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
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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.

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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.

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

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虫子


要不要号召大家翻译?

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我用代理看看

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有照片发上去啊

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tmd 代理上不了

我去找四四

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不错不错~~~~ :s12

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有中文翻译当然好啦,省的我这英文小白啥都看不懂:s09

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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

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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

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你的因为权限不够才不能上传

用http://www.imageshack.us/相册吧

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lj的图片这里的不支持的

我早上试过了

要用相册外联

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第一张明显老了。。。

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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







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.

[ 本帖最后由 michelle22 于 2008-7-22 22:31 编辑 ]

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照相的技术不好呢,照得Randy的脸都变形了.

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

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果然岁月不饶人啊 RANDY也老了不少 嘿嘿

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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

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不服老不行啊:s11

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要翻不?
加幾分...

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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 ]

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我出去吃飯先...
回來幫你看...

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