电影剧本(外语)欲望号街车

从戏剧翻译理论看冯涛译《欲望号街车》作者：赵超群贺安芳来源：《现代语文》2019年第02期摘要：翻译美学理论研究多集中于小说、诗歌、散文文本，对戏剧翻译的美学研究相对较少。

戏剧翻译审美应重视戏剧文本具有可读性与表演性的双重属性。

戏剧的语言是诗的语言，不失韵律，富有美感。

戏剧文本的可表演性在于其动作性、口语化和性格化特征。

《欲望号街车》剧本语言充满诗意，意象比比皆是，人物形象立体丰满，具有强烈的舞台魅力。

通过对冯涛翻译的《欲望号街车》的解读分析，可以发现冯涛译本符合《欲望号街车》中的诗意美和表演美原则，但在文化美方面稍有不足。

关键词：《欲望号街车》;戏剧翻译;翻译美学;田纳西·威廉斯;冯涛译本翻译美学不同于传统的翻译理论，它结合翻译和美学两个学科的特点，探讨美学对译学的特殊作用。

历经了几个世纪学者的共同打磨，翻译美学体系愈加成熟完善。

国外学者Shirley Chew和Alistair Stead编著的Translating Life：Studies in Translational Aesthetics（1999）是国外较早系统研究翻译美学的著作。

在国内，傅仲选的《实用翻译美学》（1993）是“我国首部以独立形态出现的翻译美学专著，标志着我国翻译美学研究在理论上的觉醒”[1]。

刘宓庆的翻译美学系列专著较为系统地建立了一套翻译美学理论，使得翻译美学更趋专业化、科学化。

目前，学界对翻译美学的研究主要集中在小说、散文、诗歌等文学体裁上，对戏剧的翻译美学理论则缺乏足够的重视①。

导致这一现象的原因在于戏剧翻译的复杂性，而这种复杂性主要来自于戏剧艺术本身的“双重性”，即“可读性”（readability）与“可表演性”（performability）。

戏剧文本的可读性在于，作为一种特殊的文学文本，戏剧文本的完成表明了“文本的意象世界和价值世界的诞生，这个世界是独立的，属于文学范畴”[2]，这时读者通过个体阅读即可感受到它的魅力。

Analysis on the Tragedy of Blanche Dubois Abstract:Tennessee Williams was a famous American dramatist and his personal life experience was somewhat reflected in his works, like A Streetcar named Desire. In the play, Williams created a tragic character, Blanche Dubois, who has a dual personality. Her tragedy is that she wants to find a shelter but finally is raped by Stanley .When we have known something about Blanche and her life, we may find that her tragedy is doomed to happen, not only because of her personality but also the social background. She lives in a time where the modern industrial society is going forward and men are powerful than women. Her life is full of complexity and her abnormality can not be adopted in such a society which makes her more likely to be destroyed.At the final part, some reflections of Blanche‟s tragic life will be showed after some analysis. Her tragedy is not unique and women should learn from her to be real and depend on ourselves.Keywords: Tragedy; Blanche Dubois; reasons; Tennessee Williams1 IntroductionTennessee Williams is widely considered the greatest southern playwright and one of the greatest playwrights in the history of American drama, whose masterpieces include Glass Menagerie, A Streetcar Desire, The Rose Tattoo, Cat on a Hot Tin Roof, Night of the Iguana, etc. In these plays, he creates many unforgettable characters, especially lonely, depressed, coward and mind-distorted southern female images and his reputation was established for his “A Street Car Named Desire”which copped two important awards in the American theater world —Drama Critics‟ Circle Award and Pulitzer Prize.Blanche Dubois is a tragic figure who is lost, confused, conflicted, lashing out in sexual ways and living in her own fantasies. At last she destroys resoundingly. Generally speaking, she is one of such females born and brought up in Old South whofeels difficult in mastering her own fate and facing conflicts brought by industrialization and commercialization under the restriction and oppression of patriarchy, and only hides herself in imaginative world to release herself.2 An overview of Blanche’s life and her tragedyBlanche once was married to and passionately in love with a tortured young man. He killed himself after she discovered him because of his homosexuality, and she has suffered from guilt and regret ever since. Blanche watched parents and relatives, all the old guard, die off, and then had to endure foreclosure on the family estate. His husband‟s homosexuality drives her to u se her sexual charms to attract men over and over. Because she thinks that she can find confidence in her own feminine attraction which can dispel the suffering her husband gave her. Then she lived in a second-rate hotel, where she made meaningless relationships with strangers. Actually, she was a prostitute. She was even dismissed from a school, where she was an English teacher, because of an incident with a seventeen years old student who reminded her of her late husband. She had to leave the old family mansion because it was mortgaged, she had to leave the hotel because of the strangers visiting her every night, and she lost her job because of the love affair with the young boy. Blanche became homeless, lonely and desperate, and she was lack of money. All these things weakened her, turned her into an alcoholic, and lowered her mental stability bit-by-bit. After suffering so much, Blanche begins to lie to hide her weakness.So she decides to go to her little sister‟s home and then arrives at the apartment of her sister Stella Kowalski in the French Quarter of New Orleans, on Elysian Fields Avenue; the local transportation she takes to arrive there includes a streetcar route named "Desire." The steamy, urban ambiance is a shock to Blanche's nerves. Blanche is welcomed with some trepidation by Stella, who fears the reaction of her husband Stanley. As Blanche explains that their ancestral Southern plantation, Belle Reve in Laurel, Mississippi, has been "lost" due to the "epic fornications" of their ancestors, her veneer of self-possession begins to slip drastically. Also, Blanche tells Stella that her supervisor allowed her to take time off from her job as an English teacher becauseof her upset nerves while in fact it is not the case.When she lives in Stella's little, and uncomfortable flat, she begins to have conflicts with Stanley, Stella's husband. In contrast to both the self-effacing and deferential Stella and the pretentious refinement of Blanche, Stella's husband, Stanley Kowalski, is a force of nature: primal, rough-hewn, brutish, and sensual. He dominates Stella in every way and is physically and emotionally abusive. Stella tolerates his primal behavior as this is part of what attracted her in the first place; their love and relationship are heavily based on powerful—even animal-like—sexual chemistry, something that Blanche finds impossible to understand. So, we can easily find that Blanche behaviors as if she is well-educated, pure, pretty and elegant in front of other people. Stanley and Blanche are very contrasting characters as Stanley is from a Polish working-class background where 'what you see is what you get' whereas Blanche attempts to be very 'ladylike' and innocent. But Stanley quickly finds that Blanche is pretending all the time. He cannot bear such a woman, which leads him to have the desire to bring Blanche into destruction and finally he does so. They are really on a collision course, and Stanley's friend and Blanche's would-be suitor, Harold "Mitch" Mitchell, get trampled in their path. Stanley discovers Blanche's past through a co-worker who travels to Laurel frequently, and he confronts her with the things she has been trying to put behind her, partly out of concern that her character flaws may be damaging to the lives of those in her new home, just as they were in Laurel, and partly out of a distaste for pretense in general. However, his attempts to "unmask" her are predictably cruel and violent. In their final confrontation, Stanley rapes Blanche, which results in her nervous breakdown. Stanley has her committed to a mental institution, and in the closing moments, Blanche utters her signature line to the kindly doctor who leads her away: "Whoever you are, I have always depended on the kindness of strangers." So, in the end, the story ends up with Blanche‟s tragedy.3 Reasons for Blanche’s tragedy3.1 Blanche’s past experiencesIn the drama, we can learn that she experienced huge changes in her life: herhusband shoots himself because of her contempt upon his homosexual status; the manor which is inherited from age to age is lost in the hand of Blanche; she damages the image of lady and destroys the traditional ethics of southern nobles.The death of her first and only husband, Allan Grey, has a great impact on her. We can find that Blanche was completely and irrevocably in love with him; as Stella described it, "She worshipped the ground he walked on", and Blanche was heartbroken when she witnessed him having sex with a man. Although she at first kept quiet, Blanche later blurted out that he disgusted her when they are in each others' arms together on the dance floor. Allan then bolted outside and shot himself, and it is this tragedy which precipitates Blanche's downward spiral. Blanche reveals the story of her marriage one night while she's on a date with Mitch, and his lack of recrimination fills her with hope. "Sometimes there's god- so quickly," she says. It clearly shows that her husband‟s death lets her upset and somewhat abnormal, driving her to a sad ending.Also, Blanche is filled with self-accusation, guilt and regret for her past. In the drama, Blanche bathes herself repeatedly, which as she says it can calm her nerves. She tries to remove her disgraceful past in the new place and these baths represent her efforts to clean her impure, sordid past and reputation. Besides, Blanche always drinks alone and tries to keep it a secret. Only when she is drunk, she can forget her guilt. However, Blanche doesn‟t realize that her bathing can never wash off her past and alcohol will lead herself further to the verge of breaking down. To some extent, we can say Blanche brings miserable fate by herself. Concealment of herself brings more clear memories of her negative part of life. With an ending of out of her sense at last, it is rather caused by her self-destruction than Stanley‟s rude behavior.3.2Blanche’s dual personalityFirstly, she is a typical southern beauty who grew up in a traditional southern culture. She always considered herself as a distinguished princess. She looked down upon the …rude‟ workers, such as Stanley. A person who can not get along well with the group must be isolated and rejected. Secondly, we all know that she is a widow. Her husband committed suicide because of he was a homosexuality and her beautifuldream was broken. She became fragile and nervous. She did not want to let others know about her previous life and tried to behavior like a lady. But there was still a nice dream in her heart, although the dream seemed to be ridiculous. Finally, she, herself, was rejecting the society. She still abandoned herself to the past time when she was still a …nobility‟. She did not like the activities the men had during the rest time. She even tried to make her sister, Stella, get away of Stanley, which might drive the conflicts more fiercely. These are all about Blanche‟s personalities which caused her tragedy.Precisely speaking, she lives in the real world while at the same time, she tries to escapes from it. Throughout the play, Blanche dwells in illusion and fantasy is her primary means of self-defense, both against outside threats and against her own demons. She avoids appearing in direct, bright light, especially in front of her suitor, Mitch. She also refuses to reveal her age, and it is clear that she avoids light in order to prevent him from seeing the reality of her fading beauty. Blanche covers the exposed light bulb in the Kowalski apartment with a Chinese paper lantern, and she refuses to go on dates with Mitch during the daytime or well-lit places. In scene nine, Mitc h points out Blanche‟s avoidance of light when he confronts her with the stories that Stanley has told him of her past. Mitch then forces Blanche to stand under the direct light. This act means Blanche is finally brought back to reality. Also, it can be re vealed in Blanche‟s final words which indicate that she has totally detached from reality and sees life only according to her own wishes. Actually, it also indicates that Blanche will never make her fantasies to be true.Behind her veneer of social snobbery and sexual propriety, Blanche is an insecure, dislocated individual, an aging Southern belle who lives in a state of perpetual panic about her fading beauty. Her manner is dainty and frail, and she sports a wardrobe of showy but cheap evening clothes, as indicated in the stage directions for Scene 10: "She had decked herself out in a somewhat soiled and crumpled white satin evening gown and a pair of scuffed silver slippers with brilliants set in their heels." This occurs at a major turning point in the play, and the cheap clothes are sometimes seen as metaphorical symbols of Blanche's mental condition. So, Blanche‟dual personality somewhat reflects her tragedy later since abnormal characters will not be accepted by others and it can not be tolerated in such a society.3.3 Social background3.3.1 Social Culture : the south vs. the northAt that time, the American Civil War was over, but there were still many conflicts between the Southern United States and the Northern United States. The Southern United States was on behalf of the traditional southern nobility, and the Northern United States represented for the modern industrial society. In the Southern United States, a woman shall be a lady, a gentlewoman. They must be purity, elegant and saint. They are the symbol of the traditional morality. And also, the planter and their family are considered as the saint and noble class. However, the modern industrial society had just gone through a great revolution. Their society was experiencing a lot of changes and they had adapted a lot of modern views.The play shows us the conflicts of the culture between the south and the north, and the culture of binary opposition between men and women, and the homosexuality and heterosexuality. Blanche Dubois is a traditional southern beauty. And maybe because of this, she could not bear the truth that her husband was a gay. And so her young husband was driven to death. After losing her husband, her manor, her property and her honor, Blanche had only to go to her sister for help. It is supposed that Blanche could not get along with her sister‟s family, especially Stanley who was a typical worker who grew up in the Northern United States. And even the environment around her was full of …rude‟ people.3.3.2Social codes: Women vs. menAccording to the Victorian, women are completely submissive to men, and they do not have their independent identities. Both Stella and Blanche think that woman cannot lead a respectable life without depending on a man.As for the heroine Blanche, she firstly depends on her father who makes her early life carefree, and then when her father leaves her, she begins to rely on her husband. However, after the suicide of her husband, she loses her spiritual support and lives a dissipated life. Then Blanche builds a relationship with Mitch whobecomes another support for her to renew her life. When Mitch rejects her based on Stanley‟s words about her past, Blanche immediately thinks of another man —the millionaire Shep Huntleigh — who might rescue her. In the end, Blanche depends on “ the kindness of strangers” — the doctor of the insane asylum. She does not realize that her dependence on men will lead to her downfall rather than her salvation and sees men as their only means to achieve happiness. However, just by relying on men, she put her fate in the hand of others and their lives are doomed to be miserable.“ They told me to take a street-car named Desire, and transfer to one called Cemeteries, and ride six blocks and get off at —Elysian Fields!”, these words are Blanche speaks to others when she arrives at Kowalski apartment at the beginning of scene one. The journey that Blanche describes from the train station to the Kowalski apartment represents her life journey. A work is regarded as an excellent one because of its thoughts and value under a plain and limpid story. For Blanche‟s complicated personality and bitter experiences, Tennessee Williams describes her inner heart richly and draw out the themes behind its story: fantasy‟s inability to overcome reality, guilty feeling for self-destruction and women‟s dependence on men. Tennessee Williams never forces his ideas on readers, so people will see different things from their own views.3.4 The economic factorThe economic structure of plantation in the South removes women from productive labor so that they cannot obtain the independent economic status. Therefore, Marxism feminist theory argues that economic factor is the root of the oppression that women suffer from. The economic dependence on men deprives women of the right to dominate their own fate and the strength to struggle against men so that they are reduced into the other affiliated by men.These theories are well reflected in Desire. At first, she turns to a married millionaire Shep Huntleigh for financial support. However, the help call and the message are not sent out. And her next proposal is Stanley‟s fellow worker Mitch, by whom she wants to get rid of the destitution and the dependence on Stanley. But things do not turn out as she wishes. When knowing her past, Mitch abandons herruthlessly. Without exception her luxurious life is again built on the support of men, even in an illusion. Actually, this millionaire may not exist at all, and just appears an imagined person in Blanche‟s one-sided statement.We can still find that Blanche is forced to work outside because of economic necessity. She has to choose to be a teacher in a high school which is regarded as a decent occupation of women. And as Blanche tells Mitch her miserable situation, “A teacher‟s salary is barely sufficient for her living expenses. I didn‟t save a penny last year and so I had to come here for the summer.” Evidently, her meager incomes are barely enough to maintain her extravagant life. So, it is quite natural that she has to turn to men for help after the suicide of her husband, death of relatives and loss of her manor, and she considers it the only choice to face the cruel environment, as she says, “Whoever you are-I have always depended on the kindness of strangers”.A famous British writer, Virginia Woolf thinks that women‟s independent economic status is the material foundation to obtain personal freedom. If women are dependent on men economically, they are deprived of all the equal rights. In the story, Blanche greatly depends on men, but the result is not satisfying for her. She gained nothing from them, except for disappointment and harm. So, it can be clearly find that if women place their hope and fortune on men, their oppressed and subordinate status can never be changed, and their dream of happy life is bound to break. In short, women‟s economic dependence on men in patriarchal society serves as one of factors that result in Blanche‟s destruction.3.5Tennessee’s personal lifeMany of Williams plays included references to elements of his life such as homosexuality, mental instability, and alcoholism. Characters in his plays are often seen as representations of his family members.Tennessee was born of English, Welsh and Huguenot descent and has an older sister Rose and a younger brother, Dakin. His father's heavy drinking and loudly violent behavior caused them to move numerous times around the city. Williams remained close to his sister Rose, who was diagnosed with schizophrenia as a young adult and later institutionalized following a lobotomy, visiting her at the facilitieswhere she spent most of her adult life and paying for her care. The devastating effects of Rose's illness may have contributed to his alcoholism and his dependence on various combinations of amphetamines and barbiturates.After some early attempts at heterosexual relationships; by the late 1930s Williams had accepted his homosexuality. In the summer of 1940 Williams initiated an affair with Kip Kiernan, a young Canadian dancer .When Kiernan left him for a woman ,he was distraught and Kiernan's death delivered another blow.So, to some extent, the drama reflects the author‟s personal life and was a tragedy in the end.4 Re flections of Blanche’s tragedyThe journey from the train station to the Kowalski apartment represents her life journey, a way to “hell”. Tennessee describes Blanche‟s inner heart, inability to overcome reality, guilty feeling for self-destruction and dependence on men.Blanche Dubois is by no means unique. Her seemingly unacceptable personality and tragedy spring from the southern aristocratic background which must have produced numerable other Blanches. These southern gentlewomen may not suffer as much as Blanche does, but in essence their tragic destinies are all derived from a social factor, not only a personality defection. In this light, Tennessee Williams is not merely a psychological writer but a more importantly a social writer.So, learning from that tragedy, we should be realistic and find our own position in family and in society. We should not afraid of others who may be stronger, wealthier or others. We should learn more and try our best to defend our rights.5 ConclusionsTennessee Williams was one of the greatest American dramatists of the 20th century and most of his dramas take us to the southern states and show a confused society. Among the major themes of his plays are racism, sexism, homophobia and realistic settings filled with loneliness and pain. The characters in his plays show us the extremes of human brutality and sexual behaviors.Blanche, the heroine, is doomed from the beginning of the play. She wants tofind protection and shelter from people around her, including strangers, her sister, Mitch and so on. Unfortunately, all her efforts are in vain. At the end of the play, Blanche is raped and sent to the mental house. Escaping from the reality gives Blanche a fatal tragedy. This is a classic American tragedy.To sum up, the causes of Blanche‟s tragedy are from the outside social environment and her own personalities and life experiences. Also, it reflects the author‟s life in some ways. And as a woman , we should protect and defend ourselves.Reference:[1] Adler, Thomas P. A Streetcar Named Desire: The Moth and the Lantern [M]. Boston, Massachusetts: Twayne Publishers, 1990.[2] Bigsby, C. W. E. American Drama [M]. Cambridge: Cambridge University Press, 1984.[3] Corrigan, Mary A. Realism and Theatricalism in A Streetcar Named Desire [J]. Modern Drama , 1976,(19), 385-396.[4] JIN Li. Literary females and female literature [M]. Beijing: Foreign Language Teaching and Researching Press,2001[5] Joseph N. Riddel. A Streetcar Named Desire一Nietzsche Descending[J]. Drama Survey ,1963,(5),42[6] Kolin, Philip C. Tennessee Williams: A Guide to Research and Performance[M]. London: Greenwood Press, 1998.[7] Kathleen Margart Lant. A Streetcar Named Misogyny[J] .Violence in Drama, 1991, (28).225.[8] Lynn,Steven. Texts and Contexts: Writing about Literature with Critical Theory [M]. New York: Longman, 2001.[9] LI Li. Women‟s growth: a femin,ist approach to Tennessee Williams‟s work [M]. Tianjin: Tianjin Press,2004[10] Laurilyn J. Conflict and the Perversion of Creativity in A Street Car Named Desire [J].Westwood: Greenwood P,1993(88),10-19.[11] Murphy, Brenda. Tennesse Williams and Eliz Kazan [M]. Cambridge:Analysis on the Tragedy of Blanche DuboisCambridge University Press, 1992.[12] Tischer, Nancy M. Tennesse Williams: Rebellious Puritan [M]. New York: Citadel, 1961.[13]王艳芳. 夹缝中的挣扎—试析威廉斯《欲望号街车》. 江西师范大学学报（哲学社会科学版）,2 00 0，(3 ), 99 -1 01 。

《欲望号街车》：现代舞台下的经典再唤起■ 京 锐田纳西·威廉斯的杰作《欲望号街车》在戏剧历史上是一场诗意的遐想和野蛮的力量之间的碰撞。

自1947年在百老汇上映以来，它从未淡出人们的视线。

2014年，英国的杨维克剧院（Young Vic Theatre）复排这部作品，使这部具有里程碑意义的美国戏剧再次获得新生。

而当时间流转至2020年，当全球笼罩在疫情阴霾之下时，英国国家剧院将杨维克版本的《欲望号街车》以高清放映的方式免费上映，让它出现在全球观众的视野里。

《欲望号街车》的故事发生在美国的新奥兰多，由Ben Foster扮演的斯坦利和由Vanessa Kirby 扮演的斯黛拉在出租房中过着平凡的生活，丈夫工作，妻子在家做家务。

由Anderson扮演的斯黛拉的姐姐布兰奇家道中落，却不肯放弃以前的生活方式，脆弱的精神世界濒临崩溃，自南方的老家来到奥兰多投奔妹妹。

因为她的生活环境迅速变坏，并与粗鲁残酷却宽容的妹夫处处不和，最后以致疯癫，被送进医院。

脱离了老派而又脏乱的美国. All Rights Reserved.南部，杨维克剧院版本的《欲望号街车》换上崭新的现代皮囊，却仍然能够带领我们重温那一场激烈的碰撞。

无死角空间——“窒息感”的沉浸式舞美这个版本的《欲望号街车》的舞台美术堪称大胆与激进。

在如同古罗马圆形竞技台一般的舞台构造上，中心的圆盘空间是斯黛拉与斯坦利租住的公寓。

仅有的钢柱勾勒出公寓空间的线条，散落着现代化的家具。

钢铁的台阶指向楼上邻居的空间，并且两层两侧搭建伸入后台的走廊。

主角布兰奇、斯坦利和斯黛拉的活动受限于公寓和其四周，被观众紧密围绕着，无法上下场，甚至连所有的换衣都是在灯光变暗的舞台上进行的。

整个由钢铁骨架构成的空间犹如是公寓的X光片——骨感，穿透一切。

自布兰奇上场，她就进入了这个透明空间，投奔到妹妹家中，而观众在离她不过两三米的地方开始，一圈圈围住她。

自此，她好似陷入了一个类似偷窥狂的笼子。

第一幕ST Sister Blanche, I've got a little birthday remembrance for you. I hope that you like it.B Why- Why, it's aST It's a ticket! Back to Auriol! On a bus! Tuesday!S Blanche!You didn't need to do that.ST Don't forget all that I took off her.S You don't need to be so cruel to someone alone as she is. –ST Delicate article as she is.S She is! She was! You didn't know Blanche as a girl. Nobody, nobody, was as tender and trusting as she was. But people like you abused her, and forced her to change.B Oh, stop it!S Why did you do this to her?ST Let go of my shirt.S I want to know why. Tell me why.ST The first time, baby, when we first met, me and you , baby, you thought I was common as dirt. How right you was, I was common as dirt. And wasn't we happy together, wasn't all okay till she showed here? Hoity-toity, describing me like an ape.Stella! What 's the matter with you?B Honey, what's the matter with you?ST Did I hurt you?B Honey? What is it?S Take me to the hospital.第二幕B Who is it , please?M Me- me, me. Mitch.B Hello Mitch! Y' know, I really shouldn't let you in after the treatment I have received from you this evening! So utterly uncavalier! But I forgive you. I forgive you because it' s such a relief to see you. You've stopped that polka tune that I had caught in my head.How's your mother? Is your mother ill?M Why?B Why, what's the matter with you tonight? But never mind，I'll just- pretend I don't notice anything different about you! That- music a gain…M What music?B The polka tune they were playing when Allan- wait!There! That shot! It always stops after that. Yes, now it's stopped.M Are you boxed out of you r mind?B I cant hear what u r saying ,Had you forgotten your invitation to supper?M I wasn't going to see you any more.B What's in your mind? I see something in your eyes!M I've never seen you in the light, that's a fact! I've never had a real good look at you, Blanche,Let's turn on the light in here.B Light? Which light? What for? Oh! What did you do that for?M So I can take a look at you good and plain!B Of course you don't really mean to be insulting!M No, just realistic.B I don't want realism. I want magic!M Magic!B Yes, yes, magic!I try to give that to people. I do misrepresent things. I don't tell the truth,I tell what ought to be truth.DON'T TURN THE LIGHT ON…M Oh, I don't mind you being older than what I thought, But- but, all the rest of it- Oh! The pitch about your ideals being so old-fashioned，But I was a fool enough to believe you was straight.B Who told you I wasn't- 'Straight'? My loving brother-in-law. And you believe him.M No! No! I called him a liar at first. And then I checked on the story.Didn't you stay at a hotel called the Flamingo?B Flamingo? NO! Tarantula was the name of it!M Tarantula Arms?B Yes, a big spider! Yes, I've had many meeting with strangers.After the death of Allan- intimacies with strangers was all I seemed able to fill my empty … .. it was panic, just panic, that drove me searching for some protection- even, at last, in a seventeen-year-old boy but- I was played out. You know what played out is?M I thought you were straight. –B Straight? What's straight?A line can be straight or a street, but the heart of a human being…M You lied to me, Blanche. –B Don't say I lied to you.M Lies, lies, inside and out, all lies. –B Never inside, I never lied in my heart…卖花人- Flores!…Flores para los muertos … - Flores!…Flores para los muertos …B What? Oh! Someone outside.卖花人Crona! Crona! Crones para los muertos… Flowers! Flowers for the dead.祭奠死者的花，要不要？B No, no! not now! not now!I lived into the house once where death was as close as you are…The opposite is desire. How could you wonder? How could you possibly wonder!Marry me, Mitch! –M No. I don't think I want to marry you any more.B No? –M You're not clean enough to bring in the house with my mother.B Get out of here before I start screaming. Get out of here quick before I start screaming!第三幕ST Blanchy…B Oh, StanleyST What've you got the fine features out for? –B Oh, that's right. You left before my wire came.ST Oh, you got a wire?B I received a telegram from an old admirer of mine.ST - Anything good? –B I think so. An invitation.ST - What to?B - A cruise of the Caribbean on a yacht!ST - Who did you say it was from?B An old beau of mine. Mr. Shep Huntliegh,. I didn't seen him for a while.ST This millionaire isn't going to interfere with your privacy none?B This man is a gentleman and he respect me. What he want is my companionship.A cultivated woman, can enrich a man's life. .Physical beauty is passing. But beauty of the mind and richness of the spirit and tenderness of the heart increase with the years! Oh- How strange that I should be called a destitute woman! I think of myself as a very, very rich woman! But I have been foolish.ST Swine huh ?B Yes, swine! And I'm thinking not only of you but of your friend, Mr. Micthell. He came here tonight, And to repeat slander to me, vicious stories that he had gotten from you!I gave him his walking papers… But then he returned. He returned with a box of roses to beg my forgiveness!But something's are not forgivable. So I said to him, "thank you,"So farewell, my friend! And let there be no hard feelings…ST as this before or after you got the telegram?B Telegram? What telegram! Oh! As a matter of fact, my wire came just asST As a mater of fact, there wasn't no wire at all! There is no millionaire! And Mitch didn't come in here with roses' cause I know where he is- There isn't a goddam thing but imagination! and lies and conceit and tricks! Take a look at yourself in that worn-out MardiGras outfit, and with the crazy crown on. What kind of queen do you think you are? You know that I don’t like you from the start! You came in here and you spray perfume and you stick a paper lantern over the light bulb and make youself into the Queen.Sitting on your throne and swilling down my liquor! You know what I say? Ha!- Ha!- Ha! Do you hear me? Ha!- Ha!- Ha!卖花者Flores. Flores. Flores para los muertos! Corones. Corones para los muertos. Flowers. Flores para los muertos! 花！祭奠死者的花！B Oh, no! not now.Operator! Operator! Get me western Union.Do you hear me? Do you hear me? Take down this message!"In desperate, desperate circumstances! Caught in a trap. Help me! Caught in a trap!", Oh!第四幕旁白：now, they want to send blanchy to psychological hospital…ST Would you mind waiting outside a second? She's…DOCTOR --Surely!ST Someone is calling for Blanche.B It is for me, then!Is it the gentleman I was expecting from Dallas?ST Yes!B yes, honey. I believe it is. – I'm not - not- quite ready.ST Everything packed? –Shall we go now, Blanche?S Stanley, she'll be out in a minute.I'll go with you.B How do I look?S Lovely. - Lovely.B You are not the gentleman I was excepting. S Did you forget something, Blanche? –B Yes! Yes- I forgot something!S What are they going to do? Don't let them hurt her!What did you forget, Blanche?DOCTOR It does’t matter. We can pick it up later. –ST Sure. We can send it along with the trunk.B I don't know you- I don't know you. I want to be- left alone- please!ST Now, Blanche! you left nothing here -unless it's the paper lantern you want to take with you. You want the lantern? DOCTOR Miss Dubois-- Please. - It' won't be necessary.B Ask him to let go of me.DOCTOR Yes- let go.B Whoever you are, I have always depended on the kindness of strangers。

《欲望号街车》中的“欲望”-最新文档《欲望号街车》中的“欲望”引言《欲望号街车》是田纳西?威廉斯倾力打造的一部优秀文学作品，在这部作品中，表达出的深刻主题思想、错综复杂的人物故事情节、对多种艺术表达方式的应用，都是该部作品摘得普利策奖、纽约剧评奖、唐纳德森奖三项大奖的重要评判标准，同时它也一直是人们乐于研究的文学作品。

《欲望号街车》深受人们的喜爱，同时也受到了相关剧作评论家的青睐，而剧作中的表现主义、象征主义、诗化现实主义等，则是人们关注的重点。

大多数剧作评论家对于这部作品的评价是基于社会历史进步层面展开的，将剧作中的女主人公布兰奇当做一个病态女性进行评论，将其归入到了守旧的南方势力中，而与之相对的斯坦利则是北方新兴工业的代表性人物，这样就把整部剧作的文学主题思想归纳为新旧势力的冲突、旧势力的必然灭亡和新势力的必然胜利。

即使有一些学者从两性的角度解读该剧，但仍然将其主题划归到社会历史的冲突当中，而缺乏对两性主题的深入研究和探讨。

学者吾文泉曾经说过，这种现象可能与中国文化中的对于异域文化性的条件性过滤有关。

在今天，社会对于两性的关注度更高，使得一些文人学者不得不从社会所关注的角度来看待文化潮向的发展与变化，本文从文学审美维度的实用说和表现说视角，重新解读《欲望号街车》中的“欲望”主题思想，从一个全新的角度认知这部文学作品。

一基于表现说的视角解读布兰奇的“欲望”童庆炳将M?H?艾布拉姆斯的文学艺术理论发展为六种文学本质论：再现说、表现说、客观说、体验说、实用说、自然说等。

关于表现说，是一种关于作者和文学作品之间所达成的心灵感应，文学活动的本质就是融入作者自己的情感经历。

关于文学创作活动，田纳西?威廉斯曾经说过，他所塑造的人物，都是基于生活中的人物原型而定的，他不可能去创作生活中根本就不存在的人物形象；可以说，在一定意义上，他所塑造的某些人物形象是以自己为参造物，否则那个人物就没有真实性可言。

由此可见，田纳西?威廉斯的文学创作活动，在一定程度上是一种自传性的文学活动。

《欲望号街车》全本人物表白兰琪斯蒂拉斯坦利米奇尤尼斯斯狄夫巴勃罗黑人妇女大夫护士年轻收款员墨西哥妇女第一场【新奥尔良一条街拐角一栋两层楼房的外景。

街名依利恩地段，位于L及N交通沿线与河之间。

这地区虽穷，但却和美国其他城市里相应的地区不同，倒有一种可爱的俗气。

房子大都是白色框架，因风吹日晒已变成灰色，外面有一道摇摇欲坠的楼梯、走廊和装饰古怪的山墙。

楼房有上下两套房间，由一道白色油漆已经脱落的楼梯通往这两套房间的门口。

【这是五月初傍晚天刚黑的时候。

天空衬着朦朦胧胧的白楼房显得特别蔚蓝，使景色增添了优雅的情趣，巧妙地冲淡了落日的气氛。

你仿佛可以嗅到从那黄褐色的河面飘来的热气，河岸远处有一排排散发着香蕉和咖啡清香的仓库。

黑人乐队在街头拐角一家酒吧间里奏出配合气氛的音乐。

在新奥尔良这一地区，你总可以在街角或沿街走不到几家门口，就能听到由棕色的手指在小钢琴上娴熟的演奏出的音乐。

这种“布鲁斯钢琴曲”表达出此地的生活风貌。

【两个妇女，一个白人和一个黑人，正在楼梯上乘凉。

白人妇女是住在楼上套间的尤尼斯；黑人妇女是邻居，因为新奥尔良是个世界性城市，旧城有多名族混杂居住，相处的比较热情和睦。

【街上传来人声，盖住了“布鲁斯钢琴曲”。

【两个男人，斯坦利.科华尔斯基和米奇走到街头拐角。

他们二十八或三十岁左右，随随便便穿着一身蓝色斜纹工作服。

斯坦利拿着他的滚木求外套和一包从肉铺里买来沾着血斑的东西。

他们在楼梯口停下。

斯坦利：（大声喊）喂，喂！斯蒂拉，宝贝！【斯蒂拉从底层平台上走出来。

她是个年轻温厚的女人，二十五岁左右，出身显然和她丈夫大不相同。

斯蒂拉：（温和的）别这样对我嚷嚷。

米奇，你好。

斯坦利：接住！斯蒂拉：什么东西“斯坦利：肉！【他把纸包递给她。

她责怪的叫起来，勉强接住，随即喘着气笑起来。

她丈夫和同伴已转身回街角。

斯蒂拉：（在他后面喊）斯坦利！你去哪儿？斯坦利：打滚木球去！斯蒂拉：我可以来看吗？斯坦利：来吧。

（下）斯蒂拉：一会儿就完了。

剧场里的人生之雨浅谈《欲望号街车》的舞台设计作者：桑琦李祎来源：《上海戏剧》2019年第04期《欲望号街车》是著名美国剧作家田纳西·威廉斯的代表作，也是他的作品中被搬上舞台最多的一部。

半个多世纪以来，多个国家、多个城市的剧场里，都曾上演过这部剧作。

这次，上海话剧艺术中心的版本中，导演王欢带领我们整个剧组，讨论、磨合，最后在当代的中国上海，呈现出了这部《欲望号街车》。

作为舞台设计，我们将在本文中谈谈这部作品的创作思路。

本次演出安排在上海话剧艺术中心的戏剧沙龙。

这是个小剧场，观众离舞台足够近，整个空间是“聚气”的。

在这样的情况下，观众很容易沉浸在舞台空间之中，有更好的代入感。

舞台装置上，利用好这剧场空间的优势，同时又保持当代性，适当地打破舞台幻觉，给予观众一些思考和想象的空间，是我们首先考虑的。

原作的时代背景为20世纪40年代的美国，离现在上海观众的生活较远，而我们希望这部作品能给进入剧场的观众带来一些对当下社会问题的思考，所以，怎样赋予故事情境更多本地感的元素，也是舞台设计上所考虑的重点。

当然，这所有的元素也要合理于创作主旨的表达、演员的表演诉求。

最后，我们决定从材质入手，作为本次创作的载体。

以下，我们将从三方面，讲述舞美基于这些考量所做的尝试。

雨|自然的材质在本作演出中，视觉最大的亮点，无疑是剧场里的“雨”了。

三面双层的雨幕围绕着舞台，在开场时升起，随着演出的节奏与气氛，时快时慢、时密时疏的下着。

这雨幕也是一道水墙，分割着空间，暗示室内环境。

起初，我们曾尝试实体墙面的方案，强调封闭、束缚感。

然而，实体墙面不仅呆板，接连后还带来了门的问题，限制了演员的肢体动作。

而雨幕的方案则完美地解决了上述问题：我们制造了一个透明的、可穿越的墙。

甚至由于它的优秀特质，我们把其中一面“墙”放置在了观众与舞台中间，成为了“第四堵墙”。

这堵墙是可以随时消失和出现的墙，有一种布莱希特式的间离效果。

除了分割空间的作用，“水”这个材质也给空间带来了非常规的体验。

2021电影《欲望号街车》中人物与各元素的隐喻内涵范文 一、布兰奇：一只残破的蝴蝶 布兰奇因为种种原因离开自己长久生活的地方，独自闯入一片本不属于自己的地方。

她是一只美丽耀眼的蝴蝶，但却独闯现实主义社会，最终残破不堪。

布兰奇生活的环境体现出美国所特有的美国文化...南方种植园文化，她的传统和固执正是此文化的代表特性。

布兰奇固然美丽，但这份固执让她坚信自己所幻想的都是真实的，这份不面对现实的胆怯让布兰奇美丽的翅膀一再枯萎，吸取不到现实提供的养分，布兰奇在自己的世界里放纵着自己无限膨胀的欲望，一次次地把自己逼到濒临崩溃。

此时的布兰奇，是一只残破的蝴蝶，想在美好的幻想中存活，却被妹夫斯坦利一次次拉回现实。

她努力在自己的世界里展翅飞舞，却常常因幻想世界的狭小虚无而被撞得头破血流。

人们不能一直活在幻想中，理想主义的虚无缥缈，注定人们不能凭借着这种精神寄托在社会中长久生存。

布兰奇是从小娇生惯养，受过旧式南方教育的优雅女子，她不仅仅是她自己，更是代表着这一类优雅并清高的女子。

布兰奇象征着南方种植园经济，她如同蝴蝶一般美丽高雅，却也生性敏感，思想保守，她固执地坚持着自己无限膨胀的欲望，不断幻想出自己所认为的世界，这使她一步步封闭自我，并且让她与其他人渐行渐远，成为这个世界、这个社会不能理解也不能包容的特殊体。

布兰奇在自己的幻想和欲望中开始崩溃，思想的逐渐精神质让她更加逃避现实。

布兰奇已经失去了她的庄园，她想在妹妹丝黛拉的家里构建出自己主导的世界，她想以自己的思想和方式重启美好的虚幻的梦。

但阶级烙印与现实格格不入的行为，注定了她毁灭性的结局。

而布兰奇的毁灭也暗示着种植园经济制度最终因为自身的局限性而被历史否定。

布兰奇的存在体现出理想主义和现实主义同时存在时的对立冲突和特殊平衡。

尽管在《欲望号街车》 中现实战胜了幻想，威廉斯却暗示幻想与想象是一种重要而有益的工具。

剧末，布兰奇完全沉浸到自己的幻想世界中去，这在一定程度上让她能够保护自己免受残酷现实的打击。

《欲望号街车》布兰琪悲剧命运成因探析摘要；田纳西·威廉斯是美国20世纪最伟大的戏剧家之一，为其赢得声名最多的是其早期创作的《欲望号街车》，它为威廉斯赢得普利策奖、纽约剧评奖和唐纳森奖三项戏剧大奖。

戏剧中女主人公布兰琪的悲剧命运历来备受关注与讨论。

本文从主、客观两方面深入探析布兰琪悲剧命运成因。

关键词：悲剧命运；成因；布兰琪一、布兰琪悲剧命运的客观原因《欲望号街车》被定位于二战后的美国，在遵循传统的南方与工业化强势发展的北方猛烈撞击下，在文明的发展与文化的宽容无法达到调和时，在男权主义表面上和本质上还都处于无法捍卫的地位时，布兰琪绝不是孤立地存在，而是代表着一个群体。

（一）艾伦的自杀上个世纪四十年代美国反同对性恋浪潮高涨，传统社会观念对同性恋的歧视与日俱增，同性恋在美国社会中长期受到排斥和打压。

婚后的布兰琪在舞会上无意中发现丈夫艾伦的同性恋行为，对于年轻、天真、传统的布兰琪来说是当头一棒，她所崇拜的艾伦形象土崩瓦解。

她冲到舞会中大叫“我看见了！我明白了！你让我恶心！”，换来的却是艾伦的饮弹自尽。

布兰琪的生活由此发生了翻天覆地的变化，在自责中挣扎，接受良心的拷问：是否要为艾伦的死负责。

她对爱人的轻视、侮辱，冲动行为造成的罪恶感和道德焦虑无时无刻不在萦绕着她，折磨着她。

而她所选择解脱的方式则将带她进坠落深渊的大门。

同性恋在美国解禁后，威廉斯在采访中说：“布兰琪在丈夫死后内心痛不欲生---她必须为杀死自己的丈夫赎罪---她希望通过不断的纵欲得到宽恕。

”（二）家园的丢失庄园文化是南方文明的典型代表，却在与北方工业文明对抗中分崩离析。

布兰琪成了南北文明竞争的受害者。

布兰琪就安居在旧南方的“美梦庄园”里，而庄园却化作一瞬即逝的美梦：父辈们的奢侈和淫欲把大部分田地和房产挥霍一空,传到布兰琪手中的家产只有一栋房子和大约20亩田地,包括一处墓地。

布兰琪目睹了亲人的相继离世，接连着的葬礼摧残着她的精神和意志；而她又不得不通过抵押房产埋葬家族中离世的亲人。