Watch the Throne: How Joel Coen Came to Make ‘The Tragedy of Macbeth’ 經典新詮 柯恩的馬克白之旅

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2022/04/22 第379期 訂閱/退訂∣看歷史報份

紐時周報精選 Watch the Throne: How Joel Coen Came to Make 'The Tragedy of Macbeth' 經典新詮 柯恩的馬克白之旅 A Reimagined"Long Day's Journey Into Night"for the COVID Era 疫情期間再現「長夜漫漫路迢迢」

Watch the Throne: How Joel Coen Came to Make 'The Tragedy of Macbeth' 經典新詮 柯恩的馬克白之旅 文/Dave Itzkoff 譯/陳韋廷 經典新詮 柯恩的馬克白之旅 You make enough movies about people chasing after things — outlaws, money, a kidnapped baby — and eventually someone comes chasing after you. In Joel Coen's case, his pursuer was William Shakespeare. 你拍了很多有關人們追尋事物的電影，如追逃犯、金錢與遭綁架嬰兒，最終有人也會追著你跑。而在柯恩的案例中，追著他的是莎士比亞。 As Coen put it recently, "Shakespeare is unavoidable." He gave a resigned chuckle and added, "For better or worse." 就像柯恩最近所說，「莎士比亞是無法避免的」，他無奈的笑了笑說，「不管怎樣」。 In a filmmaking career of nearly 40 years, Coen has chronicled a spectrum of well-spoken criminals and enlightened dudes in stories inflected with varying amounts of brutality and absurdity. He has directed 18 features and written several others with his brother, Ethan. 在他近40年電影生涯中，柯恩用不同程度的殘酷與荒謬記錄了一系列談笑風生的罪犯與開明的人。他執導過18部劇情片，並跟弟弟伊森共同創作了其他幾部作品。 Having built a filmography characterized by unexpected twists and turns, Joel Coen has himself taken what may seem like a surprising pivot away from that body of work. His latest film, "The Tragedy of Macbeth," is a shadowy and phantasmagoric rendition of the Shakespeare play, presented in black and white. 柯恩作品的特色是意想不到的轉折，如今他自己卻出人意料地偏離此作品體系。他的最新電影「馬克白」，是對莎士比亞戲劇朦朧且變幻莫測的演繹，以黑白片呈現。 The movie, released theatrically in December and on Apple TV+ earlier last Jnauary, stars Denzel Washington as the murderous nobleman of the title and Frances McDormand as his scheming spouse, Lady Macbeth. It has already received numerous postseason plaudits, including Denzel Washington, whose nod for "The Tragedy of Macbeth" is his 10th Oscar nomination. 這部去年12月在電影院上映、今年1月初在Apple TV+上播出的電影，由丹佐華盛頓飾演劇中凶殘的貴族，法蘭西絲麥朵曼飾演他詭計多端的妻子馬克白夫人。這部片在檔期後獲得了無數喝采，包含丹佐華盛頓憑藉「馬克白」第十度獲得奧斯卡提名。 Coen is a dedicated theatergoer and an avid reader, though not one with any special knowledge of or affinity for Shakespeare. "I came to it as an amateur," he said. "I'm still an amateur." 柯恩是一位忠實的電影愛好者及狂熱讀者，即便他對莎士比亞並沒有特殊的知識和喜好。他說：「對於這個我算是外行，現在我還是外行。」 But look closer at "Macbeth," and there are aspects of the play that make it fitting and perhaps inevitable subject matter for Coen. "It's a murder story," he said. "In a way, it's even a horror story." 但仔細觀看「馬克白」後，會發現這部電影某些方面很適合柯恩，或許也是柯恩不可避免的題材。他說：「這是一個謀殺故事。在某種程度上，這甚至是個恐怖故事。」 This somber tale may have proved an ideal escape for the director, coming at an unfamiliar juncture when Ethan had decided to take a break from film. Just when Joel was seeking new approaches to his cinematic craft as a solo director, his inspiration emerged from a foundational text of English literature. 這個嚴肅故事對這位導演來說可能是理想的逃離，且發生在伊森決定暫時離開電影的陌生時刻。就在獨自執導的喬爾尋求電影技術新方法時，他從英國文學非常重要的文本獲得靈感。 "It was a deliberate choice to do something I had not done," Coen said. "It was an opportunity to go out of the wheelhouse that I'd been in before. It's something that demanded I do that." 柯恩說：「我做了一件我從未做過的事，這是經過深思熟慮的選擇。這是一個機會，讓我走出我以前最擅長的領域。這是我非做不可的事。」 A Reimagined"Long Day's Journey Into Night"for the COVID Era 疫情期間再現「長夜漫漫路迢迢」 文/Juan A. Ramírez 譯/陳韋廷 疫情期間再現「長夜漫漫路迢迢」 Of the time-honored classics of American theater, Eugene O'Neill's "Long Day's Journey Into Night" is one that usually takes its own concept of time seriously. A four-act work based on the playwright's own dysfunctional parents, it follows the disintegration of the Tyrone family — by disease, ego, addiction and codependency — through the course of a claustrophobic August day at their seaside home in Connecticut. Widely considered O'Neill's masterpiece, it typically runs just under four hours. 美國戲劇久享盛名的經典作品中，尤金．歐尼爾的「長夜漫漫路迢迢」平常都以其非常從容的步調演出。這部四幕劇作品以作者本身失能的父母為背景，講述泰隆一家8月在康乃狄克州海邊家中度過幽閉恐怖一天，因疾病、自我、毒癮與相互依賴而解體的故事。被公認為是歐尼爾傑作的這齣戲劇，演出時間通常接近4小時。 Writer-director Robert O'Hara, a Tony nominee for his direction of "Slave Play," is doing it in under two. 執導「奴隸遊戲」而獲東尼獎提名的編劇兼導演羅伯特．奧哈拉，把演出時間縮短到2小時以下。 Presented without an intermission by Audible at the Minetta Lane Theatre, "Long Day's Journey Into Night"is for a shortened production that confronts the play's themes head-on and brings them into 2022. 由Audible公司推出、在明奈塔巷劇院上演的「長夜漫漫路迢迢」，沒有中場休息時間，而且是個縮減版製作，迎面對決這齣戲劇的主題，並將其帶入2022年。 "There is so much velocity in the writing that it moves at a fast clip, and with so much richness," O'Hara said after a rehearsal last month. "The family doesn't get an intermission throughout this one long day, so it's quite interesting to get to sit with them in real time." 奧哈拉在上月一次排練後說：「這個劇本充滿速度，所以步調很快，且內容非常豐富。這家人在漫長一天裡沒有休息時間，因此能跟他們坐在一起即時體驗是相當有趣的。」 The decision to trim the material happened early and organically, O'Hara explained. 奧哈拉解釋說，很早就決定刪減劇本，且相當自然。 "Once you put the knife in, you're just like, 'Are we going to pretend that we're not editing this?' " he quipped. It was then bolstered by his wariness of having people gather for too long, given the latest COVID-19 variant. 他打趣說：「一旦你開始動刀，就會想『我們要假裝我們沒有修剪這個嗎』？」考量到最新變種新冠病毒，當時他擔心人們群聚太久的謹慎態度，也支持這想法。 "For me, it feels like a COVID production of 'Long Day's Journey Into Night,' built for right now," he said. "We didn't want to ask an audience to sit for four hours in a theater just because that's the way it's usually done. If anyone's coming in looking for that experience, they should know that it's not this." 他說：「對我而言，這就像個新冠病毒版的『長夜漫漫路迢迢』，為了現在而製作。我們不想要求觀眾在劇院內坐4小時，只因為平常都是這麼做。如果有人來尋找那種體驗，他們應該知道這次不是這樣。」 O'Hara credits actress Elizabeth Marvel, who portrays the morphine-addicted mother, Mary, as instrumental to getting the production off the ground. 這個製作得以成功進行，奧哈拉將其歸功於劇中扮演吸毒成癮母親瑪麗的女演員伊麗莎白．馬威爾。 "We started just talking about this play, but then the world made its urgency all the greater," Marvel said. "I've seen probably 11 or 12 productions in my lifetime, and it's always the same: in the same drawing room with billowing curtains, and with period corsets. 馬威爾說：「我們一開始只是討論這齣戲劇，但後來世界讓這個製作變得更急迫。我這輩子大概看過11到12次不同製作，但每次都一樣：在一個掛有飄逸窗簾的客廳裡，穿著舊時的緊身胸衣。」 "But there's absolutely no reason," she continued, "it can't be right here, right now. It very much speaks to this moment, when a lot of people are having to return home to their families, dealing with addiction and codependency during a crisis, while not being able to get out." 她繼續說道：「但這絕對沒道理，此時此地不是那樣。這齣戲相當能呈現此刻，許多人不得不回家跟家人團聚，在危機中因應毒癮與相互依賴，而且無法出門。」

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