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[Free Talk] 《纸牌屋》中取自莎士比亚的九件事

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举报只看楼主使用道具楼主发表于: 2014-03-04 0

9 Things 'House Of Cards' Took From Shakespeare

It's no secret that Netflix's original series "House of Cards" is greatly influenced by Shakespeare. In fact, in an interview with The Baltimore Sun, Kevin Spacey (who himself has played Richard III, both in London and at BAM in Brooklyn, NY) said, “The great thing about the original series and Michael Dobson’s [sic] book is that they were based on Shakespeare. The direct address is absolutely ‘Richard III.’”

网飞公司的原初系列剧《纸牌屋》在很大程度上受到了莎士比亚作品的影响，这一点大家都已经知道了。事实上，在巴尔的摩太阳报的一次访谈中，凯文·斯贝西（他本人曾经在伦敦和纽约布鲁克林音乐学院扮演过理查德三世）说道，“关于这部原创剧集和麦克·道波森的书，其精彩之处在于它们立足于莎士比亚的作品。它直接致敬的绝对是《理查德三世》。”

However, for those of you who haven't quite made all the connections, here they are (SPOILER ALERT, obviously):
然而，你们有些人或许还没有弄清楚这期间所有的联系，那么请看下文（当然了，会有剧透，慎入）：

Frank's breaking of the fourth wall parallels "Richard III": Some of Shakespeare's characters break the fourth wall (they talk to the audience, indicated in Shakespeare's plays with the reference Aside:), notably Richard III and also Iago, the villain from "Othello." In many ways, this makes characters that are, essentially, villains, much more palatable to the audience. They say funny things and create a rapport with us. They make us feel like they're our close friends. But be careful! If you let your guard down, they might just stab you (or push you in onto a subway platform in front of a moving train).

弗兰克打破第四堵墙（演员表明知道观众的存在）模仿了《理查德三世》：
莎士比亚作品中的一些角色打破了第四堵墙（他们对观众说话，这一点体现在莎士比亚作品中正文旁有作者评论），尤其是理查德三世和埃古（莎士比亚剧作《奥赛罗》中的反面人物。在很多方面，这一行为会让角色（基本上是坏人们）更容易被观众理解接受。他们言辞滑稽搞笑，与我们产生和谐的关系，让我们觉得彼此是亲密的朋友。但是，小心！如果你放下戒备，他们也许会一刀刺死你（或是在行驶的列车前把你推下地铁站台）。

Frank, like Richard III and sometimes even Iago, is a likable villain: A character breaking the fourth wall, no matter what kind of crimes and murders he is committing, makes us feel like we are in his inner circle, like we are confidantes. Frank, Richard III, and Iago also make fun of all the idiots around them, and we don't want to be in that pool, do we? As Paula C. Blank notes in The Washington Post, "We can’t help but identify with him — because otherwise we’d identify with the fools."

弗兰克跟理查德三世以及埃古一样，是一个讨喜的恶棍：
他打破了第四堵墙，不管犯下怎样的罪责并实施了怎样的谋杀，都让我们觉得自己身处他的包围圈内，就像是他的同伙一样。这三人还会嘲笑他们周遭的傻瓜们，而我们并不想趟这趟混水，对吧？就像宝拉·C·布兰克在华盛顿邮报中写道的那样，“我们不禁会认同他的做法——因为不这样做，我们就会与傻子为伍了。”

There are major parallels between Claire Underwood and Lady Macbeth: Claire Underwood, like Lady Macbeth, is as power hungry, if not more so, than her husband. She, too, supports his rise to power by whatever means necessary. She, too, has no children (though in "Macbeth," there is one reference that Lady Macbeth might have formerly had a child, this child is not present in any way in the play, so it is likely that if there was a child, it died at a young age). She, too, is not particularly nurturing. She, too, is extremely scheming and cunning. She manages to turn what could have been a major media mess (admitting she had had an abortion on live TV) into a discussion about the prevalence of undisclosed rapes that happen in the army. We wonder if we will begin to see her unravel, as Lady Macbeth does.

There are major parallels between Claire and Frank Underwood's marriage and the Macbeth's marriage: The only people that Claire and Frank seem to care about other than themselves are each other. They really do seem to be in love (in our opinion). They support each other through thick and thin. They are open about their affairs. They calculate and plan together. And they both ultimately have the same goal: power.

克莱尔·安德伍德和麦克白夫人之间有一些重要的相似点：
克莱尔·安德伍德和麦克白夫人一样，对于权力的渴望绝不少于他们的丈夫。同样地，克莱尔为了支持丈夫得到权力的提升也会不择手段。她也没有孩子（虽然在《麦克白》里，曾经有提到麦克白女士之前也许有过孩子，不管怎么样，这个孩子没有以任何形式出现在剧里，因此我们可以猜测她曾经有过孩子，但是这孩子早早地去世了。）克莱尔也没有被悉心培养长大。她也一样极富于谋划和算计。她平息了本会成为媒体话题的骚乱（在电视直播上承认自己有过堕胎记录），使人们关注其如今盛行的发生在军队里的强奸行为，这些案件大多不了了之。我们好奇：她是否会像麦克白夫人一样完全奔溃。
克莱尔和弗兰克·安德伍德的婚姻与麦克白夫妇的婚姻之间也有一些重要的相似点：
除了自己之外，克莱尔和弗兰克唯一在乎的似乎只有彼此。他们似乎确是真心相爱（在我们看来）。他们互相扶持，风雨同舟，并不隐瞒彼此的风流韵事。他们一起谋划算计，并有着共同的终极目标：权力。

Frank's unrelenting quest for power is similar to that of Macbeth's: On several occasions, Frank mentions that he greatly desires power over money and despises people who are the other way around. This is very Macbeth-ian. He, also like Macbeth, is ruthless and willing to kill anyone who gets in his way.

弗兰克对权力的不懈追寻与麦克白相似：
在一些场合，弗兰克说过他对权力的渴望胜过金钱，并鄙视重钱轻权之人。这一点非常符合麦克白的特性。还有一点与麦克白相似的便是，弗兰克残忍无情，倾于毁灭一切阻碍他发展的绊脚石。

The president and Frank have a very Othello-Iago friendship: In the pilot of the series, Frank is extremely upset because the president decides to pass him over for the role of secretary of state, much like how Iago is angry because Othello passes him over for promotion and instead promotes Cassio. Though Frank smiles to the president's face, he secretly despises him. Now it seems possible that he could be trying to take down the president, as Iago does with Othello.

总统与弗兰克有着酷似奥赛罗与埃古的友情：
在《纸牌屋》的试映剧集中，因为总统决定将国务卿这一职位让给他人，弗兰克感到非常的沮丧，就像是埃古气于奥赛罗不给他升迁反而晋升了卡西奥一样。虽然弗兰克当面对总统表示微笑，但是他心里却轻视总统。现在看起来，似乎弗兰克扳倒总统也是有可能的，就像埃古对奥赛罗的所作所为一样。

Frank Underwood's solo visit to the church after Peter Russo's death mimics "Macbeth": In Shakespeare's "Macbeth," the title character is terrified when he sees Banquo's ghost in his seat at his dining room table (Banquo is his good friend who he has had murdered). While Frank Underwood isn't exactly terrified by a ghost, he does talk to Peter Russo's ghost when he visits a church after he murders Russo. The viewer never actually sees Russo, just as in many productions of "Macbeth," Banquo's ghost is only visible to Macbeth. It is also our only tiny glimpse of Frank experiencing any sort of remorse for his gruesome deed.

彼得罗素死后，弗兰克安德伍德单独奔走教堂模仿了《麦克白》：
在莎剧《麦克白》中，麦克白看到班柯的鬼魂坐在他餐桌的椅子上时大受惊吓（班柯氏麦克白的好朋友，被其谋杀致死）。尽管弗兰克并不那么畏惧鬼魂，他确是在谋杀了罗素之后于教堂对罗素的鬼魂说话。观众们并没有看见罗素，就像是麦克白里的许多场景一样，班柯的灵魂只有麦克白看得见。我们很难看见弗兰克对自己残忍的行为作出一些忏悔。

Claire hinting at an affair between the president and Christina is similar to Iago's hinting at an affair between Desdemona and Cassio in "Othello": Claire subtly mentions to the first lady that she doesn't like Christina because sleeping with her former boss (Peter Russo) was unprofessional. This plants the idea in the first lady's head that Christina might be sleeping with her own husband. Iago plants these same ideas in Othello's head regarding Othello's wife, Desdemona, and Cassio. Both Iago and Claire know that sometimes it only takes a subtle hint to unravel an entire relationship.

克莱尔暗示总统和克里斯蒂娜之间的暧昧感情，正如埃古暗示苔丝狄蒙娜和卡西奥之间的奸情：
克莱尔微妙地向第一夫人提出自己不喜欢克里斯蒂娜，因为克里斯蒂娜与自己的前任上司滚床单是非常不专业的行为。这些话在第一夫人的脑子里植下了一个执念，她认为克里斯蒂娜也许会同自己的丈夫上床。埃古也在奥赛罗的脑子里种下了相同的观念。埃古和克莱尔知道，曝光一段完整的感情只需要一些小小的暗示。

Just as "Richard III" is only nominally historical, "House of Cards" is only nominally about politics: Though "Richard III" is technically a historical play (Richard III was a real person, after all), you definitely don't have to be interested in history to enjoy it. It ends up being more about Richard III as a character than about his evil deeds. The same goes for "House of Cards." We were initially hesitant to watch it, as we are not exactly intrigued by the details of the U.S.'s political system. However, the show is way more about the characters and their interactions, mainly Frank's, than it is about the day-to-day in the White House.

就像《理查德三世》只是表面上是历史剧一样，《纸牌屋》也只是单有政治剧之表：
虽然《理查德三世》从专业的角度来说是一部历史剧（理查德三世终究是历史上的真实人物），但并不是只有对历史感兴趣的人才能尽情享受这部剧。最后，剧本更关注的是理查德三世这个角色而不是他的罪行。这对纸牌屋来说也是一样的。一开始，我们会犹豫要不要看这部剧，因为我们对美国政治体系的细节并无多大兴趣。然而，这部剧集所讲述的远不仅是白宫的日常工作，而更多的是角色和他们之间的互动（主要是弗兰克的）。

[ 此帖被搁浅七夜在2014-03-04 17:08重新编辑 ]

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