犹太人的故事（2013）

纠结的英雄徘徊在地狱边缘，带着一脸的痛并快乐...
[请自搜《恶魔罗勃》的剧情]
OPERA PLAYS - "Robert The Devil"
画面和音乐来自歌♥剧《恶魔罗勃》
It's Les Mis in chain mail.
(你看)这根本就是重口版的《悲惨世界》...
It's spectacle,
it's colossal production numbers,
...光怪陆离的舞美设计...这浩大的集体歌♥舞...
it's tonic for the turnstiles.
观众震惊了， 票房♥也打了鸡血！
And it seems to presage an entirely
new phase in the history of opera.
似乎也预告了歌♥剧史上的一个全新阶段的来临
This is, in every sense,
grand opera, big opera.
不管从哪方面说，这都是大歌♥剧的典型
No, it is not Mozart,
it is not Beethoven.
比诸莫扎特和贝多芬(的歌♥剧)都大为不同...
HE LAUGHS
But if you think of it
in terms of fantastic entertainment,
不过你要是把这剧当作纯娱乐大戏
taking all those things
which got the voltage whirring
那里面各种"惊世骇俗"的舞台设计与表演风格
and stirring in the minds of people
in the 1830s -
也足够震撼1830年代的观众
ruins, the Christian soul,
heaven and hell -
还有台上的各种布景设计:废墟；天堂；地狱；灵魂...如此种种
then this was absolutely perfect.
都可以说得上是完美之作
The public, Paris, all of Europe
1831年首演之后，公众；整个巴黎和全欧
could not get enough
of Giacomo Meyerbeer.
都掀起Meyerbeer热
From now on, in opera,
he was the man.
他成了歌♥剧界的龙头老大
OPERATIC SINGING
But despite his international fame,
and despite his appointment
然而，尽管Meyerbeer享誉国际，
as musical director to the Prussian
Court, Meyerbeer discovered
普鲁士宫廷还任命其为音乐总监...但是他发现
there were still some places where
the "King of Opera" still smelled
并非他所到之处皆鲜花掌声...总有些地方有些人
a bit too much of chicken soup to be
asked to the tables of society.
对他这位"歌♥剧之王"很有些"敬而远之"的意思
As he noted in his diaries in 1847,
"It's the same old story.
正如他1847年在日记写道：
"The ambassador held a dinner
tonight,
"有些事情永远是老样子...比如普鲁士大使今夜的晚宴"
"and invited all the Prussians,
but not me."
"所有旅法的普鲁士人应邀出席....却偏'忘了'我..."
Successful Jews had to deal with
snubs of this kind all the time.
不管成就多高，犹太成功人士总难免
However high they climbed,
there were always those
遇到这类怠慢(玻璃天花板).
who thought they could see
the gabardine inside the frock coat.
不管他们成就多高
总有那么一帮人觉得犹太人非我族类其心必异
But, for Meyerbeer, there was
something much more menacing
对Meyerbeer来说，外界的威胁繁多
than a dinner invitation
that never came.
相比之下，这类可望不可及的晚宴请柬那都不叫事儿
In 1850,
1850年
when Meyerbeer was very much
still king of the opera in Paris,
Meyerbeer在歌♥剧界依旧灼手可热之际
an essay of extraordinary violence
appeared,
巴黎某报刊出文章不点名的
which, although
it didn't personally name him,
大肆攻击Meyerbeer
made it very clear
that he indeed was the target.
其内容指向明确，明眼人一看就知道目标是谁
And the reason was there
in its title,
该文起因在标题中可以看出---
because it was called Das Judenthum
In Der Musik, Jewishness In Music.
《音乐界的犹太性》
And what that Jewishness was,
那么，这"犹太性"指的是什么？
according to
its particularly hostile author,
好吧，根据其作者敌意满满的笔触所言:
was the corruption of high art
by sordid commercial popularity.
就是说"犹太铜臭正在玷污高雅艺术并将其低俗化"---
比如音乐---比如歌♥剧
That author was Richard Wagner.
这位作者大名: 理查德.瓦格纳
What made his onslaught on Meyerbeer
and the other Jews in music
瓦格纳对Meyerbeer和其他犹太音乐人
so ferocious and almost psychotic
之所以发动近乎病态的疯狂攻击
was that Meyerbeer
had been Wagner's patron.
原因很简单: Meyerbeer曾是瓦格纳的资助人
He was biting the hand that fed him.
瓦格纳正在以怨报德
Ten years before Das Judenthum
In Der Musik appeared,
早在瓦格纳这篇反犹大作发表之前10年
it was Meyerbeer who read
Wagner's early opera Rienzi,
Meyerbeer曾读到瓦格纳的早期歌♥剧《Rienzi》剧本(并颇为赞赏)
[请自搜瓦格纳.我只看过他两部且完全无法理解.故此不多注释]
Meyerbeer who had written
a letter of recommendation,
他随后写信(向业界)推荐此剧
Meyerbeer who had enabled the opera
to be performed
并推动此剧得以在
both in Paris and back in Germany.
巴黎和德国上演
And at that time, Wagner could not
possibly have been more obsequious.
彼时的瓦格纳对此提携表现得感激涕零，几欲跪舔
"I must work
so I will be worthy of you,"
(来看)当时瓦格纳给Meyerbeer的信，其中落笔已近肉麻:
Wagner wrote cringingly
to Meyerbeer.
"...愿躬耕以报知遇之恩..."
"I am your property," he even said.
甚至还有:"...恩同再造..."这类字眼
Ten years on, when he had a little
fame and just a little money,
然后，十年之后， 竖子成名之际
Wagner was already thinking, as is
clear, in a very different way.
瓦格纳心里却很明显的开始打起了小99
"The Jew speaks the language
of a nation in whose midst he dwells,
以下摘自瓦格纳《论音乐界的犹太性Jewishness In Music》
"犹太人虽然住在德国，说着德语(看着好像融入当地)"
"but he speaks always as an alien.
"但他们根本是身在曹营心在汉"
"The Jew has stood outside the pale
of any such community,
"他们的社区总是孤立在外，与任何当地族群都格格不入..."
"stood solitary with his Jehovah,
in a splintered, soil-less stock.
"他们膜拜的主也大异于常人，听起来虚无缥缈且华而不实"
"In his art,
"至于艺术嘛..."
"the Jew truly cannot make a poem
of his words,
"犹太人嘴里吐不出象牙..."
"an artwork of his doings."
"他们的作品也谈不上什么艺术性..."
At this point, for him,
站在瓦格纳的这种观点上来说，
art was all about the spiritual
depth of nationhood.
艺术，就得根植于国家意识和民族精神
It was about tribe, about race,
这里包含自身的部族，人种与种族
about myth, about blood,
包含了本族神话，本族血脉；
about territory, about soil.
还涉及领土与地域...
And how could the Jews
know anything about that?
而犹太人，他们哪懂这些？！
They who were wanderers,
they who had no country.
他们根本就是一帮亡♥国♥游民！
Wagner's poisonous tract
sounded an ominous note
瓦格纳的荼毒言论，在冥冥中投下不祥的阴云
for the fate of the great
Enlightenment hope
伟大启蒙运动中激起的
of toleration and sweet reason.
对于宽容与理性的期盼---必将再度无果 #
[这里的sweet无解.]
That has always been an urban hope,
普罗(犹太)大众心里一直都希望
the place where ancient suspicions
would melt into city life.
那些陈年旧事与无端猜忌能消融于都市生活的柴米油盐之中
Metropolitan Jews now dressed
like everyone else,
市镇生活里的犹太人如今早已不再奇装异服
shopped like everyone else,
与常人一样购物消费
applauded in the concert halls
with everyone else.
与常人一样娱乐休闲
The promise had been realised.
长久以来的企盼似已经成真.
But then, with Wagner providing
the seductive mood music,
然而，半路杀出的瓦格纳(们)改变了基调
German culture took an unexpected
turn away from that urban future,
日耳曼文化开始意外折返，远离大众期望，
back towards the dark shadows
转身再度没入往昔那种神秘重口的
of a mythical Christian Teutonic
past where Jews had no place.
基♥督♥教至上的条顿民族主义阴影之中.
在这片暗影之下 犹太人毫无立锥之地！
'There are always going to be
those who fear the future.
(犹太人中间)总有人对于未来忧心忡忡
'The more the Jews became identified
with that future,
因为犹太人越来越多的寄望于未来，寄望于不断的融入寄居国
'the more danger they would run
if its progress stalled.'
一旦这种融入的进程受阻，犹太人投入的期望落空风险也越大。
届时一夜回到解放前的危险值也越高
You can see what fed the paranoia.
遗憾的是，造成此类忧虑妄想的因素的确是源源不绝---
German Jews had made
the greatest leap
比如德国犹太人
他们在现代史上的取得的进步
that any minority has experienced
in modern history.
在全德少数族裔中堪称第一，
By 1870, Berlin,
home to a mere 3,000 Jews
摩西.门德尔松时代的柏林只有的3000犹太人口
in Moses Mendelssohn's time,
到了1870年
now had 36,000 Jewish citizens.
犹太公民的人数已涨至36000
An educational revolution
was under way -
犹太人在教育上的革新得到稳步前进
Mendelssohn's dream
realised more completely
其成果之显著已经
than he could ever have imagined.
远超摩西.门德尔松的设想