SECTION 3

KATIE: Joe, you know I'm giving a presentation in our film studies class next week?

凯特：乔, 你知道我下周要在电影课上做展示了吗？

JOE: Yes.

乔：知道。

KATIE: Well, could we discuss it?

凯特：那我们能讨论一下吗？

I could do with getting someone else's opinion.

我需要别人的建议。

JOE: Of course, Katie. What are you going to talk about?

乔：当然可以，凯特。你准备讲什么？

KATIE: It's about film adaptations of Shakespeare's plays.

凯特：讲关于莎士比亚戏剧的改编电影。

I've got very interested in all the different approaches that film directors take.

我一直对导演们翻拍电影的不同方式很感兴趣。

JOE: Uhuh.

乔：嗯。

KATIE: So I thought I'd start with Giannetti, who's a professor of film and literature, and in one of his books he came up with a straightforward classification of film adaptations based on how faithful they are to the original plays and novels.

凯特：所以我想从Giannetti入手。他是一位电影教授和作家，在他的一本书中他对改编电影进行了明确分类，这个分类的标准是基于改编电影对原作的还原度。

JOE: Right.

乔：可以。

KATIE: I've already made some notes on that, so I just need to sort those out before the presentation.

凯特：我已经在书上做了一些注解，所以我在展示之前我只需要把它们进行分类就可也以了。

I thought that next I'd ask the class to come up with the worst examples of Shakespeare adaptations that they've seen, and to say why.

接下来我想问问班里同学们他们看过的哪一部莎士比亚作品的改编电影最糟糕并且说明原因。

That should be more fun than having their favourite versions.

这可能比讲他们最喜欢的作品更有趣。

JOE: Yes, I can certainly think of a couple!

乔：是的，我都能想到两部了！

KATIE: Right. Next I want to talk about Rachel Malchow.

凯特：没错。接下来我想说说Rachel Malchow。

I came across something on the internet about her work on film adaptations, and I was thinking of showing some film clips to illustrate her ideas.

我在网上找到了几部她的改编电影作品，我想展示一些其中的电影画面来说明她的想法。

JOE: Will you have enough time, though?

乔：这样你有足够的时间吗？

Both to prepare and during the presentation?

去准备和展示内容？

After all, I doubt if you'll be able to find all the clips you want.

毕竟，找到所有你想要的片段也很困难。

KATIE: Hmm. Perhaps you're right.

凯特：嗯。可能你说得对。

OK, well, I'd better do some slides instead, saying how various films relate to what she says.

好吧，那这样我最好就准备一些片段，说明一下作者所说的不同类型的电影。

That should encourage discussion.

这估计就足够讲述了。

JOE: Mmm.

乔：嗯。

KATIE: Next I want to say something about how plays may be chosen for adaptation because they're concerned with issues of the time when the film is made.

凯特：接着我想讲的是改编电影是如何挑选原作戏剧的，因为这和电影拍摄年代的时代话题有关。

JOE: You mean things like patriotism, or the role of governments?

乔：你指的是像爱国精神或者政府的地位？

KATIE: Exactly. It's quite tricky, but I've got a few ideas I'd like to discuss.

凯特：正是。这点很难，但是我已经有些想法了。

KATIE: And finally I want to talk about a few adaptations that I think illustrate a range of approaches, and make some comments on them.

凯特：最后，我想介绍和评价一些我认为代表了不同形式的改编电影。

Do you know the Japanese film Ran?

你知道那个日本电影《乱》吗？

JOE: I haven't seen it.

乔：我没看过。

It was based on Shakespeare's King Lear, wasn't it?

他的创作是基于莎士比亚的《李尔王》是吗？

KATIE: That's right.

凯特：没错。

It was a very loose adaptation using the same situation and story, but moving it to 16th century Japan instead of 16th century Britain.

这个翻拍很失败。他使用了相同的背景和故事，但是把背景16世纪的英国换成了16世纪的日本。

So for example the king's daughters become sons, because in Japanese culture at that time, women couldn't succeed to the throne.

所以例如，国王的女儿们变成个儿子们，因为在日本文化中，女性是不能继承王位的。

JOE: OK. I hope you're going to talk about the 1993 film of Much Ado About Nothing.

乔：好吧。我希望你能谈论一下1993年的电影《无事生非》。

I think that's one of the best Shakespeare films.

我认为这是最好的莎士比亚电影中的一部。

It really brings the play to life, doesn't it?

他生动的还原了戏剧本身不是吗？

KATIE: Yes, I agree. And I think filming it in Italy, where the play is set, makes you see what life was like at the time of the play.

凯特：是的，我同意。而且我认为在戏剧本身的发生地意大利拍摄这部电影使你可以了解到戏剧发生的那个年代的真实样貌。

JOE: Absolutely. Right, what's next?

乔：当然！那接下来呢？

KATIE: Er, next, I thought Romeo & Juliet, the 1996 film, which moves the action into the present day.

凯特：呃，接下来我想谈一下1996年的现代电影《罗密欧与朱丽叶》。

JOE: Yes, it worked really well, I thought - changing the two feuding families in the original to two competing business empires, even though they're speaking in the English of the original play.

乔：好的。我认为他拍的非常好——尽管台词还是原先戏剧中的英文台词，但是将原本对立的两个家族改编成了两个竞争的商业帝国。

KATIE: You'd expect it would sound really bizarre, but I found I soon got used to it.

凯特：你会以为他听起来很奇怪，但是我发现我很快就适应了。

JOE: Me too.

乔：我也是。

KATIE: Then I thought I'd include a real Hollywood film, one that's intended to appeal to a mass commercial audience.

凯特：接着，我想我会在加一部真正的好莱坞电影，这部电影要能吸引大量的商业票房。

JOE: There must be quite a number of those.

乔：那肯定有很多可以选择的空间。

KATIE: Yes, but I've picked the 1996 film of Hamlet.

凯特：是的，我选择了1996年的电影《哈姆雷特》。

It included every line of the text, but it's more like a typical action hero movie - there are loads of special effects, but no unifying interpretation of the play.

他涵盖了书中的所有内容，但是他更像典型的英雄动作电影——因为其中有大量的特效，但少了对戏剧的统一解读。

JOE: All show and no substance.

乔：都有所展现，但是没有涉及实质。

KATIE: Exactly. Then there's Prospero's Books, based on The Tempest.

凯特：没错。接着是改编自《暴风雨》的《魔法师的宝典》。

That was really innovative, from a stylistic point of view.

从体裁上看，它真的很有创新性。

JOE: Didn't it include dance and singing and animation, as well as live actors?

乔：他是不是包含了舞蹈，歌曲，动画还有演员？

KATIE: Yes, it did. I also want to mention Looking for Richard.

凯特：是的。我还想说一下《寻找理查德》。

Did you ever see it?

你看过这部电影吗？

JOE: No. but I've read about it.

乔：没有。但是我听说过。

It was a blend of a documentary with a few scenes from Richard lll, wasn't it?

他是不是一部混合了几个《理查德三世》画面的纪录片？

KATIE: That's right. It's more a way of looking into how people nowadays connect with the playwright - the play is really just the starting point.

凯特：没错。他更像是在探索如今人类怎样与莎士比亚结合——这其中戏剧只是一个出发点。

And that' ll be where I finish.

而且我就打算讲到这里。

JOE: Well, it sounds as though it'll be very interesting.

乔：嗯，这听起来会非常有趣。