2017 考博英語 閱讀題源經濟學人文章每日精析（五十三）
考博英語閱讀大部分博士研究生招生院校都使用《經濟學人》雜志文章作為題源，旭晨教育考博頻道為考博生們將其中的文章進行深度分析，希望能提高大家的考博英語閱讀水平，讀懂長難句。
導讀
莎士比亞生活在封建制度開始瓦解，新興資產階級開始上升的大轉折時期。當時中世紀以宗教神學為代表的蒙昧主義思想走向沒落，資產階級以個人主義為中心的世界日益深入人心，人文主義在社會文化思潮中開始占據統治地位。莎士比亞以他的憂傷，大膽地批判了封建制度的殘酷黑暗及對人性的禁錮，強烈反映了新興的資產階級希望建立新型的社會關系和倫理思想的要求，為人文主義在英國和歐洲的傳播起了巨大的推動作用。
New York theatre
紐約劇院
Bard off-Broadway
外百老匯的莎士比亞之作
The stars align for a memorable production of “Othello”
演員們致力于著名的作品——《奧賽羅》
Dec 17th 2016
2016年12月17日
IF YOU see only one production of “Othello” in your lifetime, make it the one which is on at the New York Theatre Workshop (NYTW) until January 18th. Tickets sold out ages ago, but a cluster of hopefuls stand shivering outside before shows in case of returns. They are right to try.
如果你的一生只能看一次“奧賽羅”戲劇，那你一定不能錯過1月18日在紐約戲劇工作室所上演的那一場。它的門票早已售罄，但是在表演開始之前，有很多人站在寒風中瑟瑟發抖期待有人退票。他們的等待是值得的。
From the start, it is clear something is going on. The entire auditorium is plastered in plywood, with stadium seating arranged in the round. The set evokes an army barracks, with mattresses arranged in rows. Two men are already onstage before the play even starts, dressed like soldiers on break (camo shorts, chiselled muscles, shaved heads) and engrossed in the video-game “Guitar Hero”. If most productions of Shakespeare heighten how remote these works can feel by setting the action at a distant time in a distant land (a place where even American actors mysteriously sound English), this one, directed by Sam Gold, capitalises on the ways “Othello” is not just timeless but also timely. A tragedy about love, jealousy, war, ambition, race and rage, it feels startlingly appropriate in the world of today.
從一開始，很明顯有些事不大尋常。整個劇院大廳貼滿了夾板，觀眾席位設在舞臺中央兩旁。擺成一排排的床墊使人想起軍隊營房。在表演開始以前，舞臺上已站著兩個男人，他們穿得像休息中的士兵(他們穿著迷彩短褲，有著大塊的肌肉，留著光頭)，玩著游戲“吉他英雄”。如果大多數的莎士比亞戲劇都是通過將場景設置在久遠的時間和空間(在這樣的空間里，連美國演員的說話腔調聽起來也很英式)來凝造距離感的話，山姆.戈爾德導演的這一部則是利用了“奧賽羅”永恒而又合時宜的特點。這是一部關于愛情,嫉妒,戰爭,野心,種族和憤怒的悲劇,它是如此驚人地適用于現代社會。
This is Mr Gold’s first Shakespeare play. For a director who tends to collaborate with living playwrights on new work, this marks a departure. Mr Gold was eager for the challenge of a more formally rhetorical play, particularly if his experiment could be off-Broadway. “The smaller the audience, the easier it is for me to deliver the kind of performance that interests me,” he explains. Tackling the bard is “scary stuff”, he admits, but he has tried to treat “Othello” as if it were “a new play, without the burden of Shakespeare’s importance and the rules that come along with it”.
這是戈爾德第一次導演莎士比亞戲劇。他通常都是與現世劇作家合作新作品，因而這一次嘗試標志著一個分水嶺。戈爾德很想挑戰這樣一部更為正式的、文風更為華麗的戲劇，而且他的這次嘗試將在外百匯上演。“觀眾越少，我就越容易呈現出我所感興趣的表演，”他解釋道。
The 220-seat theatre’s small size means that too few people will see this production, but it also means the actors can afford to be subtle. Because they know everything they do can be seen and heard, their performances often sound more like talking than orating. Nearly everyone wrings out as much authenticity as possible from their lines. At times the actors are so at ease in their roles that it seems like they are departing from the original script. This is an illusion. The play has been trimmed slightly, but the text is unchanged (except that a rousing rendition of “Hotline Bling” replaces the original drinking song). The production runs for more than three hours, but it races by like a train hurtling towards its inevitable crash.
在一個只有220個席座的小劇院里上演這部劇作意味著只有很少的人能看到這部劇，但這同時也意味著演員們的表演可以做到精巧微妙。因為他們知道他們在臺上所做的一切都將盡收于觀眾眼底，所以他們的表演更像是對話而非演講。幾乎所有演員盡可能真實地演繹他們的臺詞。有時，演員們在角色塑造上十分隨心所欲，以至于給人一種背離原劇的感覺。這其實是一個錯覺。雖然這個劇確實被稍稍修改過，但文本沒有被改變(除了用激動人心的歌曲“電話響起時”替換原來的飲酒歌)。這個劇的時長雖為三個多小時，但是其節奏如同火車急速駛向不可避免的毀滅一般快。
Trimmed [trimd]：修整過的
Race [re?s]：疾行
The ensemble includes a few standouts. In yoga leggings and a cardigan, Rachel Brosnahan is a sweet and perceptive Desdemona; Finn Wittrock is a fine, strong-jawed Cassio; and Matthew Maher nearly steals all of his scenes as the otherwise marginal dupe, Roderigo. But the show of course belongs to the two stars: David Oyelowo as Othello and Daniel Craig as Iago (pictured). It is a marvel to see the raw talent of these masters up close, without the smoke and mirrors of the cinema.
在這部劇中有不少有名的演員參演。身著瑜伽緊身褲和羊毛衫的瑞秋.布羅斯納安飾演的是甜美、有感知力的苔絲狄夢娜;費恩.維特洛克飾演的是善良、方下顎的卡西奧;雖然馬修.馬爾飾演的是不太重要的角色羅德里格，他的表演卻十分的奪目。但是這場表演的焦點應該是這兩位主角：扮演奧賽羅的大衛.奧伊羅和扮演伊阿古的丹尼爾.克雷格(如圖上)。沒有了電影的矯飾，如此近距離觀看這些演員們絕妙的表演是一件極其美妙的事。
Mr Craig is a magnetic Iago, a thuggish weasel in a T-shirt and shorts who delivers his lines as comfortably as he breathes. Perhaps to subdue the glimmer of his celebrity (and evade the annoying habit of entrance applause), his first scenes take place in total darkness. This is an intriguing choice, which helps introduce the patter of Shakespeare’s poetry to the ear without the distraction of Mr Craig’s impossibly blue eyes. As for Mr Oyelowo, his transformation from a regal, self-assured soldier into a bloodthirsty creature undone by jealousy must be seen to be believed.
克雷格飾演的伊阿古是一個富有魅力且殘暴的卑鄙小人，身著體恤衫和短褲的他是那樣自然地念著臺詞如同呼吸一般。也許是為了隱去他的明星光環(和回避入場掌聲)，他的第一個場景設在黑夜中。這是一個十分有趣的決定，因為這樣可以讓觀眾專注于聆聽莎士比亞的詩，而不是把注意力放到克雷格迷人的藍眼睛上。至于奧伊羅，他成功演繹了從一個自信的皇家士兵蛻變成因妒忌而毀滅的嗜血生物的過程。
Subdue [s?b'dju?]：征服
Mr Oyelowo says he had long avoided playing Othello, deeming it a bit “too obvious” a role. But he was won over by Mr Gold’s plans to stage the play “in a world of now”. He adds that after a ten-year hiatus, it also felt like it was time to return to the stage. “Nothing gets you closer to the truth of storytelling than live theatre,” he says. “There’s nowhere to hide. If you’re not telling the audience the truth, you feel it. But when it works, it’s magical.”
奧伊羅說他一直避免飾演奧賽羅這樣的角色，他認為奧賽羅這個角色“太過角色化”。但他還是被戈爾德的計劃說服了，戈爾德計劃將這部劇置于“現代社會背景當中”。他補充說道，十年沉寂之后，是時候重返舞臺了。“沒有什么比戲劇更接近于故事的真相，”他說道，“真相無處藏身。即使你不告訴觀眾真相，你依舊能感受到真相的存在。但當真相開始顯現時，一切都變得不可思議。”
注意：本文歸作者所有，未經作者允許，不得轉載
