CharlieChaplin查理--卓別林(中英互譯)

1、最新 料推薦charlie chaplin查理 - 卓別林he wasbornin a poorareaof southlondon. heworehis mothersold redstockingscutdown foranklesocks.his motherwastemporarilydeclaredmad.dickens might have created charlie chaplins childhood. but only charliechaplin could have created the great comic character of the tramp, the

2、 littleman in rags who gave his creator permanent fame.他出生在倫敦南部的一個貧困地區(qū)。他穿的短襪是從媽媽的紅色長襪上剪下來的。他的媽媽一度被診斷為精神失常。狄更斯或許能創(chuàng)作出查理卓別林的童年故事，但只有查理卓別林才能塑造出了不起的喜劇角色“流浪漢 ”，這個使其創(chuàng)作者聲名永駐的衣衫襤褸的小人物。othercountries france,italy,spain,evenjapan haveprovidedmoreapplause(andprofit)wherechaplinisconcernedthanthelandofhisbirth.c

3、haplin quit britain for good in 1913 when he journeyed to america with agroup of performers to do his comedy act on the stage, where talent scoutsrecruited him to work for mack sennett, the king of hollywood comedy films.就卓別林而言，其他國家，如法國、意大利、西班牙，甚至日本，都比他的出生地給予了他更多的掌聲（和更多的收益）。在 1913年，卓別林永久地離開了英國，與一些演員

4、一起啟程到美國進行舞臺喜劇表演。在那里，他被星探招募到好萊塢喜劇片之王麥克塞納特的旗下工作。sadtosay,manyenglishpeopleinthe1920sand1930sthoughtchaplinstrampabit,well,crude.certainlymiddle-classaudiencesdid;theworking-class audiences were more likely to clap for a character who revoltedagainst authority, using his wicked little cane to trip it u

5、p, or aiming the heel ofhis boot for a well-placed kick at its broad rear. all the same, chaplins comicbeggar didnt seem all that english or even working-class. english tramps didnt sport tiny moustaches, huge pants or tail coats: european leaders and italianwaiters wore things like that. then again

6、, the tramps quick eye for a pretty girl had a coarse way about it that was considered, well, not quite nice by english1最新 料推薦audiences thats how foreigners behaved, wasnt it? but for over half of hisscreen career , chaplin had no screen voice to confirm his british nationality.令人遺憾的是， 20 世紀二、 三十年代的

7、很多英國人認為卓別林的“流浪漢 ”多少有點 “粗俗 ”。中產(chǎn)階級當然這樣認為。勞動階層反倒更有可能為這樣一個反抗權勢的角色拍手喝彩：他以頑皮的小拐杖使絆子， 或用皮靴后跟對準權勢者肥大的臀部踢一下。盡管如此， 卓別林的滑稽乞丐形象并不那么像英國人，甚至也不像勞動階級的人。 英國流浪者并不留小胡子，也不穿肥大的褲子或燕尾服：歐洲的領導人和意大利的侍者才那樣穿戴。另外， “流浪漢 ”瞟著漂亮女孩的眼神也有些粗俗，被英國觀眾認為不太正派 只有外國人才那樣， 不是嗎？而在卓別林大半的銀幕生涯中，銀幕上的他是不出聲的，也就無從證明他是英國人。indeed, it was a headache for c

8、haplin when he could no longer resist the talkingmovies and had to find the right voice for his tramp. he postponed that day aslong as possible: in modern times in 1936, the first film in which he was heardas a singing waiter, he made up a nonsense language which sounded like noknown nationality. he

9、 later said he imagined the tramp to be a college-educated gentleman whod come down in the world. but if hed been able to speak with aneducated accent in those early short comedies, its doubtful if he would have achieved world fame. and the english would have been sure to find it odd. no one was cer

10、tain whether chaplin did it on purpose but this helped to bring abouthis huge success.事實上，當卓別林再也無法抵制有聲電影，不得不為他的“流浪漢 ”尋找 “合適的聲音 ”時，他確實很頭疼。他盡可能地推遲那一天的到來：在1936的摩登時代里，他第一次在影片里發(fā)聲唱歌。在片中，他扮演一名侍者，滿口胡言亂語，聽起來不像任何國家的語言。后來他說， 他想象中的 “流浪漢 ”是一位受過大學教育，但已經(jīng)沒落的紳士。但假如他在早期那些短小的喜劇電影中能操一口受教育人的口音，那么他是否會聞名世界就難說了，而英國人也肯定會覺得這

11、很“古怪 ”。沒有人知道卓別林這么干是不是有意的，但這促使他獲得了巨大的成功。he was an immensely talented man, determined to a degree unusual even in theranksofhollywoodstars.hishugefamegavehimthefreedom and,more2最新 料推薦importantly,themoney tobehisownmaster. healreadyhadtheurgetoexplore and extend a talent he discovered in himself as he

12、went along. it cantbe me. is that possible? how extraordinary, is how he greeted the first sight ofhimself as the tramp on the screen.他是一個才能非凡的人，他的決心之大甚至在好萊塢明星中也十分少見。他的巨大名聲為他帶來了自由，更重要的是帶來了財富，他因此得以成為自己的主人。在事業(yè)發(fā)展之初，他就感到一種沖動要去發(fā)掘并擴展自己身上所顯露的天才。當他第一次在銀幕上看到自己扮演的“流浪漢 ”時，他說： “這不可能是我。那可能嗎？瞧這角色多么與眾不同啊！”but that

13、 shock roused his imagination. chaplin didnt have his jokes written intoa script in advance; he was the kind of comic who used his physical senses toinvent his art as he went along. lifeless objects especially helped chaplin makecontact with himself as an artist. he turned them into other kinds of o

14、bjects.thus,a brokenalarmclockinthemoviethepawnbrokerbecamea sickpatient undergoing surgery; boots were boiled in his film the gold rush and their soles eaten with salt and pepper like prime cuts of fish (the nails beingremoved like fish bones). this physical transformation, plus the skill with whic

15、h he executed it again and again, is surely the secret of chaplins great comedy.這種震驚喚起了他的想象。卓別林并沒有把他的笑料事先寫成文字。他是那種邊表演邊根據(jù)感覺去創(chuàng)造藝術的喜劇演員。沒有生命的物體特別有助于卓別林發(fā)揮自己藝術家的天賦。他將這些物體想象成其他東西。因此，在當鋪老板中，一個壞鬧鐘變成了正在接受手術的“病人 ”；在淘金記中，靴子被放在鍋里煮，靴底被蘸著鹽和胡椒吃掉，就像上好的魚片一樣（鞋釘就像魚骨那樣被剔除）。這種對事物的轉化，以及他一次又一次做出這種轉化的技巧，正是卓別林偉大喜劇的奧秘所在。he a

16、lsohad adeepneed tobeloved andacorrespondingfearofbeingbetrayed.thetwowerehardto combineandsometimes as inhisearlymarriages thecollisionbetweenthemresultedindisaster .yeteventhispainfully-boughtself-knowledgefounditswayintohis comiccreations.thetramp never loses his faith in the flower girl wholl be

17、 waiting to walk into the3最新 料推薦sunset with him; while the other side of chaplin makes monsieur verdoux, thefrench wife killer, into a symbol of hatred for women.他也深切地渴望被愛，同時也害怕遭到背叛。這兩者很難結合在一起，有時這種沖突導致了災難，就像他早期的幾次婚姻那樣。然而即使是這種以沉重代價換來的自知之明也在他的喜劇創(chuàng)作中得到了表現(xiàn)。 “流浪漢 ”始終沒有失去對賣花女的信心， 相信她正等待著與自己共同走進夕陽之中； 而卓別林的另

18、一面使他的凡爾杜先生， 一個殺了妻子的法國人， 成為了仇恨女人的象征。its a relief to know that life eventually gave charlie chaplin the stability andhappiness it had earlier denied him. in oona oneill chaplin, he found a partnerwhose stability and affection spanned the 37 years age difference between them,whichhad seemedsothreatenin

19、g,thatwhentheofficialwhowasmarryingthemin 1942 turnedto the beautifulgirlof17whodgivennoticeoftheirwedding date, he said, and where is the young man? chaplin, then 54, hadcautiously waited outside. as oona herself was the child of a large family with itsown problems, she was well prepared for the ba

20、ttle that chaplins life became asmanyunfoundedrumors surroundedthemboth and,later on, shewasthecenter of calm in the quarrels that chaplin sometimes sparked in his own largefamily of talented children.令人寬慰的是，生活最終把卓別林先前沒能獲得的穩(wěn)定和幸福給了他。他找到了沃娜奧尼爾卓別林這個伴侶。她的沉穩(wěn)和深情跨越了他們之間37歲的年齡差距。他們的年齡差別太大，以致當 1942年他們要結婚時， 新娘公布了他們的結婚日期后，為他們辦理手續(xù)的官員問這位漂亮的 17 歲姑娘： “那個年輕人在哪兒？”當時已經(jīng) 54歲的卓別林小心翼翼在外面等候著。 由于沃娜本人出生在一個被各種麻煩困擾的大家庭，她對卓別林生活中將面臨的挑戰(zhàn)也做好了