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标题: 7.21有关Randy的一篇采访报道 [打印本页]

作者: xusuizi 时间: 2008-7-22 21:44 标题: 7.21有关Randy的一篇采访报道

http://www.berkshirefinearts.com ... se=Randy%20Harrison 主要是关于他最新舞台剧的情况,有他的照片

作者: 团长Alex 时间: 2008-7-22 21:51

去看看

作者: 团长Alex 时间: 2008-7-22 21:53

Randy Harrison Talks About Waiting for GodotExtended Rehearsals Underway at Berkshire Theatre Festival
by Larry Murray - 2008-07-21

Samuel Beckett

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.

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."

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.

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 vagie feeling that the solution to all the questions may finally arrive.

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.

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.

作者: 团长Alex 时间: 2008-7-22 21:54 标题: The Interview

LM: Glad to see you back in the Berkshires. How are the rehearsals going?

RH: I've been here for four summers now, and I love it. I feel so lucky to be able to spend time here.

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.

LM: Did you bring any Beckett baggage with you?

RH: Nothing much beyond a love of it.

LM: The play can be a daunting challenge.

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.

LM: They say that Bert Lahr (who was in the original Waiting for Godot) didn't understand a line of what he was saying.

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.

LM: So how did it come to be that you got Lucky?

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.

LM: The NEA (National Endowment for the Arts) Grant is a precious gift of much needed development time for the production.

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.

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.

LM: have you thought much about Lucky's character? How are you approaching the role?

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 clling 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.

LM: In some ways there is more information about the character of Lucky than any of the others in Godot.

RH: The characters talk about him a lot more, like his drooling...

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.

RH: Right, he has been exhausted.

LM: So, are you off-book yet?

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.

LM: Have you looked up some of the unusual words like apathia, aphasia and athambia?

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.

LM: One analysis I read about Lucky is that he is a metaphor for Christ.

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 all of those things, you can only pick one to play.

LM: Are there any other Beckett works you would like to do?

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.

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?

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.

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.

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.

LM: I didn't see the production, but it is much discussed. Were you both on stage at the same time?

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.

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?

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.

LM: You did a stint  as Boq in Wicked on Broadway.

RH: Right. And I loved doing it. But I felt it shouldn't be forever.

LM: There are some videos of your performance in Wicked online, one taken from the mezzanine and one from the balcony.

RH: Isn't that illegal, violate copyright rules?

LM: Of course. They won't be up for long, I'm sure.  but than god for YouTube, you can see bits and pieces of great performers and performances that otherwise would never be in circulation....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?

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.

LM: Some people thought Ravenhill would emerge in ten years as the "new" 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 translate into English.

LM: Like who?

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.

LM: And the SITI Company, aren't they doing interesting things?

RH: They have a Radio Macbeth and then I think they may be doing The  Seagull.

LM: They have something in the works in the American Museum Cycle about the Berkshire's own Norman Rockwell, called Under Construction.

RH: I am interested in how they are going to approach that. He was a great artist.

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.

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.

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.

LM: It is quite a tour de force.

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.

LM Since rereading it I can't get the phrase "quaquaquaqua" out of my head.

RH: It apparently is based on a French word which means like facing in all directions. Not that anybody would know.

LM: One  explanation I read was that it was based on a Latin word meaning therefore.

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. "

There is this amazing workbook from the Berlin production that Beckett directed I think 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.

LM: I noticed that it is one speech in which he does not designate pauses, it is just one long speech with few breaks along the way.

RH: Even "Not I" has dot dot dot (ellipses) so you can know when to breathe.

LM: In some ways studying Beckett is like delving into Shakespeare's words.

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.

LM: Ever feel sorry for Lucky, he  never gets to put down those damned suitcases...

RH: He does when he dances. When he falls.

LM: ...and they are not full of sand.

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.

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?

RH: Of course, I would hate being famous.

LM: What else can be said about this production, what haven't we covered?

LM: 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.

LM: It faces the facts.

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.

LM: I took a couple of pictures of the set under construction, and it too looks pared down to its simplest possible form.

RH: Oh yeah?

LM: I tried to find the tree under construction, and see you have one here...

RH: A fake one.  I'll have to walk over there and see how it is coming.

LM: It's a great day to do that. But you have a rehearsal soon, right?

RH: Exactly.

LM; Well, thank you for sharing your insights.

RH: You're welcome.

作者: xusuizi 时间: 2008-7-22 21:54

还有一个链结http://community.livejournal.com/randyharrison/46724.html ,可惜我看不到

作者: 团长Alex 时间: 2008-7-22 21:54

虫子

要不要号召大家翻译？

作者: 团长Alex 时间: 2008-7-22 21:54

我用代理看看

作者: xusuizi 时间: 2008-7-22 21:57

有照片发上去啊

作者: 团长Alex 时间: 2008-7-22 21:57

tmd 代理上不了

我去找四四

作者: 叶上开 时间: 2008-7-22 21:58

不错不错~~~~　:s12

作者: zimo 时间: 2008-7-22 22:04

有中文翻译当然好啦，省的我这英文小白啥都看不懂:s09

作者: michelle22 时间: 2008-7-22 22:05

我可以打开后面的那个连接, 是关于RANDY和朋友在唱K的是照片.但是我不知道要怎么把照片传上去哦
我试试看

作者: michelle22 时间: 2008-7-22 22:08

谁可以告诉我怎么把图片传上去呢如果有人想看的话
我不晓得怎么传哦好象不可以直接从电脑上传哦
:s13

作者: 团长Alex 时间: 2008-7-22 22:10

你的因为权限不够才不能上传

用http://www.imageshack.us/相册吧

作者: 团长Alex 时间: 2008-7-22 22:12

lj的图片这里的不支持的

我早上试过了

要用相册外联

作者: crystal0303 时间: 2008-7-22 22:15

第一张明显老了。。。

作者: michelle22 时间: 2008-7-22 22:27

我不确定可不可以弄上去我试试哦跟他一起唱歌的都是这部play的演员

作者: Youmee 时间: 2008-7-22 22:28

照相的技术不好呢，照得Randy的脸都变形了.

作者: 叶上开 时间: 2008-7-22 22:36

"No One Knows" and "I Melt With You" ~~~~~~~　:s38

作者: michelle22 时间: 2008-7-22 22:40

果然岁月不饶人啊 RANDY也老了不少嘿嘿

作者: elingelingeling 时间: 2008-7-23 06:04 标题: 回复 20# 的帖子

算了。。。。照片还是不要上传拉（选好看的上传好了）。。看得我心酸呀。。。他和GALE怎么老是扮老成。。。要留胡子呢。。:s39

作者: yanshu210 时间: 2008-7-23 06:58

不服老不行啊:s11

作者: ziggy19 时间: 2008-7-23 07:57

要翻不？
加幾分...

作者: elingelingeling 时间: 2008-7-23 08:00 标题: 第一篇的翻译

Samuel Beckett

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.
Beckett的第一场主要的且成功的舞台剧是在1953年巴黎的一个小地方首演的，那时就象现在这么混乱。Berkshire戏剧节的表演是在少于122座次的，规模更小的Unicorn剧院进行的，它表演的是从7月29带8月23日《等待戈多》的戏。对于整场演出，只限定出售不足3000的票，而这将会是在夏季的Berkshire剧院的最火的票。
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."
Samuel Beckett 写的是一个多么陌生的但又熟悉的剧，对于某些来说充满了意义，但是坦白讲，它也有另一些人不满的地方。那些更喜欢传统剧的人经常来找麻烦，Vivian Mercier曾经概述过，“這是一場無意義的play，而且還演了兩次。”
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.
可能那是因为 Beckett打破了一切成规，把传统的剧场降至最低。布景是简约的，就象小径旁的枯树差不多了。情節的話...恩...真得也沒什麽情節.该剧表演的是只是两个无家可归，消磨时光的流浪儿等待着一个叫戈多的人回来的故事。那里的角色和剧情发展很少。最令人激动的一刻是Lucky 和 Pozzo出现了，带来了一瞬间的欢娱。这就象是你正坐在公园长椅上，只是盯着剧，什么也不做。不断的精彩，但是它都要表达什么意思？它一定要表达什么吗？至少打发了时间。
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 vagie feeling that the solution to all the questions may finally arrive.
不必说，那些先前就看过这个不可思议的剧的人将回来看另一场，他们希望这个作品将带来新的视角和对疑惑的解答。但是那里仍然只是一味地等待着戈多，這部劇沒有很多答案，只有懸而未決的問題.当然那有很多幽默的地方，一些歌技杂耍和一些戏剧的张力，甚至对自杀的暗示，和一个对于所有问题最终会迎刃而解的模糊的感觉。
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.
Randy很迷Beckett寫的劇，我求助演员Randy Harrison 来演，去了解戈多。这个优秀的演员在他7岁时就已经开始表演了，在他大学毕业后，他在SHOWTIME中的QAF里饰演JUSTIN后很快获得了成功和名望。这个连续剧持续了5季，共82集，他的（形象）在许多人的心中已根深蒂固。

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.
但是他一直在现场剧院很努力地工作，通过呈现那些另他能更好发挥他的才能的角色来累积经验，这是他与 Berkshire 戏剧节合作的第四个夏季。他扮演的是一个在《等待戈多》中叫做LUCKY的角色，这是他能获得的角色形成对比。我们和Harrison谈论着他即将来临的，正在彩排的剧作。它是在7.29到8.23演出。
PS：19，用你的火眼精睛帮偶看看，也许有翻译错误的地方。

[ 本帖最后由 elingelingeling 于 2008-7-23 11:25 编辑 ]

作者: ziggy19 时间: 2008-7-23 08:02

我出去吃飯先...
回來幫你看...

作者: elingelingeling 时间: 2008-7-23 08:04 标题: 回复 25# 的帖子

OK。。。:s05

作者: 行云流水 时间: 2008-7-23 08:06

多希望能亲临现场啊

作者: jiminstates 时间: 2008-7-23 09:07

谢谢翻译和消息！

试下贴图[attach]5780[/attach]

作者: jiminstates 时间: 2008-7-23 09:08

成功了！谢谢！

作者: 天空的深情 时间: 2008-7-23 09:29 标题: 回复 1# 的帖子

简介Waiting for Godot

1969年作品《等待戈多》获诺贝尔文学奖。
《等待戈多》是爱尔兰作家塞缪尔·贝克特于1952年创作的一部荒诞派戏剧，此剧贝克特获得1969年的诺贝尔文学奖。
全剧共分两幕，上场的人物共有五人：两个流浪汉——爱斯特拉冈（又称戈戈）和弗拉季米尔（又称狄狄），波卓和他的奴隶幸运儿，还有一个男孩。故事发生两个黄昏。爱斯特拉冈和弗拉季米尔在乡间小道的一棵枯树下焦急地等待戈多。第二天，他们又在原地等待戈多。戈多是谁？干什么？连他们自己也不清楚。他们就这样莫名其妙地等着，靠梦呓般的对话和无聊的动作消磨时光。在等待戈多的过程中，他们遇到了波卓和他的奴隶幸运儿，他们渴望戈多的到来能改变他们的处境。但戈多始终没来，接连两个晚上都是一个小男孩——戈多的使者前来传讯：“戈多先生今晚不来了，明天准来。”他们绝望了，两次上吊都未能如愿。他们只好继续等待，永无休止地等待。
法国作家加缪在《西西弗斯的神话》中曾写道，西西弗斯因为背叛宙斯，死后被罚每天要将一块沉重的石头，从平地搬往山顶。西西弗斯每日推石头上山，每当石头推到山顶就滚下来，于是西西弗斯又得重新将石头往山顶推，如此不休。人生的荒诞在此表露无疑。因此，荒诞派戏剧的精神内涵与存在主义哲学有着很密切的关系。存在主义的基本原理——终极价值已经没有，人必须为自己寻找理由在该剧中得到了很好的体现。两个主人公戈戈和狄狄已经成为了西方资本主义社会大机器下生产出的两个零部件，他们地位卑微，行为委琐，精神状态迷离恍惚，整日浑浑噩噩，他们生存唯一的目的就是等待戈多的到来，仿佛只要戈多到了，他们痛苦的生活就会结束，但生活的荒诞又只能让他们在一次次热切盼望中，等来的却是失望。两个人物没有特性，不具备戏剧作品中应有的性格特征，在他们的身上，我们看到的是当代西方社会一般大众的生存状态——徘徊在虚无缥缈的人生道路上，等待着不可知的命运，忍受着生与死的折磨。这两个流浪汉永无休止而又毫无希望的等待，表现了现代西方人希望改变自己的生活处境但又难以实现的绝望心理。剧中反复出现下面这段对白：
爱斯特拉冈咱们走吧。
弗拉季米尔咱们不能。
爱斯特拉冈为什么不能？
弗拉季米尔咱们在等待戈多。
戈多在剧中多次被提到，但全剧从始到终却从没出现过，所以，戈多就可以被理解为是西方人在精神迷茫的情况下的一种寄托，是即将掉入悬崖时抓住的一跟救命稻草，它很渺茫，有时使人绝望，人们认识到等待只能是无望而又无可奈何的等待。因为戈多根本不存在，戈多是人们为了安慰自己而编造出来的幻想。但是，人的一生也只是在等待，或许等待一件事物，或许等待一个人，甚至也有可能是死亡。等待戈多的过程便是荒诞的人生所经历的过程。

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
在西方美学史里被提到的，被重要介绍过的当代作品，可见它对当代西方的文学、戏剧的影响非同小可。

作者: qdcofly 时间: 2008-7-23 09:34

我们的小J真的很热爱舞台剧,可是多多少少也演点电视剧或电影啊, 可怜我们这些只能看照片过瘾的J迷

作者: elingelingeling 时间: 2008-7-23 09:42 标题: 回复 31# 的帖子

希望Gale和Randy有再一次合作。。。演什么都行。。。。当然要演情侣呀。。。:s05 :s05
I AM PRAYING！！

作者: elingelingeling 时间: 2008-7-23 09:52 标题: 回复 30# 的帖子

哦，现在才知道原来中文叫《等待戈多》，偶以前看过。。。是一个很有深度的作品。。。果然只有我们家的Randy才能演绎出如此高深的作品呀。。。
:s08 呼吁一下：有谁翻第二篇呀。。。。我最多再翻一半。。。因为太长了。。。:s09

作者: crazycat 时间: 2008-7-23 10:13

真开心．昨天上来看到Ｇ的消息．今天又看到Ｒ的照片了．其实我觉得是造型的问题，还有Ｒ那张照片看起来比较疲倦的样子．也没感觉老了哦．．
Ｒ穿紧身裤的样子真性感．:s41 想像那翘屁股（真想咬一口）:s31

作者: lulu_bj 时间: 2008-7-23 10:17

一上来就看到了小E的翻译，哎呀呀～～～让我说什么好呢，我只能大喊一声：小E，我爱你～！:s08

作者: 团长Alex 时间: 2008-7-23 10:19

小e真勤劳

我原本想翻的……

作者: lulu_bj 时间: 2008-7-23 10:20

团长大人，他还没翻完，你也翻一下嘛～～～:s47

作者: elingelingeling 时间: 2008-7-23 10:26 标题: 回复 36# 的帖子

团长，，要不第二篇一人一半好了。。。我前半段，，你后半段。。。OK？？:s12

作者: 团长Alex 时间: 2008-7-23 10:37

一人一句好不好

作者: 叶上开 时间: 2008-7-23 10:42

这里可不是文区接龙~~~~~:s02

作者: 团长Alex 时间: 2008-7-23 10:44

打酱油去

作者: elingelingeling 时间: 2008-7-23 10:47

算了，我快翻完另一半了。。。后一半谁翻呀。。。偶吃不消拉。。
偶突然想起孙楠唱的一首歌：19。。。你快回来。。。。把我们的翻译带回来。。。。:s26

作者: 团长Alex 时间: 2008-7-23 10:52

你再努力一下就行了

作者: 天空的深情 时间: 2008-7-23 10:58 标题: 回复 43# 的帖子

翻译这些很吃功夫的，他都是说一些自己的理解和感受及表演....看着那些英文就痛苦:s39

作者: ziggy19 时间: 2008-7-23 11:01

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.
Beckett的第一场主要的且成功的舞台剧是在1953年巴黎的一个小地方首映的，那时就象现在这么混乱。

play的話是說首演,電影、電視是首映

... as Vivian Mercier once summarized, "An evening of theater in which nothing happens, twice."
Vivian Mercier曾经概述过，“剧院的夜晚有两次被打破了它原来的宁静。”

nothing happens...咋會事"打破了它原来的宁静"涅？他意思是:這是一場無意義的play，而且還演了兩次.

The plot is... well, there really isn't one. ... doing nothing more important than simply people watching.
这个情节。。well,那里其实不止一个情节。...没有什么比仅仅盯着剧来的重要了。

The plot is...well, there really isn't one. 情節的話...恩...真得也沒什麽情節.
doing nothing more important than simply people watching. 除了人們在觀看...其他什麽都沒做

Needless to say, those who have seen earlier productions of this enigma play ... But Waiting for Godot is always the same, there are few answers, just lingering questions. ...and some dramatic tension, even the suggestion of suicide. And a vagie feeling that the solution to all the questions may finally arrive.
不必说，那些先前就看过这个迷幻剧的人将回来看另一场，他们希望这个作品将带来新的视角和对疑惑的解答。但是那里仍然只是一味地等待着Godot，那里没有答案，只是一个逗留不去的问题。...和一些戏剧的张力，甚至对自杀的建议，和一个对于所有问题最终会迎刃而解的期待。

enigma play不是迷幻劇...只是說它很不可思議
Waiting for Godot...劇名
there are few answers, just lingering questions. 這部劇沒有很多答案，只有懸而未決的問題.
"dramatic tension 戲劇的張力" 翻譯得很好！the suggestion of suicide 對自殺的暗示；
And a vagie feeling...我覺得作者把vague打錯成vagie了...
Randy Harrison

Having been bitten, bad, by the Beckett bug, I turned to actor Randy Harrison for help in understanding Godot.
（。。。？）我请演员Randy Harrison 来演，去了解Godot。

Having been bitten, bad, by the Beckett bug 意思是Randy很迷Beckett寫的劇
I turned to actor Randy...我求助於演員Randy...

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.
但是他一直在现场剧院很努力地工作，通过呈现那些另他能更好发挥他的才能的角色来赢得（earning his chops？），

earning his chops 累積籌碼,積累經驗吧；develop his craft 發展他的才能；

[ 本帖最后由 ziggy19 于 2008-7-23 11:13 编辑 ]

作者: hpl 时间: 2008-7-23 11:04 标题: 在他鬍子拉渣裡,我彷彿看到那個人的影子...

作者: 团长Alex 时间: 2008-7-23 11:18

我也看见了……

作者: elingelingeling 时间: 2008-7-23 11:27 标题: 回复 45# 的帖子

OK 。。。已更正。。。不过第二篇就靠你拉。。。哈哈:s04

作者: elingelingeling 时间: 2008-7-23 11:31 标题: 回复 46# 的帖子

我似乎看到了B大的影子。。。小J果然想B大想得日益憔悴呀。。。还模仿起大叔来了。。偶真是心疼捏。。。:s09 :s09

作者: ziggy19 时间: 2008-7-23 11:32

原帖由 elingelingeling 于 2008-7-23 11:27 发表
OK 。。。已更正。。。不过第二篇就靠你拉。。。哈哈:s04

working on it...

作者: 楚殇 时间: 2008-7-23 11:39

我真希望我现在在留学。。。
好想见一见真人啊~~~~~

作者: elingelingeling 时间: 2008-7-23 11:57

这个是那个blog里的主人写的,因为他有朋友是这个play里的所以他会知道这些消息.

In the photo where he and a young lady are seated in a booth and singing on a microphone, they are doing back up for a person on stage who is singing "Total Eclipse of the Heart"

The other songs he sang were "No One Knows" and "I Melt With You"

BTW, all the people he is singing and dancing with are BTF actors and personnel.

在照片中的是Randy和一年轻女士坐在棚里拿麦K歌，他们正在为一个站在台上唱“Total Eclipse of the Heart" 的人助威。
Randy其他唱的歌是"No One Knows" and "I Melt With You"
顺便说一句，和Randy一起唱歌和跳舞的人都是BTF（Berkshire Theatre Festival：Berkshire戏剧节）中的演员和职员。

[ 本帖最后由 elingelingeling 于 2008-7-23 12:04 编辑 ]

作者: ziggy19 时间: 2008-7-23 12:01 标题: 全文我開新帖了...歡迎惠顧...

全文我開新帖了...歡迎惠顧...

[ 本帖最后由 ziggy19 于 2008-7-23 19:47 编辑 ]

作者: jiminstates 时间: 2008-7-23 12:31

原帖由 天空的深情 于 2008-7-23 09:29 发表
简介Waiting for Godot

1969年作品《等待戈多》获诺贝尔文学奖。
《等待戈多》是爱尔兰作家塞缪尔·贝克特于1952年创作的一部荒诞派戏剧，此剧贝克特获得1969年的诺贝尔文学奖。
全剧共分两幕，上场的人物共有 ...

要是在10年前看这段文字，我会极不耐烦不理解，现在看，没有一句是不明白的，挖塞，我老了！！MD！
感谢深情！你的资料又及时又有用！

作者: 罂罂 时间: 2008-7-23 13:09

第一张~~那女的领口也开的太深了吧~~~
R的台风....只能说....很稳健

作者: elingelingeling 时间: 2008-7-23 13:12

[quote]原帖由罂罂于 2008-7-23 13:09 发表

第一张~~那女的领口也开的太深了吧~~~
只能用一个色字形容啊，趁大叔不在就吃他豆腐。。。。:s05

作者: elingelingeling 时间: 2008-7-23 13:15 标题: 回复 53# 的帖子

你才知道多呀。。这就是为什么我要翻第一篇的原因拉。。。呵呵:s34

作者: 罂罂 时间: 2008-7-23 13:15

太坏了~~裹着一编制袋出门~~

作者: elingelingeling 时间: 2008-7-23 14:10 标题: 回复 53# 的帖子

19。。。偶给个建议。。你把中英文的颜色分开来。。会看得舒服点。。。这样看有点花。。。:s45
不过都已经这么长了。。要改起来也麻烦。。。算了，已经不错了。。偶苛求了点。。。:s38

[ 本帖最后由 elingelingeling 于 2008-7-23 14:12 编辑 ]

作者: jiminstates 时间: 2008-7-23 14:39

原帖由 ziggy19 于 2008-7-23 11:01 发表

play的話是說首演,電影、電視是首映

nothing happens...咋會事"打破了它原来的宁静"涅？他意思是:這是一場無意義的play，而且還演了兩次.

The plot is...well, there really isn't one. 情節的話...恩...真得 ...

很精彩！感谢19大人和小E！
也感谢虫子大人发起的翻译热潮！

作者: 团长Alex 时间: 2008-7-23 14:40

大工程啊……

作者: xellous 时间: 2008-7-23 15:59

看到大家都有自己的事业其实也很好啊。
不过总觉得RANDY不可能进入主流的电视圈。

作者: elingelingeling 时间: 2008-7-23 16:14 标题: 回复 62# 的帖子

偶希望他们就这样默默的就好。。。娱乐圈太过复杂。。还是低调比较好呀。。。不进主流也好。。这样就不用活得那么累了。。。再说已经有一个那么经典的片能让人回味的已经比那些拍了N部却没有一部经典之作的人要好上很多。。。偶尊重他们的选择。。。GALE和RANDY再拍一部的话，。。偶一定双手双脚支持。。。:s18

作者: qqqq2046 时间: 2008-7-23 22:42

哎。。。。不服老不行啊。。。。。。偶说滴是偶滴电脑。。。。它崩溃了。。。。。

宝贝怎么瘦成这样了。。。哎。。。

宝贝去年也有唱"No One Knows"，他还真是爱这首歌啊:s39
去年的资料
http://randyharrison.myanyp.cn/c ... 59809&m=2865363

作者: michelle22 时间: 2008-7-23 22:54

从那张照片偶也看到某人的影子了
偶不喜欢他的发型哦感觉都不够青春了说
眼睛还是这么蓝这么漂亮的说~
:s17

作者: ziggy19 时间: 2008-7-23 22:59

原帖由罂罂于 2008-7-23 13:15 发表
太坏了~~裹着一编制袋出门~~

這個好笑

作者: ziggy19 时间: 2008-7-23 23:01

原帖由 qqqq2046 于 2008-7-23 22:42 发表
哎。。。。不服老不行啊。。。。。。偶说滴是偶滴电脑。。。。它崩溃了。。。。。

宝贝怎么瘦成这样了。。。哎。。。

宝贝去年也有唱"No One Knows"，他还真是爱这首歌啊:s39
去年的资料
http://randyharri ...

而且他的VANS好像穿了好久...

作者: qqqq2046 时间: 2008-7-24 21:44

原帖由 ziggy19 于 2008-7-23 23:01 发表

而且他的VANS好像穿了好久...

他有换鞋啦~~~~牌子还是VANS，颜色有换啦~~~看这里~~~~
http://randyharrison.myanyp.cn/c ... 59809&m=2865363

ziggy19你滴翻译，偶会放在上面偶滴网页哦~~~~

PS：偶不同意有些朋友说宝贝老了的说法，偶觉得宝贝现在的发型和裤子，有点EMO的味道哦~~~~~

宝贝开始装嫩喏哦。。。。装米国非主流。。。哈哈哈，开玩笑啦，只是巧合啦~~~

作者: lulu_bj 时间: 2008-7-24 22:11

"No One Knows"，Randy喜欢的歌呀~~~跑去找来听听~~~:s14

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