The Circus

Part 1 Deborah Walk, Curator : America was an agrarian society.

第 1 部分 策展人黛博拉·沃克：美国是一个农业社会。

And it was a hard life that you had.

你的生活很艰难。

You woke up early, and you worked through the day.

你起得很早，工作了一整天。

And then all of a sudden, if you were so lucky, for one magical day, you were transported from your work-a-day world, into the spangles, into the spectacle that crisscrossed the country: the circus.

然后突然间，如果你足够幸运的话，在一个神奇的一天，你将从日常工作的世界中转移到闪闪发光的地方，进入遍布全国的奇观：马戏团。

Dominique Jando, Circus Historian: You saw extraordinary animals that you sometimes had never seen.

多米尼克·詹多 (Dominique Jando)，马戏团历史学家：您看到了有时从未见过的非凡动物。

Whether you were a child or an adult, seeing a giraffe was totally unheard of and seeing wild cats, zebras, African animals, Asian animals.

无论你是小孩还是成年人，看到长颈鹿都是完全闻所未闻的，而看到野猫、斑马、非洲动物、亚洲动物则是闻所未闻。

Janet M.

珍妮特·M。

Davis, Historian: It looked like an invasion because there would elephants, there would be cages of wild animals, there would be teams of horses, there would be a band, and there would be hundreds of people lining the streets.

历史学家戴维斯：这看起来像是一次入侵，因为会有大象，会有野生动物的笼子，会有成群的马，会有乐队，而且会有数百人在街道上排队。

Narration: For generations, the story was familiar.

旁白：这个故事对于几代人来说都是耳熟能详的。

The circus crashed in on everyday life, loud and brash, then vanished like an illusion, leaving some child dreaming of a different life.

马戏团喧闹而鲁莽地闯入日常生活，然后像幻觉一样消失，留下一些孩子梦想着不同的生活。

Roger Smith, Wild Animal Trainer: I was four years old.

罗杰·史密斯，野生动物训练师：当时我四岁。

And my mother said, “Look back there, Roger.

我妈妈说：“回头看看，罗杰。

That’s Clyde Beatty.” He came running toward us, and began to crack the whip and in came these animals that I had never seen.

那是克莱德·比蒂。”他朝我们跑过来，开始抽动鞭子，这些我从未见过的动物就进来了。

And the excitement was something that got into me.

兴奋感让我心潮澎湃。

I knew I would do that work

我知道我会做那项工作

Richard Reynolds, Circus Historian: I first remember the circus when my father would take me to bed, and he would hum the elephant entry song from Hagenbeck-Wallace in 1932, and it went, [mimics the song].

马戏团历史学家理查德·雷诺兹（Richard Reynolds）：我第一次记得马戏团的时候，我父亲带我上床睡觉，他会哼着 1932 年哈根贝克-华莱士（Hagenbeck-Wallace）的大象入门歌曲，然后就开始了，[模仿这首歌]。

And I've never forgotten that.

我从未忘记过这一点。

My father inspired me to the circus.

我父亲激励我去马戏团。

He loved it himself, and I took it from him.

他自己很喜欢它，我从他那里夺走了它。

Narration: The circus had arrived in America in the nation’s earliest days, small and insignificant.

旁白：马戏团在建国之初就来到了美国，规模很小，无足轻重。

Narration: But as the country grew, the circus would evolve with it into a gargantuan, industrialized entertainment, appealing to both the humble and the illustrious.

旁白：但随着国家的发展，马戏团也随之发展成为一种庞大的、工业化的娱乐活动，吸引着卑微的人和显赫的人。

It would stitch into one nation a patchwork of disconnected communities, and dazzle not just Americans but the entire world.

它将把互不相关的社区拼凑成一个国家，不仅让美国人眼花缭乱，而且让整个世界眼花缭乱。

Janet M.

珍妮特·M。

Davis: A 19 th century writer called the circus, “our season of imaginative play.” What the circus offered is this ability, in a way, to dissolve oneself, to have an out-of-body experience.

戴维斯：一位 19 世纪的作家将马戏团称为“我们富有想象力的表演季节”。马戏团提供的就是这种在某种程度上溶解自我、获得灵魂出窍体验的能力。

Janet M.

珍妮特·M。

Davis: The act of dancing on a horse's back, the act of performing on a trapeze, on a rope, or doing a strength act, all of these forms of circus arts, they push the boundaries of human strength, of the limited nature of our humanness in ways that allow us to transcend it.

戴维斯：在马背上跳舞的动作，在空中飞人、绳索上表演的动作，或者做力量表演的动作，所有这些形式的马戏艺术，它们突破了人类力量的界限，突破了人类有限的本质，让我们能够超越它。

For me, that is the essence of circus.

对我来说，这就是马戏团的本质。

Narration: A swell of humanity flocked to Brooklyn on April 10, 1871 to see the most elaborate entertainment ever mounted in the United States—a dizzying array of human oddities and acrobats, museum exhibits and wildlife, jugglers, trapeze artists, and strongmen.

旁白：1871 年 4 月 10 日，大批人涌入布鲁克林，观看美国有史以来最精致的娱乐表演——一系列令人眼花缭乱的人类怪人和杂技演员、博物馆展品和野生动物、杂耍演员、空中飞人艺术家和大力士。

Narration: Its largest tent, or big top, featuring sixty performers, could seat five thousand people.

旁白：它最大的帐篷或大顶，有六十名表演者，可容纳五千人。

The museum tent boasted a slew of sideshow attractions including a so-called midget known as Admiral Dot.

博物馆的帐篷里有许多杂耍景点，其中包括一个被称为“多特海军上将”的所谓侏儒。

Narration: A third pavilion housed a zoo, or what was called a menagerie.

旁白：第三个展馆内有一个动物园，或者所谓的动物园。

It displayed thirty cages of animals, including twelve camels, four lions, two elephants, and a rhinoceros.

它展示了三十个笼子里的动物，其中包括十二只骆驼、四只狮子、两只大象和一头犀牛。

Some thirty-five other circuses toured the country that summer.

那年夏天，大约有三十五个其他马戏团在全国巡回演出。

None was as spectacular.

没有一个如此壮观。

Matthew Wittmann, Historian: It’s this incredible combination of entertainment.

历史学家 Matthew Wittmann：这是令人难以置信的娱乐结合。

It’s a circus.

这是一个马戏团。

It’s a menagerie.

这是一个动物园。

It’s a museum.

这是一个博物馆。

It’s a truly massive show.

这真是一场规模宏大的演出。

Robert Thompson, Historian: This is a village, a village of entertainment, a place that Peter Pan goes, the land of the Lost Boys.

历史学家罗伯特·汤普森：这是一个村庄，一个娱乐村，一个彼得潘去过的地方，迷失男孩的土地。

This looks like a place that a bad boy running away from home would love to go to because everywhere you turned there was a smell or a sight or a sound that was delectable.

这看起来就像是一个离家出走的坏男孩喜欢去的地方，因为无论你走到哪里，都会有令人愉悦的气味、景象或声音。

Narration: Though the attractions were without rival, many came hoping simply to catch a glimpse of the owner.

旁白：虽然这里的景点无可匹敌，但许多人前来只是为了一睹主人的风采。

Over the past three decades, Phineas Taylor Barnum had become one of the most famous men in America.

在过去的三十年里，菲尼亚斯·泰勒·巴纳姆已成为美国最著名的人物之一。

James W.

詹姆斯·W.

Cook, Historian: Barnum was the most widely visible and widely known American of the 19th century.

历史学家库克：巴纳姆是 19 世纪最著名、最广为人知的美国人。

It’s not an American president.

这不是美国总统。

It’s not a great scientist or someone who actually had achieved, you know, a breakthrough to improve humankind.

这不是一位伟大的科学家，也不是真正实现了改善人类的突破的人。

It was a showman.

这是一个表演者。

Narration: Like many circus impresarios, P.T.

旁白：像许多马戏团经理一样，P.T.

Barnum came from humble beginnings.

巴纳姆出身卑微。

His father, a Connecticut innkeeper and tailor, died when Barnum was fifteen, leaving the family destitute.

他的父亲是康涅狄格州的一名旅馆老板和裁缝，巴纳姆十五岁时去世，家里陷入贫困。

Narration: Young Phineas tried just about everything to avoid a life of manual labor.

旁白：年轻的菲尼亚斯想尽一切办法来避免体力劳动的生活。

He was a shop clerk, he sold lottery tickets, and he hawked bibles door-to-door.

他是一名商店店员，卖过彩票，还挨家挨户兜售圣经。

Narration: In the spring of 1835, Barnum bought the rights to exhibit a frail enslaved African-American woman named Joice Heth.

旁白：1835 年春天，巴纳姆买下了一位名叫乔伊斯·赫斯 (Joice Heth) 的虚弱非洲裔美国奴隶的展览权。

Narration: He plastered New York with posters advertising the old woman as George Washington’s 161-year-old nursemaid.

旁白：他在纽约贴满了海报，宣传这位老妇是乔治·华盛顿 161 岁的保姆。

Though Heth had little choice in the matter, she played the part and the ruse worked.

尽管赫斯在这件事上别无选择，但她扮演了这个角色，而且诡计奏效了。

Barnum hoodwinked the press and thousands of others who paid twenty-five cents see her.

巴纳姆欺骗了媒体，成千上万的人花二十五美分就看到了她。

Then he took Heth on tour through New England.

然后他带着赫斯游览了新英格兰。

In Boston, when his hoax finally stopped attracting paying customers, Barnum came up with another one.

在波士顿，当他的骗局最终不再吸引付费顾客时，巴纳姆又想出了另一个骗局。

Narration: He does something remarkable.

旁白：他做了一件了不起的事。

He decides to accuse himself of fraud by taking out anonymous notices and advertisements in the paper saying that in fact Joice Heth is not a 161-year-old African-American woman who raised George Washington.

他决定指控自己欺诈，在报纸上刊登匿名告示和广告，称乔伊斯·赫斯实际上并不是抚养乔治·华盛顿的 161 岁非裔美国妇女。

In fact, she is an automaton made of India rubber and mechanical springs.

事实上，她是一个由印度橡胶和机械弹簧制成的自动机。

She’s a robot.

她是一个机器人。

This is a trademark Barnum strategy, to draw attention to the possibility of criminal fraud and to invite viewers to make up their own minds.

这是巴纳姆的标志性策略，旨在引起人们对刑事欺诈可能性的关注，并邀请观众做出自己的决定。

Narration: With Heth, Barnum had made himself famous for humbuggery.

旁白：巴纳姆因赫斯的欺骗而闻名。

Narration: In 1841, Barnum took over a fading collection of natural history exhibits in lower Manhattan, reopening as Barnum’s American Museum.

旁白：1841 年，巴纳姆接管了曼哈顿下城逐渐消失的自然历史展品收藏，并以巴纳姆美国博物馆的名义重新开放。

Robert Thompson: If I had a time machine, one of the first things I would do would be to set it for about 1842 or ’43 and I would go back to lower Manhattan and I’d go visit the Barnum’s American Museum.

罗伯特·汤普森：如果我有一台时间机器，我要做的第一件事就是把它设定在 1842 年或 43 年左右，然后我会回到曼哈顿下城，去参观巴纳姆美国博物馆。

This sounds like the coolest place.

这听起来是最酷的地方。

He had a theater.

他有一个剧院。

He would do melodramas.

他会演情节剧。

He invents the matinee.

他发明了日场。

They played them during the day.

他们白天玩。

And it was also, in essence, a zoo.

从本质上讲，它也是一个动物园。

Right there, he had animals in the museum.

就在那里，他的博物馆里有动物。

At one point, he got whales in a big aquarium.

有一次，他在一个大水族馆里养了鲸鱼。

This is all in this one spectacular museum.

这一切都在这座壮观的博物馆里。

Narration: In time his roster would include gymnasts and magicians, fortune-tellers and snake charmers.

旁白：随着时间的推移，他的名单将包括体操运动员、魔术师、算命师和耍蛇人。

But perhaps more famously he introduced a revolving cast of so-called “human freaks.” There were fat boys and dwarfs, bearded women and a family of albinos.

但也许更出名的是，他引入了一批所谓的“人类怪胎”。有胖男孩和小矮人，有大胡子的女人和一个白化病家庭。

James W.

詹姆斯·W.

Cook: Barnum is really the central figure in making freakery a dominant theme in 19 th century mass entertainment.

库克：巴纳姆确实是使怪诞成为 19 世纪大众娱乐的主导主题的核心人物。

What Barnum really does is institutionalizes it, commercializes it.

巴纳姆真正所做的是将其制度化、商业化。

What he cares about is what the public cares about, and he cares about giving it to them in a package which is exciting and profitable and will generate buzz.

他关心的是公众关心的事情，他关心的是把它打包成一个令人兴奋的、有利可图的、会引起轰动的包裹给他们。

Narration: Between 1842 and 1868, some forty-two million people swarmed through the doors of his museum.

旁白：1842 年至 1868 年间，大约有 4200 万人涌入他的博物馆大门。

Narration: Shortly after midnight on March 3, 1868, while Barnum was asleep, a fire broke out in the museum building.

旁白：1868年3月3日午夜过后不久，当巴纳姆正在睡觉时，博物馆大楼发生了火灾。

It took firefighters more than an hour to arrive.

消防队员花了一个多小时才赶到。

When they did, it was so cold the water from their hoses froze.

当他们这样做时，天气太冷了，软管里的水都结冰了。

The next day, passersby came to stare at the ruined building encased in ice.

第二天，路人纷纷前来观看这座被冰包裹的废墟建筑。

Devastated, Barnum retired from the museum business.

巴纳姆伤心欲绝，从博物馆事业中退休。

Narration: But he soon found retirement dull.

旁白：但他很快就发现退休生活索然无味。

“I have lived so long on excitement, pepper and mustard,” he admitted to a friend, “that plain bread don’t agree with me.”

“我已经靠兴奋、胡椒和芥末生活了这么久，”他向一位朋友承认，“我不喜欢吃普通面包。”

Barnum would not have to wait long for a new opportunity.

巴纳姆不必等待很长时间就能得到新的机会。

Narration: In the fall of 1870, two up-and-coming showmen— Dan Castello and William Cameron Coup—wrote to Barnum asking if he would invest in their circus.

旁白：1870 年秋天，两位崭露头角的马戏演员丹·卡斯特洛 (Dan Castello) 和威廉·卡梅伦·库普 (William Cameron Coup) 写信给巴纳姆，询问他是否愿意投资他们的马戏团。

Fred Pfening Iii, Author: Coup and Castello had a show that they took around the Great Lakes and made a lot of money in 1870.

Fred Pfening Iii，作者：Coup 和 Castello 在 1870 年举办了一场绕五大湖表演的演出，赚了很多钱。

And they were both ambitious, young show guys, particularly Coup, and they realized the value of the Barnum name.

他们都是雄心勃勃的年轻表演者，尤其是 Coup，他们意识到了巴纳姆这个名字的价值。

And so, they approached him and they wrote him and said, “Would you be interested in doing, you know, getting together with us?”

因此，他们找到他，写信给他说：“你有兴趣和我们在一起吗？”

James W.

詹姆斯·W.

Cook: Here are two energetic young circus impresarios who will help him get out of the business of brick and mortar exhibition.

库克：这里有两位充满活力的年轻马戏团经理，他们将帮助他摆脱实体展览的业务。

He doesn’t want to build another American museum that will go up in flames.

他不想再建造一座会被大火烧毁的美国博物馆。

So, this is a very attractive proposition.

所以，这是一个非常有吸引力的提议。

Narration: Tickled at the prospect of one more adventure, Barnum signed on.

旁白：巴纳姆对再次冒险的前景感到兴奋，于是签约了。

“If you want to…

“如果你想……

use my name,” he wrote Coup, “…it may be used by allowing me [a] small percentage.”

使用我的名字，”他在 Coup 中写道，“……只要允许我占一小部分，就可以使用它。”

After an extraordinarily successful run in Brooklyn, the circus set off on a six-month tour of the Northeast.

在布鲁克林取得巨大成功后，马戏团开始了为期六个月的东北巡演。

It took 245 horses pulling one hundred wagons to move the show.

这场演出需要 245 匹马拉动 100 辆马车才能完成。

To make sure audiences came, Coop had contracted with railroad lines to offer excursion tickets: cheap fares that included admission to the show.

为了确保观众前来，库普与铁路公司签订了提供短途旅行票的合同：票价低廉，其中包括演出门票。

Barnum plastered the area surrounding each stop with advance publicity.

巴纳姆在每个车站周围的区域都提前进行了宣传。

Matthew Wittmann: In his typical fashion, the show was a blitz of publicity posters, news in the Harper’s Weekly .

马修·维特曼（Matthew Wittmann）：按照他的典型风格，这场秀是一场宣传海报和《哈珀周刊》新闻的闪电战。

Barnum preps this for six months as he gets more and more excited about the whole operation.

巴纳姆为此准备了六个月，因为他对整个行动越来越兴奋。

James W.

詹姆斯·W.

Cook: This is an enormous production on a scale unprecedented in the history of Western show business.

库克：这是一部西方演艺史上规模空前的大型制作。

And so, you can’t survive if you don’t bring five, ten, twelve thousand people under the tent for each performance and that requires enormous skill.

所以，如果每次演出你不在帐篷下带上五、十、一万二千人，你就无法生存，这需要巨大的技巧。

Narration: In addition to circus posters, Barnum circulated a courier—a self-published newspaper given away by the hundreds of thousands that exaggerated the many virtues of the show.

旁白：除了马戏团海报外，巴纳姆还散发了一份信使——一份由数十万人赠送的自行出版的报纸，夸大了马戏团的许多优点。

He wrote a lot of the copy himself.

他自己写了很多副本。

The advertising worked.

广告起了作用。

The show was mobbed everywhere it went.

演出所到之处都挤满了人。

Crowds

人群

In the village of Waterville, Maine, people came from seventy-five miles away, some in wagons, others on foot.

在缅因州沃特维尔村，人们从七十五英里外赶来，有的坐着马车，有的步行。

For the show in Albany, folks in nearby Coxsackie chartered a steamboat.

为了在奥尔巴尼演出，附近柯萨奇的人们租了一艘汽船。

By the time the circus played its final stop, it had made an unheard of half a million dollars in profit.

当马戏团演出最后一站时，它已经获得了前所未闻的五十万美元的利润。

The success of the tour had shaken up the established wisdom in the show trade.

巡演的成功动摇了演艺界的既定智慧。

By advertising many miles further from the circus lot than usual, Barnum had been able to draw audiences from greater distances than any showman ever had before.

通过在比平常更远的地方做广告，巴纳姆能够吸引比以前任何表演者更远的距离的观众。

Janet M.

珍妮特·M。

Davis: Even though it’s a one hundred wagon show, unprecedented size, which, one might think, would lead to unprecedented losses, but the opposite is true.

戴维斯：尽管这是一场百车展，规模空前，人们可能会认为这会导致空前的损失，但事实恰恰相反。

The show makes enormous amounts of money.

该节目赚了很多钱。

So much so that Barnum and his partners realize that big can mean extremely profitable.

以至于巴纳姆和他的合作伙伴意识到，规模大意味着利润丰厚。

Narration: It was clear to all who took note that P.T.

旁白：所有注意到这一点的人都清楚，P.T.

Barnum had taken the circus a long way from its modest beginnings.

巴纳姆带领马戏团从最初的不起眼的地方走过了很长的路。

Dominique Jando: The elements of the circus have been there forever.

Dominique Jando：马戏团的元素一直存在。

There’s a need for the human beings to try things for no reason whatsoever, just try to do something that nobody else does.

人类需要无缘无故地尝试一些事情，只是尝试做一些别人没有做过的事情。

And there is a need for human beings to watch that.

人类需要关注这一点。

It’s something which is in human nature.

这是人性中的事情。

You need to go beyond your own possibilities.

你需要超越自己的可能性。

Narration: Though the urge to astound is ancient, the origin of the uniquely American circus dates back to the founding of the nation.

旁白：虽然令人惊叹的渴望由来已久，但美国独特的马戏团的起源可以追溯到建国之初。

The first American circus was launched in Philadelphia in 1793, during President George Washington’s first term in office.

美国第一家马戏团于 1793 年在乔治·华盛顿总统第一任期期间在费城成立。

The show took place in a circular wooden arena constructed by a British trick rider named John Bill Ricketts.

表演在一个由英国特技骑手约翰·比尔·里基茨 (John Bill Ricketts) 建造的圆形木制竞技场中举行。

Dominique Jando: Ricketts was by all accounts, even while he was still in England, quite an extraordinary equestrian.

多米尼克·詹多（Dominique Jando）：从各方面来看，即使当里基茨还在英格兰时，他也是一位非常出色的马术运动员。

Matthew Wittmann: One of the things that was most remarked upon was a flying mercury act.

马修·威特曼：最受关注的事情之一是飞水银表演。

This is when Ricketts would go around the ring holding a child with his hands on top of his head.

这时，里基茨会双手抱在头顶上，抱着一个孩子绕着拳击场走动。

And so, it’s an act that took real skill.

所以，这是一个需要真正技巧的行为。

Narration: His show included a ropewalker, clowns, acrobats, as well as Helena Spinacuta, an equestrian who galloped on two horses at once.

旁白：他的表演包括走绳者、小丑、杂技演员，以及同时骑着两匹马驰骋的马术运动员海伦娜·斯皮纳库塔(Helena Spinacuta)。

Janet M.

珍妮特·M。

Davis: Those essential elements of using the horse as kind of the centerpiece of the show, then clowning as part of the show too, and rope walking, those are defining elements of the circus.

戴维斯：使用马作为表演的核心，然后将小丑也作为表演的一部分，以及走绳这些基本元素，这些都是马戏团的定义元素。

And that foundation is what Ricketts sets up.

这个基金会就是里基茨建立的。

Narration: The circus proved an incredible hit.

旁白：事实证明，马戏团非常受欢迎。

Washington celebrated his birthday at the show.

华盛顿在演出中庆祝了他的生日。

Enslaved people were sometimes in the audience.

观众中有时会出现被奴役的人。

And those who couldn’t afford admission peeked through the knotholes.

那些买不起门票的人只能从节缝里偷看。

Matthew Wittmann: Probably one of the biggest indicators of Ricketts’ success is this wonderful painting by Gilbert Stuart.

马修·维特曼：吉尔伯特·斯图尔特的这幅精彩画作可能是里基茨成功的最大标志之一。

Although it’s unfinished, it’s very dignified.

虽然尚未完成，但已经很庄严了。

You get the sense that Ricketts is someone important.

你会感觉到里基茨是一个重要的人。

It’s a real indication of how he was valued by the elite, as it were, in the early United States.

这真实地表明了美国早期精英阶层对他的评价。

Narration: Despite his many successes, Ricketts had trouble turning a profit.

旁白：尽管里基茨取得了许多成功，但他在盈利方面却遇到了困难。

In 1800, a fire gutted his amphitheater and he left America for good.

1800 年，一场大火烧毁了他的圆形剧场，他因此永远离开了美国。

New arrivals and homegrown talent did their best to keep the circus tradition alive, but the nation was vast and sparsely populated.

新来者和本土人才尽最大努力保持马戏传统，但这个国家幅员辽阔，人口稀少。

With just a handful of large cities and very few exhibition halls, showmen struggled to attract audiences.

由于只有少数大城市和很少的展览馆，表演者很难吸引观众。

Then in 1825, a circus owner decided to commission the construction of a canvas tent.

1825 年，一位马戏团老板决定委托建造一个帆布帐篷。

With his new “Pavilion” circus, he could travel from one small town to the next, stopping for just one night, if the local population was too tiny to justify a second one.

有了他新的“Pavilion”马戏团，他可以从一个小镇旅行到另一个小镇，如果当地人口太少而没有理由再去第二个小镇，只停留一晚。

Janet M.

珍妮特·M。

Davis: What the tent show does is, more than anything else, it establishes the rituals of itinerancy, the one night stand, the ability to go into country that is essentially bereft of infrastructure.

戴维斯：帐篷秀最重要的是，它建立了巡回仪式、一夜情、进入基本上缺乏基础设施的国家的能力。

What the tent establishes, is this way of circusing that becomes distinctly American.

帐篷所建立的就是这种明显美国化的马戏表演方式。

Narration: Showmen left their home base, called winter quarters, in early spring, returning in late fall.

旁白：表演者在早春离开他们的基地，即冬季宿舍，在深秋返回。

They traveled every day, as far as a horse could pull a wagon, from one small town to the next.

他们每天都要旅行，从一个小镇到另一个小镇，只要一匹马能拉动一辆马车。

Matthew Wittmann: A lot of these guys tried to sleep in these bumpy wagons, roads not being what they are now.

马修·维特曼：很多人都试图睡在这些颠簸的马车里，因为道路不是现在的样子。

When they got to town the next morning, they’d maybe set up, take a few hours of sleep and then there was the parade and then there was an afternoon performance, and then there was an evening performance and then you did it all again.

当他们第二天早上到达镇上时，他们可能会准备好，睡几个小时，然后是游行，然后是下午的表演，然后是晚上的表演，然后你又重复一遍。

For nine months out of the year, moving every day, it was a hard life for sure.

一年中有九个月，每天都要搬家，生活确实很艰苦。

Narration: Almost everywhere the circus went it met with disapproval.

旁白：马戏团几乎所到之处都遭到了反对。

In the early 19 th century, the country was experiencing a religious revival.

19世纪初，该国正经历宗教复兴。

Church leaders claimed that hard work was virtuous and entertainment of all kinds sinful.

教会领袖声称，努力工作是美德，而各种娱乐都是有罪的。

Richard Reynolds, Circus Historian: The preachers would wail against that waste of time.

理查德·雷诺兹，马戏团历史学家：传教士们会对这种浪费时间的行为痛心疾首。

And to the bible thumpers of those days, wasting one's time was sinful.

对于当时的圣经重击者来说，浪费时间是有罪的。

And some places in New England actually banned circuses; they couldn’t exhibit at all.

新英格兰的一些地方实际上禁止马戏表演；他们根本无法展出。

Because this was the day when the church ruled the roost.

因为这一天是教会掌权的日子。

Narration: Local communities had other legitimate concerns.

旁白：当地社区还有其他合理的担忧。

Circus ticket sellers were often unpaid.

马戏团售票员常常没有报酬。

They earned a living by short-changing their customers.

他们靠欺骗顾客为生。

The crowded circus lot was a perfect breeding ground for pickpockets.

拥挤的马戏团场地是扒手的完美滋生地。

And performers in their skimpy costumes violated every notion of decency.

表演者穿着暴露的服装，违反了一切正派观念。

Richard Reynolds: You're spending your money to see people in tights, shorts, and tight costumes, was considered immoral.

理查德·雷诺兹：你花钱去看人们穿着紧身衣、短裤和紧身服装，这被认为是不道德的。

Dominique Jando: There was an attraction of the circus which was really sexual.

多米尼克·詹多（Dominique Jando）：马戏团确实有一种吸引力，那就是性。

It was the place where women can show their legs.

这是女人可以展示双腿的地方。

So, that was a big attraction of the circus and people came to see that too.

所以，这是马戏团的一大吸引力，人们也来看它。

Matthew Wittmann: It’s very hard to think of the circus as not being for children now, but through the mid-19th century, it was really not aimed at children.

马修·维特曼：现在很难认为马戏团不适合儿童，但在 19 世纪中叶，它确实不是针对儿童的。

It was an adult form of entertainment.

这是一种成人娱乐形式。

Narration: The addition of a small animal menagerie by a New York showman in 1828 helped to squash some of the objections.

旁白：1828 年，一位纽约表演者增建了一个小动物动物园，这有助于平息一些反对意见。

Richard Reynolds: The menagerie, it brought the blood-sweating behemoth, the hippopotamus, for example, and that was out of the bible.

理查德·雷诺兹：动物园里带来了出汗的庞然大物，比如河马，那是圣经里的。

And you see the lions and they are mentioned in the bible.

你会看到狮子，圣经中也提到过它们。

That was considered educational.

这被认为是有教育意义的。

Narration: Noting how a collection of animals elevated their businesses in the eyes of local authorities, most circuses added menageries.

旁白：大多数马戏团注意到动物的聚集如何在地方当局眼中提升了他们的生意，因此增加了动物园。

The early travelling tented shows were modest outfits.

早期的巡回帐篷表演都是朴素的服装。

A typical circus might feature one advertising wagon a sixty-foot tent, and a dozen performers.

典型的马戏团可能会有一辆广告车、一个六十英尺的帐篷和十几名表演者。

For decades, the performances all began pretty much the same way.

几十年来，所有的表演都以几乎相同的方式开始。

Matthew Wittmann: Everyone that was a performer in the show would put on a costume, get on a horse, ride in to this thundering music, some kind of march, and just parade around the ring.

马修·维特曼：演出中的每个表演者都会穿上戏服，骑上马，伴随着雷鸣般的音乐，某种进行曲，然后绕着擂台游行。

It was a way to show off how many performers there were, and sort of set the stage for what was going to come.

这是一种炫耀有多少表演者的方式，并为即将发生的事情奠定了基础。

Jennifer Lemmer Posey, Curator: There would be men balancing on horseback.

詹妮弗·莱默·波西（Jennifer Lemmer Posey），策展人：会有男人骑在马背上保持平衡。

There would be trainers presenting the wonderful feats that horses could do.

驯马师将展示马匹的精彩技艺。

These would be broken up with tumblers and clowns.

这些将被不倒翁和小丑打破。

Dominique Jando: The clowns at the time spoke and sang very often.

多米尼克·詹多（Dominique Jando）：当时的小丑经常说话和唱歌。

And they had topical songs, which were about political events, about something that everybody was speaking of.

他们有一些主题歌曲，涉及政治事件，涉及每个人都在谈论的事情。

Clowns were quite important in the show for that because they had this human contact with the audience.

小丑在演出中非常重要，因为他们与观众有这种人性化的接触。

Narration: As tents got bigger, performances became more perilous.

旁白：随着帐篷越来越大，表演也变得更加危险。

By the early 1860s, shows began presenting an act that would become emblematic of the circus.

到 1860 年代初期，表演开始呈现后来成为马戏团标志的表演。

It was invented by Frenchman Jules Leotard.

它是由法国人儒勒·莱奥塔发明的。

Dominique Jando: Leotard was a gymnast.

多米尼克·詹多：紧身衣是一名体操运动员。

His father has a gymnasium in France, in Toulouse.

他的父亲在法国图卢兹拥有一家体育馆。

And to experiment, he jumped from one trapeze to a pair of rings and to another trapeze.

为了进行实验，他从一个秋千跳到一对吊环上，然后跳到另一个秋千上。

His father thought that could be a pretty good act and started developing an apparatus where his son could jump from one trapeze to another.

他的父亲认为这可能是一个很好的表演，并开始开发一种装置，让他的儿子可以从一个空中飞人跳到另一个空中飞人。

Narration: Circuses claimed their shows provided young American males examples of true man liness.

旁白：马戏团声称他们的表演为美国年轻男性提供了真正男子气概的榜样。

Many observers agreed.

许多观察家对此表示同意。

“It can do no harm to boys,” the poet Walt Whitman wrote after visiting the circus, “to see a set of limbs display all their agility…

“这对男孩没有什么伤害，”诗人沃尔特·惠特曼在参观马戏团后写道，“看到一组四肢展示出他们所有的敏捷......

A circus performer is the other half of a college-professor.

马戏团演员是大学教授的另一半。

The perfect man has more than the professor’s brain and a good deal of the performer’s legs.”

完美的男人不只是拥有教授的大脑和表演者的双腿。”

Friday I tasted life.

星期五我尝到了生活的滋味。

It was a vast morsel.

这是一大块。

A Circus passed the house – still I feel the red in my mind though the drums are out.

马戏团从房子旁边经过——尽管鼓声已经停止，但我的脑海中仍能感觉到红色。

Emily Dickinson

艾米莉·狄金森

Robert Thompson: The circus was a topsy-turvy world.

罗伯特·汤普森：马戏团是一个混乱的世界。

It was about possibility.

这是关于可能性的。

The emotional physics of the world did not apply under the big top.

世界的情感物理学在大顶下并不适用。

It was a flip-flop.

这是一个触发器。

It was transgressional.

这是违法的。

And it was loud, and it was colorful, and it was beautiful.

声音很大，色彩缤纷，很美丽。

It was a kind of pure version of reality, something that’s stripped down to its most elemental parts.

这是现实的一种纯粹版本，被剥离到最基本的部分。

Jonathan Lee Iverson, Ringmaster: There’s nothing like circus.

乔纳森·李·艾弗森（Jonathan Lee Iverson），马戏团指挥：没有什么比马戏团更好的了。

There’s nothing in the world like it.

世界上没有什么比这更好的了。

You cannot come to a circus and still believe as you previously did.

你不可能来到马戏团后仍然像以前那样相信。

Circus is a peek into what we could be, how great we could be, how beautiful our world could be.

马戏团让我们一窥我们可以成为什么样的人，我们可以变得多么伟大，我们的世界可以多么美丽。

It’s about making your own miracles, conjuring your own miracles.

这是关于创造你自己的奇迹，召唤你自己的奇迹。

We’re coming for the transcendent.

我们为超越而来。

Narration: It was the most remarked upon train journey of the decade.

旁白：这是十年来最受关注的火车旅行。

At almost every stop along the route from Boston to San Francisco, local dignitaries and jubilant crowds turned out to greet the first passengers to take a train trip across the country.

从波士顿到旧金山沿途的几乎每个车站，当地政要和兴高采烈的人群都出来迎接第一批乘坐火车穿越全国的乘客。

When the luxury Pullman cars finally arrived on June 1, 1870, the travellers gloated that the journey had taken just eight days.

1870 年 6 月 1 日，当豪华普尔曼汽车最终抵达时，旅行者们幸灾乐祸地发现旅程只花了八天。

Narration: The completion of the first transcontinental railroad had capped a frenetic era of railroad construction.

旁白：第一条横贯大陆铁路的建成，为铁路建设的狂热时代划上了句号。

Over the course of the 1860s, the nation’s network of railroads had almost doubled to more than fifty thousand miles.

在 1860 年代，美国的铁路网络几乎翻了一番，达到五万多英里。

In 1872, when P.

1872 年，当 P.

T.

T。

Barnum and WC Coup began planning their second season, it dawned on them that this expanding web of track could unlock larger profits if they put their circus on rails.

巴纳姆和 WC Coup 开始计划他们的第二季，他们意识到，如果他们将马戏团放在轨道上，这个不断扩大的轨道网可以带来更大的利润。

Fred Pfening Iii: Coup realized that, “We could really make a lot more money if we could skip the small towns and just play the big ones.” By train, you could go up to, you know, a hundred and twenty-five, a hundred and fifty miles a night.

Fred Pfening Iii：Coup 意识到，“如果我们能够跳过小城镇，只去大城市玩，我们真的可以赚更多的钱。”乘火车，你知道，每晚可以行驶一百二十五、一百五十英里。

To show guys, it was like nirvana to not have to play these little crossroad towns.

为了向人们展示，不必在这些十字路口小镇上玩就像涅槃一样。

Narration: Coup spent the winter haggling with railroad companies, insisting they clear their tracks at night to guarantee his circus would arrive at its destination by 6 a.m.

旁白：考普整个冬天都在与铁路公司讨价还价，坚持要求他们在晚上清理铁轨，以保证他的马戏团能在早上 6 点到达目的地。

every day.

每天。

“I urged and argued and argued and urged,” Coup remembered, “until they said I was the most persistent man they had ever seen.”

“我不断地催促、争论、争论、催促，”库普回忆道，“直到他们说我是他们见过的最坚持的人。”

On April 18 th , in New Brunswick, New Jersey, Coup supervised the loading of the train for the very first time.

4月18日，在新泽西州新不伦瑞克省，Coup首次监督列车装车。

It took the inexperienced men twelve hours to accomplish their task.

这些缺乏经验的人花了十二个小时才完成任务。

In the process, a camel slipped and broke its back.

在此过程中，一头骆驼滑倒并摔断了背部。

Coup realized what he required was an entire train of some sixty cars designed specifically for his needs.

库普意识到他需要的是一整列专为他的需求而设计的约 60 节车厢的列车。

In Ohio he found an outfit that built him on short notice flat cars on which to load the wagons, cages and carriages.

在俄亥俄州，他找到了一家公司，可以在短时间内为他搭建平板车，在上面装载货车、笼子和车厢。

Then he bought secondhand sleeping cars for his staff, boxcars for the equipment and stock cars for the animals.

然后，他为员工购买了二手卧铺车，为设备购买了棚车，为动物购买了库存车。

All the railroad companies provided were the locomotives, cabooses, crews, and track.

铁路公司提供的只是机车、车厢、工作人员和轨道。

Janet M.

珍妮特·M。

Davis: It transforms the circus into a modern industrial corporation, complete with manager systems, with bosses of different departments, contracting agents.

戴维斯：它把马戏团变成了一个现代化的工业公司，有完整的经理制度，有不同部门的老板，还有签约代理商。

They hire attorneys, they have to make contracts in the towns in which they’re performing, scattered across the country, and they have an advance team that, over time, travels on four separate trains.

他们聘请律师，必须在他们表演的城镇签订合同，这些城镇分散在全国各地，并且他们有一支先遣队，随着时间的推移，他们乘坐四辆不同的火车旅行。

Robert Thompson: The first railroad circus is really the best example of the first really big entertainment industrial complex.

罗伯特·汤普森：第一个铁路马戏团确实是第一个大型娱乐工业综合体的最佳例子。

The circus has become big business.

马戏团已成为一项大生意。

You know, today, we talk about big oil and big pharma.

你知道，今天我们谈论的是大型石油公司和大型制药公司。

1872, we could talk about big circus.

1872年，我们可以谈论大型马戏团。

Narration: In 1871, Barnum and Coup’s show had been confined to the Northeast.

旁白：1871年，巴纳姆和考普的演出仅限于东北地区。

In 1872, the railroad circus left New York travelling through the Mid-Atlantic states, before heading west and to Minneapolis.

1872 年，铁路马戏团离开纽约，途经大西洋中部各州，然后向西前往明尼阿波利斯。

After five months on the road it turned back east, finishing the season in Detroit at the end of October.

经过五个月的旅途后，它折返东边，并于十月底在底特律结束了整个赛季。

It was a marathon run of 146 stops and nearly 7,000 miles.

这是一场全程 146 站、近 7,000 英里的马拉松。

Travelling by rail had been so successful, the show grossed a million dollars, the first time a circus had ever made that much money.

乘火车旅行非常成功，演出收入达到一百万美元，这是马戏团第一次赚到这么多钱。

That winter, Barnum housed his circus on 14 th Street in New York City.

那年冬天，巴纳姆在纽约市第 14 街举办了他的马戏团。

At around 4am on Christmas Eve, a fire broke out in the building, destroying the performers’ costumes, instruments, and almost the entire menagerie.

平安夜凌晨 4 点左右，大楼内发生火灾，摧毁了表演者的服装、乐器以及几乎整个动物园。

Only two elephants and a camel survived.

只有两只大象和一头骆驼幸存。

Coup was distraught.

政变心烦意乱。

He saw no option other than sitting out the following season.

他别无选择，只能缺席下个赛季。

But Barnum was not ready to give up.

但巴纳姆并不准备放弃。

James W.

詹姆斯·W.

Cook: Barnum is relentlessly optimistic.

库克：巴纳姆非常乐观。

He has remarkable energy.

他精力充沛。

He fashions himself a go-ahead Yankee who is relentlessly entrepreneurial, full of energy and self-made individualism.

他把自己塑造成一个进取的美国佬，具有不懈的创业精神、充满活力和白手起家的个人主义。

Narration: The tents, wagons, and draft horses had been spared.

旁白：帐篷、马车和驮马都幸免于难。

All that was needed to move forward, he insisted was energy, pluck, courage, and a liberal outlay of money.

他坚持认为，前进所需要的只是精力、勇气、勇气和慷慨的金钱支出。

“Just put a little electricity in your blood,” Barnum urged Coup, “and we will beat the world.”

“只要在你的血液中注入一点电流，”巴纳姆敦促 Coup，“我们就能打败世界。”

The docks of Manhattan were thick with fog when P.

当P.

T.

T。

Barnum’s first shipment of animals arrived on January 16, 1873, less than a month after the fire.

巴纳姆的第一批动物于 1873 年 1 月 16 日抵达，此时距离火灾还不到一个月。

There was a double horned black rhinoceros from Abyssinia, four large African lions, six Bengal tigers, a pair of leopards, and, according to The New York Times, a “wilderness of monkeys.”

其中有一头来自阿比西尼亚的双角黑犀牛、四头大型非洲狮、六只孟加拉虎、一对豹子，据《纽约时报》报道，还有“猴子的荒野”。

Like many American circus owners, Barnum got most of his animals from the German dealer, Carl Hagenbeck.

和许多美国马戏团老板一样，巴纳姆的大部分动物都是从德国经销商卡尔·哈根贝克那里得到的。

Nigel Rothfels, Historian: His original market was in the city of Hamburg but then, very quickly, he became known by circuses as somebody who could supply animals.

奈杰尔·罗斯菲尔斯，历史学家：他最初的市场位于汉堡市，但很快，他就被马戏团称为可以供应动物的人。

He was incredibly reliable and he delivered animals with cash on delivery, not cash up front.

他非常可靠，他以货到付款的方式运送动物，而不是预付现金。

If you bought an animal from Hagenbeck and it died soon after arrival, as they tended to do, he would replace it.

如果你从哈根贝克买了一只动物，但它在到达后不久就死了，就像他们经常做的那样，他会更换它。

Narration: Typically, Hagenbeck contracted with European agents, to capture his animals.

旁白：哈根贝克通常与欧洲特工签订合同，以捕获他的动物。

They would set up camp in the bush, sending local men on the hunt.

他们会在灌木丛中扎营，派当地人去狩猎。

After a stay of many months, the assembled menagerie accompanied by a vast staff of handlers, marched to the coast.

停留数月后，聚集的动物园在大批饲养员的陪同下向海岸进发。

From there, they traveled by steamship to Suez, by rail to Alexandria, by ship across the Mediterranean and then by train to Hamburg.

从那里，他们乘轮船到达苏伊士，乘火车到达亚历山大，乘船穿越地中海，然后乘火车到达汉堡。

Full grown animals were too difficult to handle on the journey, so the hunters only captured the young.

成年的动物在旅途中太难对付，所以猎人只捕获幼小的动物。

Nigel Rothfels: When your whole method is to try to acquire the young animals, it’s going to be a pretty brutal process.

奈杰尔·罗斯菲尔斯：当你的整个方法是尝试获得幼小动物时，这将是一个非常残酷的过程。

There’s a story of four rhinos that were captured in India, and there’s a letter from Hagenbeck where he says that forty adults were killed in the process of capturing these four young rhinos.

有一个关于在印度捕获四头犀牛的故事，还有一封来自哈根贝克的信，他在信中说，在捕获这四头年轻犀牛的过程中，有四十名成年犀牛被杀死。

Their mortality rate is pretty high as they transition to captivity.

当它们转向圈养时，它们的死亡率相当高。

You have to get them to the coast.

你必须把他们带到海岸。

Then you have to ship them to Europe.

然后你必须把它们运到欧洲。

In the end, it’s a very small percentage, you know, maybe under twenty percent of the animals that you actually begin with are the ones you’re left with.

最后，这个比例非常小，你知道，也许你实际开始的动物中只有不到百分之二十是你剩下的。

I don’t think the public really understood what was involved in acquiring these animals.

我认为公众并没有真正理解获得这些动物所涉及的内容。

I don’t think people really thought about the backstory.

我认为人们并没有真正考虑过背后的故事。

Narration: The cost of creating an impressive menagerie was exorbitant.

旁白：建造一个令人印象深刻的动物园的成本非常高昂。

Circus owners could spend several thousand dollars on a single elephant.

马戏团老板可能会在一头大象身上花费数千美元。

Yet Barnum knew not to stint.

然而巴纳姆知道不能节俭。

Richard Reynolds: You’ve got to remember there were no zoos to speak of then.

理查德·雷诺兹：你必须记住，那时还没有动物园可言。

People to see the animals, they went to see the circus because that’s where they were, and advertising for circuses in those days, the posters and so forth, they featured exotic animals as much as they did the performers.

人们为了看动物，他们去看马戏团，因为那是他们所在的地方，当时马戏团的广告、海报等等，他们都以异国动物为特色，就像他们对表演者一样。

Nigel Rothfels: The opportunity was there to pet the animals.

Nigel Rothfels：有机会抚摸动物。

The skin of some of these animals isn’t like anything else you will touch.

其中一些动物的皮肤与您接触到的其他任何动物都不一样。

If you can touch a hippopotamus, it doesn’t feel like anything else that you can touch in the world.

如果你能触摸河马，它的感觉就不会像世界上任何其他你能触摸的东西一样。

Or if you can touch an elephant, it doesn’t feel like anything else you can find in Iowa.

或者，如果您可以触摸大象，您会感觉它与您在爱荷华州找不到的任何其他东西一样。

There is no other thing that feels like that.

没有其他事情有这样的感觉。

And I think that’s one of the moments of these places that’s magical.

我认为这是这些地方的神奇时刻之一。

Narration: While Barnum replenished the menagerie, the work of pulling the show together fell to W.C.

旁白：虽然巴纳姆补充了动物园的数量，但整理这部剧的工作却落在了 W.C. 的身上。

Coup.

政变。

He oversaw the repair and redecoration of one hundred and fifty wagons and carriages.

他监督了一百五十辆马车和马车的修理和重新装修。

And he ordered a dozen new tents including a big top that Barnum claimed could seat thirteen thousand people.

他还订购了十几顶新帐篷，其中包括巴纳姆声称可以容纳一万三千人的大顶帐篷。

Narration: The tent had grown so large—no longer round, but oval —that people left their seats to get better views, creating pandemonium.

旁白：帐篷变得如此之大——不再是圆形，而是椭圆形——以至于人们离开座位以获得更好的视野，造成混乱。

To restore order, Castello proposed a revolutionary idea: two rings of simultaneous entertainment.

为了恢复秩序，卡斯特罗提出了一个革命性的想法：两环同时娱乐。

Narration: Barnum exploited the innovation in his advertising.

旁白：巴纳姆在他的广告中利用了这一创新。

His cast was so huge, he claimed, a second ring was all but essential.

他声称，他的演员阵容如此庞大，第二枚戒指几乎是必不可少的。

Promoting their circus as the Greatest Show on Earth, Barnum and Coop hired a twenty-two-person advertising department.

为了将他们的马戏团宣传为地球上最伟大的表演，巴纳姆和库普聘请了一个 22 人的广告部门。

For the first time in circus history, Coup commissioned three-sheet color lithographic posters, which were about seven feet tall.

马戏团历史上第一次，Coup 委托制作了三张彩色平版海报，大约七英尺高。

Jennifer Lemmer Posey, Curator: When you get to a three-sheet poster, at that scale you’re approaching life size.

詹妮弗·莱默·波西（Jennifer Lemmer Posey），策展人：当你看到一张三页的海报时，在这个比例下你已经接近真人大小了。

And so, when you walk up to that poster, you get the sense that that performer is real, is right there in front of you, and you get an idea of what you really are going to see when you enter into that circus tent.

因此，当你走到那张海报前时，你会感觉到那个表演者是真实的，就在你面前，并且你会知道当你进入马戏团帐篷时你真正会看到什么。

Narration: When the show hit the road in April 1873 after a two week run in Manhattan, everyone was astounded to see how much bigger it had become.

旁白：当这部剧在曼哈顿放映两周后于 1873 年 4 月上路时，每个人都惊讶地发现它变得如此庞大。

A typical visit to the circus lasted hours.

一次典型的马戏团参观会持续几个小时。

It started with a trip to the sideshow tent, followed by a visit to the menagerie.

首先是参观杂耍帐篷，然后参观动物园。

Finally spectators streamed into the big top for one of three daily performances.

最后，观众涌入大屋顶观看每日三场表演之一。

The acts there unfolded much as they had for the last several decades.

那里的行为与过去几十年的情况很相似。

Featured among the fifty big top performers that season were acrobats, equestrians, strong men, aerialists, and Monsieur D’Atalie, the man with the iron jaw.

那个季节的五十名顶尖表演者中，有杂技演员、马术运动员、大力士、空中飞人以及铁下巴先生达塔利先生。

D’Atalie lifted a forty-gallon barrel as well as a man carrying two hundred pound weights, with his teeth alone.

达塔利仅用牙齿就举起了一个四十加仑的桶和一个负重两百磅的人。

Though audiences found the big top performances thrilling, it was the sideshow tent that most distinguished Barnum’s circus.

尽管观众觉得大型顶级表演令人兴奋，但巴纳姆马戏团最引人注目的还是杂耍帐篷。

His interest in human curiosities turned the sideshow performances into an essential feature of the circus.

他对人类好奇心的兴趣使杂耍表演成为马戏团的一个基本特征。

Matthew Wittmann: What we think of sideshow performers had existed in the circus before.

马修·维特曼：我们所认为的杂耍表演者以前就存在于马戏团中。

They were part of it, but it’s really Barnum’s specialty.

他们是其中的一部分，但这确实是巴纳姆的专长。

So, part of what he brings is a new focus to that particular part of the show.

因此，他带来的部分内容是对节目的特定部分的新关注。

It becomes the defining feature of the Barnum Circus and then other circuses have to follow because they can’t offer less.

它成为巴纳姆马戏团的标志性特征，然后其他马戏团也必须效仿，因为他们不能提供更少的东西。

James W.

詹姆斯·W.

Cook: There’s no question that there’s a large dimension of exploitation.

库克：毫无疑问存在着很大程度的剥削。

There’s a large dimension of racialization running through.

存在很大程度的种族化。

There’s a kind of exoticism.

有一种异域风情。

In some cases, Chinese are presented as human oddities.

在某些情况下，中国人被视为人类的怪胎。

All of that said, however, these are not pure victims.

然而，所有这些都表明，这些人并不是纯粹的受害者。

These are people who make choices and think strategically about what forms of upward mobility are available to them in a world, without support for those with disability.

这些人做出选择，并战略性地思考在一个不为残疾人提供支持的世界中，他们可以采用哪些形式的向上流动。

Matthew Wittmann: Ann Leek was an armless woman and her quote-unquote “act” was basically to sew and do different domestic tasks on this elevated stage in the sideshow tent.

马修·维特曼：安·利克是一个没有手臂的女人，她的“行为”基本上就是在杂耍帐篷的高架舞台上缝纫和做不同的家务活。

She used her toe to write out cards for individual people and date them.

她用脚趾为个人写卡片并与他们约会。

For her, it was a way to make money.

对她来说，这是一种赚钱的方式。

Narration: By the time the show reached Rutland, Vermont in the middle of June, the promotion had so saturated the area that visitors came by the thousands from villages in neighboring New York State.

旁白：当演出于六月中旬到达佛蒙特州拉特兰时，促销活动已经在该地区饱和，以至于成千上万的游客从邻近的纽约州的村庄赶来。

Some arrived a day early.

有些人提前一天到达。

Whereas in years past many New Englanders had seen circuses as immoral, there was nothing in Barnum’s show, the local paper said, “to offend the most refined modesty.”

当地报纸称，尽管过去几年许多新英格兰人都认为马戏是不道德的，但巴纳姆的表演并没有“冒犯最优雅的谦虚”。

Barnum banned drinking on the show grounds and hired detectives from the Pinkerton Agency to keep everyone’s wallets safe.

巴纳姆禁止在演出场地饮酒，并聘请了平克顿机构的侦探来确保每个人的钱包安全。

James W.

詹姆斯·W.

Cook: He knew that the circus had a morally suspect reputation on many different levels, and what he does really, in a remarkable way, is create a kind of marketing campaign with testimonials from clergy, from famous writers, and other celebrity figures, who attest to the wholesomeness of his circuses.

库克：他知道马戏团在许多不同层面上都有着道德上可疑的声誉，而他真正所做的是，以一种非凡的方式，利用神职人员、著名作家和其他名人的推荐，发起一场营销活动，证明他的马戏团的健康。

Robert Thompson: Barnum knew that in the end, if you really wanted to make it big, you had to appeal to a huge audience and that included women and children.

罗伯特·汤普森：巴纳姆知道，最终，如果你真的想把事情做大，你就必须吸引大量观众，其中包括妇女和儿童。

Barnum, more than any, began to see that the circus as something for kids.

巴纳姆比任何人都更开始将马戏团视为孩子们的活动。

Narration: The show returned to New York in the middle of October having traveled as far west as St. Louis.

旁白：节目向西远至圣路易斯，并于十月中旬返回纽约。

With audiences averaging around ten thousand people every performance, by season’s end the circus had grossed one and a half million dollars.

每场演出的平均观众人数约为一万人，到演出季结束时，马戏团的收入已达到一百五十万美元。

But the partners had far more than their extraordinary profits to be proud of.

但合伙人值得自豪的远不止是非凡的利润。

In just three years, they had completely transformed the circus business.

在短短三年内，他们彻底改变了马戏团业务。

Matthew Wittmann: What Barnum’s entry into the circus business touches off is a new era of rivalry and competition-- the biggest and the best show, the most incredible advertising.

马修·维特曼：巴纳姆进入马戏团行业引发了一个竞争和竞争的新时代——最大、最好的表演，最令人难以置信的广告。

Everyone else has to follow.

其他人都必须跟随。

So, in short order, every large American circus is travelling on the railroads.

因此，很快，美国每个大型马戏团都在铁路上演出。

That’s how you make bigger money.

这就是你赚更多钱的方法。

Every American circus is having herds of elephants.

每个美国马戏团都有成群的大象。

So, it becomes a function of your show.

所以，它成为你的节目的一个功能。

You can’t just have two elephants anymore.

你不能再只养两只大象了。

You have to have six.

你必须有六个。

And then if one show has six, one show has ten.

如果一个节目有六个，那么一个节目有十个。

There’s this unbelievable drive for new attractions, new forms of advertising, new forms of entertainment that can be incorporated into the circus.

人们对新景点、新广告形式、新娱乐形式的需求令人难以置信，这些都可以融入到马戏团中。

Narration: At the very thought of circus, a swarm of long-imprisoned desires breaks jail.

旁白：一想到马戏团，一群长期被禁锢的欲望就破狱而出。

Armed with beauty and demanding justice and everywhere threatening us with curiosity and Spring and childhood...

带着美丽和要求正义，到处都用好奇心、春天和童年威胁着我们……

E.E.

E.E.

Cummings

卡明斯

Robert Thompson: The American spirit, a lot of it would be about reinvention, the idea of something giving you promise.

罗伯特·汤普森：美国精神在很大程度上是关于重塑、给你承诺的想法。

The spirit that brought people over from the Old World to the New, the spirit that rejected the established culture of Europe, was the same spirit that got people to leave a small town and join the circus.

将人们从旧世界带到新世界的精神，拒绝欧洲既定文化的精神，与让人们离开小镇加入马戏团的精神是一样的。

Janet M.

珍妮特·M。

Davis: We often like to think about running away with the circus as a kind of stereotype or a cliché.

戴维斯：我们常常认为随马戏团逃跑是一种刻板印象或陈词滥调。

But it’s true.

但这是真的。

People ran away with the circus.

人们跟着马戏团逃跑了。

And they did so because it offered opportunities for people who were perhaps outsiders in their own community.

他们这样做是因为这为那些可能是自己社区的局外人的人提供了机会。

Jennifer Lemmer Posey: A lot of people would watch this wonderful show roll into town, a magical world filled of people doing extraordinary things and see that as a chance to jump out of their everyday, and follow that.

詹妮弗·莱默·波西：很多人会观看这部精彩的节目进入小镇，这是一个充满人们做着非凡事情的神奇世界，并将其视为跳出日常生活的机会，并遵循这一点。

Ammed Tuniziani, Trapeze Artist: Many of those people that run away, they run away to—to look for their dreams, to make their dreams come true.

Ammed Tuniziani，空中飞人艺术家：许多逃跑的人，他们逃跑是为了寻找他们的梦想，让他们的梦想成真。

It’s a very different life from any kind of other life.

这是一种与其他生活截然不同的生活。

Deborah Walk, Curator: People have called it a big top fever that you never got over.

黛博拉·沃克（Deborah Walk），策展人：人们称之为“高烧不退”。

To join the circus, to crisscross the country, to showcase the wonders of the world, what a lure to that.

加入马戏团，穿越全国，展示世界奇观，这是多么诱人的事情。

Matthew Wittmann: Part of the circus industry was that you had to make promises that your show maybe couldn’t keep, that you had a herd of twenty elephants, that you had this unbelievable attraction.

马修·威特曼：马戏团行业的一部分是，你必须做出你的表演可能无法兑现的承诺，你有一群二十头大象，你有这种令人难以置信的吸引力。

You had to advertise, something new, something exciting to get people to come to the show.

你必须做广告，一些新的、令人兴奋的东西才能吸引人们来观看演出。

You overpromise, but as long as people show up, it doesn’t really matter.

你承诺过多，但只要人们出现，这并不重要。

Narration: As the 1874 circus season got underway, the hyperbole heated up.

旁白：随着 1874 年马戏季的开始，夸张的说法愈演愈烈。

Every showman wanted to outdo Barnum.

每个表演者都想超越巴纳姆。

No one was more eager than Adam Forepaugh.

没有人比 Adam Forepaugh 更加渴望。

Like Barnum, Forepaugh had grown up poor, starting out as a butcher’s apprentice at the age of sixteen.

和巴纳姆一样，福雷波出身贫寒，十六岁时就开始当屠夫学徒。

By the time the Civil War broke out, he had turned to horse-trading, making a fortune supplying the Union Army with cavalry mount.

内战爆发时，他开始从事马匹交易，为联邦军提供骑兵坐骑，赚了一大笔钱。

In 1863, Forepaugh sold horses to a shady circus manager who proved unable to pay his bill.

1863 年，福雷波将马匹卖给了一位可疑的马戏团经理，但事实证明他无力支付账单。

In place of his fee, Forepaugh took part ownership of the circus.

福雷波代替了他的费用，获得了马戏团的部分所有权。

Fred Dahlinger Jr., Circus Historian: It turned out he had a great knack for it, and eventually over the next thirty years, ended up being one of the finest showman in America.

小弗雷德·达林格 (Fred Dahlinger Jr.)，马戏团历史学家：事实证明，他很有天赋，最终在接下来的三十年里，成为美国最优秀的表演者之一。

Fred Pfening Iii: He was the first circus to have two tents.

Fred Pfening Iii：他是第一个拥有两个帐篷的马戏团。

He had a tent for the menagerie and then one for the performance.

他为动物园准备了一个帐篷，然后又为表演准备了一个帐篷。

In the 1860s and 1870s, there were still some moral opposition from church groups that saw the circus as kind of an unworthy waste of time.

在 1860 年代和 1870 年代，教会团体仍然存在一些道德上的反对声音，他们认为马戏是一种不值得的浪费时间。

So what he would do is he would charge them a quarter if they wanted to just go through the menagerie and see the animals, which a lot of people did because there’s an unquestioned educational value to that.

因此，如果他们只是想参观动物园并看看动物，他会向他们收取四分之一的费用，很多人都这样做，因为这无疑具有教育价值。

Nobody ever accused Forepaugh of not being able to make a buck.

没有人指责福雷波赚不到钱。

He was extremely good at that.

他在这方面非常擅长。

Narration: The two-tent circus was “how I caught the church people,” Forepaugh explained.

旁白：两个帐篷的马戏团是“我吸引教会成员的方式”，福雷波解释道。

Within a few short years, every other circus had followed suit.

短短几年内，其他所有马戏团都纷纷效仿。

In 1874, he copied Barnum by introducing a second ring and vastly exaggerating his line-up of performers.

1874 年，他效仿巴纳姆，推出了第二枚戒指，并大大夸大了表演者阵容。

Like Barnum, he received gushing reviews.

和巴纳姆一样，他也收到了好评如潮。

“No triumph decreed to Roman generals,” wrote one reporter, “could have equaled the procession of Forepaugh’s Aggregation of Animals…

一位记者写道：“罗马将军的胜利无法与福雷波的动物聚集游行相媲美……

Even Alexander the Great would have made a poor show in comparison.”

相比之下，即使是亚历山大大帝也会表现不佳。”

While Forepaugh could rival Barnum for size, The Great International Circus, could not.

虽然福雷波的规模可以与巴纳姆相媲美，但国际大马戏团却不能。

Owners James Cooper and James Bailey had their ambitions, nonetheless.

尽管如此，老板詹姆斯·库珀和​​詹姆斯·贝利仍然有他们的雄心。

Bailey in particular was a striver.

贝利尤其是一位奋斗者。

Born James Anthony McGinnis in Detroit, he had lost both his parents by the age of eight.

他出生于底特律，原名詹姆斯·安东尼·麦金尼斯，八岁时失去了双亲。

James W.

詹姆斯·W.

Cook: He’s raised as a ward by his eldest sister.

库克：他是由他的大姐姐抚养长大的。

By his own account, she is a cruel and often brutal person.

据他自己说，她是一个残忍且常常残酷的人。

She beats him relentlessly.

她毫不留情地殴打他。

She has him working before he goes to school and he arrives at school late and then he’s beaten at school for being late and then he gets home and he’s beaten again for doing badly in school.

她让他在上学前先干活，他迟到了，然后他在学校因为迟到而被殴打，然后他回到家又因为在学校表现不好而被殴打。

Fred Dahlinger Jr.: After Bailey decided he needed to leave home, to escape the clutches of his sister, he decided the way to do it was to go swimming with a bunch of his buddies down in the river.

小弗雷德·达林格（Fred Dahlinger Jr.）：贝利决定离开家，逃离妹妹的魔爪后，他决定和他的一群伙伴一起去河里游泳。

And what they did, they went skinny-dipping, they took their clothes off, laid them on the side of the bank, went in the river, and that was the last they saw of James A.

他们所做的就是裸泳，脱掉衣服，放在岸边，走进河里，那是他们最后一次见到詹姆斯·A。

Bailey.

贝利。

And because his clothes were still there, everybody thought, “he’s drowned.”

因为他的衣服还在那里，所以每个人都认为“他淹死了。”

Narration: James drifted from place to place, picking up work as a farmhand and stable boy.

旁白：詹姆斯从一个地方漂泊到另一个地方，开始当农场工人和马厩童。

In 1860, he was working as a bellboy at a hotel in Pontiac, Michigan, when Fred Bailey, an advertising man for the Robinson & Lake Circus came to stay.

1860 年，他在密歇根州庞蒂亚克的一家酒店担任行李员，当时罗宾逊湖马戏团的广告人弗雷德·贝利 (Fred Bailey) 来住下。

Twelve-year-old James was intrigued by Bailey’s roving line of work.

十二岁的詹姆斯对贝利的流动工作很感兴趣。

He begged Fred to let him tag along as an apprentice.

他恳求弗雷德让他跟着学徒。

Fred Pfening III: He becomes the advance man and the billposter.

弗雷德·普芬宁三世：他成为先行者和广告海报。

He had this little buggy that he’d go around, and he’d put up the posters in the towns ahead of the route of the Robinson & Lake Circus to announce that it was coming.

他有一辆小马车，可以到处走走，他会在罗宾逊湖马戏团路线前面的城镇里张贴海报，宣布它即将到来。

He got intimately involved in understanding all the local conditions that are so important in a circus being successful that another circus man years later said, “Any fool can start a circus.

他深入了解当地的所有条件，这些条件对于马戏团的成功至关重要，以至于多年后另一位马戏团成员说：“任何傻瓜都可以创办马戏团。

It’s the smart show man that knows where to put it.”

聪明的表演者知道把它放在哪里。”

Since James felt greater affection for the circus, than he ever had for his family, he took Fred Bailey’s last name.

由于詹姆斯对马戏团的感情胜过对家人的感情，因此他采用了弗雷德·贝利的姓氏。

James W.

詹姆斯·W.

Cook: He becomes in some ways the archetypal story of someone who runs away to the circus and that the circus provides a place to reinvent yourself.

库克：在某种程度上，他成为了一个逃到马戏团的人的典型故事，而马戏团提供了一个重塑自我的地方。

Matthew Wittmann: He very quickly rose in the ranks of the American circus.

马修·维特曼：他很快就在美国马戏团的行列中崛起。

At thirteen years old he is an advance agent.

十三岁时，他成为一名先遣特工。

At thirty, he is running a circus.

三十岁时，他正在经营一个马戏团。

In between he does a little bit of everything.

在这期间，他什么事情都做一点。

It’s really a remarkable, remarkable story.

这确实是一个非凡、非凡的故事。

Narration: Bailey had started out with James Cooper in 1870, running a concert after the main show.

旁白：贝利于 1870 年与詹姆斯·库珀 (James Cooper) 开始合作，在主演出后举办一场音乐会。

Within three years, they were partners.

三年之内，他们成为了合作伙伴。

In 1876, the nation marked its centennial with an elaborate exposition in Philadelphia, which would draw almost ten million visitors eager to see the engineering marvels of the day.

1876 年，美国在费城举办了一场精心设计的博览会来庆祝建国一百周年，吸引了近千万渴望一睹当时工程奇迹的游客。

Wanting to avoid the competition, Bailey and Cooper headed west to California.

为了避开竞争，贝利和库珀向西前往加利福尼亚。

When they got to San Francisco, James Bailey decided to keep on going.

当他们到达旧金山时，詹姆斯·贝利决定继续前进。

He took six elephants, five camels, two tigers, two lions, forty horses, and some thirty performers across the Pacific to Australia.

他带着六头大象、五头骆驼、两只老虎、两只狮子、四十匹马和大约三十名表演者跨越太平洋来到澳大利亚。

The seventy-five hundred mile journey via Honolulu and Fiji took six weeks.

途经檀香山和斐济的七千五百英里的旅程花了六个星期。

Matthew Wittmann: The flash of insight that Bailey has is what if I went to the Southern Hemisphere, where it’s summer during our winter, and the show can keep going for a consecutive year.

马修·维特曼：贝利的灵光一现是，如果我去南半球，那里的冬天是夏天，那么这个节目可以连续举办一年。

Bailey spent 1877 touring his show around Australia.

1877 年，贝利在澳大利亚各地巡回演出。

Everywhere he went audiences showered his circus with accolades.

无论他走到哪里，观众都对他的马戏团赞不绝口。

“It is large,” wrote one reporter, “excellent in character and eminently calculated to impress the sight-seeing mind.

“它很大，”一位记者写道，“性格非常出色，而且精心设计，可以给观光者留下深刻的印象。

Nothing equal to it has ever appeared in the colony.”

殖民地中还没有出现过任何与之相媲美的东西。”

Matthew Wittmann: The big thing that wowed Australian audiences was the size of the show.

马修·维特曼：令澳大利亚观众惊叹不已的是演出的规模。

There was no tent that big in Australia.

澳大利亚没有这么大的帐篷。

And what’s more is he had five tents housing five separate attractions.

更重要的是，他有五个帐篷，里面有五个不同的景点。

So, there was a sideshow tent.

所以，就有了一个杂耍帐篷。

There was a museum.

有一个博物馆。

There was a menagerie, and then there was the main tent where the performance took place.

有一个动物园，然后就是表演的主帐篷。

Narration: From Australia, the circus toured the island of Java, where it picked up local musicians to play in the band.

旁白：马戏团从澳大利亚出发前往爪哇岛巡演，并在那里招募了当地音乐家在乐队中演奏。

When the strongwoman came on the Javanese were so astounded, they stopped playing completely.

当女大力士登场时，爪哇人大吃一惊，完全停止了演奏。

After touring New Zealand, Bailey charted a sailing vessel to take the circus back across the Pacific for a tour of South America.

新西兰巡演结束后，贝利租了一艘帆船，带着马戏团穿越太平洋返回南美洲。

The ship didn’t see land for more than fifty days.

这艘船已经五十多天没有看到陆地了。

In December the show packed up and headed home.

12月，演出收拾行李回家。

From the moment they had set sail across the Pacific, Bailey and his troupe had ricocheted from one harrowing moment to the next.

从他们扬帆横渡太平洋的那一刻起，贝利和他的剧团就经历了一个又一个痛苦的时刻。

Four circus workers died in Java of tropical diseases.

四名马戏团工作人员在爪哇死于热带疾病。

Turbulent seas almost sunk their ship on the way to New Zealand.

在前往新西兰的途中，汹涌的大海差点让他们的船沉没。

And at one point a tiger escaped its cage in the hold.

有一次，一只老虎从货舱里的笼子里逃了出来。

But Bailey survived it all.

但贝利挺过了这一切。

After more than two years of almost constant travel, his circus had covered more than seventy-six thousand miles.

经过两年多几乎不间断的旅行，他的马戏团已经走了七万六千多英里。

When the intrepid showman arrived back in New York, he was worldly, daring, and ready to take on the toughest competition.

当这位勇敢的表演者回到纽约时，他成熟、大胆，并准备好迎接最艰难的竞争。

Bailey returned to a country in the grip of momentous change s .

贝利回到了一个正在发生重大变化的国家。

More than a quarter of Americans now lived in cities.

现在超过四分之一的美国人居住在城市。

Some ninety thousand miles of railroad tracks carved their way across the nation.

大约九万英里的铁轨横贯全国。

That ever-expanding network was fueling an unrivaled period of industrialization and innovation.

这个不断扩大的网络正在推动一个无与伦比的工业化和创新时期。

Alexander Graham Bell had just invented the telephone; Thomas Edison the phonograph.

亚历山大·格雷厄姆·贝尔刚刚发明了电话；托马斯·爱迪生留声机。

And the month Bailey’s ship docked in New York’s harbor, a Cleveland-based inventor demonstrated his system of electric lighting in a Philadelphia department store.

贝利的船停靠在纽约港口的那个月，一位克利夫兰的发明家在费城的一家百货商店展示了他的电力照明系统。

Bailey was so impressed, he became the first circus owner in the country to buy an electric lighting system.

贝利对此印象深刻，他成为该国第一个购买电气照明系统的马戏团老板。

His circus was lit up by electricity before any city in America had a system of electric street lighting.

他的马戏团在美国任何城市拥有电力路灯系统之前就已经用电照亮了。

It was the focal point of his advertising.

这是他的广告的焦点。

He even sold tickets for a tour of the generator.

他甚至还出售参观发电机的门票。

Fred Pfening III: A huge percentage of Americans saw electricity for the first time on a circus.

Fred Pfening III：很大一部分美国人是在马戏团里第一次看到电。

You can just imagine the, you know, to go to some little town in Arkansas or some place and to be able to see that.

你可以想象，你知道，去阿肯色州的某个小镇或某个地方，就能看到这一点。

Matthew Wittmann: Part of what makes the circus such a powerful cultural form is its ability to absorb various influences and essentially program them anew for American audiences.

马修·维特曼：马戏团之所以成为如此强大的文化形式，部分原因在于它能够吸收各种影响，并从本质上为美国观众重新规划它们。

Anything that’s happening in American culture and American entertainment soon get sucked into the circus.

美国文化和美国娱乐中发生的任何事情很快都会被卷入马戏团。

Really any innovation you can think of gets repackaged and then branded into the American circus.

事实上，你能想到的任何创新都会被重新包装，然后打入美国马戏团。

Whether it was the lighting, or the herd of ten elephants, or the nighttime parades, Cooper and Bailey turned away crowds at stop after stop.

无论是灯光、十头大象群，还是夜间游行，库珀和贝利一次又一次地驱散了人群。

Bailey began the following season with an aggressive advertising campaign.

贝利在接下来的赛季开始时开展了积极的广告活动。

He ordered the design and production of eighty-two different lithographs and then sent his publicity team out on three advance cars to plaster the route with posters.

他下令设计和制作八十二张不同的石版画，然后派遣他的宣传团队乘坐三辆先遣车出去，在路线上张贴海报。

Matthew Wittmann: Circuses could spend many thousands of dollars on advertising whether it was newspapers, posters.

马修·维特曼：马戏团可能会花费数千美元做广告，无论是报纸还是海报。

Circuses put money into advertising in a way that no other business did.

马戏团在广告上的投入是其他行业所没有的。

The average circus poster was so much bigger than any rival ad that it was meant to grab your attention.

马戏团的平均海报比任何竞争对手的广告都要大得多，它的目的是为了吸引你的注意力。

Narration: Barnum’s posters that season focused on his most dangerous act yet: Zazel, the fearless human cannonball.

旁白：巴纳姆那个赛季的海报聚焦于他迄今为止最危险的行为：扎泽尔，无所畏惧的人类炮弹。

Jennifer Lemmer Posey: She got her start at the Royal Aquarium in Britain, and it was the concept of a showman named Farini.

Jennifer Lemmer Posey：她的职业生涯始于英国皇家水族馆，这是一位名叫法里尼（Farini）的表演者的构想。

He came up with the idea of shooting a person, most specifically a woman because that added to the excitement of it.

他想到了射杀一个人，特别是射杀一个女人，因为这会增加射击的兴奋感。

Janet M.

珍妮特·M。

Davis: Zazel's inclusion in the circus program is a reflection of a growing emphasis on death defying spectacle over the intricacies of individual artistry.

戴维斯：扎泽尔被纳入马戏团节目反映出人们越来越重视对抗死亡的奇观而不是个人艺术的复杂性。

And the act of claiming hundreds of yards of space vertically, horizontally, in defiance of death, really becomes the signature of this enormous new form of circus.

不顾死亡，在垂直、水平方向占据数百码空间的行为，确实成为了这种巨大的新形式马戏团的标志。

Narration: It was dumb luck, however, that gave the greatest promotional coup of the season to Barnum’s main rival.

旁白：然而，巴纳姆的主要竞争对手却获得了本赛季最伟大的促销胜利，这完全是运气不好。

James Bailey’s elephant, Hebe, unexpectedly gave birth to a 213-pound baby.

詹姆斯·贝利 (James Bailey) 的大象赫比 (Hebe) 意外产下 213 磅重的婴儿。

She was, Bailey claimed, the first elephant born in the West since the Roman Empire.

贝利声称，她是自罗马帝国以来第一头在西方出生的大象。

Matthew Wittmann: They name it Columbia.

马修·维特曼：他们将其命名为哥伦比亚。

He names it that because this is the first elephant born in the United States and it’s a publicity coup.

他之所以这样命名，是因为这是美国第一头出生的大象，而且这是一场宣传攻势。

I mean, people love elephants and then, people really love baby elephants.

我的意思是，人们喜欢大象，而且人们真的很喜欢小象。

It creates media publicity all over the country.

它在全国范围内进行媒体宣传。

Barnum stoked the media frenzy.

巴纳姆激起了媒体的狂热。

He wired Bailey and offered him $100,000 for his elephant calf.

他给贝利打了电话，愿意出价 10 万美元购买他的小象。

Bailey used the telegram against Barnum, publishing it widely with the caption: “What Barnum Thinks of our Baby elephant.”

贝利利用这封电报来反对巴纳姆，并广泛发表，并附上标题：“巴纳姆对我们的小象的看法。”

Barnum encouraged the press to believe he was distraught by Columbia’s birth and saw no path forward other than to merge his show with Bailey’s.

巴纳姆鼓励媒体相信他对哥伦比亚的诞生感到心烦意乱，除了将他的节目与贝利的节目合并之外，别无他法。

Fred Pfening Iii: It turns out, that’s completely untrue.

Fred Pfening Iii：事实证明，这完全是不真实的。

Barnum & Bailey signed a contract on May 26 th , 1880.

Barnum & Bailey 于 1880 年 5 月 26 日签订了一份合同。

You don’t see any of this business about Barnum wanting to buy the elephant until after the contract had been signed and it was a publicity stunt and I think Barnum probably cooked it up.

在合同签署之前，你不会看到任何关于巴纳姆想要购买大象的事情，这是一个宣传噱头，我认为巴纳姆可能炮制了它。

Narration: That fall, both Barnum and Bailey severed their relationships with their partners.

旁白：那年秋天，巴纳姆和贝利都断绝了与伴侣的关系。

Then the two veteran showmen announced that they were joining forces.

随后，两位资深表演者宣布联手。

Barnum had watched Bailey closely enough to know he had just signed a deal with the most ingenious impresario in show business.

巴纳姆仔细观察了贝利，知道他刚刚与演艺界最聪明的经理人签署了一份协议。

Matthew Wittmann: One of the things that would make the Barnum & Bailey partnership work so well was that they had very different personalities.

马修·维特曼（Matthew Wittmann）：巴纳姆贝利合作伙伴关系之所以如此顺利，原因之一是他们有着截然不同的个性。

Barnum was very much the man that wanted the spotlight.

巴纳姆是一个非常想要成为聚光灯的人。

He lived his entire life in public.

他一生都在公共场合度过。

Bailey, on the other hand is very private, very reserved.

另一方面，贝利非常注重隐私，非常保守。

He just had a real organizational acumen with logistics, with performance.

他在后勤和绩效方面具有真正的组织敏锐度。

Fred Pfening Iii: Bailey would set himself up a little table near the front entrance of the circus and he was constantly receiving telegrams from his advance people, telling him what they were doing and him sending an advice out.

弗雷德·普芬宁三世：贝利会在马戏团前门附近给自己摆一张小桌子，他不断地收到先遣人员发来的电报，告诉他他们在做什么，然后他发出建议。

He micromanaged the show and particularly the advance of it.

他对节目进行了微观管理，尤其是它的进展。

He was a tremendous risk taker and a very creative, innovative guy

他是一个敢于冒险的人，也是一个非常有创造力、创新精神的人

Narration: Some observers predicted that the Barnum and Bailey amalgamation would be too unwieldy to put on the road.

旁白：一些观察家预测巴纳姆和贝利的合并将太笨重而无法上路。

Bailey disagreed.

贝利不同意。

“Our show for 1881,” he said, “will be known in the amusement records of America as the greatest artistic success of the time.”

“我们 1881 年的演出，”他说，“将在美国娱乐史上被誉为当时最伟大的艺术成功。”

The circus is a tiny closed off arena of forgetfulness.

马戏团是一个封闭的、遗忘的小舞台。

For a space it enables us to lose ourselves, to dissolve in wonder and bliss, to be transported by mystery.

对于一个空间来说，它使我们能够迷失自我，溶解在惊奇和幸福中，被神秘所感动。

We come out of it in a daze, saddened and horrified by the everyday face of the world.

当我们走出困境时，我们感到茫然，对世界的日常面貌感到悲伤和恐惧。

Edward Hoagland, Writer, Cage Hand: Circus day with a capital C, capital D, was a big deal and it was very special.

爱德华·霍格兰 (Edward Hoagland)，作家、凯奇·汉德 (Cage Hand)：马戏团日大写 C、大写 D，是一件大事，而且非常特别。

It was something that happened once a year—like the fireworks on the Fourth of July—you take your children to see because it’s only once a year and you’re only a child once for heaven’s sake.

这是一年一次的事情，就像七月四日的烟花一样，你带你的孩子去看，因为一年只有一次，看在老天爷的份上，你也只是个孩子一次。

Narration: For almost a century, Americans across the country looked forward eagerly to the cherished rituals of Circus Day.

旁白：近一个世纪以来，全国各地的美国人都热切期待着珍贵的马戏日仪式。

They began before dawn as curious observers began turning out to watch the circus arrive on the outskirts of town.

他们在黎明前开始，好奇的观察者开始出来观看马戏团到达城镇郊区。

Richard Reynolds: All of a sudden, you could hear that whistle way off and everybody would say, it's coming.

理查德·雷诺兹：突然之间，你可以听到远处的哨声，每个人都会说，它来了。

And it would pull in.

它会拉进来。

Oh, my Lord, people would just flock to the track to watch it come in.

哦，天哪，人们会涌向赛道观看它进来。

It was just a magical thing.

这真是一件神奇的事情。

There was action all around.

四周都有行动。

People would speculate.

人们会猜测。

You’d hear people talking, “What do you suppose that is?

你会听到人们说话：“你认为那是什么？

What’s in that wagon?” And then the elephants, twelve in number, came out of that stock car.

那马车里有什么？”然后，十二头大象从那辆库存车里走出来。

And we just kept counting them as they came out.

当它们出来时我们就一直数着它们。

It was just a magical experience.

这真是一次神奇的经历。

La Norma Fox, Aerialist: You come in early, and you watch, they’re pulling out different things, canvas, poles.

La Norma Fox，空中飞人：你来得很早，你会看到他们拿出不同的东西，帆布，杆子。

Okay, what’s going to happen now?

好吧，现在会发生什么？

They open up those canvases, starting to unroll them, and then somebody get in there and start lacing the pieces together.

他们打开那些画布，开始展开它们，然后有人进去并开始将这些碎片绑在一起。

It’s amazing to see that.

看到这一点真是太神奇了。

Richard Reynolds: There’d be the boss canvas man and he’d say, “You boys want to see the circus?” “Oh yes, sir, sure we do.” “Well, listen, if you help put up these side poles here, and pull out this canvas, you’ll get a free ticket.” And that’s how that worked.

理查德·雷诺兹：老板画布人会说：“你们想看马戏团吗？” “哦，是的，先生，我们当然知道。” “好吧，听着，如果你帮忙把这些侧杆放在这里，并拉出这张画布，你就会得到一张免费门票。”这就是它的运作方式。

La Norma Fox: You get half the town, all kids mostly, wanted to help.

La Norma Fox：半个镇的人，大部分都是孩子，都想帮忙。

As you see the top come up, that is a sight.

当你看到顶部升起时，那就是一个景象。

That really is the most beautiful thing.

这确实是最美好的事情。

Narration: In mid-morning, as throngs pressed together along Main Street, the circus paraded through, showing off its finery.

旁白：上午，当人群聚集在大街上时，马戏团列队游行，炫耀着华丽的表演。

Deborah Walk: Up to three miles long of animals, of beautiful ladies on incredibly beautiful horses, wagons of all sizes, bands, all would parade through your town creating gridlock.

Deborah Walk：长达三英里的动物、骑着极其美丽的马的美丽女士、各种尺寸的马车、乐队，所有这些都会在您的城镇中游行，造成交通堵塞。

Janet M.

珍妮特·M。

Davis: There would be people in buildings on the second and third stories, looking down at this extravaganza.

戴维斯：人们会在二楼和三楼的建筑物中俯视这场盛大的表演。

The showmen knew this, because they had beautiful scenes, gilded and painted on the tops of the wagons, so that people could see that too.

表演者知道这一点，因为他们有美丽的场景，在马车顶部镀金和彩绘，这样人们也可以看到。

Richard Reynolds: My father had an aunt who worked in a downtown Atlanta department store and she had a space on the second floor, so that when the circus parade came, he was right there to watch the whole procession.

理查德·雷诺兹：我父亲有一位阿姨在亚特兰大市中心的一家百货公司工作，她在二楼有一个空间，所以当马戏团游行来临时，他就在那里观看整个游行。

Matthew Wittmann: Certain people, if you grew up on a farm, had never seen a tent with ten or twelve thousand people in it.

马修·维特曼：某些人，如果你在农场长大，从来没有见过一个能容纳一万或一万二千人的帐篷。

And if you include the number of people milling about the grounds and the circus folk as well, it’s probably the largest collection of people that they had ever witnessed.

如果算上在场地里闲逛的人和马戏团人员的数量，这可能是他们见过的最大的人群聚集。

Narration: As the evening show was about to begin, the cheery strains of the circus band drew the audience under the canvas.

旁白：晚会即将开始，马戏乐队欢快的乐曲将观众吸引到了画布下。

Fred Dahlinger Jr.: Even while the end of the big top show is taking place, working men are already starting to take down the cook tents, the sideshow, the menagerie, because by the time the big top show ends, the working men are waiting there to start tearing down the seats, take down the big top and load it up.

小弗雷德·达林格（Fred Dahlinger Jr.）：即使在大型顶级表演即将结束时，工人们也已经开始拆除厨师帐篷、杂耍、动物园，因为当大型顶级表演结束时，工人们已经在那里等着开始拆掉座位，拆下大顶部并将其装载起来。

Matthew Wittmann: It changes everything, the circus coming to town.

马修·维特曼：马戏团来到镇上，一切都改变了。

It transformed the town in a way I don’t think any entertainment form has done since.

它以一种我认为此后任何娱乐形式都没有做过的方式改变了这座小镇。

Narration: “[The circus] is a kingdom on wheels,” one witness noted, “a city that folds itself up like an umbrella.

旁白：“[马戏团]是一个车轮上的王国，”一位目击者指出，“一座像雨伞一样折叠起来的城市。

Quietly and swiftly every night it…

每天晚上都安静而迅速地……

[picks] up in its magician’s arms theatre, hotel, schoolroom, barracks, home, whisking them all miles away, and setting them down before sunrise in a new place.”

[拿起]在魔术师的手臂剧院、酒店、教室、营房、家里，把它们带到几英里之外，并在日出之前把它们放在一个新的地方。”

In preparation for their first season together, P.

为了准备他们在一起的第一个赛季，P.

T.

T。

Barnum and James Bailey constructed a permanent winter quarters on five acres of land in Barnum’s hometown of Bridgeport, Connecticut.

巴纳姆和詹姆斯·贝利在巴纳姆的家乡康涅狄格州布里奇波特占地五英亩的土地上建造了一个永久的冬季宿舍。

The facility was enormous.

该设施非常巨大。

The shed for the train cars alone was 350 feet long.

仅火车车厢的车棚就有 350 英尺长。

The following spring, the showmen opened their combined circus in Madison Square Garden, starting a tradition that would endure into the middle of the next century.

第二年春天，表演者们在麦迪逊广场花园开设了他们的联合马戏团，开创了一个持续到下世纪中叶的传统。

Audiences were dismayed to discover that the acts were now spread across three rings not two.

观众沮丧地发现表演现在分散在三个环而不是两个环上。

“Even a cross-eyed man can’t look at three rings at once,” wrote one irritated spectator.

“即使是斗鸡眼的人也不能同时看三枚戒指，”一位恼怒的观众写道。

But larger tents meant greater profits so the three rings became a permanent fixture.

但更大的帐篷意味着更大的利润，因此三环成为永久的固定设施。

James W.

詹姆斯·W.

Cook: The circus becomes a kind of celebration of American profit-making, American ingenuity and entrepreneurship.

库克：马戏团成为了对美国盈利、美国聪明才智和创业精神的一种庆祝。

And so, in many ways, it is the most visible form of corporate capitalism during the Gilded Age.

因此，从很多方面来说，它是镀金时代最明显的企业资本主义形式。

Barnum is right up there with people like Andrew Carnegie in steel, John Rockefeller in oil, J.P.

巴纳姆与钢铁行业的安德鲁·卡内基、石油行业的约翰·洛克菲勒、J.P.

Morgan in banking.

摩根在银行业。

But his products and his business models are visible and spectacular and talked about in ways that the others are not.

但他的产品和商业模式是可见的、引人注目的，并且以其他人所没有的方式被谈论。

Narration: Like other 19 th century entrepreneurs, circus impresarios made enormous profits in part because their workers were paid poorly and their businesses were unregulated.

旁白：像其他 19 世纪的企业家一样，马戏团经理赚取了巨额利润，部分原因是他们的工人工资很低，而且他们的生意不受监管。

Every season men were injured or killed.

每个季节都有男人受伤或死亡。

An ever-changing roster of workers did the most dangerous work.

不断变化的工人名单从事着最危险的工作。

James Bailey would say it was easier and cheaper to add new men at every stop than to pay higher wages and keep them for the season.

詹姆斯·贝利会说，在每一站增加新人比支付更高的工资并留住他们整个赛季更容易、更便宜。

Though he could have hired African Americans for even less, he never did.

尽管他本可以以更低的价格雇用非裔美国人，但他从未这么做过。

Fred Dahlinger Jr.: The discrimination that was present in America at that time against African-Americans was embraced by the circus.

小弗雷德·达林格（Fred Dahlinger Jr.）：马戏团也接受了当时美国对非裔美国人的歧视。

You could not get white working men to work alongside black working men.

你无法让白人工人与黑人工人一起工作。

And it meant that you had to have a crew that was either all white or all black.

这意味着你的工作人员必须是全白人或全黑人。

African-Americans did the most difficult work, the dirtiest work, the toughest work.

非裔美国人干着最艰苦、最肮脏、最艰苦的工作。

Narration: Barnum and Bailey’s biggest concern in 1881, was not their workforce, but the redoubtable Adam Forepaugh.

旁白：1881 年，巴纳姆和贝利最担心的不是他们的劳动力，而是令人敬畏的亚当·福雷波 (Adam Forepaugh)。

The two rival shows played thirty-eight cities in common over the summer.

这两场相互竞争的演出整个夏天都在 38 个城市共同演出。

Jennifer Lemmer Posey: In their competition, Barnum and Forepaugh were both trying to elevate their own shows but also trying to demean their competitor.

Jennifer Lemmer Posey：在比赛中，巴纳姆和福雷波都试图提升自己的节目，但也试图贬低他们的竞争对手。

It became very personal.

它变得非常个人化。

And so, you have Adam Forepaugh who is a giant among the pygmies and portrays himself in lithographs as this giant man with small versions of P.

因此，亚当·福雷波 (Adam Forepaugh) 是俾格米人中的巨人，他在版画中将自己描绘成这个拿着小版本 P 的巨人。

T.

T。

Barnum and James Bailey running away in fear at his amazing stature.

巴纳姆和詹姆斯·贝利对他惊人的身材感到恐惧，逃跑了。

Both sides took jabs at each other in so-called “rat sheets.” Barnum claimed Forepaugh had bought his old dilapidated equipment.

双方在所谓的“老鼠表”中互相攻击。巴纳姆声称福雷波买了他破旧的旧设备。

Forepaugh accused Barnum of lying.

福雷波指责巴纳姆撒谎。

In St. Louis, Forepaugh hung twenty-two thousand posters; Barnum and Bailey put up twenty-three thousand.

在圣路易斯，福雷波张贴了两万二千张海报；巴纳姆和贝利筹集了两万三千美元。

Forepaugh’s biggest coup was his creation of the first truly giant opening pageant called a spectacle or spec for short.

福雷波最伟大的成就是他创造了第一个真正的大型开幕盛会，简称为“奇观”或“规格”。

Jennifer Lemmer Posey: Really what it’s about is showing all of the wonders of the Forepaugh Show.

Jennifer Lemmer Posey：真正的目的是展示 Forepaugh 秀的所有奇迹。

So, it starts with the street parade and amazing floats and barges and the elephants that are draped in beautiful rich blankets and all of the other animals paraded through the street.

因此，它从街头游行开始，令人惊叹的花车和驳船以及披着美丽丰富毯子的大象和所有其他动物在街上游行。

And then, it also serves as a grand entrée into the performance itself.

然后，它也作为表演本身的一个盛大的入口。

Matthew Wittmann: It proves very, very popular, both in terms of the advertising and people that go to the show seemed to be fascinated by these things, and pretty soon, other shows get on board and start staging their own specs.

马修·威特曼：事实证明，它非常非常受欢迎，无论是在广告方面还是在观看演出的人们似乎都对这些东西着迷时，很快，其他节目也加入并开始展示自己的规格。

Narration: Though it would be years before Barnum and Bailey mounted a spectacle themselves, they finished the 1881 season triumphant.

旁白：尽管巴纳姆和贝利过了好几年才上演精彩表演，但他们还是以胜利结束了 1881 年赛季。

When the accounts were tallied for the 11,000-mile tour through nineteen states, they showed the circus had made more than $1.1 million.

当对穿越 19 个州的 11,000 英里巡演的账目进行统计时，马戏团的收入超过 110 万美元。

Barnum took home two hundred thousand dollars himself.

巴纳姆自己拿回了二十万美元。

Janet M.

珍妮特·M。

Davis: This competition with Barnum and Forepaugh is something that defines the 1880s in the circus industry.

戴维斯：这场与 Barnum 和 Forepaugh 的竞争定义了 1880 年代的马戏行业。

This is the two titans.

这就是两位泰坦。

It was a brawling situation, bruising situation, with competition between these rival shows.

这是一场争吵、伤痕累累的局面，这些对手的节目之间存在着竞争。

The inventiveness born of such intense rivalry—the expanding menageries, the perilous new acts, the monstrous size of it all—had launched the American circus into its Golden Age.

如此激烈的竞争所产生的创造力——不断扩大的动物园、危险的新表演、巨大的规模——使美国马戏团进入了黄金时代。

Nigel Rothfels: If the circus is about big, and about unusual, and about something extreme, that’s an elephant.

奈杰尔·罗斯菲尔斯（Nigel Rothfels）：如果马戏团是关于大型、不寻常和极端的东西，那就是大象。

They’re sort of the perfect embodiment of the circus in the late 19th century.

它们是 19 世纪末马戏团的完美体现。

I think a lot of people are so surprised when they see elephants move, how graceful they are and how quiet their step is.

我想很多人在看到大象移动时都会感到惊讶，它们是多么优雅，脚步是多么安静。

Nigel Rothfels: The trunk of an elephant has the dexterity of a couple of fingers and yet the power of many people.

奈杰尔·罗斯菲尔斯：大象的鼻子有几根手指的灵巧，但也有许多人的力量。

And an elephant can take the penny from your hand.

大象可以从你手中夺走一分钱。

That’s an extraordinary experience.

这是一次非凡的经历。

It’s kind of unimaginable that there’s this animal several tons in weight that can take a penny out of your hand.

很难想象这种重达数吨的动物能从你手中夺走一分钱。

Narration: In the winter of 1882, P.

叙述：1882年冬天，P.

T.

T。

Barnum made the most rewarding purchase of his career.

巴纳姆做出了他职业生涯中最有价值的一次购买。

For ten thousand dollars he bought Jumbo, England’s treasured elephant, from the London Zoological Society.

他花费一万美元从伦敦动物学会购买了英国珍贵的大象 Jumbo。

Nigel Rothfels: Jumbo was a very, very big elephant.

Nigel Rothfels：Jumbo 是一头非常非常大的大象。

Most of the elephants that were showing up in this country are female Asian elephants.

在这个国家出现的大多数大象都是雌性亚洲象。

He was a male African elephant; the males are much, much, much bigger.

他是一头雄性非洲象；雄性的体型要大得多。

James W.

詹姆斯·W.

Cook: He was a beloved creature in London, and schoolchildren are weeping over the departure of Jumbo, newspaper editors are writing about the horror of the idea of Jumbo leaving behind his buns and his good diet from the London Zoological Society and eating waffles and popcorn at an American circus.

库克：在伦敦，他是一个受人喜爱的动物，小学生们都在为 Jumbo 的离开而哭泣，报纸编辑们正在写有关 Jumbo 留下他的小面包和伦敦动物学会的良好饮食并在美国马戏团吃华夫饼和爆米花的可怕想法。

Narration: When all the protests failed, Jumbo was shipped in a crate aboard a British vessel, and greeted by crowds at New York’s Castle Garden pier.

旁白：当所有抗议活动都失败后，珍宝被装在板条箱里装上一艘英国船只，并在纽约城堡花园码头受到人群的欢迎。

Matthew Wittmann: Jumbo delivers, by all accounts.

Matthew Wittmann：从各方面来看，Jumbo 都做到了。

I mean, the animal was big, but it’s Barnum’s publicity made him seem even bigger.

我的意思是，这只动物很大，但巴纳姆的宣传让他看起来更大。

And if you see the posters, you see an unbelievably large elephant.

如果你看到海报，你会看到一头令人难以置信的大大象。

The man knew how to get people talking.

这个人知道如何让人们说话。

Narration: The whole country became caught up in Jumbomania.

旁白：整个国家都陷入了巨型狂潮。

The elephant’s name became a way to say enormous.

大象的名字成了表达“巨大”的一种方式。

His likeness appeared on ads for cigars, dry goods, and spools of thread.

他的肖像出现在雪茄、干货和线轴的广告上。

Fred Pfening Iii: Jumbo made a fortune for Barnum and Bailey.

Fred Pfening Iii：Jumbo 为巴纳姆和贝利赚了一大笔钱。

Their profit for the year was $602,000.

他们当年的利润为 602,000 美元。

That just had to have been just an absolutely slam bang season for him to do that and it was because of Jumbo.

对他来说，那一定是一个绝对轰动的赛季，而这都是因为 Jumbo。

Narration: Forepaugh didn’t take the Jumbo-craze lying down.

旁白：福雷波并没有坐视巨型机热潮。

He countered with his own enormous pachyderm, Bolivar, claiming he was the most gigantic beast on earth.

他用自己的巨大厚皮动物玻利瓦尔进行反击，声称自己是地球上最巨大的野兽。

Forepaugh also boasted having twenty-five performing elephants trained largely by Eph Thompson, one of the few African Americans ever to appear under a 19 th century big top.

福雷波还吹嘘自己拥有 25 头表演大象，主要由埃夫·汤普森 (Eph Thompson) 训练，埃夫·汤普森 (Eph Thompson) 是少数几个穿着 19 世纪大顶篷出现的非裔美国人之一。

Sakina Hughes, Historian: Thompson saw the Forepaugh Circus when he was a teenager.

萨基娜·休斯 (Sakina Hughes)，历史学家：汤普森十几岁时就看过福雷波马戏团。

He was one of these people that got circus fever, and he left with the circus.

他是那些对马戏热的人之一，他和马戏团一起离开了。

His first job was to clean up after elephants.

他的第一份工作是清理大象的尸体。

He falls in love with elephants, and he learns how to train them.

他爱上了大象，并学会了如何训练它们。

He’s trained these elephants in this really amazing way.

他以一种非常神奇的方式训练这些大象。

Janet M.

珍妮特·M。

Davis: the way that he performed, not by his own choosing, was in a boxing elephant routine.

戴维斯：他的表演方式不是他自己选择的，而是拳击大象的套路。

As they sparred, the elephant would always have the upper hand.

当他们打斗时，大象总是占上风。

The elephant would literally box Thompson into the ring bank, often times flipping him over.

大象实际上会把汤普森塞进环岸，经常把他翻倒。

It was extraordinarily frustrating because the act was clownish.

这非常令人沮丧，因为这种行为很滑稽。

It did not allow him to display his talents in working with big animals in a way that created dignity and power.

这不允许他以一种创造尊严和权力的方式展示他与大型动物合作的才能。

Narration: As the herds got bigger, and trainers tried to outdo each other with more sophisticated tricks, the strain on circus elephants increased.

旁白：随着象群越来越大，驯兽师试图用更复杂的技巧来超越对方，马戏团大象的压力也随之增加。

Not all trainers were gentle.

并不是所有的教练都是温柔的。

“Talk about training an elephant with kind words,” Thompson told a reporter.

“用善意的话语谈论训练大象，”汤普森告诉记者。

“Why that’s all bosh.

“为什么这都是波什。

The kindest treatment I believe in is …

我相信最仁慈的治疗是……

a steel lashed whip.”

一根钢鞭。”

Nigel Rothfels: Different trainers, working with different animals, with their own different skills and experiences, trained each animal differently.

Nigel Rothfels：不同的训练师，与不同的动物一起工作，凭借自己不同的技能和经验，对每只动物进行不同的训练。

There were undoubtedly trainers who were clearly able to use more of the positive techniques that we would call, sort of positive reinforcement now.

毫无疑问，有些培训师显然能够使用更多我们所说的积极技巧，即现在的积极强化。

But the animal has to understand that the trainer is powerful in ways that the animal is not.

但动物必须明白，驯兽师的力量是动物所没有的。

In some cases, that has undoubtedly been done through just brute violence.

在某些情况下，这无疑是通过野蛮暴力完成的。

Janet M.

珍妮特·M。

Davis: The vast majority of elephant trainers and handlers deeply loved their elephants.

戴维斯：绝大多数大象训练员和饲养员都深爱他们的大象。

The relationships that they forged with these animals were often incredibly tender and attentive, but one thing that happens throughout the history of the American circus is that elephants go ugly or go bad.

他们与这些动物建立的关系往往是令人难以置信的温柔和细心，但在美国马戏团的历史上发生的一件事是大象变丑或变坏。

And while these incidents were relatively rare, they do reflect the conditions of their confinement and their frustration for these deeply social animals.

虽然这些事件相对罕见，但它们确实反映了它们的监禁条件以及它们对这些深度社交动物的沮丧。

If an elephant killed someone, then that elephant could face execution.

如果一头大象杀了人，那么这头大象可能会面临死刑。

These executions were often protracted and horrific and deeply disturbing, violent affairs.

这些处决往往是旷日持久、可怕且令人深感不安的暴力事件。

Narration: The most famous elephant in America came to a grisly end himself, though his death was accidental.

旁白：美国最著名的大象自己也有可怕的结局，尽管他的死亡是意外的。

On September 15, 1885, Jumbo was struck by an unscheduled freight train after an evening performance.

1885 年 9 月 15 日，Jumbo 在一场晚间表演后被一辆不定期的货运列车撞倒。

His skull was fractured in several places.

他的头骨多处骨折。

The circus star died within minutes.

这位马戏明星在几分钟内就去世了。

Jumbo’s death, which made headlines across the country, was a huge financial blow to Barnum.

珍博的去世成为全国的头条新闻，对巴纳姆来说是一个巨大的经济打击。

The show had made more money in the two years after his arrival than it would until the end of the century.

在他到来后的两年里，该剧赚的钱比本世纪末还要多。

Anxious to minimize his losses, Barnum arranged for a taxidermist to preserve the country’s most celebrated elephant.

为了尽量减少损失，巴纳姆安排了一名动物标本剥制师来保护该国最著名的大象。

Fred Dahlinger Jr.: They mounted his skeleton and his hide, both, and they were presented in one of the tents of the show.

小弗雷德·达林格（Fred Dahlinger Jr.）：他们安装了他的骨架和兽皮，并将它们展示在展览的一个帐篷中。

So even in death, Jumbo was a great attraction.

因此，即使在死亡之后，珍宝仍然具有很大的吸引力。

Narration: “Dear Sir,” wrote P.

旁白：“亲爱的先生，”P 写道。

T.

T。

Barnum, “I desire to carry out as far as possible an idea I have long entertained of forming a collection, in pairs or otherwise, of all the uncivilized races in existence…

巴纳姆，“我希望尽可能地实现我长期以来所抱有的一个想法，即把现存的所有不文明种族以成对或其他方式形成一个集合......

a group of 3 to 6 or even 10 would be specially novel.”

3到6人甚至10人一组会特别新奇。”

In 1882, Barnum sent his letter to U.

1882年，巴纳姆写信给美国。

S.

S。

consuls around the world, seeking help with what he called an “Ethnological Congress of People.”

世界各地的领事，为他所谓的“人民民族学大会”寻求帮助。

James W.

詹姆斯·W.

Cook: The Ethnological Congress is an expansion of the sideshow.

库克：民族学大会是杂耍的延伸。

So, in the past, the sideshow had involved twelve, fifteen, twenty different figures or acts.

因此，在过去，杂耍节目涉及十二、十五、二十个不同的人物或表演。

Now, Barnum wants to create a kind of living taxonomy of cultures and races and nationalities from around the world.

现在，巴纳姆希望创建一种对世界各地的文化、种族和民族进行活生生的分类。

It’s also quite literally a form of colonialism and imperialism because they are being acquired, transferred, shipped back to New York City through diplomatic agencies.

从字面上看，这也是殖民主义和帝国主义的一种形式，因为它们是通过外交机构被收购、转移、运回纽约市的。

Narration: “The remuneration of these people,” Barnum wrote, “is usually minimal.

旁白：“这些人的报酬，”巴纳姆写道，“通常很少。

I shall see that they are presented with fancy articles…

我会看到他们收到精美的文章......

and small allowances monthly.”

每月还有小额津贴。”

Over the next two years, Barnum contracted with people from Asia, Australia, Europe, the American West, and Africa.

在接下来的两年里，巴纳姆与来自亚洲、澳大利亚、欧洲、美国西部和非洲的人们签订了合同。

At least one of them, an indigenous Australian named Tambo Tambo, was brought to America against his will.

其中至少有一位澳大利亚土著，名叫坦博·坦博 (Tambo Tambo)，是在违背自己意愿的情况下被带到美国的。

Barnum advertised the exhibit as a “Huge Ethnological Congress of Barbarous and Savage Tribes.”

巴纳姆将这次展览宣传为“野蛮和野蛮部落的大型民族学大会”。

The group was exhibited in the animal menagerie.

该小组在动物动物园中展出。

When the big top performance began, Chang the Chinese Giant led them into the main pavilion for the opening procession.

当大顶表演开始时，中国巨人张带领他们进入主馆参加开幕游行。

Nigel Rothfels: Part of that opportunity was to touch them, was to touch their skin, touch their hair.

奈杰尔·罗斯菲尔斯：这个机会的一部分就是触摸他们，触摸他们的皮肤，触摸他们的头发。

That touch is about a kind of separation of who you are and what the object is.

这种接触是关于你是谁和物体是什么的一种分离。

And it is acceptable for you to control it and touch it in that way.

你以这种方式控制它并触摸它是可以接受的。

One of the experiences of these types of exhibits is an “us and them.” There’s the group of us who are observing and we’re connected to each other.

这类展览的体验之一就是“我们和他们”。我们一群人在观察，我们彼此联系在一起。

And then there’s the “them” that we’re looking at.

然后是我们正在寻找的“他们”。

They are the other, they are the difference, they are what, in a sense, gives us a shared identity as an audience.

他们是他者，他们是差异，从某种意义上说，他们给了我们作为观众的共同身份。

Narration: By the spring of 1885, the constant turmoil of the circus trade was wearing on James Bailey.

旁白：1885 年春天，马戏团行业的持续动荡让詹姆斯·贝利感到疲惫不堪。

Physically and emotionally exhausted, he took a leave of absence.

由于身体和精神上的疲惫，他请了假。

It took him two years to feel strong enough to come back.

他花了两年时间才感觉自己足够坚强，可以回来了。

Without Bailey, Barnum’s once meteoric profits began to sag.

没有了贝利，巴纳姆曾经暴涨的利润开始下滑。

In 1886, Barnum and Forepaugh temporarily made peace.

1886年，巴纳姆和福雷波暂时讲和。

They mounted a joint show under canvas in Philadelphia.

他们在费城举办了一场画布下的联合展览。

Some 15,000 people poured into a big top as long as three city blocks, to see sixty-six acts perform in four rings and one stage.

大约 15,000 人涌入了三个街区那么长的大屋顶，观看四个环一个舞台上的 66 个表演。

The following year, with posters from both great shows festooning the outside of Madison Square Garden, the two impresarios combined their circuses for an opening run in New York.

第二年，麦迪逊广场花园外挂满了两场精彩演出的海报，两位经理人将他们的马戏团结合在一起，在纽约进行了首场演出。

As the profits rolled in, Forepaugh and Barnum divided up the country between them.

随着利润的增加，福雷波和巴纳姆瓜分了这个国家。

Barnum played the West one year, and the East the next.

巴纳姆一年打西部，第二年打东部。

The Adam Forepaugh Circus, however, would not much longer be the greatest threat to “The Greatest Show on Earth.” A thousand miles west of Bridgeport, five sons of a poor immigrant harness-maker had just launched a one-ring wagon show.

然而，亚当·福雷波马戏团不再是“地球上最伟大的表演”的最大威胁。在布里奇波特以西一千英里处，一位贫穷的移民马具制造商的五个儿子刚刚举办了一场单环马车表演。

It was a small, inconsequential circus.

这是一个小而无足轻重的马戏团。

But it wouldn’t stay that way for long.

但这种情况不会持续太久。

There are no spectators.

没有观众。

Every last one of us, svelte and lithe and sheathed in silk, is swinging in space…

我们每一个人，苗条、轻盈，披着丝绸，在太空中摇摆……

There is not a flabby muscle, not an awkward limb, not a sagging knee in the whole tent.

整个帐篷没有松弛的肌肉，没有笨拙的肢体，没有下垂的膝盖。

The Nation

国家

Deborah Walk: Within each of us is that desire to do something spectacular.

黛博拉·沃克（Deborah Walk）：我们每个人内心深处都渴望做一些令人惊叹的事情。

It's that yearning of being able to defy gravity, to fly through the air, to be that princess on a back of the horse that everyone is looking at.

正是这种渴望能够对抗地心引力，在空中飞翔，成为每个人都在关注的马背上的公主。

Jackie Leclaire, Clown, Aerialist: It's a glory there.

Jackie Leclaire，小丑，空中飞人：那是一种荣耀。

I thought, “I'm better than anybody else.

我想：“我比任何人都好。

I'm up in the air.

我悬在空中。

What are they?

它们是什么？

They're just on the ground.” It just lifts you beyond anything you can imagine.

他们就在地上。”它只会让你超越你的想象。

Ammed Tuniziani: You’re flying.

Ammed Tuniziani：你在飞。

You’re literally flying.

你真的在飞。

My mind, it’s completely at ease.

我的心，彻底踏实了。

It’s just peaceful.

一切都很平静。

You find peace.

你找到平安。

Marjorie Cordell Geiger, Aerialist : It is an act of creation, but it has to come from the heart.

Marjorie Cordell Geiger，空中飞人：这是一种创造行为，但它必须来自内心。

You have to light the fire.

你必须点燃火。

You have to light the desire.

你必须点燃欲望。

There has to be something burning to give.

必须有一些燃烧的东西可以给予。

Johnathan Lee Iverson: For eight minutes most performers cease to be human beings.

乔纳森·李·艾弗森：在八分钟内，大多数表演者不再是人类。

They’re gods.

他们是神。

La Norma Fox : When somebody tell you, you got sawdust in your veins, that’s exactly what it is.

La Norma Fox：当有人告诉你，你的血管里有锯末时，事实就是如此。

I used to love to pick a few people there and smile especially at them.

我曾经喜欢在那里挑选几个人，特别是对他们微笑。

You got to make it look easy, look beautiful, and have them pay attention to you.

你必须让它看起来很简单，看起来很漂亮，并让他们注意到你。

The public, you want them to love you.

公众，你希望他们爱你。

The more applause you get, the happier you are, and walking out of there makes you feel so good.

掌声越多，你就越高兴，走出那里的感觉真好。

Narration: “One of the very best ways to lose a lot of money and to lose it quickly,” a reporter for Fortune Magazine observed, “is to start a circus.” Every year through the 19 th century, circuses proved the point, surviving one season or maybe two before going belly up the next.

旁白：《财富》杂志的一位记者观察到，“失去大量金钱并迅速失去金钱的最好方法之一就是创办一个马戏团。”整个 19 世纪，每一年的马戏团都证明了这一点，它们能存活一个甚至两个季节，然后在下一个季节就破产了。

Yet every year, a few more plucky dreamers tried their hands at the trade.

然而，每年都有一些更勇敢的梦想家尝试涉足这一行业。

In 1882 there were thirty-three circuses touring America.

1882年，有三十三个马戏团在美国巡回演出。

In 1884, there were almost fifty.

1884 年，已经有近 50 名。

Among the newcomers were five brothers living in Baraboo, Wisconsin.

新移民中有五兄弟住在威斯康星州巴拉布。

Al, Otto, Alf T., Charles, and John Ringling had seen their first circus in Iowa as children.

艾尔、奥托、阿尔夫·T.、查尔斯和约翰·林林小时候在爱荷华州第一次观看了马戏团。

They had scrambled out of the house before dawn to meet a steamboat carrying a travelling show up the Mississippi River.

他们在黎明前爬出家门，去见密西西比河上一艘载着巡回演出的汽船。

Michael Lancaster, Great-Grandson, Charles Ringling: The kids were out of their minds even from the moment they off-loaded the equipment.

迈克尔·兰卡斯特（Michael Lancaster）、曾孙、查尔斯·林林（Charles Ringling）：孩子们从卸下设备的那一刻起就疯了。

You have a steamboat with a calliope loaded and smoking and steaming.

你有一艘装满风琴的汽船，冒着烟，冒着热气。

By the time they put together a parade, the kids were just awestruck.

当他们组织游行时，孩子们都惊呆了。

Narration: Al, the eldest, never gave up hope of creating his own circus.

旁白：老大阿尔从未放弃创建自己的马戏团的希望。

In 1882, he persuaded his brothers to produce a traveling musical show.

1882年，他说服兄弟们制作一部巡回音乐剧。

Over several winters, performing in small town halls, the Ringlings saved a thousand dollars, enough money to buy three secondhand wagons and a tent that could seat a few hundred.

几个冬天，林林夫妇在小镇大厅里表演，攒下了一千美元，这些钱足够买三辆二手马车和一个可以容纳几百人的帐篷。

With veteran showman Yankee Robinson’s name to promote the show, the brothers opened the season in Baraboo in May 1884.

1884 年 5 月，凭借经验丰富的表演家扬基·罗宾逊 (Yankee Robinson) 的名义宣传该节目，兄弟俩在巴拉布 (Baraboo) 拉开了演出季的序幕。

Their circus featured a handful of contortionists and jugglers, one clown, and Al’s wife Louise.

他们的马戏团有几位柔术演员和杂耍演员、一名小丑和阿尔的妻子路易丝。

Deborah Walk: All the boys, at that point of time, in 1884, did something.

黛博拉·沃克：1884 年的那个时候，所有的男孩都做了一些事情。

So, John Ringling was a singing Dutch comic clown.

所以，约翰·林林是一位会唱歌的荷兰喜剧小丑。

You had Charles playing instruments.

你让查尔斯演奏乐器。

Al, who knew how to juggle, balanced plows on his chin.

艾尔擅长杂耍，他用下巴平衡犁。

Narration: After the packed first show a critic wrote, “the performances were very creditable considering the boys had never had any practice.”

旁白：在拥挤的首场表演结束后，一位评论家写道：“考虑到男孩们从未进行过任何练习，表演非常值得称赞。”

Then, the Ringlings loaded up twelve wagons and hit the road.

然后，林林一家装上了十二辆马车，上路了。

Janet M.

珍妮特·M。

Davis: Local kids served as teamsters.

戴维斯：当地的孩子担任卡车司机。

The boys often fished for their dinner or shot food for their dinner.

男孩们经常钓鱼作为晚餐或射击食物作为晚餐。

And so, this operation was something that was really invisible to the likes of Barnum & Bailey.

所以，这次行动对于巴纳姆贝利这样的公司来说确实是看不见的。

Michael Lancaster: They were so small they did the wire act, walking the high wire was done on top of the tent, usually for free, and it helped move people into the show.

迈克尔·兰卡斯特：他们太小了，所以他们在帐篷顶上走钢丝，通常是免费的，这有助于吸引人们进入表演。

Narration: The first season, the Ringlings played 114 towns, mostly one-night stands, in four states.

旁白：第一个赛季，林林队在四个州的 114 个城镇进行了比赛，大部分都是一夜情。

The frail and aging Yankee Robinson died half way through the season.

年老体弱的洋基罗宾逊在赛季中途去世。

But losing their mentor didn’t slow the brothers down.

但失去导师并没有让兄弟俩放慢脚步。

Michael Lancaster: Everything went wrong, but everything went right.

迈克尔·兰卡斯特：一切都出了问题，但一切都进展顺利。

As much as things could fail, the crowds were there and so was the money.

尽管事情可能会失败，但人群就在那里，钱也在那里。

That first season, they paid everybody well and they came back home and they emptied out their sack of money and they had a lot of it and they were really amazed.

第一个赛季，他们给每个人都付了很好的薪水，然后他们回到家，掏出了一袋钱，他们有很多钱，他们真的很惊讶。

Narration: The following few years, the show grew steadily; each season they swapped out their tent for a slightly larger one.

旁白：接下来的几年里，节目稳步发展；每个季节他们都会把帐篷换成稍大一点的帐篷。

By 1886 the brothers owned a bear, an eagle, and several monkeys.

到 1886 年，兄弟俩养了一只熊、一只鹰和几只猴子。

Two years later, they bought a pair of elephants.

两年后，他们买了一对大象。

Paul Ringling, Grandson, Alf T.

保罗·林林 (Paul Ringling)，孙子，阿尔夫·T.

Ringling: They were quite young when they started.

Ringling：他们刚开始的时候还很年轻。

John Ringling was a teenager.

约翰·林林当时还是个十几岁的孩子。

My grandfather and his brothers never had a partnership agreement, nothing in writing.

我的祖父和他的兄弟从未签订过合伙协议，没有任何书面形式。

They were five brothers that got along.

他们是和睦相处的五兄弟。

Michael Lancaster: They were disciplined, highly disciplined.

迈克尔·兰卡斯特：他们纪律严明，纪律严明。

They took very little money out in those first few years for themselves, but they really enriched the show.

在最初的几年里，他们为自己拿的钱很少，但他们确实丰富了节目。

Narration: “It wasn’t that they were so smart,” a nephew said, “but that there were so God-damned many of them.”

旁白：“并不是因为他们有多聪明，”一个侄子说道，“而是因为他们的数量实在是太多了。”

Fred Dahlinger Jr.: If you were going to mess with one of them, you were gonna to mess with all five of them.

小弗雷德·达林格（Fred Dahlinger Jr.）：如果你要惹恼他们中的一个，你就会惹恼他们所有五个。

They stuck together.

他们粘在一起了。

Once they took a vote, that was it.

一旦他们投票了，就这样了。

Everybody ponied up, got in line, and they all supported the decision that had been made.

每个人都付了钱，排队，并且都支持已经做出的决定。

And I think that unity is really the secret to their great success as showmen.

我认为团结确实是他们作为表演者取得巨大成功的秘诀。

Fred Pfening Iii: Their circus was always on the up and up.

Fred Pfening Iii：他们的马戏团总是蒸蒸日上。

They called themselves the leaders of the new school of American Showman, and the Sunday School Showman because they didn’t have all these nefarious stuff like other circuses did.

他们称自己为美国马戏团新流派和主日学校马戏团的领导者，因为他们不像其他马戏团那样拥有所有这些邪恶的东西。

Michael Lancaster: They had rules for everything.

迈克尔·兰卡斯特：他们对一切都有规则。

These were tight rules.

这些都是严格的规则。

They couldn’t drink.

他们不能喝酒。

No swearing.

没有咒骂。

They had Pinkertons on their lot so the public could see they meant business, and this earned them the reputation the Sunday School Circus and is probably the thing that really catapulted them into their success.

他们的场地上有平克顿，这样公众就可以看到他们是认真的，这为他们赢得了主日学校马戏团的声誉，这可能是真正推动他们成功的原因。

Narration: For the first few seasons, the Ringlings were a regional outfit.

旁白：在前几个赛季中，林林队是一支地区性球队。

In the fall of 1889 that changed when Adam Forepaugh agreed to sell them eleven railroad cars on the cheap.

1889 年秋天，当 Adam Forepaugh 同意低价向他们出售 11 辆火车车厢时，情况发生了变化。

Fred Pfening III: The Ringling Brothers Circus went on rails in 1890.

弗雷德·普芬宁三世：林林兄弟马戏团于 1890 年上轨。

It was their first season on the railroad track and that’s what really put them into the big leagues.

这是他们在铁路上的第一个赛季，这才是他们真正进入大联盟的原因。

That was the differentiating factor between a big and a little circus.

这就是大马戏团和小马戏团的区别因素。

Narration: The following season, John Ringling routed their show eastward from Iowa to Wisconsin, Ohio, West Virginia, and Maryland.

旁白：接下来的一季，约翰·林林将他们的节目从爱荷华州向东转移到威斯康星州、俄亥俄州、西弗吉尼亚州和马里兰州。

Narration: For the first time, the Ringlings hit cities with populations of more than ten thousand people, right in Barnum and Forepaugh’s territory.

旁白：林林家族第一次袭击了人口超过一万人的城市，就在巴纳姆和福雷波的领地内。

The Ringling brothers returned home heroes.

林林兄弟英雄归来。

“The boys are hustlers and no mistake,” crowed one local paper.

“这些男孩都是骗子，这是毫无疑问的，”当地一家报纸夸夸其谈。

“They are Baraboo boys.”

“他们是巴拉布男孩。”

Adam Forepaugh wasn’t around to see how the Ringlings fared with his railroad cars.

亚当·福雷波 (Adam Forepaugh) 没有来看看林林夫妇如何使用他的火车车厢。

In early 1890, Forepaugh caught a cold, which turned into pneumonia.

1890 年初，福雷波患了感冒，后来变成了肺炎。

On the evening of January 22 nd , at the age of fifty-eight, the great showman passed away at home in Philadelphia.

1月22日晚，这位伟大的表演家在费城的家中去世，享年五十八岁。

Scores of circus folk went to pay their last respects, including two of the Ringling brothers.

数十名马戏团成员前去表达最后的敬意，其中包括林林兄弟的两位。

Neither Barnum nor Bailey attended, but they took note.

巴纳姆和贝利都没有出席，但他们注意到了。

Posey: When Adam Forepaugh died, the reality was, there wasn’t any other equal competitor for the Barnum & Bailey Show.

波西：当亚当·福雷波去世时，现实是巴纳姆贝利秀没有任何其他同等的竞争对手。

It had been Forepaugh and Barnum for so long, that the death of that rival was significant.

福雷波和巴纳姆已经存在这么久了，这位竞争对手的死意义重大。

Narration: Barnum didn’t outlive his adversary for long.

旁白：巴纳姆并没有比他的对手活多久。

That November, the eighty-year-old impresario suffered a major stroke.

那年十一月，这位八十岁的乐队指挥患了严重的中风。

Five months later, surrounded by family and friends, Phineas Taylor Barnum died in his sleep.

五个月后，菲尼亚斯·泰勒·巴纳姆在家人和朋友的陪伴下在睡梦中去世。

James W.

詹姆斯·W.

Cook: Barnum is eulogized and talked about in a way that’s virtually unprecedented in American history.

库克：巴纳姆受到的赞扬和谈论的方式在美国历史上几乎是前所未有的。

Barnum is remembered and debated on the front page of literally hundreds of newspapers around the world, every major western capital, small towns across the United States.

世界各地数百家报纸、每一个主要西方首都、美国各地的小镇都在头版纪念巴纳姆并展开辩论。

Hundreds of thousands of words spent trying to make sense and trying to understand what it was to think about P.

我花了数十万字试图理解并试图理解对 P 的看法。

T.

T。

Barnum’s significance and legacy for American culture.

巴纳姆对美国文化的意义和遗产。

Narration: Just days before he died, Barnum wrote his younger partner with some parting advice.

旁白：就在巴纳姆去世前几天，他给年轻的伴侣写了一些临别建议。

“You must…

“你必须……

have always a great and progressive show,” he told Bailey.

一直都是一场伟大而进步的表演，”他告诉贝利。

“I am too weak to write more now, but let me entreat you to never allow the honorable…

“我现在太虚弱了，无法再写更多的内容，但请允许我恳求您永远不要让尊贵的人……

title of “The Greatest Show on Earth” to be in any way …

“地球上最伟大的表演”的标题无论如何都是……

lessened in fame.”

名气下降了。”

Some observers doubted Bailey was up to the task.

一些观察家怀疑贝利能否胜任这项任务。

Shortly after Barnum’s death, a journalist predicted that the old man’s show was too centered on his remarkable personality to survive without him.

巴纳姆去世后不久，一名记者预测，这位老人的节目过于集中于他非凡的个性，没有他就无法生存。

The writer laid his bets instead on five young men from Baraboo.

作者把赌注押在了来自巴拉布的五个年轻人身上。

“The Ringling Bros….” he declared, “have hardly more than started on their career as a leading big show…

“林林兄弟……”他宣称，“作为领先的大型演出，他们的职业生涯才刚刚开始......

Conjecture fails to place a limit on their…

猜想未能限制他们的……

future possibilities.”

未来的可能性。”

Part 2 Narration: It had taken nerves of steel and months of meticulous planning to pull off.

第二部分旁白：这需要钢铁般的意志和数月的精心策划才能完成。

But finally, on November 12, 1897, the Barnum and Bailey Circus was on its way to England.

但最终，1897 年 11 月 12 日，巴纳姆贝利马戏团启程前往英国。

In the last moments before departure, scores of handlers scurried to load the chaotic jumble of wild animals onto a converted cattle ship.

在出发前的最后一刻，数十名搬运工急忙将杂乱无章的野生动物装载到一艘改装的运牛船上。

And then performers – high wire artists, equestrians and clowns, set sail to conquer Europe.

然后表演者——高空钢丝艺术家、马术运动员和小丑，扬帆起航征服欧洲。

The daring scheme to tour the colossal circus through Europe was the brainchild of James Bailey, a showman whose improbable rise to the top was legendary.

巡演欧洲大型马戏团的大胆计划是詹姆斯·贝利 (James Bailey) 的创意，他是一位表演家，他不可思议的登上顶峰的经历堪称传奇。

Janet M.

珍妮特·M。

Davis, Historian: The audacity of this move was spectacular.

历史学家戴维斯：这一举动的大胆程度令人惊叹。

Bailey was taking his circus to the place where it began, back in the 18th century, and taking a version of the circus that was virtually unrecognizable and now distinctly American in its ostentatiousness.

贝利把他的马戏团带到了 18 世纪它诞生的地方，并带来了一个几乎无法辨认的马戏团版本，但现在其招摇却明显是美国式的。

Narration: In the century since a skilled English equestrian had brought the first one-ring show to the United States, the circus had become the most popular of American entertainments, appealing to presidents and farmers, teachers and coal miners, grandparents and school children.

旁白：自从一位熟练的英国马术运动员将第一场单环表演带到美国以来，马戏团已成为美国最受欢迎的娱乐活动，吸引了总统和农民、教师和煤矿工人、祖父母和学童。

Matthew Wittmann, Historian: The American circus turned entertainment into an industrial enterprise.

马修·维特曼（Matthew Wittmann），历史学家：美国马戏团将娱乐变成了工业企业。

The scale of the endeavor, the exuberance of it all and the way it’s packaged for a broad mass audience is totally transformative.

这项努力的规模、其热情以及为广大受众提供的包装方式都是彻底变革性的。

Janet M.

珍妮特·M。

Davis: In an age before radio, in an age before film, in an age before television, it offered audiences, in vastly different geographical locations, a common cultural experience.

戴维斯：在广播之前的时代、电影之前的时代、电视之前的时代，它为来自不同地理位置的观众提供了共同的文化体验。

It transforms America into a nation with a shared cultural identity.

它将美国转变为一个具有共同文化认同的国家。

Narration: By heading to Europe, James Bailey was playing a dangerous game.

旁白：詹姆斯·贝利前往欧洲是在玩一场危险的游戏。

Some one hundred circuses were traveling the country that year, including ambitious young rivals eager, in Bailey’s absence, to challenge his dominance.

那一年，约有一百个马戏团在全国巡回演出，其中包括雄心勃勃的年轻竞争对手，他们渴望在贝利缺席的情况下挑战他的统治地位。

Narration: More gigantic, elaborate and daring every year, the warring circuses would battle over audiences.

旁白：交战的马戏团每年都会更加庞大、复杂和大胆，争夺观众。

But even as they did, forces beyond their control began threatening to push the circus from the center of American life.

但即便如此，他们无法控制的力量开始威胁将马戏团从美国生活的中心驱逐出去。

No one on James Bailey’s staff had ever seen anything quite like the throngs of people who turned up in Manchester on April, 9, 1898.

詹姆斯·贝利 (James Bailey) 的员工中没有人见过 1898 年 4 月 9 日出现在曼彻斯特的人群。

The sidewalks were packed and people spilled onto the streets for the first Barnum & Bailey parade in England.

人行道上挤满了人，人们涌上街头参加英国首届巴纳姆贝利游行。

When the circus opened two days later, there was a scramble for tickets.

两天后，当马戏团开幕时，出现了抢票的情况。

The matinee was sold out within an hour.”

日场一小时内就卖完了。”

The scene in Manchester was repeated in towns across England.

曼彻斯特的场景在英格兰各地的城镇上演。

Schools closed.

学校关闭。

So did factories and shops.

工厂和商店也是如此。

Janet M.

珍妮特·M。

Davis: The circus took possession of the towns in which they showed, life stops.

戴维斯：马戏团占领了他们表演的城镇，生活停止了。

Whereas the English circus was a very modest affair, the American circus did not allow life to go on as we knew it.

英国马戏团的规模非常小，而美国马戏团却不允许生活像我们所知的那样继续下去。

It shut towns down.

它关闭了城镇。

Narration: Bailey toured the United Kingdom for two seasons, before taking his circus to the European continent.

旁白：贝利在英国巡演了两个季节，然后将他的马戏团带到了欧洲大陆。

On March 22, 1900, astonished residents of Hamburg, Germany stopped what they were doing to watch as the USS Michigan was relieved of its highly unusual cargo.

1900 年 3 月 22 日，德国汉堡的居民们惊讶地停下了手中的事情，观看密歇根号航空母舰卸下了极其不寻常的货物。

There, dangling above the on-lookers, from the port’s largest steam crane, swung a freshly painted sixty-foot-long railway car.

港口最大的蒸汽起重机上，悬挂着一辆刚刚喷漆的六十英尺长的火车车厢，悬挂在旁观者的上方。

No one had ever shipped a vehicle of that size before, without taking it apart first.

以前没有人在没有先拆开车辆的情况下运输过这种尺寸的车辆。

Though unseasonably cold weather plagued the four-week run in Hamburg, audiences packed the tent for almost every performance.

尽管反常的寒冷天气困扰着汉堡为期四个星期的演出，但观众几乎每场演出都挤满了帐篷。

Matthew Wittmann: What’s interesting about the tour really is it throws what’s American about the circus into sharp relief.

马修·维特曼（Matthew Wittmann）：这次巡演的有趣之处在于，它让马戏团的美国特色更加鲜明。

And certainly the spectacle of how the circus operated proved to be fascinating, endlessly fascinating for European audiences.

当然，马戏团运作的奇观被证明是令人着迷的，对欧洲观众来说是无穷无尽的。

It garnered interest even from the Prussian military that was of course involved in moving large groups of men from one place to another in different contexts.

它甚至引起了普鲁士军队的兴趣，他们当然参与了在不同情况下将大批人员从一个地方转移到另一个地方的工作。

They showed up to see how the operation worked.

他们来看看手术是如何进行的。

Narration: Over the next three years, the Barnum & Bailey show performed in almost three hundred towns across Germany, Hungary, Austria, Holland, Belgium, France, and Switzerland.

旁白：在接下来的三年里，Barnum & Bailey 的演出在德国、匈牙利、奥地利、荷兰、比利时、法国和瑞士的近三百个城镇进行了演出。

Bailey returned to New York in the summer of 1902 boasting of how he’d overcome every obstacle: the Atlantic Ocean, a babble of foreign languages, and endless red tape.

1902 年夏天，贝利回到纽约，吹嘘自己如何克服了每一个障碍：大西洋、喋喋不休的外语和无尽的繁文缛节。

“Most people spend their lives trying to dodge trouble,” he said, “The best fun in the world is dodging trouble you’ve made for yourself.”

“大多数人一生都在试图躲避麻烦，”他说，“世界上最好的乐趣就是躲避你给自己制造的麻烦。”

In Bailey’s absence his rivals, the Ringling brothers, had been hard at work, expanding their circus into his territory.

在贝利缺席期间，他的竞争对手林林兄弟一直在努力工作，将他们的马戏团扩展到他的领地。

“Probably there is not a busier man in America today,” a reporter noted “than Al Ringling, equestrian director of the Ringling Bros.

一位记者指出，“今天的美国可能没有比林林兄弟马术总监艾尔林林更忙碌的人了。”

Circus.”

马戏团。”

Some fifteen years after starting his circus in Baraboo, Wisconsin, the eldest Ringling brother still began his day before dawn, confirming the route for the parade, which he always led off with a shout of “Forward!”

在威斯康星州巴拉布开始他的马戏团大约十五年后，林林的大哥仍然在黎明前开始他的一天，确定游行的路线，他总是以大喊“前进！”开始他的一天。

Al inspected the performers’ equipment before the afternoon show began, and he stood at the dressing room entrance to direct the entire performance.

下午的演出开始前，艾尔检查了表演者的装备，并站在更衣室门口指挥整个表演。

He insisted that all three rings start and end their acts in unison.

他坚持要求所有三个圆环的表演开始和结束都是一致的。

No circus director had thought to do that before.

以前没有马戏团导演想到过这样做。

Narration: And then finally when the evening show was over, Al Ringling supervised the circus’s departure.

旁白：最后，当晚间表演结束时，阿尔·林林监督马戏团离开。

At midnight, he was often one of the very last men still on his feet.

午夜时分，他常常是最后仍然站着的人之一。

Deborah Walk, Curator: Al Ringling definitely “Mr. Circus.” If there was ever a person who really kept the family together to really move this circus operation, it was Al.

黛博拉·沃克（Deborah Walk），策展人：艾尔·林林（Al Ringling）绝对是“先生”。马戏团。”如果说有一个人真正让家庭团结在一起并真正推动了马戏团的运作，那就是艾尔。

And he really became such a important person, putting the performance together.

他真的成为了一个如此重要的人物，将表演放在一起。

Narration: If Ringling drove himself hard, he expected as much from those around him, docking the wages of performers who showed up late to the parade, or put on a lackluster show.

旁白：如果林林对自己要求很高，那么他对周围的人也有同样的期望，对参加游行迟到或表演平淡的表演者扣掉工资。

Though he was demanding, he was remembered for being generous with praise.

尽管他要求很高，但他因慷慨的赞扬而被人们铭记。

“Nothing so discourages a performer,” he would say, “as an utter lack of appreciation.”

他会说：“没有什么比完全缺乏鉴赏力更能让表演者泄气的了。”

While Al grew to be loved on the lot, his younger brother John came to be feared.

当阿尔逐渐受到人们的喜爱时，他的弟弟约翰却开始受到人们的畏惧。

“John Ringling,” a reporter wrote, “is known as a cold and phlegmatic man.”

一位记者写道：“约翰·林林是出了名的冷酷无情的人。”

Deborah Walk: Of all the brothers, John Ringling, felt the hardships of the family life more than others.

黛博拉·沃克：在所有兄弟中，约翰·林林比其他人更能感受到家庭生活的艰辛。

And very early on, he wanted to be out of Baraboo, which he would call “Baraboobians,” and leave to go to Chicago.

很早就，他想离开巴拉布（他称之为“巴拉布比人”），前往芝加哥。

Paul Ringling, Grandson, Alf T.

保罗·林林 (Paul Ringling)，孙子，阿尔夫·T.

Ringling: My Uncle John was imperious.

林林：我的约翰叔叔很专横。

Would that describe him in one word?

这能用一个词形容他吗？

Narration: If Al’s talent was running the show, John’s was knowing where to put it.

旁白：如果说艾尔的才华在掌控一切，那么约翰的才华则知道该把它放在哪里。

“His memory was as colossal as his circus,” an employee recalled.

“他的记忆力就像他的马戏团一样强大，”一名员工回忆道。

“He knew every railroad junction in America.

“他熟悉美国的每一个铁路枢纽。

He quoted the prevailing price of hay in Tucson, and the cost of unroasted peanuts in Tallahassee….

他引用了图森干草的现行价格，以及塔拉哈西未烤花生的成本……。

He was aware of the towns in which money was flowing freely, and those in which it was tight.”

他知道哪些城镇资金流动自由，哪些城镇资金流动紧张。”

Robert Thompson, Historian: John Ringling was the world’s greatest at planning circuses.

罗伯特·汤普森，历史学家：约翰·林林是世界上最擅长策划马戏团的人。

What are the times people work?

人们工作的时间是什么时候？

When do they get out?

他们什么时候出去？

When is payday?

发薪日是什么时候？

You always wanted to play a place after payday because then people would have money in their pockets.

你总是想在发薪日之后去一个地方玩，因为那时人们的口袋里就会有钱。

Narration: Through hard work and ingenuity, the Ringlings had grown from an inconsequential twelve-wagon show into one of the most prominent circuses in the country.

旁白：通过辛勤工作和聪明才智，林林马戏团已经从一个不起眼的十二车马戏团发展成为全国最著名的马戏团之一。

Their most surprising innovation was the addition in 1897 of a dark canvas tent they called the black top .

他们最令人惊讶的创新是 1897 年添加的深色帆布帐篷，他们称之为“黑顶”。

Inside the brothers screened a movie of a boxing match using a projectoscope, a brand new invention of Thomas Edison.

兄弟俩在里面用托马斯·爱迪生的全新发明投影仪放映了一场拳击比赛的电影。

Many Americans saw their first moving image at the Ringlings’ circus.

许多美国人在林林马戏团第一次看到动态影像。

Matthew Wittmann: One of the continuing attractions of the circus is that more often than not you’re going to see something that you didn’t expect to see or had never seen before.

马修·维特曼：马戏团的持续吸引力之一是，你常常会看到一些你没想到或以前从未见过的东西。

So it’s that ability of the circus to offer a new experience to see something fantastic, transformative.

所以马戏团有能力提供一种新的体验，让人们看到一些奇妙的、变革性的东西。

You’re going to see something unbelievable.

你会看到一些令人难以置信的事情。

Robert Thompson : The circus starts to introduce people to the movies.

罗伯特·汤普森：马戏团开始向人们介绍电影。

The Ringlings were using, for our amusement, the very things that were ultimately going to see them become much less central in the American soul.

为了我们的娱乐，林林夫妇正在使用那些最终会让他们在美国灵魂中变得不那么重要的东西。

Narration: By 1900, with Bailey away, the brothers felt emboldened to steal his slogan claiming their circus was: The Greatest Show on Earth.

旁白：到了 1900 年，贝利离开后，兄弟俩鼓起勇气窃取了他的口号，声称他们的马戏团是：地球上最伟大的表演。

Some attributed the brothers’ meteoric rise to their honest advertising noting the Ringlings never publicized an attraction they didn’t own or exaggerated the merits of one they did.

一些人将兄弟俩的迅速崛起归因于他们诚实的广告，指出林林兄弟从未宣传他们不拥有的景点或夸大他们拥有的景点的优点。

Others believed that the Ringlings had made it so big because each possessed a different talent essential to the show’s success.

其他人则认为，林林夫妇之所以能取得如此大的成就，是因为他们每个人都拥有不同的才能，这对这部剧的成功至关重要。

Whatever the reason, the Ringlings made hay of their rags-to-riches story.

不管出于什么原因，林林一家充分利用了他们白手起家的故事。

Fred D.

弗雷德·D.

Pfening Iii, Author: Their longtime attorney was quoted as saying, “The Ringling Brothers didn’t come up the hard way, they came up the impossible way.” They really did start without a dime, and it really is an extraordinary story.

普芬宁三世（Pfening Iii），作者：他们的长期律师被引述说：“林林兄弟并不是走上了艰难的道路，而是走上了不可能的道路。”他们确实是一文不值开始的，这确实是一个非凡的故事。

And I think taken as a group they were the best circus managers, the best circus men in American history.

我认为作为一个群体，他们是美国历史上最好的马戏团经理、最好的马戏团成员。

Michael Lancaster, Great-Grandson, Charles Ringling: What’s really important about the Ringling story is that it isn’t just a circus story.

迈克尔·兰卡斯特（Michael Lancaster），曾孙，查尔斯·林林（Charles Ringling）：林林故事的真正重要之处在于，它不仅仅是一个马戏团的故事。

The Ringling heritage is really about the American dream, that you can have an idea and a vision and that you can bootstrap your way and build something really magnificent.

林林的遗产实际上是关于美国梦的，你可以有一个想法和愿景，你可以引导自己的道路并建造一些真正宏伟的东西。

Narration: Those five visionaries held a vision and never let go of it and made it real.

旁白：这五个有远见的人怀揣着一个愿景，从未放弃，并将其变成现实。

Jennifer Lemmer Posey, Curator: There are so many crazy acts that have happened under the circus tent.

策展人 Jennifer Lemmer Posey：马戏团帐篷下发生过很多疯狂的表演。

It’s one of the draws of the circus, is this idea that you try things that people would never imagine trying.

马戏团的吸引力之一就是你可以尝试人们从未想象过的事情。

As long as there has been circus, there have been people trying almost seemingly insane acts.

自从马戏团存在以来，就有人尝试看似疯狂的表演。

Edward Hoagland, Writer, Cage Hand: It’s extraordinary.

爱德华·霍格兰德（Edward Hoagland），编剧，凯奇·汉德（Cage Hand）：这太棒了。

It doesn’t accomplish any concrete purpose.

它没有实现任何具体目的。

It doesn’t mean that cancer is cured.

这并不意味着癌症已被治愈。

But it’s a feat.

但这是一项壮举。

We only are here once.

我们只来过一次。

And we only go round once.

而且我们只绕一圈。

If you can do something, if you are good at something, that is what you do.

如果你能做某事，如果你擅长某件事，那就是你所做的。

Johnathan Lee Iverson, Ringmaster: The danger acts, they just remind us that we’re alive.

乔纳森·李·艾弗森（Johnathan Lee Iverson），领班：危险来临，它们只是提醒我们还活着。

It’s life at its utmost.

这就是生命的极致。

It’s life on the Mount of Transfiguration.

这就是变形山上的生活。

It’s life sweating blood in Gethsemane.

这是客西马尼园里流淌着生命的血。

It takes so much mind, body and spirit to be a great daredevil.

成为一名伟大的勇敢者需要付出如此多的思想、身体和精神。

It comes back to the overall gospel of the circus.

这又回到了马戏团的整体福音。

It’s giving you life in all its fullness, with all the daring chances too.

它给你带来充实的生活，以及所有大胆的机会。

Narration: In 1902, the year James Bailey returned from Europe, some 650,000

旁白：1902年，即詹姆斯·贝利从欧洲返回的那一年，大约有65万

immigrants arrived in the United States.

移民抵达美国。

They came from Hungary and Italy,

他们来自匈牙利和意大利，

Germany and Russia, Norway and China.

德国、俄罗斯、挪威和中国。

Over the first decade of the 20th

20世纪第一个十年

century, the country would absorb almost nine million newcomers.

本世纪，该国将吸收近九百万新移民。

Most of

大部分

them couldn’t speak a word of English and a quarter couldn’t read , but neither was a handicap at the circus.

他们一句英语也不会说，四分之一的人不识字，但这在马戏团里都不是障碍。

Dominique Jando, Circus Historian: The Circus was the big unifier.

多米尼克·詹多 (Dominique Jando)，马戏团历史学家：马戏团是大统一者。

Everybody could see the same thing.

每个人都可以看到同样的事情。

Immigrants of German descent in the Middle West, Latino in the South, Jewish in New York, they all had and could understand the same circus.

中西部的德国血统移民、南方的拉丁裔移民、纽约的犹太人，他们都拥有并且能够理解同一个马戏团。

So, it was also an image of America in a, not a nutshell, but in a big top.

所以，这也是美国的形象，不是简而言之，而是一个大顶盖。

Narration: When the Ringlings returned to Baraboo, Wisconsin over Christmas 1902 to plan their season, the knowledge that James Bailey was back shaped all their major decisions

旁白：当林林夫妇于 1902 年圣诞节回到威斯康星州巴拉布计划他们的赛季时，詹姆斯·贝利回来的消息影响了他们所有的重大决定

For the first time, the brothers decided to hire a theater director to produce their opening pageant, known as the spectacle, rather than doing it themselves.

兄弟俩第一次决定聘请一位戏剧导演来制作他们的开幕盛典，即所谓的奇观，而不是自己制作。

Jennifer Lemmer Posey: In the first two decades of the Ringling Show, the brothers were really committed to the circus performance, to the purest form of circus, the circus that they had grown up with.

詹妮弗·莱默·波西：在林林秀的前二十年里，兄弟俩真正致力于马戏表演，致力于最纯粹的马戏形式，即伴随他们长大的马戏团。

So they did not mount these large spectacles.

所以他们没有安装这些大眼镜。

Jennifer Lemmer Posey: In 1903, with the return of Barnum & Bailey’s show they want to make sure that they’re competitive.

Jennifer Lemmer Posey：1903 年，随着 Barnum & Bailey 演出的回归，他们希望确保自己具有竞争力。

And so they put on Jerusalem and the Crusades, a real large-scale spectacle.

于是他们上演了耶路撒冷和十字军东征，一场真正的大规模奇观。

The circus spectacles were very much a product of their age.

马戏表演很大程度上是他们那个时代的产物。

So, you’re in a colonial to post-colonial era, and Americans are learning more about foreign cultures.

所以，你正处于殖民到后殖民时代，美国人正在更多地了解外国文化。

This idea of colonialism became very interesting, how the Western world could bring its influence to other lands.

这种殖民主义的想法变得非常有趣，西方世界如何将其影响力带到其他土地。

Narration: Like many circus spectacles of the time, Jerusalem and the Crusades was a full-scale drama.

旁白：就像当时的许多马戏表演一样，耶路撒冷和十字军东征是一场全面的戏剧。

Playing out in two acts, it included a ballet, a grand oriental procession, and a battle on the ramparts of Jerusalem.

它分两幕演出，包括芭蕾舞、盛大的东方游行和耶路撒冷城墙上的战斗。

The spectacle became the focus of the Ringlings’ advertising.

这一奇观成为林林夫妇广告的焦点。

The brothers claimed it involved a cast of twelve hundred – including three hundred dancing girls – and more than two thousand costumes.

兄弟俩声称，演员阵容有 1200 人，其中包括 300 名舞女，还有 2000 多套服装。

Bailey’s publicity men countered with some hyperbole of their own.

贝利的宣传人员也用一些夸张的说法反驳道。

The coming season would be the most elaborate ever, they boasted.

他们夸口说，即将到来的赛季将是有史以来最精心设计的。

The Barnum & Bailey circus would travel on ninety-four railway cars, cost eight thousand dollars a day to run, and feature an enormous tent with twenty-one tiers of seats and all new private boxes.

巴纳姆贝利马戏团将乘坐 94 节火车车厢，每天运行费用为 8000 美元，并设有一个巨大的帐篷，有 21 层座位和全新的私人包厢。

Once the circus started traveling, however, it became apparent that Bailey had a host of problems, many of his own making.

然而，当马戏团开始巡回演出后，贝利显然遇到了很多问题，其中许多问题都是他自己造成的。

Fred D.

弗雷德·D.

Pfening III: Bailey was a brilliant showman and it’s really confounding to find how unsuccessful the Barnum and Bailey Circus was in 1903.

普芬宁三世：贝利是一位才华横溢的表演者，1903 年巴纳姆和贝利马戏团的不成功确实令人困惑。

He spent a little over forty thousand dollars on having thirteen parade wagons built.

他花了四万多美元建造了十三辆游行车。

Forty thousand dollars was an extraordinary amount of money to spend on parade wagons.

四万美元对于买游行马车来说是一笔巨款。

Narration: The other problem that he had is he had this really comfortable seating.

旁白：他遇到的另一个问题是他的座位非常舒适。

He called it opera chair seating.

他称之为歌剧椅座位。

It took forever and a day to set all the equipment up.

花了很长时间才把所有设备安装好。

Disgruntled at having to move the heavy seats, one-hundred-and-fifty working men demanded more pay.

一百五十名工人对不得不移动沉重的座椅感到不满，要求增加工资。

When they didn’t get it, they went on strike.

当他们没有得到它时，他们就罢工。

Bailey ended his self-imposed ban on hiring African Americans to keep the show on the road.

贝利结束了他自己施加的禁止雇用非裔美国人的禁令，以保证节目继续播出。

Even so, many performances were late and forty-two were canceled .

尽管如此，还是有很多演出迟到，有四十二场被取消。

Fred Dahlinger Jr., Circus Historian: Bailey was up against it.

小弗雷德·达林格 (Fred Dahlinger Jr.)，马戏团历史学家：贝利对此表示反对。

He had created a giant juggernaut that was just almost impossible to keep going whereas the Ringling Brothers had this efficient money machine that just kept making money day after day.

他创造了一个几乎不可能持续下去的巨大主宰，而林林兄弟却拥有一台高效的赚钱机器，日复一日地赚钱。

Fred D.

弗雷德·D.

Pfening III: In 1903, the Barnum show made about $106,000 and you compare that to the $602,000 that they made in 1882; that’s terrible.

Pfening III：1903 年，巴纳姆的演出赚了大约 106,000 美元，你可以将其与 1882 年的 602,000 美元进行比较；那太糟糕了。

Narration: Desperate to make a comeback in 1904, Bailey hired Ugo Ancillotti and his daring loop-the-loop act.

旁白：1904 年，贝利迫切希望东山再起，于是聘请了乌戈·安西洛蒂 (Ugo Ancillotti) 和他大胆的循环表演。

The following year, Ancillotti was joined by the sensational Mauricia de Tiers and her dip of death.

次年，安奇洛蒂 (Ancillotti) 与轰动一时的莫里西亚·德·蒂尔斯 (Mauricia de Tiers) 一起，并经历了她的死亡。

Janet M.

珍妮特·M。

Davis: Imagine a big top that seats over ten thousand people with hurtling automobiles inside of it.

戴维斯：想象一下一个可以容纳一万人的大屋顶，里面有疾驰的汽车。

This was an extraordinarily dangerous act, providing this audacious display of technological subversion—making cars fly.

这是一项极其危险的行为，大胆地展示了技术颠覆——让汽车飞起来。

Narration: Despite featuring some of the most astounding daredevils ever seen, each year Bailey made less profit than the year before.

旁白：尽管贝利有一些有史以来最令人震惊的冒失鬼，但每年的利润都比前一年要少。

In the spring of 1906, as he was in Madison Square Garden frantically throwing together his show, Bailey started to feel unwell.

1906 年春天，当贝利在麦迪逊广场花园疯狂地准备他的演出时，他开始感到不适。

Just three days later, on April 11th, the veteran showman died unexpectedly surrounded by doctors and his distraught wife.

仅仅三天后，即 4 月 11 日，这位经验丰富的表演者在医生和心烦意乱的妻子的簇拥下意外去世。

He was just 58-years old.

他当时才58岁。

Eulogies in newspapers across the country praised Bailey for his many achievements, most notably taking American culture to the rest of the world.

全国各地的报纸都发表悼词赞扬贝利的许多成就，其中最引人注目的是将美国文化带到世界其他地方。

He was like Napoleon, one reporter said, invading Europe with “one thousand men, women, and children.” The unraveling of Bailey’s circus empire didn’t take long.

一位记者说，他就像拿破仑一样，带着“一千个男人、女人和孩子”入侵欧洲。贝利的马戏帝国没过多久就瓦解了。

His widow Ruth Louisa Bailey inherited her husband’s entire fortune, valued at somewhere between five and eight million dollars.

他的遗孀露丝·路易莎·贝利继承了她丈夫的全部财产，价值在五到八百万美元之间。

Mrs. Bailey put her brother in charge of the circus.

贝利夫人让她哥哥负责马戏团。

But in 1907, when a financial panic rocked the country, she began negotiating secretly with John Ringling to sell her husband’s show.

但 1907 年，当金融恐慌席卷全国时，她开始与约翰·林林 (John Ringling) 秘密谈判以出售她丈夫的演出。

Fred D.

弗雷德·D.

Pfening III: It was not a unanimous decision to buy the Barnum Circus.

普芬宁三世：购买巴纳姆马戏团并不是一致决定的。

They ended up paying $510,000 for it, which was by far the biggest transaction in circus history at that time.

他们最终支付了 51 万美元，这是当时马戏团历史上迄今为止最大的一笔交易。

What the Ringlings saw was its potential.

林林夫妇看到的是它的潜力。

Narration: In just two decades, the once humble owners of an insignificant show had risen to become undisputed “Kings of the Circus World.”

旁白：短短二十年的时间，曾经不起眼的马戏团老板，一跃成为无可争议的“马戏界之王”。

Dominique Jando: American circus entrepreneurs, from the very beginning, went to get their talent in Europe.

多米尼克·詹多（Dominique Jando）：美国马戏企业家从一开始就到欧洲寻找才华。

Why?

为什么？

Because there was very little talent in America.

因为美国的人才太少了。

Narration: In Europe, circus family have their own circus and created circus performer long before circus school.

旁白：在欧洲，马戏世家早在马戏学校出现之前就拥有了自己的马戏团并创造了马戏表演者。

They worked in buildings in which they had time to prepare an act and to rehearse in the morning in nice conditions.

他们在大楼里工作，在那里他们有时间准备表演并在早上在良好的条件下排练。

In America, if you travel and do two shows a day and move every day, there is no time for a rehearsal.

在美国，如果你去旅行，一天做两场演出，每天都搬家，就没有时间排练。

So, the American system was not encouraging to try to do something new or create acts.

因此，美国的制度并不鼓励尝试做新的事情或创造行为。

In early 1908, John Ringling toured Europe to scout circus talent.

1908 年初，约翰·林林 (John Ringling) 周游欧洲寻找马戏人才。

Deborah Walk: To be the “Greatest Show on Earth,” you need to be the greatest show on earth, and that means drawing from all corners of the world, the unique, the wonderful, the incredibly talented.

Deborah Walk：要成为“地球上最伟大的演出”，你需要成为地球上最伟大的演出，这意味着要吸引来自世界各个角落的独特、精彩、才华横溢的人。

The circus brought together people from all countries.

马戏团聚集了来自各个国家的人们。

It was a United Nations before the United Nations.

它是联合国之前的一个联合国。

Narration: In Berlin, he signed four female aerialists.

旁白：在柏林，他签下了四名女空中飞人。

The Leamy Ladies swung from a rotating contraption devised by their agent.

利米女士们在她们的经纪人设计的旋转装置上摇摆。

In time, Lillian Leitzel, the youngest, would be one of the most famous women in America.

随着时间的推移，最年轻的莉莲·莱特泽尔将成为美国最著名的女性之一。

When the 1908 circus season began, the two shows toured separately.

1908 年马戏季开始时，两场演出分别巡回演出。

John accompanied the Barnum & Bailey show eager to supervise every detail and prove that he’d been right to buy it.

约翰陪同巴纳姆贝利 (Barnum & Bailey) 秀，渴望监督每一个细节，并证明他购买它是正确的。

His older brother Charles travelled with the Ringling circus.

他的哥哥查尔斯随林林马戏团一起旅行。

With the Barnum show setting out from New York and the Ringling show starting its season in Chicago, the two circuses traveled more than twenty-six thousand miles altogether, stopping in almost 320 towns and cities across the nation.

随着巴纳姆表演从纽约出发，林林表演在芝加哥开始，两个马戏团总共行程超过两万六千英里，在全国近 320 个城镇停留。

Fred Dahlinger Jr.: It’s been said that the Ringling brothers were able to pay off the entire loan that they had taken out to purchase the Barnum show in one year.

小弗雷德·达林格（Fred Dahlinger Jr.）：据说林林兄弟在一年内就还清了他们购买巴纳姆展览的全部贷款。

Hundred percent payback on a $510,000 purchase.

购买 510,000 美元即可获得百分百回报。

Now, that was circus management at its best.

现在，这就是马戏团管理的最佳状态。

Narration: With profits from the two largest circuses in the nation pouring in—a reported million dollars in 1909 alone —the Ringlings began spending lavishly on their families.

旁白：随着全国最大的两家马戏团的利润源源不断地涌入——据报道，仅 1909 年就达到了数百万美元——林林夫妇开始在家庭上大手大脚地花钱。

Even the freewheeling bachelor John had settled down, his heart claimed by Mable Burton.

就连自由自在的单身汉约翰也安定下来了，他的心也被梅布尔·伯顿夺走了。

Michael Lancaster: Mable said it was love at first sight.

迈克尔·兰卡斯特：梅布尔说这是一见钟情。

And this was a girl who had run away from home at fifteen, worked in a shoe factory.

这是一个十五岁离家出走的女孩，在一家鞋厂工作。

And all of a sudden she falls in love with this man and she’s a multimillionaire.

突然间，她爱上了这个男人，她是一个千万富翁。

Enchanted by Sarasota, on the gulf coast of Florida, John and Charles began heading there to relax during the winter.

约翰和查尔斯对佛罗里达州海湾沿岸的萨拉索塔着迷，开始前往那里过冬放松。

Narration: With a Fifth Avenue apartment in New York , a house in Sarasota and the largest yacht moored at the city’s pier , John in particular embraced his new opulent lifestyle.

旁白：约翰拥有纽约第五大道的一套公寓、萨拉索塔的一栋房子以及停泊在该市码头的最大游艇，约翰特别拥抱他新的奢华生活方式。

Over time, with Mable’s help, he would remake himself.

随着时间的推移，在梅布尔的帮助下，他会重塑自己。

Michael Lancaster: John and Mable studied books on etiquette, they studied books on fashion, they studied books on art and antiquities.

迈克尔·兰卡斯特：约翰和梅布尔研究了有关礼仪的书籍，他们研究了有关时尚的书籍，他们研究了有关艺术和古董的书籍。

They developed exquisite taste.

他们培养了精致的品味。

They became a class of people that they hadn’t started out to be.

他们成为了一群与他们最初不同的人。

Narration: “There were nurses, teachers, cooks,” a reporter noted, “There were women who work with their heads and women who work with their hands and women who never work at all.

旁白：“有护士、老师、厨师，”一位记者指出，“有用脑工作的女性，有用手工作的女性，还有从不工作的女性。

And they all march for suffrage.”

他们都为选举权而游行。”

On May 4th, 1912, an estimated fifteen thousand people, women and their male supporters, brought New York City to a standstill.

1912 年 5 月 4 日，估计有一万五千人（包括妇女及其男性支持者）使纽约市陷入瘫痪。

An even larger crowd cheered them from windows and sidewalks all the way from Washington Square to Carnegie Hall.

从华盛顿广场到卡内基音乐厅，更多的人群从窗户和人行道上为他们欢呼。

Though the campaign to give women the vote was decades old, so far only six states had enfranchised women.

尽管赋予女性投票权的运动已有数十年历史，但迄今为止只有六个州赋予了女性选举权。

The dramatic rise of women in the workforce since the turn of the century, however, had swelled the ranks of the suffragists, making them more determined than ever.

然而，自世纪之交以来，女性在劳动力中的急剧崛起扩大了妇女参政论者的队伍，使她们比以往任何时候都更加坚定。

The women of the Barnum & Bailey circus had already signed up.

巴纳姆贝利马戏团的女人们已经报名了。

A few weeks earlier they’d held their first votes-for-women meeting.

几周前，他们举行了第一次女性投票会议。

“You earn salaries,” equestrian Josie De Mott had told the gathering.

“你挣工资，”马术运动员乔西·德莫特对聚会说。

“You want to establish clearly in your husband’s mind that you are his equal.”

“你要在你丈夫的心中清楚地表明你与他是平等的。”

Janet M.

珍妮特·M。

Davis: The circus is a space where women did have opportunities that were unavailable in other areas of American life.

戴维斯：马戏团是女性确实拥有在美国生活其他领域无法获得的机会的空间。

Big Top headliners were paid just as well as their male counterparts.

顶级明星的薪酬与男性同行一样高。

The circus offered women a life of independence and freedom from the watchful eyes of communities and family members.

马戏团为女性提供了独立和自由的生活，不受社区和家庭成员的监视。

Narration: The female performers met with leaders of the suffrage movement before setting out on tour.

旁白：女表演者在出发巡演前会见了选举权运动的领导人。

They were eager to learn how best to spread their message as they traveled the country.

他们渴望了解如何在全国旅行时最好地传播他们的信息。

Strongwoman Katie Sandwina, vice-president of the circus women’s Equal Suffrage Club, was among those present.

马戏团妇女平等选举权俱乐部副主席、女强人凯蒂·桑德维娜也在场。

The Ringling brothers called her Lady Hercules.

林林兄弟称她为赫拉克勒斯夫人。

Though they boasted of her strength, the Ringling brothers were keen to present Sandwina as demure and ladylike, particularly to the men in their audiences.

尽管林林兄弟吹嘘她的力量，但他们还是热衷于将桑德维娜展现为端庄而淑女的形象，尤其是对观众中的男性。

Reporters were told she depended chiefly on housework to keep herself in shape.

记者被告知，她主要依靠做家务来保持身材。

Janet M.

珍妮特·M。

Davis: Sandwina is tall.

戴维斯：桑维娜很高。

She's statuesque.

她身材姣好。

She's muscular.

她肌肉发达。

But she's billed as a lady dainty, whose femininity is extraordinary.

但她被宣传为一位精致的女士，其女性气质非同寻常。

The Ringling brothers loved to present this juxtaposition of seeming opposites.

林林兄弟喜欢呈现这种看似对立的并置。

On the one hand with muscles coiled like pythons, but on the other gentle, dainty, and sweetly feminine.

一方面肌肉像蟒蛇一样盘绕，但另一方面又温柔、精致、甜美、女性化。

Narration: The public was astounded to learn that Sandwina had pulled off two performances the evening before giving birth, lifting her husband over her head and bending iron bars into horseshoes.

旁白：公众惊讶地发现桑德维娜在分娩前一天晚上完成了两场表演，将她的丈夫举过头顶，并将铁棒弯曲成马蹄铁。

Sandwina’s fellow performer May Wirth had also joined the suffrage cause, though she was only a teenager.

桑德维娜的搭档梅·沃斯也加入了选举权事业，尽管她只有十几岁。

Adopted into an Australian circus family, when she was seven, Wirth had soon begun astounding audiences across Australia and New Zealand with her contortion act.

沃斯七岁时被澳大利亚马戏团家庭收养，很快她的柔术表演就让澳大利亚和新西兰的观众惊叹不已。

When she learned to ride, it was clear she had discovered her true talent.

当她学会骑马时，很明显她发现了自己真正的天赋。

Dominique Jando: May Wirth was obviously extraordinary.

多米尼克·詹多：梅·沃斯显然是非凡的。

You just look at her and knew that she was unusual.

你只要看她一眼就知道她不寻常。

May Wirth did what we call trick somersaults, when you twist the somersault in the air so you go and you start in a direction, you arrive in another one.

梅·沃斯做了我们所说的特技筋斗，当你在空中扭转筋斗时，你开始朝一个方向前进，最后到达另一个方向。

Even today, it’s a rarity.

即使在今天，这也是罕见的。

She did, of course, somersault from horse to horse.

当然，她从一匹马翻到另一匹马。

Only the few best men could do that, and she was a woman!

只有极少数最优秀的男人才能做到这一点，而她是个女人！

At that time, it was, “A woman can do that?” and that was big.

当时，“女人能做到吗？”那是很大的。

Narration: At stops around the country, the women of the Barnum & Bailey circus advocated for suffrage.

旁白：在全国各地的车站，巴纳姆和贝利马戏团的妇女们主张选举权。

The Ringling brothers supported their efforts, allowing activists to campaign on circus grounds.

林林兄弟支持他们的努力，允许活动人士在马戏团场地进行竞选活动。

But in the end it was the performers’ feats in the big top that made the biggest impact.

但最终影响最大的是表演者在大顶上的表演。

“There is no class of women,” one activist had said, “who show better that they have a right to vote than the circus women who twice a day prove they have the courage and endurance of men.

一位活动人士曾表示：“没有任何一个阶层的女性比马戏团的女性更能证明她们拥有投票权，她们每天两次证明她们拥有男性的勇气和耐力。

Matthew Wittmann: It really, really stunned people to see women doing these things.

马修·威特曼：看到女性做这些事情，人们真的非常非常震惊。

And so, for a certain part of the audience, it was undoubtedly empowering.

因此，对于某些观众来说，这无疑是一种力量。

Narration: Practically every firefighter in Cleveland, Ohio raced to work on the night of May 25th, 1914 after sparks ignited timber in the city’s lumberyards.

旁白：1914 年 5 月 25 日晚上，俄亥俄州克利夫兰市伐木场的木材被火花点燃，几乎所有消防员都争先恐后地赶去工作。

As the fire raged, embers rained down on the Ringling Brothers circus, which was playing five blocks away.

随着大火肆虐，余烬如雨点般落在五个街区外正在演出的林林兄弟马戏团上。

It took nine hours to extinguish the flames.

花了九个小时才将大火扑灭。

Al, the only brother on the lot, had made sure the big top was evacuated safely.

艾尔是现场唯一的兄弟，他已确保大顶棚安全疏散。

But by the time it was all over, the fire had destroyed forty-three cars of the circus train.

但当一切结束时，大火已经烧毁了马戏团列车的四十三节车厢。

Determined to keep to schedule, Al worked through the night persuading the railroad to loan him equipment to take him to the next stop, Marion, Ohio.

艾尔决心按计划进行，连夜努力说服铁路公司借给他设备，带他前往下一站，俄亥俄州马里恩。

Then he directed two shows.

随后他执导了两部演出。

The stress, his brothers believed, took a permanent toll on Al’s health.

他的兄弟们认为，这种压力对阿尔的健康造成了永久性的损害。

On New Year's Day 1916, after two years of illness, Al Ringling died of Bright’s disease at the age of sixty-three.

1916 年元旦，在患病两年后，阿尔·林林 (Al Ringling) 因布莱特氏病去世，享年 63 岁。

“When the news reached Winter Quarters,” remembered one of his nephews, “clowns and cooks, hostlers and equestrians, wept.”

“当消息传到冬季宿舍时，”他的一个侄子回忆道，“小丑、厨师、招待员和马术士都哭了。”

The entire Ringling clan descended on Baraboo for the funeral, as did circus people from across the country and townspeople who admired the old man.

整个林林家族都来到巴拉布参加葬礼，来自全国各地的马戏团人员和钦佩这位老人的城镇居民也都来到了巴拉布。

Fred Dahlinger Jr.: Al Ringling was really part of the fabric of Baraboo.

Fred Dahlinger Jr.：Al Ringling 确实是 Baraboo 结构的一部分。

He loved the community and the community loved him.

他热爱社区，社区也爱他。

So, it was with great sadness the news came out that he passed.

因此，当他去世的消息传出时，人们感到非常悲伤。

Everybody felt that the main guy had really died that day.

大家都觉得，那天主角真的死了。

Narration: Without their eldest brother’s firm hand at the helm, the Ringlings struggled.

旁白：失去了大哥的坚定掌舵，林林一家举步维艰。

The next year their problems only multiplied.

第二年，他们的问题只会成倍增加。

In the spring of 1917, America entered World War I, alongside Britain and France.

1917 年春，美国与英国和法国一起加入第一次世界大战。

Working men became hard to find, as millions of Americans were drafted.

随着数百万美国人应征入伍，工人变得很难找到。

To meet the demands of the military conflict, President Woodrow Wilson took control of the railways, prioritizing the movement of troops and materiel.

为了满足军事冲突的需要，伍德罗·威尔逊总统控制了铁路，优先考虑部队和物资的运输。

Struggling with understaffed crews and war shortages, the Ringlings were now fearful they wouldn’t even be able to move their shows.

由于工作人员人手不足和战争短缺，林林夫妇现在担心他们甚至无法转移他们的演出。

Then the Spanish flu struck.

然后西班牙流感来袭。

By the early fall the epidemic had spread across the country.

到了初秋，疫情已在全国蔓延。

More than ten thousand people died in September alone.

仅9月份就有超过一万人死亡。

Janet M.

珍妮特·M。

Davis: Areas on the route are facing quarantine, and show dates have to be abridged.

戴维斯：路线上的区域正面临隔离，演出日期必须缩短。

So, the combination of the war and its shortages, its government mandates, and then the flu epidemic, present huge challenges for the Ringling Brothers as they're trying to operate two giant circuses.

因此，战争及其短缺、政府命令以及随后的流感流行，给林林兄弟在经营两家大型马戏团时带来了巨大的挑战。

Narration: The brothers felt forced to make a decision, they never would have anticipated a few years earlier.

旁白：兄弟俩感到被迫做出一个决定，这是他们几年前从未预料到的。

After quarantines shuttered performances several days in a row, they packed up the Ringling show two weeks early.

在隔离连续几天关闭演出后，他们提前两周收场了林林演出。

Then for the first time since launching their circus decades before, the brothers sent the Ringling circus to winter, not in Baraboo their hometown, but in Bridgeport, Connecticut with the Barnum show.

自数十年前创办马戏团以来，兄弟俩第一次将林林马戏团送入冬季，不是在他们的家乡巴拉布，而是在康涅狄格州的布里奇波特举办巴纳姆表演。

Everyone on the train knew that after decades of expansion, the unthinkable was about to happen.

火车上的每个人都知道，经过几十年的扩张，不可思议的事情即将发生。

The brothers were consolidating.

兄弟俩正在团结。

Instead of presenting two shows, they would combine them into one.

他们不会呈现两场演出，而是将它们合并为一场。

Anxiety was rife in Bridgeport that fall.

那年秋天，布里奇波特充满了焦虑。

Employees of both shows were unsure about their futures.

两个节目的员工都对自己的未来充满不确定性。

Fred Dahlinger Jr.: You had the Barnum show, and you had the Ringling show.

Fred Dahlinger Jr.：你们有巴纳姆秀，还有林林秀。

And each had their own little ways about doing things.

每个人都有自己的做事小方法。

And the brothers who were very, very supportive of their longtime staff members just didn’t know what to do with this duplicity of staff.

那些非常非常支持长期工作人员的兄弟们只是不知道该如何对待这些口是心非的工作人员。

Narration: In the end, some one thousand people of a staff of twenty-eight hundred lost their jobs.

旁白：最终，2800名员工中，有近千人失业。

It was the biggest lay-off in circus history, and an ominous sign of things to come.

这是马戏团历史上最大规模的裁员，也是未来事情的不祥预兆。

On March 28th, 1919, gale forces winds buffeted New York as a late winter storm pummeled the city, leaving roads and rails coated in ice.

1919 年 3 月 28 日，大风袭击了纽约，一场冬末风暴袭击了这座城市，道路和铁路被冰覆盖。

Despite the treacherous conditions, inside Madison Square Garden, circus staff were making final adjustments to the show.

尽管条件恶劣，但在麦迪逊广场花园内，马戏团工作人员仍在对表演进行最后的调整。

They didn’t wrap up until midnight.

他们直到午夜才结束。

The following day, doors opened for the first performance of the Ringling Bros.

第二天，林林兄弟 (Ringling Bros.) 的首场演出大门敞开。

Barnum & Bailey Combined Circus.

巴纳姆和贝利联合马戏团。

Even though the city was still picking up after the storm, crowds swarmed to see the show.

尽管暴风雨过后城市仍在复苏，但人群仍蜂拥而至观看演出。

It was the largest circus anyone had ever seen.

这是人们见过的最大的马戏团。

Deborah Walk: I don't think there is one circus person who would say if they could walk into a time machine, that they wouldn't want to be at Madison Square Gardens when it opened in March of 1919.

黛博拉·沃克（Deborah Walk）：我认为没有一个马戏团成员会说，如果他们可以走进时光机，他们不想在 1919 年 3 月开放的麦迪逊广场花园里。

To see the great performers, the cavalcade of clowns, everything jam-packed into the three rings and four platforms.

观看伟大的表演者、小丑的行列，所有东西都挤满了三个环和四个平台。

It would've been the show to see.

这本来就是一场值得一看的表演。

Narration: The circus kicked off with the two combined herds of elephants, followed by seven troupes of aerial performers, May Wirth with her backwards somersaults, and some six hundred other performers.

旁白：马戏团在两群大象中拉开帷幕，随后是七组空中表演者，梅·沃斯向后翻筋斗，以及其他大约六百名表演者。

When the show took to the road, audiences were staggered by its size.

当演出上演时，观众对其规模感到震惊。

The circus had mushroomed into a moving town of more than eleven hundred people, 735 horses, and nearly one thousand other animals.

马戏团如雨后春笋般发展成为一个拥有 1100 多人、735 匹马和近 1000 只其他动物的移动城镇。

There were twenty-eight tents on the lot, including three stable tents, and a massive sideshow pavilion, as well as canvas to cover the blacksmith shop, the barber’s, the dressing rooms, the wardrobe department, and the dining area.

场地上有二十八个帐篷，包括三个马厩帐篷和一个巨大的杂耍亭，以及覆盖铁匠铺、理发店、更衣室、衣柜部和餐厅的帆布。

The big top alone was 560 feet long and could seat 16,000 people, more than twice the number that could fit into Madison Square Garden.

仅大顶就有 560 英尺长，可容纳 16,000 人，是麦迪逊广场花园可容纳人数的两倍多。

Richard Reynolds, Circus Historian: It had a big top with eight center poles in it.

马戏团历史学家理查德·雷诺兹：它有一个大顶，里面有八根中心杆。

The distance between most of those poles was sixty feet.

大多数杆子之间的距离是六十英尺。

That was an immensely long big top.

那是一件无比长的大陀螺。

That’s why you had to have so many acts going on at the same time.

这就是为什么你必须同时进行如此多的行为。

Because you sit at one end of the big top, and an act is going on the other end of it and you’d be far away as you—in one end zone of a football stadium, trying to watch something going on in the other one.

因为你坐在大顶部的一端，而另一端正在表演，你会远离自己——在足球场的一个端区，试图观看另一个端区正在发生的事情。

Narration: By season’s end, the show had travelled more than fifteen thousand miles, and grossed almost four million dollars – more than the two individual shows had made together the previous year.

旁白：到季末，该剧已经行驶了超过一万五千英里，收入近四百万美元——比前一年两场单独剧的总收入还多。

Though elated by the success of their first combined season, the Ringlings were struggling with sad news on the home front.

尽管林林队对他们第一个联合赛季的成功感到高兴，但他们在国内却面临着悲伤的消息。

After a long bout of ill-health, Alf T.

经过长期的健康不佳之后，阿尔夫·T.

Ringling, creator of the great spectacles, passed away at the age of fifty-five.

伟大奇观的创造者林林去世，享年五十五岁。

The death of financial wizard Otto, a decade earlier, left just Charles and John.

十年前，金融奇才奥托去世，只剩下查尔斯和约翰。

Five brothers had charted the evolution of a modest one-ring show into a vast circus empire.

五兄弟描绘了从一个不起眼的单环表演到一个庞大的马戏帝国的演变过程。

Now responsibility for the massive organization lay with just two.

现在，负责这个庞大组织的只有两个人。

Freaks are called freaks and are treated as they are treated— in the main, abominably —because they are human beings who cause to echo, deep within us, our most profound terrors and desires.” James Baldwin

怪胎之所以被称为怪胎，是因为他们受到了同样的待遇——主要是令人憎恶——因为他们是人类，会在我们内心深处引起我们最深刻的恐惧和欲望的回声。”詹姆斯·鲍德温

Even the most hardened performers, never got used to the humiliation.

即使是最坚强的表演者，也永远不会习惯这种羞辱。

“I feel like an outcast from society,” a bearded lady said.

“我感觉自己像一个被社会抛弃的人，”一位留着胡须的女士说道。

“I used to think when I got old my feelings wouldn’t get hurt, but I was wrong.”

“我曾经以为，当我老了，我的感情就不会受到伤害，但我错了。”

Matthew Wittmann: Respectable people would skip the sideshow tent because it did have a reputation.

马修·维特曼：受人尊敬的人会跳过杂耍帐篷，因为它确实享有盛誉。

It was supposed to be a little bit racy, a little bit dangerous, but you didn’t want it to be fundamentally disturbing.

它应该有点活泼，有点危险，但你不希望它从根本上令人不安。

So the circus is always trying to toe this line of, “What can we put in the sideshow tent that titillates but isn’t going to get anyone arrested?”

因此，马戏团总是试图遵循这样的路线：“我们可以在杂耍帐篷里放什么东西，既能令人兴奋，又不会让任何人被捕？”

Narration: The same traditions played out over decades.

旁白：几十年来，同样的传统一直在延续。

As the crowds thronged the midway past the sideshow tent towards the menagerie, they could hear the talker who ballyhooed the talent inside.

当人群挤过杂耍帐篷前往动物园时，他们可以听到说话者对里面的人才大肆宣传。

There were fat ladies and skeleton men, hirsute children and albino twins, giants, sword swallowers, and William Henry Johnson, known as “Zip, What Is It?” a performer who started with the Barnum show in the 1870s.

其中有胖女人和骷髅男人，多毛的孩子和白化双胞胎，巨人，吞剑者，还有被称为“Zip，这是什么？”的威廉·亨利·约翰逊。一位从 1870 年代巴纳姆演出开始的表演者。

Janet M.

珍妮特·M。

Davis: He was billed as What Is It, The Missing Link, very much reifying racial stereotypes of the day regarding people of color, but at the same time, he was so gifted as a performer that he fooled people that he suffered from microcephaly or he couldn’t speak.

戴维斯：他被宣传为“这是什么”、“缺失的一环”，非常具体化了当时对有色人种的种族刻板印象，但与此同时，他作为一名表演者是如此有天赋，以至于他欺骗了人们，说他患有小头症或无法说话。

Narration: On his deathbed after decades of playing a mute idiot, Johnson allegedly said, “Well, we fooled them for a long time, didn’t we?”

旁白：据称，在扮演哑巴白痴几十年后，约翰逊在临终前说道：“好吧，我们愚弄了他们很长一段时间，不是吗？”

To entice the crowds into the sideshow tent, the Ringling Brothers had for years featured an African-American sideshow band.

为了吸引观众进入杂耍帐篷，林林兄弟多年来一直以非裔美国杂耍乐队为特色。

In 1919, Charles and John hired the best jazz bandmaster in the business, P.

1919 年，查尔斯和约翰聘请了业内最优秀的爵士乐队指挥 P.

G.

G。

Lowery.

洛厄里。

As a young man in the 1890s, Lowery had trained at the Boston Conservatory.

作为 1890 年代的年轻人，洛厄里曾在波士顿音乐学院接受训练。

He’d been heading up black circus bands ever since.

从那时起，他就一直领导黑人马戏团乐队。

Though he was one of the best cornetists of his generation, like all black musicians of the day, Lowery was almost always confined to the sideshow.

尽管洛厄里像当时所有的黑人音乐家一样，是他这一代最优秀的短号演奏家之一，但他几乎总是局限于杂耍表演。

He won over fans nonetheless.

尽管如此，他还是赢得了粉丝的支持。

Sakina Hughes, Historian: P.G.

萨基娜·休斯 (Sakina Hughes)，历史学家：P.G.

Lowery becomes this pillar in the African-American community.

洛厄里成为非裔美国人社区的支柱。

The black newspapers say, “Yeah.

黑人报纸说：“是的。

The circus is coming to town, but P.G.

马戏团即将进城，但 P.G.

Lowery is going to be here.

洛厄里将会在这里。

P.G.

PG

Lowery’s band is going to be here playing.” It was a really big point of pride.

洛厄里的乐队将在这里演奏。”这确实是一个很大的骄傲。

Narration: When Lowery had started out, black circus bands mostly played minstrel music.

旁白：洛厄里刚出道时，黑人马戏团乐队大多演奏吟游诗人的音乐。

Lowery got rid of blackface makeup, added women to his troupe, and performed a repertoire of ragtime and the blues.

洛厄里去掉了黑脸妆容，在剧团中增加了女性成员，并表演了拉格泰姆和布鲁斯的曲目。

Matthew Wittmann: The circus was a kind of back door into American popular culture for black musicians, who didn’t have a whole lot of avenues available to them.

马修·维特曼：对于黑人音乐家来说，马戏团是进入美国流行文化的一扇后门，他们没有太多的途径可以利用。

It wasn’t necessarily respectable, but it was work and it was a way, not just for white people to hear black music, but for black communities to connect to what was happening in Chicago, New York, and this very vibrant music scene.

这不一定是受人尊敬的，但它是工作，是一种方式，不仅让白人听到黑人音乐，而且让黑人社区与芝加哥、纽约正在发生的事情以及这个充满活力的音乐场景建立联系。

Sakina Hughes: I think the circus doesn’t get enough credit for just the amazing work that the African-American musicians did in spreading ragtime and jazz music.

萨基娜·休斯：我认为马戏团并没有因为非裔美国音乐家在传播拉格泰姆和爵士音乐方面所做的出色工作而得到足够的赞誉。

We think about the Harlem Renaissance, but the circus musicians were coming a generation before.

我们想到的是哈莱姆文艺复兴，但马戏音乐家早在一代人之前就已经出现了。

One African American newspaper said, “And all the white people got wobbly, too.”

一份非裔美国人报纸说：“所有白人也变得摇摇欲坠。”

Roger Smith, Wild Animal Trainer: A cat act, anyone can tell you they are fraught with very real danger.

罗杰·史密斯，野生动物训练师：猫的行为，任何人都可以告诉你它们充满了非常真实的危险。

The threat to life and limb, the threat of death, is a genuine constant danger that the big cat people all understand.

对生命和肢体的威胁，对死亡的威胁，是大型猫科动物都了解的真正持续的危险。

Narration: Early one Sunday morning in July 1921, a slip of a woman barged onto the back lot of the Ringling circus, angling for a job with the biggest show in the country.

旁白：1921 年 7 月的一个周日清晨，一名女子闯入林林马戏团的后场，想在全国最大的演出中谋得一份工作。

Mabel Stark was one of the most celebrated big cat trainers in America and one of the only women to wrangle tigers in the big top.

梅布尔·斯塔克是美国最著名的大型猫科动物驯兽师之一，也是唯一一位在大型猫科动物驯兽师中与老虎搏斗的女性之一。

She told the astounded Ringling team that she broke in her cats herself.

她告诉震惊的林林团队，她亲自闯入了她的猫。

They offered her a job on the spot.

他们当场给她提供了一份工作。

Stark had started out as a nurse.

斯塔克最初是一名护士。

But after seeing her first big cats on the Al G Barnes circus in 1911, she knew she’d found her true vocation.

但 1911 年在 Al G Barnes 马戏团看到她的第一只大型猫科动物后，她知道自己找到了真正的职业。

Janet M.

珍妮特·M。

Davis: She hated nursing.

戴维斯：她讨厌护理。

She hated the kind of confines of ordinary life.

她讨厌那种平凡生活的束缚。

So, she too runs away and joins a circus.

所以，她也逃跑并加入了马戏团。

Running away for her was liberation.

逃跑对于她来说就是一种解脱。

Roger Smith: This young blond comes busting through a rickety old gate, asking to be a tiger trainer and everybody was ready to throw her out.

罗杰·史密斯：这个年轻的金发女郎冲进一扇摇摇欲坠的旧门，要求成为一名驯虎师，每个人都准备把她赶出去。

She realized very quickly, if she was going to be anything, she had to get around the genius wild animal trainer, the best that ever worked in this country, and that was Louis Roth.

她很快意识到，如果她想有所成就，她就必须绕过这位天才野生动物驯兽师，他是这个国家有史以来最好的驯兽师，那就是路易斯·罗斯。

Narration: And to do that, she had to marry him.

旁白：要做到这一点，她必须嫁给他。

She got everything that he knew and she took it from there as a tiger trainer.

她得到了他所知道的一切，并且她从那里学到了作为驯虎师的知识。

Then she got rid of Louis.

然后她摆脱了路易斯。

She never loved him.

她从来没有爱过他。

Mabel Stark quickly became one of the most popular performers at the Ringling circus, yet the cat acts left some members of the audience dismayed.

梅布尔·斯塔克很快成为林林马戏团最受欢迎的表演者之一，但猫的表演却让一些观众感到沮丧。

By the mid-1920s, a small group of animal welfare activists began calling for a boycott.

到 20 年代中期，一小群动物福利活动人士开始呼吁抵制。

Janet M.

珍妮特·M。

Davis: John Ringling had never been all that fond of cage acts involving big cats.

戴维斯：约翰·林林从来都不喜欢大型猫科动物在笼子里的表演。

They were cumbersome to carry.

它们携带起来很麻烦。

They were a logistical problem, as far as he was concerned.

就他而言，这是一个后勤问题。

He is acutely aware of this growing movement that is questioning the ethics of animal performances.

他敏锐地意识到这场日益兴起的质疑动物表演伦理的运动。

Janet M.

珍妮特·M。

Davis: John Ringling gambles on it, essentially, by thinking that, “The time is right to do away with those cage acts.”

戴维斯：约翰·林林（John Ringling）对此进行了赌博，本质上是他认为“现在是废除这些笼子行为的最佳时机了”。

Narration: The loss of the cat acts didn’t affect the Ringlings’ bottom line.

旁白：猫戏的失败并没有影响林林一家的底线。

As the circus roared into the mid-20s, large profits kept rolling in and the brothers found new ways to spend their money.

随着马戏团蓬勃发展到二十多岁，巨额利润不断涌入，兄弟俩找到了新的花钱方式。

Charles built a house of pink marble on Sarasota Bay.

查尔斯在萨拉索塔湾建造了一座粉红色大理石的房子。

John and Mable designed a fifty-six room Venetian palace next door.

约翰和梅布尔在隔壁设计了一座有 56 个房间的威尼斯宫殿。

They called it Ca’ d’Zan, House of John.

他们称之为Ca'd'Zan，约翰之家。

Wherever they were, John and Mable were surrounded by the affluent and celebrated.

无论约翰和梅布尔身在何处，周围都是富人和名人。

Titans of industry and Broadway stars dined at their home.

工业巨头和百老汇明星都在他们家中用餐。

Presidents and First Ladies accompanied them to the circus.

总统和第一夫人陪同他们观看马戏表演。

In a decade when America was booming, the Ringling Brothers big top was the place to be.

在美国蓬勃发展的十年里，林林兄弟大顶是一个值得去的地方。

“Never was the circus greater or more fun,” remembered the Ringlings’ equestrian director.

“马戏团从未如此精彩、如此有趣，”林林斯马术总监回忆道。

“Everything was perfect.” He had every reason to say so.

“一切都很完美。”他有充分的理由这么说。

Americans were flush with money.

美国人很有钱。

Each season was more profitable than the one before.

每个季节的利润都比前一个季节更高。

No circus could rival the Ringling show.

没有任何马戏团可以与林林表演相媲美。

And the brothers’ big top had never been so full of such extraordinary talent.

而兄弟俩的大顶从来没有如此充满过人的天赋。

Every winter, John Ringling brought back new from overseas ever more daring stars.

每年冬天，约翰·林林都会从海外带回新的、更加大胆的明星。

One of the most striking was Australian wire walker Con Colleano.

其中最引人注目的一位是澳大利亚走钢丝者 Con Colleano。

He remembered practicing as many as seven hours a day, determined to perform a feat on the wire no one else had ever accomplished: a front somersault.

他记得每天练习多达七个小时，决心在钢丝上表演一项其他人从未完成过的壮举：前空翻。

Dominique Jando: The problem with the front somersault is when you do your rotation, your head goes first and then your feet arrive, but your head cannot see what’s going to happen because your head is looking up at that point.

多米尼克·詹多（Dominique Jando）：前空翻的问题是，当你进行旋转时，你的头先移动，然后你的脚到达，但你的头看不到会发生什么，因为你的头在那时向上看。

So it’s called a blind landing.

所以这就是所谓的盲着陆。

Narration: Colleano failed thousands of times.

旁白：科莱亚诺失败了数千次。

Sometimes the rebounding wire left him paralyzed for days.

有时，反弹的钢丝会让他瘫痪好几天。

Dominique Jando: The hidden dangers of the circus, you think of people in the air, but the danger is in places you don’t think of.

Dominique Jando：马戏团的隐患，你想到空中的人，但危险就在你没有想到的地方。

For instance, a tight wire, it’s a steel wire and it’s hard like rock.

比如说，一根紧的铁丝，它是一根钢丝，它像岩石一样坚硬。

If you fall badly on that, you’ll really hurt yourself.

如果你摔倒了，你真的会受伤。

Narration: It took five years of failed attempts before Colleano successfully executed a front somersault.

旁白：经过五年的失败尝试，科莱亚诺才成功完成了前空翻。

From then on that’s how he always finished his act.

从那时起，他总是这样完成他的表演。

Dominique Jando: That was the great impossible feat of the time.

多米尼克·詹多（Dominique Jando）：这在当时是一项不可能完成的伟大壮举。

It was absolutely unique.

这绝对是独一无二的。

Narration: Colleano was rivaled on the wire only by a German act, the Wallendas.

旁白：科莱亚诺在网络上的对手只有德国乐队瓦伦达一家。

Troupe leader Karl had become a tightrope walker almost by accident.

剧团队长卡尔几乎是偶然成为一名走钢丝的人。

At the age of sixteen, he responded to an ad from a circus owner looking for someone to do a handstand.

十六岁时，他响应了一家马戏团老板的广告，寻找倒立的人。

Karl didn’t realize he’d need to perform the feat on a wire sixty feet in the air.

卡尔没有意识到他需要在六十英尺高的空中完成这项壮举。

Soon he was executing the stunt over rivers, between buildings.

很快他就在河流上、建筑物之间表演了特技。

Then he brought his family in on the act.

然后他带着家人一起参与了这一行动。

Tino Wallenda, High Wire Artist : They developed these incredible feats on the tightrope.

Tino Wallenda，高空钢丝艺术家：他们在走钢丝上创造了这些令人难以置信的壮举。

My grandfather was doing a remarkable handstand on his brother’s shoulders.

我的祖父在他哥哥的肩膀上做了一个了不起的倒立。

My grandfather standing on the top of a chair with his wife standing on his shoulders, while he was on a bar that was balanced between Joe Geiger and his brother Herman.

我的祖父站在椅子上，他的妻子站在他的肩膀上，而他则站在乔·盖革和他的兄弟赫尔曼之间的酒吧上。

It’s hard to even conceive that they were doing such incredible feats.

甚至很难想象他们正在做出如此令人难以置信的壮举。

Narration: When the Wallendas first appeared at Madison Square Garden, they brought down the house.

旁白：当瓦伦达一家第一次出现在麦迪逊广场花园时，他们就推倒了这座房子。

Tino Wallenda: At the end of the performance, the audience were whistling and they were stomping their feet, which in Europe would be a great insult.

蒂诺·瓦伦达：演出结束时，观众吹口哨、跺脚，这在欧洲会是极大的侮辱。

So my grandfather and the rest of troupe, they snuck away quickly into the dressing room.

于是我的祖父和剧团的其他人就迅速溜进了更衣室。

The ringmaster came and said, “Sorry, no, no, no, you’re wrong.

领班过来说道：“对不起，不，不，不，你错了。

They really liked what you did.” And so, the Wallendas had to come out for a bow.

他们真的很喜欢你所做的事情。”于是，瓦伦达一家不得不出来鞠躬。

And to my understanding, it’s the first and last time that a show has ever been stopped for fifteen minutes of applause waiting for the Wallendas to come back to the ring.

据我了解，这是第一次也是最后一次，一场表演被暂停十五分钟，掌声等待瓦伦达一家回到擂台上。

Many Americans, however, agreed on their favorite big top performer.

然而，许多美国人都同意他们最喜欢的顶级表演者。

Richard Reynolds: Hands down, Lillian Leitzel.

理查德·雷诺兹：放心，莉莲·莱特策尔。

She was the greatest superstar the circus had ever seen.

她是马戏团有史以来最伟大的超级明星。

Narration: Leitzel came from a family of circus acrobats in Germany.

旁白：莱特策尔出身于德国的一个马戏杂技演员世家。

She began performing with her mother and her aunts when she was just eleven.

她十一岁时就开始与母亲和阿姨一起表演。

Almost immediately, she began taking attention away from her jealous mother.

几乎立刻，她开始将注意力从嫉妒的母亲身上转移开。

In the twenty years since John Ringling had brought the family act to the United States, Leitzel had become one of the nation’s biggest circus stars.

自从约翰·林林将家庭表演带到美国二十年来，莱特策尔已成为美国最著名的马戏明星之一。

Now a soloist, Leitzel’s fame rested on the second half of her act, a series of swing-overs, that would dislocate her shoulder on every turn.

现在，作为一名独唱演员，莱策尔的名气在于她表演的后半部分，一系列的摇摆，每次转弯都会使她的肩膀脱臼。

The crowd would count each one.

人群会逐一数一数。

Her record was 240 rotations.

她的纪录是240转。

Dominique Jando: She had those shoulder dislocation, which were very well staged because there were moments when the hairpins went away and her hair get while she was doing that.

多米尼克·詹多（Dominique Jando）：她的肩膀脱臼了，这一点布置得很好，因为有时发夹会脱落，她的头发也会脱落。

Technically it was okay.

从技术上来说是没问题的。

Physically it was eh.

从身体上来说是呃。

Narration: DOMINIQUE JANDO: But she had this immense charisma and in a place like the Ringling tent with these thousands of seats, everybody was totally hypnotized by what she did.

旁白：多米尼克·詹多：但她拥有巨大的魅力，在林林帐篷这样有数千个座位的地方，每个人都完全被她所做的事情催眠了。

Paul Ringling: Lillian Leitzel was a tremendous actor.

保罗·林林：莉莲·莱特策尔是一位出色的演员。

When she wiggled her toes that got people’s attention.

当她摆动脚趾时，引起了人们的注意。

She was a performer from the time she took off her sandals until she came back down.

从她脱下凉鞋直到她回来，她都是一名表演者。

Lillian Leitzel was a performer.

莉莲·莱特策尔是一名表演者。

Narration: Leitzel’s fellow performers found her theatrics amusing.

旁白：莱特策尔的表演伙伴发现她的戏剧很有趣。

“She was a storm center every day she lived,” one aerialist remembered.

“她活着的每一天都是风暴中心，”一位空中飞人回忆道。

“But she never had a tantrum, unless there was a good audience around to enjoy it.”

“但她从来不发脾气，除非周围有很多观众来欣赏。”

Janet M.

珍妮特·M。

Davis: The bandleader, Merle Evans, feared her.

戴维斯：乐队领队梅尔·埃文斯很害怕她。

When she finished her act, he would yell to his drummers, “Drummers, take cover!” because Leitzel would go after them.

当她表演结束时，他会对鼓手们大喊：“鼓手们，躲起来！”因为莱特策尔会追捕他们。

She would be angry about the inadequacy of the drum roll.

她会因为鼓声的不足而生气。

Narration: Performers got ready in the communal dressing tents.

旁白：表演者在公共更衣帐篷里做好准备。

Leitzel had demanded her own private dressing tent, fresh flowers daily, and a maid to go with it.

莱特策尔要求她拥有自己的私人更衣帐篷、每天鲜花以及一名女仆。

“As a rule,” one journalist observed, “Leitzel fired the maid before and after each performance.”

“通常，”一位记者评论道，“莱策尔在每次演出前后都会解雇女仆。”

Her relationship with Mexican aerialist Alfredo Codona was just as stormy.

她与墨西哥空中飞人阿尔弗雷多·科多纳的关系也同样风雨飘摇。

Known as the Adonis of the Altitudes, Codona’s celebrity rested on his skillful execution of a triple somersault.

科多纳被称为“高原上的阿多尼斯”，他的名气在于他熟练地完成三连翻。

Ammed Tuniziani, Trapeze Artist: The power that it takes to do a triple is very hard.

Ammed Tuniziani，空中飞人艺术家：完成三重跳所需的力量非常困难。

It takes years and years, and dedication, mentally, physically.

这需要年复一年的努力，精神上和身体上的奉献。

It’s very demanding.

这是非常要求的。

He made it look so easy.

他让它看起来如此简单。

Dominique Jando: His triple somersault was absolutely neat.

多米尼克·詹多（Dominique Jando）：他的三筋斗绝对干净利落。

It was not the big event with a super drumroll and, “Will he catch it?” He caught it, period.

这并不是一场轰轰烈烈的大型赛事，“他会抓住它吗？”他抓住了，期间。

I mean there was no suspense.

我的意思是没有悬念。

He just did it totally naturally.

他完全自然地做到了这一点。

Narration: Leitzel and Codona tied the knot in Chicago between a matinee and the evening show.

旁白：莱特策尔和科多纳在芝加哥的一场日场演出和晚间演出之间喜结连理。

Dominique Jando: Their marriage was very tempestuous, as any marriage with Lillian Leitzel would be with anybody, and they both had a gigantic ego.

多米尼克·詹多（Dominique Jando）：他们的婚姻非常激烈，就像与莉莲·莱特策尔（Lillian Leitzel）的任何婚姻都会与任何人一样，而且他们都有一个巨大的自我。

They were both big stars and they knew it.

他们都是大明星，他们也知道这一点。

He was beautiful.

他很漂亮。

She had this wonderful charisma and charm.

她有这种奇妙的魅力和魅力。

So, it was the sort of Hollywood kind of marriage made in hell, actually.

所以，这实际上是一种好莱坞式的地狱婚姻。

But for the audience it was made in heaven.

但对于观众来说，这是天作之合。

Circus life was unpredictable, unconventional, magnificent and boisterous.

马戏团的生活是不可预测的、非传统的、宏伟的、喧闹的。

Little girls and boys thought it the epitome of glamor.

小女孩和男孩认为它是魅力的缩影。

To those in the know it was anything but.

对于知情者来说，事实绝非如此。

Narration: “If you think circus life is glamorous,” said one performer, “spend your honeymoon in the married people’s car, which carries 64 persons.”

旁白：“如果你觉得马戏团生活很迷人，”一位表演者说道，“那就在已婚人士的车里度蜜月吧，车上可容纳 64 人。”

Mary Jane Miller, Aerialist: At night you pulled your curtain shut.

玛丽·简·米勒，空中飞人：晚上你拉上窗帘。

You were in your own little cubby-hole and that was your privacy.

你在自己的小房间里，那是你的隐私。

Jackie Leclaire, Clown, Aerialist: Everybody would wait until the train started because then it makes noise and the noise covers up everything else.

杰基·勒克莱尔（Jackie Leclaire）、小丑、空中飞人：每个人都会等到火车启动，因为那时火车就会发出噪音，而噪音会掩盖其他一切。

They'd start the train and they’d say, “Everybody mount, everybody mount.” Honest and true that was really done.

他们启动火车后会说：“大家上车，大家上车。”诚实而真实，确实做到了。

Narration: There was never anything easy about life with the circus.

旁白：马戏团的生活从来都不是轻松的事。

Even the most basic commodities were in short supply.

就连最基本的商品都供不应求。

Jackie Leclaire: Water is the most precious thing that we have because there is no water there.

杰基·勒克莱尔：水是我们拥有的最宝贵的东西，因为那里没有水。

Each performer got two buckets, one to wash and one to rinse.

每个表演者都有两个桶，一个用于清洗，一个用于冲洗。

And I will admit, it was rare for anybody to shower every day because it isn’t practical.

我承认，很少有人每天洗澡，因为这不切实际。

Marjorie Cordell Geiger, Aerialist: I had been exposed to modest nudity in dressing rooms with ballet school, but nothing like that.

马乔里·科德尔·盖革 (Marjorie Cordell Geiger)，空中表演者：我曾在芭蕾舞学校的更衣室里接触过适度的裸体，但没有这样的事情。

I finally just decided that’s it, so I got up, took my clothes off, and started taking a bucket bath [LAUGHS] – and got over that hump.

我终于决定就这样了，所以我站起来，脱掉衣服，开始洗桶浴（笑）——然后克服了那个驼峰。

La Norma Fox, Aerialist: It was a beautiful scene.

La Norma Fox，空中飞人：那是一个美丽的场景。

Everybody was doing something that they liked.

每个人都在做自己喜欢的事情。

Some like to play cards, some play dominoes, some play chess.

有的喜欢打牌，有的喜欢玩多米诺骨牌，有的喜欢下棋。

The performers would be together, the clowns would like to be together, and the working men, they had their own groups, too.

表演者会在一起，小丑也想在一起，工人也有自己的团体。

Narration: For decades, children traveled with the show, and together the community raised them.

旁白：几十年来，孩子们随着演出一起旅行，社区一起抚养他们。

La Norma Fox: I had more babysitters.

La Norma Fox：我有更多保姆。

I could never find my baby.

我永远找不到我的孩子。

Everybody had my boy.

每个人都有我的儿子。

Every time I look around, “Where’s Gilbert?

每次我环顾四周，“吉尔伯特在哪里？

Where’s Gilbert?” Somebody had him.

吉尔伯特在哪儿？”有人拥有他。

Marjorie Cordell Geiger: Here is this wonderful working woman.

Marjorie Cordell Geiger：这就是这位出色的职业女性。

She’s performing in the show, plus she’s got to look after her children, and they raise talented children.

她在节目中表演，而且她还必须照顾她的孩子，他们养育了有才华的孩子。

In diapers they’re standing on their daddy’s palm balancing.

他们穿着尿布站在爸爸的手掌上保持平衡。

Narration: The show went on no matter the weather.

旁白：无论天气如何，演出都会继续进行。

The pay was meager, the work never-ending.

工资微薄，工作永无休止。

But for workers and performers alike, circus life was simply too exhilarating to give up.

但对于工人和表演者来说，马戏团的生活实在是太令人兴奋了，无法放弃。

Edward Hoagland: You were the celebrity, not just the performers.

爱德华·霍格兰：你是名人，而不仅仅是表演者。

The town came to see you.

镇上的人来看你了。

Even in Manhattan you could see the Empire State Building.

即使在曼哈顿你也可以看到帝国大厦。

Big deal.

有什么大不了的。

New York came to you.

纽约向你走来。

Marjorie Cordell Geiger: It’s a life.

马乔里·科德尔·盖革：这就是生活。

I’ll never forget it.

我永远不会忘记它。

It’s still part of me.

它仍然是我的一部分。

I still have my buckets.

我的水桶还在。

Everybody teases me, but I do.

每个人都取笑我，但我却取笑。

Narration: In the fall of 1926, sixty-two-year-old Charles Ringling suffered a stroke at his home in Sarasota.

旁白：1926 年秋天，六十二岁的查尔斯·林林 (Charles Ringling) 在萨拉索塔的家中中风。

When John heard the news, he sprinted next door.

当约翰听到这个消息时，他飞奔到隔壁。

He was at Charles’s side when his brother died.

当查尔斯的兄弟去世时，他就在查尔斯身边。

Michael Lancaster: John just collapsed sobbing.

迈克尔·兰卡斯特：约翰刚刚哭倒了。

He said, “I’m the last one on the lot.”

他说：“我是最后一个。”

Narration: I think he was crying about two things, not only the loss of his favorite brother, but also the loss of the camaraderie that the five Ringling brothers had held together.

旁白：我认为他因为两件事而哭泣，不仅是失去了他最喜欢的兄弟，而且还失去了林林五兄弟所维持的友情。

Family was extremely important to them.

家庭对他们来说极其重要。

John took charge as the show set off the following spring.

第二年春天演出开始时，约翰接任了负责人。

Though he owned the circus in partnership with his brothers’ heirs, he made all the decisions alone.

尽管他与兄弟的继承人合伙拥有马戏团，但他独自做出了所有决定。

In March 1927, he revealed plans to move his winter quarters from its old home in Bridgeport, Connecticut to 152 acres outside of Sarasota.

1927 年 3 月，他透露计划将冬季宿舍从康涅狄格州布里奇波特的老家搬到萨拉索塔郊外 152 英亩的土地上。

That Christmas, the circus opened its doors to Sarasotans, who, for twenty-five cents, toured the grounds for the first time.

那年圣诞节，马戏团向萨拉索坦人敞开了大门，他们花了二十五美分，第一次参观了场地。

From then on, the quarters were open to the public twice-weekly as circus personnel and animals prepared for the following season.

从那时起，这些宿舍每周两次向公众开放，马戏团人员和动物为下一季做准备。

La Norma Fox: I had never seen a winter quarters like that.

La Norma Fox：我从来没有见过这样的冬季宿舍。

In Europe they had a little place, just a small building.

在欧洲他们有一个小地方，只是一座小建筑。

This was like a town.

这就像一个城镇。

There was all kind of big wagons with machine shops, and it was humongous.

那里有各种带有机械车间的大货车，而且非常巨大。

Narration: There was a tent and wardrobe building, a railroad car shop, a woodworking mill, an elephant house, a dining hall, and practice barns.

旁白：那里有帐篷和衣柜大楼、火车车厢、木工磨坊、大象屋、餐厅和练习谷仓。

Some seventy thousand people visited that first winter alone.

仅第一个冬天就有约七万人前来参观。

Deborah Walk: That totally transformed this area, because Sarasota, Florida, maybe fifty thousand people in the whole county, all of a sudden would see, annually, a hundred thousand people coming down to see the cocoon from which the great show emerges.

黛博拉·沃克：这彻底改变了这个地区，因为佛罗里达州萨拉索塔，整个县可能有五万人，突然之间，每年都会有十万人下来观看伟大表演的茧。

Narration: To many of the visitors, the immensity of the operation confirmed their belief that the Ringlings’ domination of the entertainment world was unshakeable.

旁白：对许多参观者来说，这次行动的规模之大证实了他们的信念：林林兄弟在娱乐界的统治地位是不可动摇的。

But the truth was, John was facing a much more precarious business scene than he ever had with his brothers.

但事实是，约翰面临着比他和他的兄弟们所经历的更加不稳定的商业环境。

As the Greatest Show on Earth took to the road in the spring of 1928, movie star Charlie Chaplin was drawing visitors by the millions to his off-kilter vision of life under the big top.

1928 年春天，地球上最伟大的演出上演，电影明星查理·卓别林吸引了数以百万计的游客，欣赏他对大顶棚下生活的奇特想象。

A trip to see Chaplin was cheap—about a quarter.

去看卓别林的旅行很便宜——大约四分之一。

A visit to the Ringling circus cost three times as much.

参观林林马戏团的费用是原来的三倍。

Jennifer Lemmer Posey: When one wants to go to the cinema, the films were there every day, every week, whereas the circus is only there once a year.

Jennifer Lemmer Posey：当一个人想去电影院时，电影每天、每周都在那里，而马戏团每年只在那里一次。

And suddenly, the kind of specs that were staged under the big top can’t match the close-up reality of having that screen.

突然之间，在大顶部下展示的那种规格无法与拥有该屏幕的特写现实相匹配。

Narration: Entertainment choices only proliferated.

旁白：娱乐选择不断增加。

By 1928, eight years after the first commercial radio broadcast, a quarter of American households had radio sets.

到 1928 年，即第一次商业广播广播八年后，四分之一的美国家庭拥有收音机。

The first broadcast of the World Series in 1921 had helped launch a surging interest in sports.

1921 年世界职业棒球大赛的首次转播激发了人们对体育运动的兴趣。

Star players had become national celebrities.

明星球员已经成为全国名人。

Prize fighting had also become tremendously popular, and profitable.

职业拳击比赛也变得非常流行并且有利可图。

In 1921, ninety thousand spectators had watched Jack Dempsey knock out his opponent to retain the heavyweight title.

1921 年，九万名观众目睹了杰克·邓普西 (Jack Dempsey) 击败对手，卫冕重量级冠军。

It was the largest audience for a sporting event ever.

这是有史以来体育赛事观众人数最多的一次。

In 1929, John Ringling confronted the lucrative boxing industry head on.

1929 年，约翰·林林 (John Ringling) 直面利润丰厚的拳击行业。

When the time came time to sign the traditional four-week lease at Madison Square Garden, Ringling discovered the Garden insisted on reserving Friday nights for prize fighting.

当麦迪逊广场花园签署传统的为期四个星期的租约时，林林发现花园坚持保留周五晚上进行拳击比赛。

When Ringling refused to sign the contract, his most formidable rival, veteran showman Jerry Mugivan, stepped in.

当林林拒绝签署合同时，他最强大的竞争对手、资深表演者杰里·穆吉万介入了。

As head of the American Circus Corporation, Mugivan took the deal.

作为美国马戏团公司的负责人，穆吉万接受了这笔交易。

Ringling was incensed.

林林被激怒了。

Determined not to lose his opening venue to the competition, Ringling bought out the entire American Circus Corporation, comprised of five substantial circuses.

为了不让自己的开幕场地输给竞争，林林买下了整个美国马戏团公司，该公司由五个大型马戏团组成。

He had to borrow $1.7 million to do it.

他不得不借170万美元来做这件事。

Ringling made the purchase without consulting his partners, his brothers’ heirs.

林林在没有咨询他的合伙人（他兄弟的继承人）的情况下进行了购买。

It was a decision that would split the family apart.

这是一个导致家庭分裂的决定。

Janet M.

珍妮特·M。

Davis: The date was inauspicious, September of 1929.

戴维斯：1929 年 9 月，这个日子不太吉利。

Just six weeks later the stock market crashed.

仅仅六周后，股市崩盘。

John Ringling had made the biggest mistake of his life.

约翰·林林犯了他一生中最大的错误。

Narration: After a lackluster 1930 season, Alfredo Codona and Lillian Leitzel headed to Europe to perform for the winter.

旁白：经历了 1930 年的平淡演出季后，阿尔弗雷多·科多纳 (Alfredo Codona) 和莉莲·莱特策尔 (Lillian Leitzel) 前往欧洲过冬演出。

It had become an annual tradition they loved.

这已成为他们喜爱的一年一度的传统。

After several weeks in Paris together, Codona headed to Berlin.

在巴黎待了几周后，科多纳前往柏林。

Leitzel had an engagement in Copenhagen.

莱特策尔在哥本哈根有一个约会。

On the night of February 13th, Leitzel was halfway through her act at the Valencia Music Hall, when a swivel snapped.

2 月 13 日晚，莱特策尔在巴伦西亚音乐厅的表演进行到一半时，一个旋转装置突然断裂。

She plummeted some forty-five feet head-first, shattering her skull.

她从大约四十五英尺的高度坠落，头朝下，头骨碎裂。

Codona hastened to her side.

科多纳赶紧走到她身边。

Over the next few hours, Leitzel woke on-and-off briefly, but only to cry out in agony.

在接下来的几个小时里，莱特策尔时断时续地醒来，但只是痛苦地哭泣。

The following day, Lillian Leitzel succumbed to her injuries.

第二天，莉莲·莱特策尔因伤重不治身亡。

The tragedy crushed Codona and shook the entire circus world.

这场悲剧压垮了科多纳，震动了整个马戏界。

Bandleader Merle Evans put away the music he’d chosen for her performances.

乐队领队梅尔·埃文斯收起了他为她的表演选择的音乐。

He never played it again.

他再也没有玩过这个游戏。

In the year and a half since the stock market crash, the country had plunged into a devastating economic depression.

股市崩盘一年半以来，该国陷入了毁灭性的经济萧条。

Entertainment was a luxury few could afford.

娱乐是一种很少有人能负担得起的奢侈品。

In two years, attendance at the movies dropped a third.

两年内，看电影的人数下降了三分之一。

Around the country, circuses began folding.

全国各地的马戏团开始倒闭。

Determined to fill seats, John Ringing brought back the cat acts, hiring Clyde Beatty, the most celebrated big cat trainer in America for the opening run in Madison Square Garden.

约翰·林金 (John Ringing) 决心填补席位，他带回了猫科动物表演，并聘请了美国最著名的大型猫科动物训练师克莱德·比蒂 (Clyde Beatty) 为麦迪逊广场花园的首场演出做准备。

Roger Smith: Clyde Beatty’s act was a fighting act.

罗杰·史密斯：克莱德·比蒂的行为是一场战斗行为。

He came out through the safety cage, tossed aside his jungle helmet, and went in the arena with the lions all in there picking up his chair, cracking his whip and sorting them out.

他从安全笼里出来，扔掉丛林头盔，走进狮子们都在的竞技场，拿起他的椅子，挥动鞭子，把它们分类出来。

Everything about the man leapt into the back seat on the back row.

这个男人的一切都跳到了后排的后座上。

He ran around in that cage with such energy, and such projection, that he involved everybody.

他在笼子里跑来跑去，精力充沛，投射力强，让每个人都参与其中。

We were on the edge of our seats.

我们都紧张极了。

He gave the audience something to take home with them.

他给了观众一些可以带回家的东西。

But even Beatty failed to deliver a profitable 1931 season.

但即使是比蒂，也未能在 1931 年创造一个有利可图的赛季。

The show closed on September 14th, the earliest date in its history.

该展会于 9 月 14 日结束，这是其历史上最早的日期。

Narration: John Ringling’s personal finances were also beginning to unravel.

旁白：约翰·林林的个人财务状况也开始出现问题。

In the spring of 1932, he was unable to make a loan repayment.

1932年春，他无力偿还贷款。

The creditors and his brothers’ heirs joined forces.

债权人和他兄弟的继承人联合起来。

Without adequate legal representation, Ringling caved to their demands.

由于没有足够的法律代表，林林屈服于他们的要求。

Fred Dahlinger Jr.: He would be the titular head of the operation, but have no authority or power whatsoever.

Fred Dahlinger Jr.：他将是该行动的名义负责人，但没有任何权威或权力。

And he would also have to pledge all of his own personal assets as collateral for the loan.

他还必须将自己的所有个人资产作为贷款的抵押品。

It was really almost a punitive action against John.

这实际上几乎是对约翰的惩罚行为。

That was no way out.

那是没有出路的。

Narration: With Mable’s death a few years earlier, Ringling was essentially all alone.

旁白：随着几年前梅布尔的去世，林林基本上变得孤身一人。

He rarely had more than a few hundred dollars in the bank.

他银行里的存款很少超过几百美元。

In 1936, Ringling made one last trip to the opening of the circus at Madison Square Garden, where manager Sam Gumpertz was in charge.

1936 年，林林最后一次前往麦迪逊广场花园观看马戏团开幕式，由经理 Sam Gumpertz 负责。

rampaged through the building as performers warmed up, finding fault with everything.

当表演者热身时，他们在大楼里横冲直撞，对一切都挑剔。

Michael Lancaster: Sam approaches him in the menagerie, then a fight ensues.

迈克尔·兰卡斯特：山姆在动物园里接近他，然后发生了一场战斗。

Sam had him escorted out.

山姆把他护送出去。

It must have felt like it he was thrown out into the alley, like a common criminal, from his own show.

感觉就像是他像一个普通罪犯一样，从自己的表演中被扔到了巷子里。

Narration: That November, John Ringling fell ill.

旁白：那年十一月，约翰·林林病了。

He died a few days later.

几天后他去世了。

After more than half a century in the entertainment business, the last of the Ringling brothers was gone.

在娱乐业经营了半个多世纪后，最后一位林林兄弟去世了。

Dominique Jando: In a performance, you see one extraordinary feat after another.

多米尼克·詹多：在表演中，你会看到一个又一个非凡的壮举。

And every now and then, you send in the clown, and everything comes down to earth, and you just feel relieved.

时不时地，你派小丑进来，一切都会回归现实，你就会感到如释重负。

Edward Hoagland: The clowns act out the resentment that we all feel towards people who are more successful than we are.

爱德华·霍格兰：小丑表现出了我们对那些比我们更成功的人的不满。

Johnathan Lee Iverson: The greatest clowns are the quietest.

乔纳森·李·艾弗森：最伟大的小丑是最安静的。

They do simple things.

他们做简单的事情。

They allow you to look the absurdity of your humanity and they allow you to laugh at yourself.

它们让你看到人性的荒谬，它们让你嘲笑自己。

They remind us you’re not that great.

他们提醒我们你并没有那么伟大。

And yet, you are.

然而，你确实是。

You’re fabulous but you’re not that great.

你很棒，但你还没有那么伟大。

You’re just human.

你只是人类。

The clowns remind everybody of their fragility.

小丑提醒每个人他们的脆弱。

They remind everybody of their mortality with a laugh.

他们用笑声提醒每个人他们的死亡。

Narration: In response to the gloomy mood of the country, the clowns seemed to have taken over at the circus in the late 1930s.

旁白：为了应对国家的阴郁情绪，小丑似乎在20世纪30年代末接管了马戏团。

Burdened by the heavy weight of failure, many under-employed Americans were drawn to their antics.

承受着失败的沉重负担，许多就业不足的美国人被他们的滑稽行为所吸引。

Among the most popular were tramp clowns who acted out the role of sad and lonely misfits.

其中最受欢迎的是流浪小丑，他们扮演悲伤和孤独的格格不入的角色。

No one did that better than Emmett Kelly, a former cartoonist, who first drew his hobo character Weary Willie in 1920.

没有人比前漫画家埃米特·凯利 (Emmett Kelly) 做得更好，他于 1920 年首次绘制了流浪汉角色疲倦的威利 (Weary Willie)。

During the hard times his tramp clown act took off.

在困难时期，他的流浪小丑表演开始兴起。

Janet M.

珍妮特·M。

Davis: Emmett Kelly tramps around the arena, and acts in ways that are very familiar to circus audiences.

戴维斯：埃米特·凯利在舞台上漫步，并以马戏团观众非常熟悉的方式进行表演。

They recognized him in the thousands of Americans who are out of work.

他们在成千上万失业的美国人中认出了他。

And so this tramp clown character, Weary Willie, sad, woebegone, becomes a real signature of this age.

因此，这个流浪小丑角色，疲惫的威利，悲伤的，愁眉苦脸的，成为这个时代的真正标志。

Narration: Within a year of John Ringling’s death, his nephew John Ringling North was able to secure a loan to wrest the circus from its creditors.

旁白：约翰·林林去世后一年内，他的侄子约翰·林林·诺斯获得了一笔贷款，从债权人手中夺回了马戏团。

With North in charge, the show began rehearsals in March 1938.

在诺斯的主持下，演出于 1938 年 3 月开始排练。

But forces sweeping the country were conspiring against the successful season.

但席卷全国的各种力量正在密谋破坏这个成功的季节。

As the economy had worsened, Americans nationwide had joined unions to protect their jobs.

随着经济恶化，全国各地的美国人纷纷加入工会以保护自己的工作。

In 1937, almost two million workers had gone on strike.

1937年，近200万工人举行罢工。

Circus employees would soon join them.

马戏团的员工很快就会加入他们的行列。

The American Federation of Actors, representing both performers and labor, had forced circus management to agree to a wage increase.

代表表演者和劳工的美国演员联合会迫使马戏团管理层同意加薪。

When North took charge, he refused to honor the deal.

当诺斯上任时，他拒绝履行这笔交易。

After the circus arrived in Scranton, Pennsylvania, a pro-labor town, union leaders called a meeting of workers.

马戏团抵达宾夕法尼亚州斯克兰顿这个亲劳工小镇后，工会领导人召开了一次工人会议。

Paul Ringling: I knew there was going to be a strike.

Paul Ringling：我知道将会发生罢工。

And I went over to the silver wagon and told John North that there would be a strike.

我走到银色马车旁，告诉约翰·诺斯将会举行罢工。

“Oh no there won’t.

“噢，不，不会的。

Go back and start selling tickets.” Which we did.

回去开始卖票吧。”我们做到了。

Paul Ringling: Then it was announced, there’ll be no show.

Paul Ringling：然后就宣布，不会有演出。

Then all those people came pouring out.

然后那些人就全部涌了出来。

They were all mad and upset and wanted their money back.

他们都很生气和不安，想要拿回钱。

That wagon was actually shaking a little bit.

那辆马车确实有点摇晃。

I had an ice pick.

我有一个冰镐。

I said the first one of you guys in the window is going to have the ice pick in you.

我说你们第一个站在窗口的人将会用冰锥刺进你的身体。

Narration: In the end the only agreement reached was that workers could help pack up the show for the return to Winter Quarters in Florida.

旁白：最后达成的唯一协议是工作人员可以帮助收拾演出，以便返回佛罗里达州的冬季宿舍。

The first tour under John Ringling North ended four months early.

约翰·林林·诺斯 (John Ringling North) 的第一次巡演提前四个月结束。

It had been a fiasco.

这是一场惨败。

Janet M.

珍妮特·M。

Davis: A turning point had been reached, because in this era of unionization, the circus strike marked a departure from an older era in which circus workers were extraordinarily expendable.

戴维斯：一个转折点已经到来，因为在这个工会化的时代，马戏团罢工标志着与马戏团工人极其可牺牲的旧时代的背离。

If you were injured on the job, so be it.

如果您在工作中受伤，那就这样吧。

That was too bad.

那太糟糕了。

Working people across the country now demanded the kinds of protections that they deserved.

全国各地的劳动人民现在要求他们应得的保护。

This made the operation of the circus increasingly expensive.

这使得马戏团的运营成本越来越高。

Narration: North was determined that his second season would be a success.

旁白：诺斯决心他的第二个赛季会取得成功。

When workers finally agreed to work for reduced wages, North tried to update an entertainment that had remained essentially unchanged for half a century.

当工人们最终同意降低工资时，诺斯试图更新一种半个世纪以来基本保持不变的娱乐方式。

Dominique Jando: Johnny North was very interested in the circus.

多米尼克·詹多：约翰尼·诺斯对马戏团非常感兴趣。

It was his passion.

这是他的热情。

He understood the fact that the circus was one and the same for so many years, and maybe there was other ways to approach that if you looked at the theater or if you looked at the movies.

他明白这样一个事实，马戏团多年来都是一成不变的，如果你看剧院或看电影，也许还有其他方法可以实现这一点。

Jennifer Lemmer Posey: North brings in Norman Bel Geddes, who is a well known industrial designer and who helps resurface all of the presentations of the circus.

Jennifer Lemmer Posey：North 引进了 Norman Bel Geddes，他是一位著名的工业设计师，帮助重新设计了马戏团的所有演示。

And all of the painted props and all of the pieces are modernized, color palettes are changed.

所有彩绘道具和所有部件都已现代化，调色板也发生了变化。

You get brighter, more fluorescent colors.

你会得到更明亮、更荧光的颜色。

And it’s this idea that the world has changed and modernized and North wants to bring that to the circus.

正是这种想法使世界发生了变化并实现了现代化，诺斯希望将其带入马戏团。

Narration: Perhaps inspired by Walt Disney’s movie Fantasia, which featured dancing pachyderms in pink slippers, North commissioned his own elephant ballet.

旁白：也许是受到华特·迪士尼的电影《幻想曲》的启发，该片以穿着粉色拖鞋的厚皮动物为主角，诺斯委托创作了自己的大象芭蕾舞剧。

The nation’s most distinguished choreographer, George Balanchine, designed the elephants’ dance moves.

美国最杰出的编舞家乔治·巴兰钦设计了大象的舞蹈动作。

Composer, Igor Stravinsky, wrote the music.

作曲家伊戈尔·斯特拉文斯基创作了音乐。

Richard Reynolds: The thing that struck me most, I can still see it, are the elephant men, big old burly elephant men strapping these pink tutus around the hindquarters of the elephants.

理查德·雷诺兹：最让我印象深刻的事情，我仍然可以看到，是象人，高大魁梧的象人将这些粉红色的芭蕾舞短裙绑在大象的后躯上。

It was really sort of a preposterous-looking thing.

这确实是一件看起来很荒唐的事情。

Dominique Jando: It’s one of the most extraordinary circus productions ever, and for me I have a tenderness for it.

多米尼克·詹多：这是有史以来最非凡的马戏作品之一，对我来说，我对它有一种温柔。

Frankly, I believe it was bad.

坦白说，我认为这很糟糕。

But, you know, John Ringling North did it.

但是，你知道，约翰·林林·诺斯做到了。

You know, hats off.

你知道，脱帽致敬。

Though old-timers hated the aesthetic changes, borrowing from Broadway and Hollywood seemed to help revive the circus’ fortunes.

尽管老一辈人讨厌这种审美上的变化，但借鉴百老汇和好莱坞的经验似乎有助于重振马戏团的命运。

Narration: The show frequently received rave reviews.

旁白：该剧频频好评如潮。

“Although nothing new has been added in the death-defying way,” wrote one critic, “the Greatest show on Earth is greater than ever this year.

一位评论家写道：“尽管没有以挑战死亡的方式添加任何新内容，但今年地球上最伟大的演出比以往任何时候都更加精彩。

It is more colorful, better costumed, and better displayed than ever before.”

它比以往任何时候都更加丰富多彩，服装更加精美，展示效果也更加出色。”

Jackie Leclaire: July 6th, 1944 we came to Hartford.

Jackie Leclaire：1944 年 7 月 6 日我们来到哈特福德。

It was a brilliant, beautifully clear sunshiny day, hardly a cloud in the sky.

那是一个阳光明媚、晴朗美丽的日子，天空中几乎没有一丝云彩。

So, naturally, we had a lot of people on the lot.

所以，很自然地，我们的场地上有很多人。

Roger Smith: The show was underway.

罗杰·史密斯：演出正在进行中。

The Alfred Court cat acts had just worked.

阿尔弗雷德·考特的猫行为刚刚奏效。

When the first flickering fingers of flame, they called it, went shooting up and everybody realized there was a fire in the big top.

当第一根闪烁的火焰（他们称之为“手指”）升起时，每个人都意识到大顶部着火了。

Michael Lancaster: A tent weighs twelve tons, the sides are now on fire, and basically everybody’s inside of a giant furnace that’s igniting all around them.

迈克尔·兰卡斯特：一个重达十二吨的帐篷，四周都着火了，基本上每个人都在一个巨大的火炉里，周围的火炉都在燃烧。

Richard Reynolds: They had those big cat tunnels across the hippodrome track.

理查德·雷诺兹：他们在赛马场跑道上有那些大型猫科动物隧道。

And people piled up on those things.

人们堆积在这些东西上。

They got trapped in there.

他们被困在那里了。

Narration: The fire spread with alarming speed.

旁白：火势蔓延速度惊人。

As was traditional, the tent had been treated with a highly flammable mixture of gasoline and paraffin to keep it waterproof.

按照传统，帐篷经过高度易燃的汽油和石蜡混合物处理，以保持防水。

Janet M.

珍妮特·M。

Davis: Paraffin begins falling like rain, melting and incinerating on its path downward.

戴维斯：石蜡开始像雨一样落下，在向下的路径上融化并焚烧。

Frantic people jumped off bleachers.

疯狂的人们从看台上跳下来。

Frantic parents came back into the arena to find children and were killed in the process.

疯狂的父母回到竞技场寻找孩子，并在过程中被杀。

Jackie Leclaire: We’re in the dressing tent, and then all of a sudden, we become aware of hearing other voices and it got louder and louder.

杰基·勒克莱尔：我们在更衣帐篷里，然后突然，我们意识到听到了其他声音，而且声音越来越大。

And somebody took the sidewall, picked it up as high as he could, and we looked out and the whole tent was on fire.

有人抓住了侧壁，尽可能高地把它举起来，我们向外望去，整个帐篷都着火了。

In the horrible panic, people were taking these dead bodies and dragging them to the doctor, bringing them there and they were already dead.

在可怕的恐慌中，人们把这些尸体拖到医生那里，结果他们已经死了。

Mary Jane Miller: My husband was standing there, and this lady came and handed him a little girl who had been burned, and she said take her, and my husband grabbed her and went outside and laid her down.

玛丽·简·米勒：我丈夫站在那里，这位女士走过来，递给他一个被烧伤的小女孩，她说带她走，我丈夫抓住她，走到外面，把她放下。

That little girl no one ever identified.

那个没有人认出的小女孩。

Narration: In less than fifteen minutes, the fire destroyed the big top.

旁白：不到十五分钟，大火就烧毁了大顶。

Mary Jane Miller: It was over before you knew it.

玛丽·简·米勒：在你意识到之前一切就结束了。

I mean it was over in seconds almost.

我的意思是几乎几秒钟就结束了。

The whole tent was gone.

整个帐篷都不见了。

Marjorie Cordell Geiger: How do you absorb this?

Marjorie Cordell Geiger：你如何吸收这一点？

Where do we go from here, you know.

你知道，我们接下来该去哪里？

Oh my God, what happened?

天哪，发生了什么事？

The shock must have been terrible.

震惊一定是非常可怕的。

Narration: 168 people had been killed.

旁白：168人被杀。

Nearly five hundred were seriously injured.

近五百人受重伤。

Though no one knew for sure how the blaze started, investigations revealed that the circus had not fireproofed its big top, and that fire-extinguishers were not in place.

尽管没有人确切知道火灾是如何开始的，但调查显示，马戏团的大顶部没有采取防火措施，灭火器也没有到位。

Many performers were convinced the greatest tragedy in big top history signaled the end of the Ringling Brothers Circus.

许多表演者相信，大顶级历史上最大的悲剧标志着林林兄弟马戏团的终结。

Jackie Leclaire: My father turned to me and he said, “Jackie, I’m sorry, but I’m afraid you’re going to have a very short life in circus business.” He didn’t think that they’d ever pull out of this.

杰基·勒克莱尔：我父亲转向我说：“杰基，我很抱歉，但我担心你在马戏团的生涯会很短暂。”他不认为他们会摆脱困境。

Narration: Within the big top, as nowhere else on earth, is to be found Actuality.

旁白：在大顶上，地球上其他地方都找不到现实。

Living players play with living.

活着的玩家和活着的人一起玩。

At positively every performance Death Himself lurks, glides, struts, breathes, is.

确实，在每场表演中，死亡本身都潜伏着、滑行着、昂首阔步、呼吸着。

Dominique Jando: In the circus performance, there is always danger lurking, and the audience perceives it.

多米尼克·詹多：在马戏表演中，总是潜伏着危险，观众也能察觉到。

And what circus performer do, is just to play this image or this performance of danger.

而马戏表演者所做的，只是扮演这种危险的形象或表演。

Edward Hoagland: The people who were watching the performance, some of them rather hoped that someone would fall.

爱德华·霍格兰：观看表演的人，有些人宁愿有人摔倒。

It’s not that if they had the power to cause someone to fall they would have exercised it, but they kind of hoped someone would fall, you know, that there’d be a disaster.

并不是说如果他们有能力让某人摔倒，他们就会运用它，但他们有点希望有人摔倒，你知道，那就会有一场灾难。

La Norma Fox: And it happened.

拉·诺玛·福克斯：事情就这样发生了。

A lot of people fall.

很多人都跌倒了。

Some, it’s not bad, some, got killed immediately.

有的，还不错，有的，立刻就被杀了。

You got to keep on working.

你必须继续工作。

You can’t let it interfere.

你不能让它干扰。

It’s your job.

这是你的工作。

The show must go on.

演出必须继续。

Johnathan Lee Iverson: The hardest truth ever uttered is, “The show must go on.” In the face of terrible mishaps, in the face of deep sorrow, the show must go on because the fact is life works that way too.

乔纳森·李·艾弗森：最难说出的真理是“演出必须继续下去”。面对可怕的不幸，面对深深的悲伤，演出必须继续下去，因为事实上生活也是如此。

The world doesn’t stop for your pain.

世界不会因你的痛苦而停止。

Narration: The Greatest Show on Earth didn’t fold.

旁白：地球上最伟大的表演没有结束。

After playing in stadiums for 1944, it opened in Madison Square Garden the following spring as it always had.

1944 年在体育场举行演出后，第二年春天，它一如既往地在麦迪逊广场花园开幕。

In the aftermath of the fire, management tried to repair the circus’s public image, pledging the show’s future profits to compensate the many victims.

火灾发生后，管理层试图修复马戏团的公众形象，承诺演出未来的利润将补偿许多受害者。

But still, as the show took to the road, the tragedy was on everyone’s mind.

但随着这部剧的上演，这场悲剧仍然萦绕在每个人的脑海中。

Richard Reynolds: I’ll never forget, my mother was very worried, worried about fire.

理查德·雷诺兹：我永远不会忘记，我母亲非常担心，担心火灾。

They had all these no smoking signs lit up inside the big top and there were Atlanta firemen there with the fire trucks sitting between the menagerie and the big top.

他们在大屋顶内点亮了所有这些禁止吸烟标志，亚特兰大消防员在那里，消防车停在动物园和大屋顶之间。

Narration: To inspire public confidence for the first performance under canvas, a fire marshal tested the flame-proof canvas with matches, and a cigarette lighter.

旁白：为了激发公众对首次帆布表演的信心，消防队长用火柴和打火机测试了防火帆布。

By the end of the year, Ringling publicists boasted that their show was back on track.

到年底，林林公关人员吹嘘说他们的节目已重回正轨。

“The people of America,” they declared, “are not going to let go of the circus any more than they are going to relinquish pride in the Pilgrim Fathers.

他们宣称：“美国人民不会放弃马戏团，就像他们不会放弃对清教徒先祖的自豪一样。

Abe Lincoln and Teddy Roosevelt, the first flight at Kittyhawk; these things happened and live in books.

亚伯·林肯和泰迪·罗斯福在基蒂霍克首次飞行；这些事情发生并活在书中。

But the Circus is still here.”

但马戏团还在这里。”

That feeling of confidence wouldn’t last very long.

这种自信的感觉不会持续很长时间。

Matthew Wittmann: In some sense the American circus writes its own ending.

马修·维特曼：从某种意义上说，美国马戏团书写了自己的结局。

At a certain point this idea of you can always get bigger, there’s always more acts, there’s always more elephants, it runs out of places to go.

在某个时刻，你的这个想法总是会变得更大，总是有更多的行为，总是有更多的大象，它没有地方可去。

There’s a certain kind of exhaustion that overtakes the industry.

这个行业有一种疲惫感。

Narration: By the early 1950s the future of circuses nationwide looked grim.

旁白：到了 20 世纪 50 年代初，全国马戏团的前景一片黯淡。

Even the Ringling circus was struggling.

就连林林马戏团也在苦苦挣扎。

Dominique Jando: Ringling Brothers and Barnum & Bailey was still touring with more than one thousand people, traveling with the show.

多米尼克·詹多（Dominique Jando）：林林兄弟（Ringling Brothers）和巴纳姆贝利（Barnum & Bailey）仍在与一千多人一起巡回演出，随演出一起旅行。

It’s insane.

这太疯狂了。

You couldn’t run a traveling circus the way you had.

你不能像以前那样经营巡回马戏团。

Everything cost much more than it had been.

所有东西的成本都比以前高得多。

The wages couldn’t be the same.

工资不可能一样。

It was a totally different world.

那是一个完全不同的世界。

With transportation costs doubling over the last decade, John had been forced to cut the train down to seventy cars from more than one hundred and confine the tour to fifteen thousand miles.

由于交通成本在过去十年中翻了一番，约翰被迫将火车从一百多节车厢减少到七十节车厢，并将行程限制在一万五千英里内。

Even that wasn’t enough to make ends meet.

即使这样也不足以维持收支平衡。

Narration: In the end, though, it was a groundbreaking innovation that would bring a century of circus tradition to a close.

旁白：但最终，这是一项突破性的创新，将为一个世纪的马戏传统画上句号。

In 1946, there had been just eight thousand television sets in the country.

1946年，全国只有八千台电视机。

By 1955, half of American households had a TV.

到 1955 年，一半的美国家庭拥有电视。

Roger Smith: Television was running old movies, bringing them back.

罗杰·史密斯：电视正在播放老电影，把它们带回来。

There was television news, television was giving us football and sports, where you could stay at home.

有电视新闻，电视向我们播放足球和体育节目，你可以呆在家里。

Roger Smith: Lo and behold up comes I Love Lucy in 1951.

罗杰·史密斯：你瞧，1951 年的《我爱露西》问世了。

In '52 she was a sensation.

52年，她引起了轰动。

You had all the variety acts you could ever want to see in your living room if you would sit there on Sunday night looking at Ed Sullivan.

如果你周日晚上坐在客厅里看埃德·沙利文，你就可以在客厅里看到所有你想看的综艺节目。

There were your circus acts: jugglers, wire acts, animal acts, trapeze, whatever Sullivan had.

有你的马戏表演：杂技演员、钢丝表演、动物表演、空中飞人，无论沙利文有什么。

Narration: In the spring of 1956 a clash with the Teamsters Union was the final straw.

旁白：1956年春天，与卡车司机联盟的冲突成为压垮他的最后一根稻草。

North refused to sign a contract with union leadership and pickets followed the show on the road.

诺斯拒绝与工会领导层签署合同，纠察队在路上跟踪演出。

After a storm destroyed the tent, crews set up seats in the open air.

暴风雨摧毁了帐篷后，工作人员在露天搭建了座位。

At almost every stand, crowds were thin and shows were late.

几乎每个展位都人潮稀少，演出也迟到了。

By mid-July, the operation was one million dollars in the red.

到 7 月中旬，该行动已亏损 100 万美元。

North finally showed up in Alliance, Ohio to take stock.

诺斯最终出现在俄亥俄州的联盟进行盘点。

He was thoroughly disheartened.

他彻底灰心丧气了。

Jennifer Lemmer Posey: John Ringling North had to reflect on everything that had gone wrong.

詹妮弗·莱默·波西：约翰·林林·诺斯必须反思所有出错的地方。

His show was dingy, a number of things hadn’t been re-painted from the season before.

他的秀很脏，很多东西都没有从上一季开始重新粉刷。

John Ringling North felt like this circus was not the circus that his family was meant to present.

约翰·林林·诺斯 (John Ringling North) 觉得这个马戏团不是他家人想要呈现的马戏团。

Something had to change.

有些事情必须改变。

Narration: On July 16th, to the shock of his staff and circus fans, John Ringling North announced that he was closing the show.

旁白：7 月 16 日，令他的工作人员和马戏团粉丝震惊的是，约翰·林林·诺斯 (John Ringling North) 宣布他将结束演出。

The big top would be raised in Pittsburgh later that day for one final tented performance.

当天晚些时候，大顶棚将在匹兹堡升起，进行最后一场帐篷表演。

A slew of news reporters documented the last ever Ringling Brothers and Barnum & Bailey show under canvas.

许多新闻记者在画布上记录了林林兄弟和巴纳姆贝利的最后一场演出。

Then, in the early hours of the morning, circus staff packed the big top away forever.

然后，在凌晨，马戏团的工作人员将这个大顶盖永远收了起来。

La Norma Fox: We have people that love circus so much they’ll travel everywhere to follow the shows.

La Norma Fox：我们的人们非常喜欢马戏团，他们会去各地观看表演。

They’re the ones who was really heartbroken that the tent would not go up anymore.

他们是那些因帐篷不再升起而真正心碎的人。

Richard Reynolds: I heard it, you know, on the radio.

理查德·雷诺兹：我在广播中听到了。

That was a bad and sad time.

那是一段糟糕而悲伤的时光。

I felt like a part of my life had ended.

我感觉我生命的一部分已经结束了。

It had been one of my raison d'être, reason for being.

这是我存在的理由之一。

That night, the circus began the long trip to winter quarters in Sarasota, Florida.

当晚，马戏团开始了前往佛罗里达州萨拉索塔冬季营地的长途旅行。

The New York Times called it the big top’s “funeral ride.”

《纽约时报》称其为大顶的“葬礼之旅”。

Janet M.

珍妮特·M。

Davis: The iconic power of the tented city spread over nine acres, during the Gilded Age and the years thereafter, had taken hold in the American imagination to such a degree that people around the country viewed that form of circus as the only circus.

戴维斯：在镀金时代及此后的几年里，这座占地九英亩的帐篷城市的标志性力量已经在美国人的想象中占据了如此重要的地位，以至于全国各地的人们都将这种形式的马戏团视为唯一的马戏团。

Narration: For more than a century, the circus had brought daily life to a standstill.

旁白：一个多世纪以来，马戏团让日常生活陷入停滞。

Shows took over rail yards.

演出占据了铁路站场。

Parades clogged Main Street.

游行队伍挤满了大街。

Acres of billowing canvas appeared mirage-like on the outskirts of town.

数英亩的滚滚画布在城镇郊区看起来像海市蜃楼。

And then when day broke, the miracle had vanished.

当天亮时，奇迹就消失了。

Equestrians, sideshow performers, clowns, roustabouts, an enormous collection of curious beasts—all became figments of a glorious dream.

马术运动员、杂耍演员、小丑、杂技演员、大量好奇的野兽——全都变成了光荣梦想中的虚构人物。

When the greatest show of all could no longer perform these annual rituals or take this enchanted journey, it was clear the circus had lost its place at the heart of American life.

当最伟大的表演无法再进行这些一年一度的仪式或进行这段迷人的旅程时，很明显马戏团已经失去了在美国生活核心的地位。

Matthew Wittmann: You can see in the circus both the good and the bad.

马修·维特曼：你可以在马戏团中看到好的和坏的。

Industrialization, immigration, all the problems that characterize American society and then, also make American society move forward.

工业化、移民，所有当时美国社会的特征问题，也推动着美国社会向前发展。

The circus captures the American experience, both in its exuberance, its commercialism and really, its bigness.

马戏团捕捉了美国的经历，无论是它的繁荣、它的商业化，还是它的规模。

Johnathan Lee Iverson: What makes America great is our daring.

乔纳森·李·艾弗森：美国之所以伟大，是因为我们的勇气。

The whole experiment of America is daring.

美国的整个实验是大胆的。

The circus was the artistic testament to that spirit, that spirit of innovation, that spirit of wild impossibilities.

马戏团是这种精神、创新精神、疯狂不可能精神的艺术证明。

We all love miracles.

我们都喜欢奇迹。

And what we find out is they’re simpler than we thought.

我们发现它们比我们想象的要简单。

Narration: “The circus comes as close to being the world in microcosm as anything I know….

旁白：“马戏团就像是我所知道的世界的缩影……

Its magic is universal and complex….

它的魔力是普遍且复杂的……

Out of its wild disorder comes order; from its rank smell rises the good aroma of courage and daring; out of its preliminary shabbiness comes the final splendor.” E.

混乱来自于秩序；从它的臭气中升腾出勇气和大胆的良好香气；最初的破败，最终的辉煌。” E.

B.

B.

White

白色

La Norma Fox: Your whole body is like you are welded into the circus.

La Norma Fox：你的整个身体就像被焊接到马戏团里一样。

You will dream of it because that was your life.

你会梦想它，因为那是你的生活。

I’ll never forget.

我永远不会忘记。

You are a performer, and you stay a performer until the day you die.

你是一个表演者，并且直到你死的那一天你都会是一个表演者。

Paul Ringling: Am I proud of being a Ringling?

保罗·林林：我为自己是林林人感到自豪吗？

I’m damn sure, pardon my French, I’m not ashamed of it, I can tell you that.

我非常确定，请原谅我的法语，我并不以此为耻，我可以告诉你。

Yes, I feel pretty darn good about it.

是的，我对此感觉非常好。

It was a defining part of my life, yes.

是的，这是我生命中决定性的一部分。

A part of my life that now I can’t go back to.

我生命中的一部分，现在我无法回去了。

Careful now – you're bringing – you're going to see I get choked up a little.

现在小心点——你带来了——你会看到我有点哽咽。

I must have had it in my gizzard here, or somewhere.

我肯定把它放在我的砂囊里了，或者在什么地方。

Yes.

是的。

It was a part of my life.

这是我生活的一部分。

P.G.

PG

Lowery, famed early twentieth century bandleader, spread African - American music with an all-black band in circus performances.

洛厄里是二十世纪初著名的乐队指挥，他在马戏表演中与全黑人乐队一起传播非裔美国音乐。

Lillian Leitzel was the most famous circus performer of her day — with a temper that matched her talents.

莉莲·莱特策尔 (Lillian Leitzel) 是当时最著名的马戏团演员，她的脾气与她的才华相匹配。

The dramatic story of Lillian Leitzel continues.

莉莲·莱特策尔的戏剧性故事仍在继续。

Explore today's social circus movement through the eyes of Sidney “Iking” Bateman.

通过西德尼·“艾金”·贝特曼的视角探索当今的社交马戏运动。

Watch chapter 1 of The Circus, part two.

观看《马戏团》第二部分第一章。

The sale of Jumbo the African elephant to P.T.

将非洲象 Jumbo 出售给 P.T.

Barnum by the London Zoological Society caused an uproar in England.

伦敦动物学会的巴纳姆在英国引起轩然大波。

Having started his circus during the Civil War, Adam Forepaugh became P.T.

Adam Forepaugh 在内战期间开始了他的马戏团，后来成为 P.T.

Barnum's biggest competitor.

巴纳姆最大的竞争对手。

James Bailey was a 12-year-old orphan when he ran away from home.

詹姆斯·贝利 (James Bailey) 12 岁离家出走时是个孤儿。

He’d soon find a new one at the circus.

他很快就会在马戏团找到一个新的。

James Bailey and P.T.

詹姆斯·贝利 (James Bailey) 和 P.T.

Barnum join together to great the greatest show of all.

巴纳姆联手打造最伟大的表演。

James Bailey faces his stiffest competition yet and tries to hold on to his edge.

詹姆斯·贝利面临着迄今为止最激烈的竞争，并试图保持自己的优势。

Within a decade, the Ringling Brothers went from being a tiny regional circus to this large circus that's traveling across the country.

十年之内，林林兄弟从一个小型地区马戏团发展成为在全国巡回演出的大型马戏团。