欲望号街车
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 a
ST 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 as
ST 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
欲望号街车原文
the exterior of a two-story corner building on a street in new orleans about: https://www.wendangku.net/doc/3415935116.html,/Streetcar.html A STREETCAR NAMED DESIRE And so it was I entered the broken world To trace the visionary company of love, its voice An instant in the wind [I know not whither hurled] But not for long to hold each desperate choice. HART CRANE The Broken Tower THE CHARACTERS The first London production of this play was at the Aldwych Theatre on Wednesday,.2 October.949, with the following cast: Blanche DuBois Vivien Leigh Stella Kowalski Rerw Asfwrson Stanley Kowalski Bonar Colleam Harold Mitchell [Mitch] Bernard Braden Eunice Hubbel Eileen Dale Steve Hubbel Lyn Euans Pablo Gonzales Theodore Bikel Negro woman Brwe Howard A strange man [doctor] Sidney Monckton A strange woman [nurse] Mona Lilian A young collector John Farrest A Mexican woman Eileen Way Directed by Laurence Olivier Setting and lighting by Jo meilziner Costumes by Beatrice Dawson ******************************************************************************* ********** SCENE ONE The exterior of a two-storey corner building on a street in New Orleans which is named Elysian Fields and runs between the L & N tracks and the river. The section is poor but unlike corresponding sections in other American cities, it has a raffish charm. The houses are mostly white frame, weathered grey, with rickety outside stairs and galleries and quaintly ornamented gables. This building contains two flats, upstairs and down. Faded white stairs ascend to the entrances of both. It is first dark of an evening early in May. The sky that shows around the dim white building is a peculiarly tender blue, almost turquoise, which invests the scene with a kind of lyricism and gracefully attenuates the atmosphere of decay. You can almost feel the warm breath of the brown river beyond the river warehouses with their faint redolences of bananas and coffee. A corresponding air is evoked by the music of Negro entertainers at a bar-room around the corner. In this part of New Orleans you are practically always just around the corner, or a few doors down the street, from a tinny piano being played with the infatuated fluency of brown fingers. This blue piano' expresses the spirit of the life which goes on here. [Two women, one white and one coloured, are taking the air on the steps of the building. The white woman Eunice, who occupies the upstairs flat; the coloured woman a neighbour, for New Orleans is a cosmopolitan city where there is a relatively warm and easy intermingling of races in the old part of town. Above the music of the 'blue piano', the voices of people on the street can be heard overlapping.] Negro woman [to Eunice]: ... she says St Barnabas would send out his dog to lick her and when he did she'd feel an Icy cold wave all up an' down her. Well, that night when –
欲望号街车观后感
《欲望号都市》鉴赏 事物的发展是内因和外因共同起作用的结果。内因是事物变化发展的根据，外因是事物变化发展的必要条件，外因透过内因起作用。——这是开篇我想说的话，也是这部戏剧给我感受最深的地方。 全长120多分钟的戏剧，在一开始放映的时候，我是抱着一种娱乐消遣的心态来观看的，并没有抱着过多期待的心态。可随着剧情的深入，我开始了自己的对戏剧剧情的思考。 在电影进行了大约三分之一的时候，我还并不是很清楚它到底要给我们表达些什么，我的心里还存在着很多疑问的地方。比如：为什么戏剧要以布兰奇从车站下车开场？布兰奇又是因为什么而来奥尔良找她的妹妹丝黛拉？当丝黛拉问她离开的原因时，她为什么闪烁其词，表现的神经失常？她在初见斯坦利的时候，到底是出于一种什么样的心态？在她明显地表现出是在勾引和诱惑斯坦利的时候，我对她的行为感到非常地愤慨。同时，出于对善良的丝黛拉的同情，我很担心斯坦利是否会因受到诱惑而背叛丝黛拉。在剧情还未深入的情况下，我对斯坦利的为人表示怀疑。 这些疑问在后来的剧情发展中逐步地得到了解决。在斯坦利无情地揭露布兰奇在家乡奥里维尔的丑闻之前，整个剧情走的线路都是比较温馨的，当然，布兰奇与斯坦利两人之间的冲突也是必要的，一方面，是为了让剧情显得并不是那么柔和，戏剧本身的定位的就是一部悲剧，另一方面，则是为剧情高潮的到来做了铺垫。也正是布兰奇和斯坦利两人性格的冲突，导致了最后矛盾的激化。斯坦利残忍地撕碎了布兰奇重新生活的梦想，让她好不容易重新获得的幸福毁于一旦。布兰奇的存在，一直是不愿跟脏烂社会同流合污的高洁形象。为了不当花瓶，为了自我清高，也为了神圣爱情，布兰奇潜藏了个人累累前锴，避开了个人重重旧恶，换然面貌，来至所谓天堂福地，渴求新的生活，欲望新的活身。欲望重生的艳情。可是面前一切，都是那么冷酷严惨。不依不饶。 布兰奇的悲剧，在我个人认为，是时代造就的悲剧。每一部小说的背后都隐藏着沉重的时代因素。《西游记》里孙悟空好打妖怪，“西天取经”他表现出的见恶必除，除恶必尽的精神，正是作者想要给世人展示的面对封建势力勇于反抗的精神。同样的道理，布兰奇的悲剧在于她深受时代的腐蚀，她向往高贵，却又存在低寒，她迷恋富足，却又失落在穷困。姐妹俩都接受过旧式的南方教育，从小接受的教育使她变得高雅的同时，也让她有了那无言的欲望。她追求完美，表现得体，喜好富贵。而欲望对于她来说就是火，当欲望受到现实的种种限制而无法实现的时候，她便逐步走上了引火自焚的道路。 在布兰奇告诉米奇自己丈夫不幸的死亡时，她是这样描述的：“我‘杀死’了那年轻的孩子。”在我看来，丈夫的死，多少她是脱不了干系的。也正是她丈夫的死，开启了她的不幸之路，使得她走到了今天的局面。若不是那无言的欲望在作祟，她怎么会认为自己的丈夫太无能？若不是出于对丈夫的死的自责和内疚，她又怎么会患得患失，精神失常，以致于最后走上了那么一条淫荡不堪的路？看看丝黛拉，多么善良纯朴。若不是心中那欲望的存在，相信布兰奇也会像丝黛拉一样幸福，拥有自己的小房子，和自己可爱的孩子、体贴的丈夫幸福地度过一生。 影片最后的镜头让人难以忘怀：难过的丝黛拉，负疚的斯坦利和羞愧的米
欲望号街车翻译
欲望号街车——姐妹相认部分（改编后） [Blanche sits in a chair very stiffly with her shoulders slightly hunched and her legs pressed close together and her hands tightly clutching her purse as if she were quite cold. After a while, the blind look goes out of her eyes and she begins to look slowly around. A cat screeches. She catches her breath with a startled gesture. Suddenly she notices something in a half- opened closet. She springs up and crosses to it, and removes a whisky bottle. She pours a half tumbler of whisky and tosses it down. She carefully replaces the bottle and washes out the tumbler at the sink. Then she resumes her seat in front of the table.] 【however， Stella has not came back yet. Blanche determined to look for her. She came to the bowling alley, which Eunice had told her.】[She came in the bowling ally,head towards to bar counter.] Waiter: Hello. madam ,what can I do for you? Blanche:Well,I am looking for Stella,I mean Mrs Stanley. Waiter:She is over there.[he poins to the crowd] Blanche:thanks.[she working to there] [Stella comes quickly and runs to bar counter.] Stella [calling out joyfully]: Blanche! [For a moment, they stare at each other. Then Blanche springs up and runs to her with a wild cry.] Blanche: Stella, oh, Stella, Stella! Stella for Star! [She begins to speak with feverish vivacity as if she feared for either of them to stop and think. They catch each other in a
浅析《欲望号街车》女性形象
浅析《欲望号街车》女性形象 论文摘要： 田纳西?威廉姆斯的《欲望号街车》是一部充满不朽魅力的作品,作品为我们塑造了没落的南方贵族女性布兰奇孤独的、脆弱的、身心畸形的形象,社会优越感、自命清高和恣意放纵成为其悲剧命运的外在原因。本文通过描述布兰奇在社会变革的历史背景下如何对人生进行选择,并如何走向毁灭的,旨在探讨南方种植园文化败落过程中女性悲剧命运的深层社会的原因。 论文引言： “Well，they told meto take a streetcarnamed Desire，and thentransfertoonecalledCemeteries，na difdesixblocksandget ofatElysina Fields．”这是经典影片《欲望号街车》里女主人公寓含寓意的开场白。我们看到一个美丽幽雅的女人，面妙遮掩憔悴的脸庞，无助地左顾右盼，会想象一只美丽而弱小的“自蛾”正舞动着一对薄薄的翅膀扑向一堆将息的灰烬。然而随着剧情深入，布兰奇不为人知的放浪形骸和矫揉造作的贤淑清纯逐一显露，我们不禁迷惑：布兰奇究竟是怎样一个人物，髟象?评论家们为此长期争执，得出许多不同的结论：一些专注于她的温柔、教养、理想主义，视其为出身没落贵族的优雅淑女；另一些则鄙夷她的虚伪做作、不知廉耻，认为她代表堕落世界的轻浮荡妇。在笔者看来，布兰奇是一个蜷缩在自己阴暗的幻想世界里，不敢正视现实生活的悲剧女性。 社会变革的牺牲品—布兰奇 布兰奇作为传统的南方贵族淑女，自幼在种植园经济的生活方式下成长，接受南方思想的教育，作为在淑女绅士的浪漫田园王国。南方保守而封闭的种植园经济，还有传统的农业文明，甚至宗教上的偏执的清教主义，都从思想观念和生活方式等方面烙印她的潜意识里。在相继失去了亲人、丈夫、土地和工作之后，布兰奇由不必为物质担忧，以高贵美丽、优雅迷人为己任的公主逐渐沦为失去亲人保护、被驱逐的底层人士。不得不来到位于新奥尔良的妹妹丝黛拉和妹夫斯坦利的家。乘坐欲望号街车来到天堂福地后布兰奇迷茫而无助的发现这个天堂福地俨然如贫民窟般、杂乱、肮脏、狭小、人员复杂。外界的截然不同的新环境与布兰奇得体的衣着反差巨大。尽管此时的她已经发现了这个现实，但还是坚持活在自己的幻想中。她外表光鲜。热衷于漂亮的衣服和首饰，尽显女性的温柔高贵优雅。即使在又脏又乱的天堂福地，仍在幻想过着诗歌、音乐、舞蹈、绅士、淑女组成的上流社会生活。她对来自社会底层的妹夫斯坦利充满嘲讽鄙夷，叫他“波兰佬、类人猿”。多次引导妹妹丝黛拉回想ＪＤＮ的贵族生活，强调她们高贵的血统和身份，认为丝黛拉不应该委屈自己过着这种无法想象的噩梦般的日子。尽管布兰奇始终坚持内心理想，渴望追求到受尊重的绅士淑女的感情关系，但她自觉的以男性的价值标准来塑造自己。过分的注重自己的外表．尤其是在与男性打交道时：衣着得体，谈吐高雅，温柔被动，纯洁善良。可光鲜的外表难掩一颗空虚而又恐慌的心，她始终依附着男性生存。布兰奇有过一次婚姻，她深爱丈夫艾伦，那是她感情和生存的依赖．然而也是她的不理解和羞辱导致了 艾伦的自杀。丈夫死后布兰奇失去了生活和情感的依靠，她的愧疚和恐慌折磨着她和陌生人发生亲密关系。就是唯一可填补她心灵空白的方法了。这种排解心灵空的方式也是男权主义在布兰奇身上的变异，正如波伏娃在《第二性》中所
《欲望号街车》人物塑造分析
进退两难 ——浅析《欲望号街车》的人物塑造 《欲望号街车》是美国戏剧家田纳西·威廉斯最享盛名的作品，剧本通过对人物心里矛盾和冲突的深刻刻画，使得每个主人公都有着鲜明的性格特点，同时也通过鲜活的人物勾画出了当时美国的社会现状，让人过目不忘，感同身受。 一个剧本里的人物，一定离不开剧本内的社会背景，而一个真正优秀的剧本，即使远离了当时所写的社会背景，甚至将它的主要人物抽离出来放在任何一个时代，也都是有着深刻思考意义的。就如《欲望号街车》中的布兰奇、史坦利和史黛拉，抛开威廉斯创作时美国南北方问题的背景，三者的特征俨然已经上升到了人性高度，在任何一个国家和地区，都能唤起人类内心对其的感性认识与理性思考，这也是剧本在全世界得到共鸣的原因所在。 以下是对《欲望号街车》中主要人物布兰奇、史坦利和史黛拉的浅析： 一、布兰奇 女主角布兰奇是《欲望号街车》里的中心人物，整个故事从“她来到北方投靠妹妹史黛拉”开始，渐渐引出布兰奇内心的对情的痴求，对肉欲的无法抗拒，以及现实环境与她的格格不入，以致最后被送进疯人院。 剧中主要通过布兰奇与他人之间发生的事件来表现其个性，反之也是以布兰奇的内心逐渐崩溃来推进事件发展的。最开始，布兰奇来到城里找妹妹史黛拉，当她发现史黛拉住的是破旧的贫困街区时，她表现出的惊讶体现了她和这个环境不适宜。很快，布兰奇的到来使妹夫史坦利感到怀疑，他与妻子史黛拉争吵了起来。两个人从始至终的争吵都是因为布兰奇，或者说是因为这个不合适的“贵族”在贫民区显得太多耀眼，遭人嫉妒和嫌弃。这从侧面反应了布兰奇身上故作出来的气质。接下来，布兰奇与史坦利第一次争吵的时候，布兰奇试图表现自己的优雅，但被史坦利打断，直到箱子的信件被翻出来，布兰奇第一次表现了她内心对情爱渴望而又受伤的一面。 如果说之前几场戏都只是为了引出布兰奇这个人的话，那么真正对布兰奇的刻画是在她遇见了喜欢的人（史坦利的朋友）米奇之后。从她与米奇的交谈以及对米奇的眼神中，可以看到她对米奇有爱，但从她与史黛拉的对话中又能知道她想要维持自己高雅的形象，这种矛盾是出自布兰奇对自我及他人的欲望。在与米奇的交往过程中，米奇表达了自己“只是为了病重的母亲要立即结婚”的世俗想法，而布兰奇则完全背道而驰地表现了她曾经迷恋的男人因她死去，她内心的痛苦等，这时似乎米奇也被布兰奇的这种高雅纯洁所打动。到了最后，史坦利向米奇揭穿了布兰奇，说她只是个低俗的女人时，米奇放弃了布兰奇。布兰奇向史坦利坦白了一切，说明自己是因为曾失去心爱的人才会放
欲望号街车
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 a ST 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,
欲望号街车 中文剧本概述
《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。（对白人妇女）喂，尤尼斯，你好吗？ 尤尼斯：很好。告诉斯狄夫给他自己穷小子买点三明治，因为这里什么都没剩的了。 【她们全笑了；那个黑人妇女尤其笑个不停。斯蒂拉下。 黑人妇女：他掷给他的那包是什么？（从阶梯上站起来，更大声地笑） 尤尼斯：嘘！你别吵了！ 黑人妇女：接住什么？ 【她继续大笑。白兰琪提着一只旅行包从街角走出来。她看看拿着的纸条，望望楼房，接着又看看纸条，再望望楼房。她露出惊愕不相信的神情。她的衣着和这个环境很不协调。她穿着一身讲究的白色衫群，束着一条柔软的腰带。戴着项链，珍珠耳环，白手套和帽子，看来就像是来花园区参加夏季茶会或鸡尾酒会
分析《欲望号街车》布兰奇悲剧命运的成因
分析《欲望号街车》布兰奇悲剧命运的成因 摘要：田纳西?威廉斯是20世纪美国文学最杰出的剧作家之一。在《欲望号街车》中他成功地刻画了布兰奇这一悲剧形象，并于1948年赢得了普利策戏剧奖。《欲望号街车》的出版标志着他在戏剧创作上达到了前所未有的高度。 本文分为三部分，着眼于分析布兰奇悲剧命运的成因。第一部分概述了威廉斯的生平和他的作品《欲望号街车》。第二部分通过描写美国南方种植园经济和男权社会揭示了 造成女主角悲剧的社会历史环境。本文进一步分析了导致布兰奇走向毁灭的直接原因包括艾伦的背叛，麦奇的遗弃，斯坦利的迫害。与这三个人的关系将布兰奇推向悲剧的深渊。除了外部因素外，布兰奇自身的性格缺陷像沉溺于幻想与虚伪使她难逃悲剧的厄运。作为结论，最后一部分给处于相似境遇的现代人提供了一些启示。跟随时代的步伐是明智的。接受改变，从不沉溺在幻想的世界是最好的求生之道。 关键词：悲剧；成因；幻想；虚伪 一、简介 田纳西?威廉斯是二十世纪美国著名的剧作家，他在美国戏剧界的声望可以与尤金?奥尼尔相提并论。威廉斯出生在密西西比州。他在度过了不愉快的高中时光后，先后上了三所大学。在1929，他进入密苏里州大学，在这里，他创作了的
第一部独幕剧《美就一个字》。这部戏在当地竞赛中获得好评。从1928年处女作短篇小说《尼特克里斯复仇》的发表至1983年，威廉斯共完成了25部长剧、40部短剧和12部剧本，其中包括那些已经制作和未完成的剧本，因此他被誉为一名富有成效的剧作家。其中1948的《欲望号街车》和1955年的《热铁皮屋顶上的猫》曾助他两夺普利策奖和戏剧评论奖。 《欲望号街车》被普遍认为是20世纪最优秀的戏剧之一。女主角布兰奇在密西西比州劳雷尔小镇被开除，失去了在贝尔的房子，她被迫求助于住在新奥尔良的姐姐斯特拉。斯特拉已经结婚。因为布兰奇和她的姐夫斯坦利来自不同的家庭，对价值观和生活方式有着不同的态度，在斯特拉的家里，他们之间充满了冲突。该剧的高潮是布兰奇被斯坦利残忍地强奸，被送到疯人院。 二、《欲望号街车》中布兰奇悲剧的成因分析 田纳西?威廉斯擅长于描绘传统的南方女性形象，他们中的大多数人都敏感、脆弱和沮丧。《欲望号街车》的女主角布兰奇?杜布瓦就是其中的代表者。《欲望号街车》讲述了南部女性布兰奇的悲惨生活。而她的悲剧有多种原因造成。 A.社会和历史环境 南北战争于1861爆发后，守旧的南方制度被摧毁，南方的种植园经济逐渐衰退，并被日益发达的资本主义经济所
《欲望号街车》女主人公悲剧性命运的女性主义解读
最新英语专业全英原创毕业论文，都是近期写作 1 An Analysis of the Religious Elements in Robinson Crusoe 2 The Lost Generation—―Nada‖ in Hemingway’s ―A Clean, Well-Lighted Place‖ 3 少儿英语游戏教学策略研究 4 通过象征主义、梭罗的自然思想和梭罗的个人主义析《瓦尔登湖》 5 论苔丝悲剧的成因 6 英语会话中间接拒绝语的语用研究 7 初中生英语学习内在动机的激发 8 英语商务演讲的技巧 9 A Comparative Study of Jane Eyre and Vanity Fair——From the Perspective of Governess in Victorian Age 10 汽车广告中的中西文化差异研究 11 相同之爱，不同诠释——从美剧《吉尔莫女孩》看东西方母女关系之异同 12 评析杰克伦敦小说《荒野的呼唤》中巴克的象征意象 13 女权主义及其对英语语言中性别歧视的影响 14 《白鲸》原型批判的分析 15 珀西?雪莱抒情诗意象研究 16 《永别了，武器》的意象分析 17 英汉语篇衔接手段对比研究——以《荷塘月色》英译本为例 18 论圣经诗篇的修辞特点 19 英文电影片名汉译的创造性叛逆原则 20 《野性的呼唤》中的自然主义 21 《老人与海》中圣地亚哥的人物性格分析 22 从爱伦·坡《黑猫》探讨人性的善良与邪恶 23 浅析爱伦坡《乌鸦》的语音象征 24 中式菜谱英译策略研究 25 从黑人女性主义解读《宠儿》中塞丝的觉醒 26 从目的论角度浅谈电影字幕翻译 27 论《达芬奇密码》中的基督教元素 28 汉语流行语中的汉英语码混用现象探微 29 从常见的中英文名字比较中英两国命名文化差异 30 不可缺少的书信——《傲慢与偏见》中书信功能的研究 31 黑色幽默在《第条军规》中的运用 32 基于学习共同体的自主学习模式研究 33 To Obey or Rebel –A Study of Female Characters in Moment in Peking 34 国际商务谈判中的文化差异分析 35 论《爱玛》中简?奥斯丁的女性主义观 36 汉英翻译中的中式英语的成因及对策 37 《好人难寻》中体现出的弗洛伊德人格结构理论 38 《推销员之死》的文化解读 39 中国菜名英译的恰当方法 40 分析简爱的美 41 分析西方末世论在美国电影中的体现
《欲望号街车》的象征体系与身份冲突
龙源期刊网 https://www.wendangku.net/doc/3415935116.html, 《欲望号街车》的象征体系与身份冲突 作者：江净沙 来源：《丝绸之路》2013年第04期 [摘要]本文借助格雷马斯符号方阵分析电影《欲望号街车》中的两个体系：权力体系与欲望体系，以此考察剧中角色的符号身份冲突，兼论一些重要的象征元素及它们对体系的意义。 [关键词]《欲望号街车》；象征体系；身份冲突 [中图分类号]J905 [文献标识码]A [文章编号]1005-3115（2013）04-0018-02 本文要讨论的是伊利亚·卡赞根据田纳西·威廉斯的剧本改编而来的电影《欲望号街车》。作为将舞台剧搬上荧幕的一例经典，《欲望号街车》保留了舞台剧的一大特点，就是对于道具和布景的要求很高，尽量让每一个元素都精准而巧妙地发挥最大的戏剧力量，创造强烈的戏剧效果。所以，在电影中我们能够察觉到相当丰富的象征元素，这些元素构成了一个饱满的体系，揭示了该剧的内在形式和叙述结构，更进一步产生了强烈的戏剧冲突，从而成为电影史上的不朽杰作。 一、身份结构与权力体系 首先，我们容易辨别出的是，剧中有一个显在的结构，该结构存在于通过简单的情节获知就可得到的人物身份的符号性关系中，笔者且称之为“身份结构”。这个结构在戏剧表演中通过人物的行为表现为对自我身份的确立、对戏剧元素的占有和对话语权力的争夺。它是角色相遇和产生冲突之地，如果没有这个结构，文本深层的内涵形式便不可能被揭示。由此生发出的这个体系被称为“权力体系”。 根据格雷马斯的符号矩阵，可将此结构模型建立如下： 需要说明的是，此结构中各项的确立仅仅依据符号关系，比如布兰琪失去了庄园，应属于“非女主人”，而我们依然以人物在剧中的行为来确定其符号身份，例如米奇对于他生病的母亲的听从，令他处于非主人的地位。所以，描绘一种身份结构或权力体系属于“做”的模态范畴，而相对的是处在隐性的“存在”之模态范畴。剧中人物带着各自的隐性结构而来，在戏剧行为中相遇，表现为符号身份的冲突。 二、身份冲突 权力体系内的冲突在剧中是由斯坦利主导的，我们稍加留意就会发现几个重要的戏剧高潮表现为斯坦利情绪的失控：第一次是从第八幕开始到第十八幕终的扑克之夜冲突，第二次是从第三十幕开始到第三十四幕终的生日宴会冲突，第三次是第三十六幕斯坦利对布兰琪的施暴。前两次冲突都表现为阶段性，而且在女主人和男主人的冲突中由斯黛拉作为调和项存在。
欲望号街车论文
欲望号街车论文：《欲望号街车》的后现代解读 [摘要] 本文通过“同一者”，“他者”，“权威”等范畴进一步分析了《欲望号街车》中扑朔迷离的人物关系，对比文本分析认为,现代工业社会中权威在对“性异常”，“疯癫”等边缘文化拒绝禁闭的同时消解了自身,从而揭示 剧作所隐含的后现代主义特质。 [关键词] 同一者，他者，权威，后现代 ⅰ 二十世纪后期,各种批评理论对《欲望号街车》和威廉斯的其他作品进行解读的批评家比比皆是。这篇文章就是以《欲望号街车》为范本,以后现代文化理论为根基,通过对剧中人物关系的深入分析,进一步指出《欲望号街车》在后现代文化领域的阐释对召唤人们反思资本主义现代工业社会意识形态和人际关系所起到的作用。 后现代主义思想家米歇尔福柯在他的著作中通过一系列二元对立的范畴来考察医院，监狱，精神病院对“他者”(the other)排除与监禁的过程,而“他者”本身也是一组二元对 立的一部分,与之相对应的范畴福柯称之为“同一者”(the same)。在《事物的秩序》中,福柯提到:事物的秩序史是同一者的历史,而疯癫史则被描述为-他者的历史。“他者”是被压制的和社会边缘群体中的一种存在,在福柯笔下,穷人，失业者，病人，同性恋者，妓女等社会边缘人都被囊括在“他
者”的定义之内。“同一者”不仅代表医院，监狱，精神病院等社会机关,更是一种权力话语。这种权力在循环过程中具有一种链状结构,通过网状的组织运行与实施,使个人处在实施权力的状态中。 ⅱ 在《欲望号街车》中,斯坦利这个当过兵的推销员是战后美国社会的常见人物。“他意志坚定性格粗野,在他的世界中是一个国王,是一个中心”，在此剧中,他是权力的载体,被赋予同一者的权威。且看威廉斯对他的描述:“自他成年以来,生活的中心就是沉溺于女色，无论是给予还是获得,都不是被动的依赖性的纵欲,而是像一只羽毛丰茂的雄鸟,威武自傲地傲立在一群母鸡之中。”他周围的人，史黛拉和米契,是他的臣民;而他的生活环境就是他的领地。布兰奇,这个性异常(sexual abnormal)的(布兰奇曾有过一段滥交史)神经质的女人在工业化的物质的新奥尔良是一个异类,一个他者,她的装束与这儿的情景毫不相配，她精心打扮,穿着配有绒毛背心的白色套装,戴着珍珠项链和珍珠耳环,手戴白手套,头戴白帽子,看上去是来参加花园区的夏日茶会或鸡尾酒会似的。 布兰奇出生在南方,是没落贵族的后代，她十六岁时嫁给了一个年轻的浪漫诗人其后,她偶然间发现她所爱的人竟是一个同性恋者,这个意想不到的打击使她不知所措，天真无知的布兰奇不能理解她的丈夫,在一次舞会中脱口而出谴责了
欲望号街车剧本
除了表演人员外，还有导演、旁白、舞蹈设计、音乐控制、灯光控制 先一定注意，表演话剧千万不要背对观众，尽量以正面面对观众，背对观众的时间不能超过5秒，这样是对观看者的尊重，也是话剧最讲究的，克服紧张要注意几点，这几点做到你就算紧张别人也看不出，一般初次表演者一紧张说话时，手上就会有小动作，这个千万要记住，还有眼睛千万不要到处张望,一般人表演时一紧张目光,就不集中,有些还会去意观众怎么看你,这些绝对不可以,观众一眼就可出来所以你要记住眼睛要随戏走，肢体不要僵硬特别是腿上一定要放松 导演需要具备组织、领导能力，以协调剧组方方面面的问题，这种能力很大程度上决定了一出戏的成败。二、导演须具备多项专业能力。要对戏剧有着全方位的了解，对每一个环节了如指掌，从编剧、舞美、（包含设计场景、道具）、摄影、照明、音响、人物造型等设计都要熟悉。导演是整个舞台演出的总设计师，戏剧是集体创作，必须与负责各部分的工作人员的进行良好的沟通，只有精通业务才具备说服力。三、导演须具备较高的文化修养。导演个人的文化修养从某种程度上决定了戏剧作品的艺术水准。导演艺术思想的广阔性取决于个人的文化修养，因此个人文化修养决定了导演在舞台呈现上能达到的水平。一个好的导演，要能深刻挖掘剧本，并选择恰当的方式，将他的领悟传递给演员和观众，他必定要博闻广识，对历史、哲学、军事、民俗、宗教、文学、美术等学科都要有较为深入的了解。在此基础上，才能实现文本到舞台的跨越。导演要了解中西方文化艺术与审美差异，以便将西方戏剧展现给中国观众，将中国的舞台艺术展现给世界。四、导演需具备较高的艺术创造力、感受力、想象力、和表现力。导演工作本身即是创作，创作的材料包括剧本、演员、布景、灯光、音响等所有戏剧元素。过去所说的导演的二度创作，重点只对剧本演绎的延伸。现代导演的创作，除传统意义上的二度创作外，也指将