至于,“过激”!
可是......为什么?
为什么《飘》里面那么明显的对于南方黑奴制度的怀念和对3K党的同情,长时间以来没有引起讨论?(一直到电影《飘》上映的时候有被抵制和批判)
为什么强调多元化美国,最地道的美剧,《老友记》讨论了同性婚姻,婚内出轨,女性独立等等等等,对一切的人世间的事物、事情都充满了包容性,偏偏6位主演,整整10年间谈的无数次恋爱中,没有一个非裔族群,这真的难道只是巧合?还是某些偏见,普遍到无人觉得有异?
为什么撒谎卖人设,人设崩塌后“好男人”就可以上大火综艺,“污点”女艺人就连直播都要被骂到刷屏?
何为过激?有没有标准?我觉得是有的。
任何上升到个体的侮辱甚至暴力,无疑都是过激,我不支持一切暴力,无论是网络还是现实。可是关于一件哪怕是、尤其是我们已经习以为常的事情的广泛讨论,双向思考,难道不应该?难道也是过激?
前一段时间的大学顶替事件,舆论在受害者角度批判过一段时间后,发生了逆转,觉得“受害者”也没有那么纯洁无瑕,不是一个完美“受害者”,声援她的声音过于“过激”!于是舆论逆转,渐渐变为对“受害者”的批判与讽刺。不可笑吗?一件从制度到人性百分之百都出现问题的事件,最后被检讨最多的是那个百分之一百的受害者和声援她的声音。背后的强权呢?不公不义呢?制度漏洞呢?人性无耻呢?都躲在对于“过激”舆论的批判中,被轻轻放过了。
再往远一点儿说,早些年春节联欢晚会还真的可以“联欢”的时候,当家头牌自然是赵本山,可是赵本山是靠什么起家的?模仿盲人。靠着盲人算命,和一些特有神态的模仿,当做笑料,在全国人民面前播放,无人觉得不妥。当时被他逗笑的人中,也许也有盲人,社会对他们的调侃已经让他们自己都不觉得不妥,可是,你怎知那笑容中没有苦涩?
待到后来,民智渐开,越来越多的人觉得这种小品中存在的歧视是如此不妥,于是我们现在不要说是央视,普通卫视上面你也看不到这种以身障人士取笑为内容的节目。谁能否认这是社会的进步,可是当年第一个提出质疑的那个人,难道没有被批判“过激”?
作为一个幼少儿英语教育工作者,我很早以前就发现,英美很多绘本、教材中会有意识的把一群小朋友中安排一个小朋友是坐轮椅的,没有刻意点出,但是画面中坐在轮椅上的小朋友和其它孩子没有不同,一样一起玩游戏一起唱歌欢笑,如果不刻意观察你都不会感觉到那个孩子坐在轮椅上,可是如果是一个坐轮椅的小朋友,当他看到的一本绘本都是一些健康的孩子在一起欢乐游戏,另一本却告诉他,即使是坐在轮椅上也是可以和其他的小朋友玩在一起的,你觉得,对这个孩子而言,他会不会感觉到不同?
漫天大雨,落在我头上的才是雨滴。我们对事物的感知从来都是如此。从来没有什么感同身受,子非鱼,不要妄图揣测鱼之悲喜。只要不上升到人格的侮辱和暴力,我支持一切的理性讨论哪怕是适度的冲突。冲突、妥协、进步。我们社会就是这么前进的,你以为的习以为常岁月静好,怎知不是因为有人受尽委屈,暗自隐忍?
几千年的中华文明,奉若圭臬的一直是中庸,我们强调的是自扫门前雪,枪打出头鸟。也许加一些可爱的小“过激”,可以推动我们这位文明老者,缓步前行。
愿君一生,头角峥嵘,不负少年。
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