两届奥斯卡影后格兰达·杰克逊 | 经济学人讣告

2023-07-08 09:07

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Obituary | Glenda Jackson

讣告 | 格兰达·杰克逊

英文部分选自经济学人20230701期讣告

Glenda Jackson

格兰达·杰克逊

Her working life

工作的一生

Glenda Jackson, actress and Member of Parliament, died on June 15th, aged 87

Obituary • Jun 29th 2023 • 4 min read

格兰达·杰克逊，演员，英国国会议员，于6月15日逝世，享年87岁

Asked what her greatest or her best role was, Glenda Jackson’s reaction was usually a snort or a sigh. Was it Gudrun in “Women in Love” in 1969, blithely doing her amorous eurhythmicsin front of a herd of cows? Was it Elizabeth R in the tv series in 1971, an imperious mask of shaven head and white paint? Or was it the asylum patient playing Charlotte Corday in “Marat/Sade” in 1967, falling dazed to her knees to sing a song to Marat, before tenderly contemplating the knife with which she would kill him?

在被问及哪个角色是她演艺生涯中最重要或最出色的角色时，格兰达·杰克逊常回以轻轻一哼或微微一叹。是1969年《恋爱中的女人》中对着一群高地牛轻松欢愉地跳起火辣多情的韵律舞的古德伦（Gudrun）吗？是1971年电视剧里剃着光头、满脸白漆、专横跋扈的英国女王伊丽莎白一世吗？还是1967年《马拉/萨德》中那个茫然地跪下给马拉唱歌，然后柔情地思索着应该用哪把刀将他杀死的精神病患者夏洛特·科黛（Charlotte Corday）？

No, none of those, she would say, searching for a hanky or looking the other way as the clips played behind her. She never watched her old stuff, anyway.She always insisted that her finest performance was in 1971 on the comedy show “Morecambe and Wise”, playing Cleopatra in a glossy black wig beside Ernie Wise as Mark Antony (dodgy tunic, lopsided helmet) and Eric Morecambe, in his owlish glasses, as “Octavian Caesar”. Eric had given her the best note she had ever had: “Don’t laugh, and speak up.” She managed the second, but not the first.

她可能会答道：不，这些都不是。每当身后播放着她参演的影片片段时，格兰达要么找手帕，要么把头扭向另一边。无论如何，她从来都不看自己的旧作。格兰达一直坚称她将最出色的表演献给了1971年的喜剧《墨康怀斯双人秀》。在剧中，她戴着一头乌黑亮丽假发，扮演克利奥帕特拉（Cleopatra），厄尼·怀斯（Ernie Wise）身着褴褛短袍，头戴歪斜头盔，扮演马克·安东尼（Mark Antony），埃里克·莫克姆（Eric Morecambe）戴着一副像猫头鹰似的圆眼镜，饰演 “屋大维·凯撒”（“Octavian Caesar”）。埃里克的话是格兰达曾收到过的最佳建议：“别笑，说话大点声。”她做到了第二点，却没能做到第一点。

Praise didn’t interest her, and nor did awards. She won an Oscar for “Women in Love”, another for “A Touch of Class”, nominations for “Sunday Bloody Sunday” and “Hedda”. She won Emmys, Baftas and a Tony. Thank you kindly, she said, while inwardly muttering, Come off it!The Oscars went to her mother for bookends and her mother, being a cleaner, soon polished all the gilt off.

格兰达对赞扬或者奖项都不感兴趣。她因《恋爱中的女人》和《偷情俏冤家》两次荣获奥斯卡奖，又因《血腥星期天》和《海达》两获奥斯卡提名。她还赢得了艾美奖、英国电影学院奖和托尼奖。“谢谢你们”，她说，内心却在咕哝着，“别瞎扯了！”她把奥斯卡奖杯给了妈妈当书立，而身为清洁工的妈妈很快就把镀金层给擦了个干净。

注释：

come off it! ：used to tell someone that you do not believe what they are saying is true, or that you strongly disagree with them （see Cambridge Dictionary）

Awards didn’t mean that you got work afterwards. But she had to. She had started acting, as a bored teenager serving in Boots in northerly Birkenhead, because she thought there might be a job in it. (In her family, with a bricklayer father and six in the household, if you didn’t work, you didn’t eat.)Two years of rada training got her bit parts round the country until the rsc recruited her. Work kept cropping up after that, but she stayed convinced, each time one job finished, that she wouldn’t get another.

获奖并不代表紧接着就有工作。但是她必须要有工作才行。彼时，格兰达还是一个在伯肯黑德北部的博姿（Boots）上班的无聊青少年，开始表演是因为觉得或许自己能在这个行业找到份工作干。（她家有六口人，爸爸是砌砖工人，所以如果不工作的话就没饭吃了。）她在英国皇家戏剧艺术学院接受了长达两年的训练，辗转全国各处演些小角色，直到后来加入英国皇家莎士比亚戏剧团。自那之后，工作不断找上门来，但是在完成每一份工作后，她都笃信自己要失业了。

注释：

bit part：a small and unimportant part in a film or a play （see Cambridge Dictionary）

This was more than partly because she was a woman, and not conventionally pretty, with her gawkiness and big uneven teeth. She had nowt to sell.Critics often said she had intelligence and power, but who wanted those in women? The whole acting world was tilted against them. They were almost never the dramatic centre of plays, just adjuncts on the sidelines. It was true in the 1960s, and it was still true in the 2020s. Good God, she had bitched about it for all those years, and nothing had changed.

这大部分是因为她是个女人，而且长得高大笨拙，牙齿大而不齐，并非传统意义上的美女，毫无“靓点”。评论家经常说她睿智、有力量，但是谁会希望女人拥有这些品质呢？整个演艺圈都对她们不利。她们几乎永远不会是舞台的焦点，只不过是站在边缘的附属品而已。20世纪60年代是这样，21世纪20年代仍是如此。“上帝啊，”这么多年来她一直在指责这一现象，但是一切如旧，丝毫没有改变。

“Elizabeth R” was an exception. There she was regally, icily in charge. Courtiers cringed before her. She played the part again in the film “Mary, Queen of Scots”, where her contempt almost toppled her rival off her horse. Yet she had also studied Elizabeth’s softer side, finding that, for example, the great queen once went to sleep sucking her thumb. It was a six-part series, so they spent a long time together, that mythical figure and herself.

角色“伊丽莎白一世”是个例外。在剧中，她是帝王之尊，面若冰霜，手握王权，侍臣在她跟前卑躬屈膝。在电影《英宫恨》（1971）中，她再度扮演这一角色，那睥睨天下的目光几乎将对手掀翻马下。但她也研究了伊丽莎白柔软的一面，例如，她发现这位伟大的女王曾经吮着拇指睡觉。电视剧《伊丽莎白一世》共有六集，格兰达因此得以同自己的虚构角色共度一段悠长时光。

Truth was what she was after. Peter Brook, her favourite director, always demanded that. Absolute truth, which made you think in a new way. Shakespeare in his plays asked three great questions: Who are we? Why are we? What are we? Each role was an exploration of a human being, and of how human beings behaved towards each other. When she played standard women’s roles, needy sidekicks to the male leads, such as Alex, the third point of the love-triangle in “Sunday Bloody Sunday”, or even Ophelia in “Hamlet”, she made sure to make them deeply interesting.

真实，是她孜孜以求的一切。她最欣赏的导演彼得·布鲁克（Peter Brook）总是如此要求她。“绝对真实”让你从全新角度进行思考。莎士比亚在戏剧中提出了三个著名的问题：我们是谁？为什么是我们？我们要做什么？每次饰演一个角色都是对人以及人们如何待人接物的探索。当她扮演那些典型的女性角色时，那种跟随在男性角色身边、需要关怀的配角，她努力确保让这些角色生动立体，例如《血腥星期天》中处于三角恋中的亚历克斯，还有《哈姆雷特》中的奥菲莉娅。

Yet she did not see herself as an actor. She was the character, seeing the world through their eyes. Since they were fascinating, and she was boring, she took on that fascination. Her most difficult role came in 2016 with the tv drama “Elizabeth is Missing”, when she played a grandmother with Alzheimer’s, drifting in and out of self-knowledge. Who was she then? And who was this tearful young woman at the bus stop, who said she was her daughter? Her lined face seemed to collapse with the effort to understand.

然而，她并不自视为演员。她就是自己饰演的每个角色，透过她们的眼睛来看世界。因为这些角色十分有趣，而她本人却是乏味无趣的，当成为她们时，她展现出了属于角色的魅力。在格兰达的演艺生涯中，最具挑战的角色来自于2016年上演的电视剧《伊丽莎白不见了》——她在其中扮演患有痴呆症的祖母，时不时忘记自己是谁。那她是谁呢？公交站台上这个眼泪汪汪的、声称是她女儿的年轻女子是谁？当她费尽一切想要厘清这些事时，那张满是皱纹的面孔上浮现出似要崩溃的神情。

注释：

take on: acquire a particular meaning or quality

This preoccupation with human behaviour led in 1992 to an extraordinary decision, to give up stage and screen for politics. Pretty similar, really. If there was any one trigger, for she had been Labour all her life, it was Margaret Thatcher’s remark that there was “no such thing as society”. Against her own expectations, she won Hampstead and Highgate—north London wealth with patches of poverty—and represented it, seriously but passionately, for 23 years. The House of Commons, she would tell people whose main image of her was of coltish rolling in the grass, was not at all a place for performance.You didn’t dissemble or play games, because you were speaking for the voters who had put you there. You didn’t pose. She did wear a scarlet jacket sometimes.

格兰达对人类行为的特别关注让她在1992年做了一个让人目瞪口呆的决定：她放弃了舞台和银幕而投身于政治。从某种意义上来说，这两种职业十分相似。她一生都是工党党员，如果真要说是什么让她做出了这样的选择，那应该就是玛格丽特·撒切尔那句：“这个世界不存在社会这种东西”。在她意料之外的是，她拿下了汉普斯特德和海盖特选区——富裕和贫困区域交错的伦敦北部地区，一丝不苟且满怀热情地代表了该地区23年。她让那些把她当做在草地上打滚的轻佻女子的人知道，下议院绝对不是剧场。你不会伪装或耍花样，因为你是代表支持你的选民在那里发言。你也不会故作姿态，虽然她确实有时会穿一件猩红色夹克衫。

Again, it was speaking truth that mattered most. She briefly became a junior transport minister, but savaged Tony Blair over Iraq. And when Thatcher died, rather than join in the syrupy tributes, she furiously attacked “the most heinous economic, social and spiritual damage” her nemesis had caused. In her own constituency, shop doorways were now the bathrooms of the homeless. School walls were held together with Sellotape. Greed, selfishness and scorn for the weaker were now presented as virtues. Over the continuous male heckling her voice rose as strongly as Elizabeth I’s, gravelly from years of smoking.

再次强调，实事求是才是一切的核心。她曾短暂担任过英国副交通大臣，但仍在伊拉克问题上对时任英国首相的托尼·布莱尔（Tony Blair）进行了猛烈抨击。当撒切尔夫人去世时，她并没有加入那些肉麻腻味的吊唁中，而是真情实感地激烈抨击了撒切尔所造成的“最可憎的经济、社会和精神伤害”。在她自己的选区，商店门廊现在成了流浪者的卫生间。学校的墙壁用胶带勉强粘在一起。贪婪、自私和对弱者的蔑视现在被视作美德。她的声音像伊丽莎白一世那样坚定有力，虽然因多年吸烟而沙哑，却压过了周围连续不断的男性起哄声。

She was sometimes asked if she could ever play Thatcher. Awful thought. She couldn’t possibly get into the world Thatcher saw. But even stranger worlds she bravely entered. A year after stepping down from Parliament, in 2016, she played Lear on the London stage, howling in an old suit through the soaking storm. Later she took the show to New York. She was in her 80s. Ridiculous to think she had the energy! But she did, because the energy, like a roaring car, came from the work itself.

有时，她会被问到是否能扮演撒切尔夫人。她认为这个想法糟透了。她根本无法从撒切尔的视角来看世界。但她勇敢地进入了更光怪陆离的世界。在离开议会一年后，也就是2016年，她在伦敦舞台上扮演了李尔王，穿着一袭旧衣，哀号着穿过疾风暴雨。后来，她还将这部剧带到了纽约。当时，格兰达已是杖朝之年，竟还能如此精力充沛，真是不可思议！但她的身上确实不断迸发出力量，因为工作就是她的力量源泉。她像一辆轰鸣的汽车，与风齐肩，一往无前。

She was glad to note that gender barriers were more fragile as she aged. Playing an old mad king was fine, and a liberation. She still had that bloody worry that, afterwards, she wouldn’t get work again. Yet even as she died she had a film in the can, “The Great Escaper”, with Michael Caine. She helped him to break out of his care home. Independence championed, to the last.

格兰达欣喜地发现随着年龄的增长，性别壁垒愈发不堪一击。她可以扮演一个疯狂的老国王，这是一种解放。她仍然十分担心在一部大戏落幕后，她可能再也找不到工作了。然而，即使在去世时，她还有一部与迈克尔·凯恩（Michael Caine）合作的电影《伟大的逃兵》待映。电影中，她帮助他逃出养老院。她始终捍卫着自己的独立精神，直到生命的最后一刻。

翻译组：

Alex，不务正业的理工男

Vicky，少儿英语老师+笔译新人

Mosy，绘本、演讲、戏剧英文教育践行者

校对组：

Charlie，往者不谏，来者可追
UU，允许别人做别人，允许自己做自己

Claire，进进退退，摇摇摆摆，探索世界ing

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本周感想

Benjiamin，MTIto be，初学翻译的翻译小学生

她是那道闪亮的星辉，耀眼而又引人瞩目。她的名字，格伦达·杰克逊，如同一曲动人的乐章，在演艺舞台上奏响，深深地触动着每一个观众的心弦。

她的演技，如同细腻的画笔，在空白的画布上勾勒出一个个栩栩如生的人物形象。她的眼神，那如诗的光芒，透射着千言万语；她的姿态，那舞动的姿容，展现着内心的挣扎与喜悦；她的声音，那如水的音符，传递着角色的情感和痛楚。她的表演艺术，宛如一首动人的诗篇，以优雅和深情的笔触，演绎着人性的辉煌和沧桑。