英译汉-论文1

The Designers

设计师们

Stage designing should be addressed to the eye of the mind.

舞台设计应该像心灵的眼睛

ROBERT EDMIOND JONES(1887-1954)

According to an old theatrical legend, a small, second-rate theatrical company once toured Ir eland with a production of Christopher Marlowe's The Tragical History of Doctor Faustus. The scri pt involves a medieval scholar who sells his soul to Satan for twenty-four years of power and eart hly delights.In the last scene time has run out for Faustus, and the jaws of Hell gape open before him. In a small town one evening, the play limped to its conclusion as the actor playing Faustus th undered through his last speech: Ah, Faustus,

根据一个古老的戏剧传奇，一个小型，二流的剧团曾参观了爱尔兰造成克里斯托弗·马洛的浮士德博士的悲剧性的历史。他剧本涉及一个中世纪学者为了二十四年的权力和世俗快乐把他的灵魂卖给了撒旦。在最后一幕中浮士德耗尽了时间，地狱之门在他面前打开。在一个小镇的一天晚上，演员扮演的浮士德雷鸣般驶过他演讲当作这蹩脚戏剧的总结：噢，浮士德,

Now hast thou but one bare hour to live. And then must be damned perpetually!

and so on to the closing lines:

My God, my God,look not so fierce on me! Adders and serpents, let me breathe awhile! Ugly hell, gape not!Come not,Lucifer! I’ll burn my books!Ah, Mephistophilis!

现在你只剩下一个小时的活头了然后要被永远的诅咒然后接下来写到：

我的神，我的神，看来对我不是那么苛刻！毒蛇啊，请让我再呼吸一小会！

丑陋的地狱！不要张大嘴！不要过来！撒旦！我会烧毁我的书！啊！梅菲利斯！

During the last four lines,Faustus started to sink below the stage soot, by means of an elevat or-like trap,into red lights suggesting Hell. Unfortunately the trap stuck about three feet down,lea ving Faustus's upper torso above stage level with no place to hide.The audience greeted this deve lopment with stunned silence,Then a beery voice from the top balcony roared out,”Hallelujah,boy s,Hell’s full!”

在最后的四句中，浮士德开始沉入道舞台下，面通过电梯，像陷阱，通过红灯来代表地狱，不幸的是，陷阱卡在了3英尺处，浮士德的上半身阶段以上无处可藏。观众对这一发展致以震惊的沉默。然后一个啤酒的声音从阳台咆哮：哈利路亚,男孩们,地狱的全部!

Anyone working in the theatre will amass a storehouse of such anecdotes about stage doors not opening,mustaches dropping off costumes splitting, scenery collapsing,curtains refusing to op en or close, lighting or sound effects coming at the wrong time, properties missing, and the like.T hese moments may offer great hilarity in retrospect, but they seldom amuse those involved. The cast sees hundreds of hours of work destroyed, and audiences feel uncomfortable as the compan y loses control of its production. Everyone anticipates a certain number of accidents during rehea rsals, when the people responsible can remedy them, but the live theatre allows for no out-takes.

在剧院工作的人会遇到一个仓库对阶段门不开这样的轶事，胡子从演出服上脱落下来，舞台布景崩溃，幕帘不能打开或关闭。灯光和音乐出现在错误的时间，道具丢失，诸如此类

的事情。回想起来这些时刻可能提供巨大的欢喜，但是他们很少有娱乐参与其中。演员们看到数百小时的工作毁于一旦，观众们就像公司失去了生产控制一样的不舒服。每个人都会预想在彩排中的大量失误。虽然人们可以弥补他们责任，但现实的剧场不予许NG。

Such accidents suggest the importance of designers and technicians in modern productions. Designers and technicians can contribute richly to the success of a production. In modern theatre the design and execution of scenery, lighting, costumes, properties,makeup, and sound effects h ave grown into fully developed professions and specialties. Examination of each can expand the t heatregoer's understanding and appreciation of the various designers' contributions.

这些事故表明了在现代生产中设计人员和技术人员的重要性，设计师和技术人员能够对成功的生产做出很多贡献。在现代剧场中的场景，灯光，服装，道具，化妆和声效的执行和设计已经成为了全面发展的职业和技术，审视每一个细节能扩展到戏迷的理解和不同设计师作出的贡献中去。

The Design Process

设计过程

Stage designers work for years creating a process that yields the best results during performance. Although the design process may differ from artist to artist and production to production, most d esigners agree there are several distinct phases to their creative process.As design theorist J. Mic hael Gillette has noted, these steps may include:

舞台设计师多年工作创造一个过程，产生最好的表现是在出结果的时候。虽然设计过程可能不同于艺术家对艺术家和产品对生产，大多数设计师同意在他们的创作过程有几个不同的阶段. 正如设计理论家J. Michael Gillette 指出的，这些步骤可能包括：

1.Engagement. The designer is appruachW with the possibility of

handling the project. A host of issue play out in the final decision, but the main influences tend to be both financial and artistic. if the designer decides to accept the Challenge of the position, he or she must commit all energies to the project.

约定设计师和处理方案的可行性。一系列问题发挥了最终的决定，但是主要的影响往往是金融和艺术，如果设计师决定接受这个职位的挑战，他或者她必须把全部精力投入到这个项目中去。

2.Analysis.The designer scours the script for information on the world of the play.Production style,concept,and thematic concerns emerge as the designer evaluates what will be useful to the decisions that must be made.

分析设计师们在世界的戏剧中搜索脚本的信息。生产方式、概念和主题问题出现。设计师必须做出决定评估什么将是有用的。

3.Research. Historical research is important in order to create a complex and living stage pro duction.This step in the process involves much reading and many trips to libraries,archives,and m useums.Even modern periods must be researched to discover the multiplicity of choices available in the design.

研究为了创建一个复杂的生产和生活阶段，历史研究是很重要的。这一步的过程包括非常多的阅读和多去图书馆,档案馆,博物馆。甚至现代时期必须研究发现设计中选择的多样性。

4.Incubation.After the designer has worked intensely on collecting materials,a cool-down pe riod may be needed to allow the designer to gain some distance on the design and see its shortco mings and its strengths.

酝酿当设计师已经非常紧张地收集材料后，冷却时间可能需要允许设计师设计获得一些距离,看看它的缺点和优点

5.Selection. The designer must decide what is appropriate for the production and what must be dumped. The director will often enter this process with the designer to help solidify the produ ction's conceptual framework.

选择设计师必须决定什么是适合生产和什么必须抛弃。导演往往会和设计师一起进入这个过程来帮助巩固生产的概念框架。

6.Implementation. Models, plots, sketches, and all other types of paperwork are finished du ring this step,and the design is built .Constant adjustments are made during this process as unfor eseen problems and insights arise.

实现模型，图，素描，和所有其他类型的文件都在这一步中完成，并且设计建立了进行调整，在此过程中出现无法预料的问题和见解。

7.Evaluation. Although evaluation is a major component in each previous step, a final period of evaluation is beneficial to the designer. What seemed appropriate at the time may look awkw ard once the designer has gained even further emotional and intellectual distance from the proje ct. As Gillette observes, back patting is not the main goal of the final evaluation. The designer sh ould critically evaluate the methods and materials used during the process.

评估虽然评价是每一步的一个重要组成部分，最后一段评价有利于设计师。在当时看似合适一旦设计师进一步获得了情感和智力的距离项目就会看起来尴尬。正如Gillette观察到的，重新拍不是最终的评价的主要目标。设计师应该批判性地评估过程中使用的方法和材料。

These seven steps (scenery,lighting,costume,makeup,sound, and properties).this design proc ess is not completely linear; the designer continually looks back at the previous step to check pro gress and maintain the integrity of the overall production concept.

这七步（场景，灯光，服装，道具，化妆和声效），这个设计过程是不完全的线性，设计师不断地回头看前面的步骤来检查进度和保持整个生产的完整概念。