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托福TPO/Official 75 Lec3听力原答案解析-音频翻译【新东方在线】

旁白：来听一段表演课上的讲座内容。

Narrator: Listen to part of a lecture in an acting class.

教授：好的，正如你们从课程描述中已经了解到的，这门课会教你们表演的基础知识。

Professor: Okay.As you already know from the course description, this class is going to teach you the fundamentals of acting.

但在我们开始学习任何技巧和练习之前，这个学期你们在这儿要学的是所谓的“方法派表演”。

But before we get into any techniques and exercises, what you're going to be learning in here this semester is what's known as method acting.

你们中有多少人听说过方法派表演？好的，几乎所有人都听说过。

How many of you have heard of method acting? Okay, almost all of you.

好的。谁能告诉我什么是方法派表演？没人知道吗。唐娜，你来说说什么是方法派表演？

Okay. Who can tell me what method acting is? Nobody. Donna. What's method acting?

学生：我不确定。嗯，不过我觉得它是一个叫圣·斯拉夫斯基的人发明的。

Student: I'm not sure. Uh, but I think it was invented by a man named St. Slafsky.

教授：好的，这算是个开始。方法派表演通常与一个叫康斯坦丁斯坦尼斯拉夫斯基的人有关。

Professor: Okay, that's a start. Method acting is usually associated with a man named Constantine Stanislavsky. 

圣·斯拉夫斯基并没有直接发明方法派表演。

Stanislavsky did not directly invent method acting.

事情是这样的，他1863年出生于俄罗斯，他开创了一种系统化的表演方法，也就是著名的“斯坦尼斯拉夫斯基体系”。

The story is he was born in Russia in 1863, and he developed a systematic approach to acting that became known as the Stanislavsky system.

在斯坦尼斯拉夫斯基之前，表演意味着忘记自己，去假装成另一个人，而且这种假装是通过一些特定的惯例来实现的。

Before Stanislavsky acting meant forgetting about yourself and pretending to be someone else, and you pretended by using certain conventions.

如果一个演员想表现角色的强烈复仇情绪，他会握紧拳头、跺脚。

If an actor wanted to show this character wide revenge, he'd shake his fist and stomp his feet.

或者，嗯，如果一个女演员想表现角色陷入爱情，她会双手按在心上，诸如此类。

Or, uh, if an actor wanted to show that her character was in love, she'd put her hands over her heart and so on.

但斯坦尼斯拉夫斯基开创了一种不同的方法，一种心理学层面的方法，演员在表演时必须运用自己的性格、自己的经历和情感。

But Stalowski developed a different approach, a psychological approach where actors had to use their own personality, their own experiences and emotions when they were performing.

这一原则成了现在所说的方法派表演的基础。

And that principle became the basis for what is now known as method acting.

事情是这样的，早在20世纪30年代，美国的表演老师听说了斯坦尼斯拉夫斯基体系，他们对此印象非常深刻。

What happened was that starting back in the 1930s, acting teachers in the United States heard about the Stanislavsky system, and they were very impressed by it.

于是他们对其进行了改编，并开始在自己的课堂上教授。

And so they adapted it and began teaching it in their own classes.

这种经过修改的斯坦尼斯拉夫斯基体系就被称为“方法”或“方法派表演”。

And this modified version of the Stanislavsky system became known as the method or method acting.

实际上，方法派表演有好几种变体，但它们都基于斯坦尼斯拉夫斯基的理念，也就是演员在表演时必须挖掘自己的经历和情感。唐娜。

Actually, there are quite a few varieties of method acting, but they're all based on Stanislavsky's idea that actors have to tap into their own experiences and emotions when they're performing. Donna.

学生：但是，我的意思是，如果那个角色和我本人非常不一样呢？

Student: But what about, I mean, what if that character is really different from me?

我总不能就站在那儿表现自己吧，对吧？

I mean, I can't just stand up there and be myself, right?

教授：嗯，没错，你不能表现成来自密苏里州堪萨斯城的唐娜·史密斯，但你可以利用自己性格中的某些部分，自己经历和情感生活中的某些部分。

Professor: Well, no, you can't be Donna Smith from Kansas City, Missouri, but you can draw on certain parts of your personality, certain parts of your experience and emotional life.

关键是你要找到自己身上、自己生活中与角色及其生活相似的部分。

The key is you have to find parts of you, your life, that are analogous to those of your character, to your character's life.

学生：好的。但假设我要扮演一个非常勇敢的角色，比如她谁都不怕。

Student: Okay? But let's say I'm playing a character who's like really brave, like she's not afraid of anybody.

教授：嗯，我敢说，如果你好好想想，你能想到一些情境，比如在那种情境下，你会站出来对抗比你强大得多的人。

Professor: Well, I'd be willing to bet that if you thought about it, you could think of a set of circumstances where you'd stand up and confront someone who is much more powerful than you, for example.

假设你为了保护家人不得不那么做。

Suppose you had to do that to protect your family.

学生：嗯，是啊，但我会害怕，而我的角色不会害怕。

Student: Well, yeah, but I'd be scared and my character wouldn't be,

教授：好的。我跟你说。如果你把角色塑造成什么都不怕的样子，那表演会非常乏味。

Professor: Okay. Let me tell you something. If you portray your character as not being afraid of anything, it's going to be a very boring performance.

能打动观众的是看到一个吓得要死，但还是站出来做正确事情的人。

What moves an audience is to see someone who's scared to death, but stands up and does the right thing.

不管怎么说，那才是有感染力的。正是这种复杂性。

Anyway, that's inspiring. And it's that sort of complexity.

像你这样的真实人物所具有的复杂性，才能让表演生动起来。

The complexity of real people like you. That's what brings a performance to life.

学生：好吧，但如果剧本没说她害怕呢？我的意思是，我可以自己凭空加进去吗？

Student: Okay, but what if the script doesn't say that she's afraid? I mean, you can just invent that yourself.

教授：嗯，你不能想到什么就随便加进去，但如果它与剧作家的意图一致，那么你当然可以融入进去。

Professor: Well, you can't just invent anything that pops into your head, but if it's consistent with the playwright's intentions, yes, you can certainly incorporate that.

Student: You mean you can just change the words?

教授：不，不能改台词。你要做的是填补字里行间的内容。

Professor: No, you can't change the words. What you're doing is filling in between the lines.

斯坦尼斯拉夫斯基曾经说过类似这样的话：人们可以在家自己读台词。他们来剧院是为了感受字里行间的东西。

Stanislavsky once said something to the effect of, people can read the lines at home. They come to the theater to hear what's between the lines.

学生：所以您的意思是，观众可以通过她不说话时的肢体语言看出这个角色很害怕，

Student: So you mean like the audience can see that the characters are afraid by like her, her body language when she's not speaking,

教授：甚至在她说话的时候，也能通过她的语气或者肢体语言看出来？我们说的“字里行间”，并不是指字面上剧本一行台词和另一行台词之间的空隙。

Professor: Or even when she is speaking. Something in her voice or her body language. When we say between the lines, we don't mean literally between one line of the script and another.

我们指的是那些没有在演员台词中明确表述出来的东西。

We're talking about things that are not explicitly stated in the actors' lines.

比如，你的角色可能对另一个角色说“我恨你”，但从你说话的方式、语调以及肢体语言中，我们能知道你在撒谎。

For example, your character might say to another character, "I hate you," but from the way you say it, your intonation and your body language, we know you're lying.

明白吗？所以这个学期要记住，人们可以在家自己读台词。

Okay? So this semester, remember people can read the lines at home.

What is the connection between Stanislavski and method acting?

Why does the professor mention an actor shaking his fist and stomping his feet?

According to the professor, what is the fundamental principle underlying all varieties of method acting?

What does the professor imply when he says this:

What does the professor mean when he says this:

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