Eugene O'Neill
Lloyd Richards : Well, there is something that people need to ponder about Eugene O'Neill, which actually opens them up to the whole art of writing.
劳埃德·理查兹：嗯，关于尤金·奥尼尔，人们需要思考一些事情，这实际上让他们接触到了整个写作艺术。
What does it cost to be an artist?
成为一名艺术家要付出什么代价？
What did it cost to be Eugene O'Neill?
成为尤金·奥尼尔付出了什么代价？
What being Eugene O'Neill cost Eugene O'Neill was a mother, cost him a father, cost him a happy marriage, it cost him children.
成为尤金·奥尼尔所付出的代价 尤金·奥尼尔付出了母亲的代价，失去了父亲的代价，失去了幸福的婚姻，失去了孩子。
It cost the many wives that he tried to have because he didn't know how, he had never learned that.
他试图拥有许多妻子，这让他付出了代价，因为他不知道如何做到这一点，他从来没有学过这一点。
Now you say that happens to a lot of people; it does.
现在你说这种情况发生在很多人身上；确实如此。
But not everybody can write about it.
但并不是每个人都能写出它。
Not everybody is really willing to look deep within themselves to see what's going on, what am I doing.
并不是每个人都真正愿意深入了解自己，看看发生了什么，我在做什么。
And he was capable of that, and that's hard.
他有能力做到这一点，但这很难。
That is hard to take a pencil and say, "This is me in the deepest part of my gut.
拿起一支铅笔说：“这就是我内心最深处的我。
And this was my mother and this was my father and this was all the people who were close to me, and they were all in some respect strivers and failures." And that's not an easy thing to say.
这是我的母亲，这是我的父亲，这是所有与我亲近的人，他们在某些方面都是奋斗者和失败者。”这并不是一件容易说的事。
And what it cost them...I am not sure that our artists are truly appreciated and recompensed for their effort.
他们付出了怎样的代价……我不确定我们的艺术家的努力是否得到真正的赞赏和回报。
Narrator : In the waning days of December 1937, a brooding and increasingly frail forty-nine-year-old writer named Eugene O'Neill moved with his third wife Carlotta into a remote mountainside retreat — perched high above the sparsely populated farm country of Danville, California, thirty-five miles east of San Francisco.
旁白：在 1937 年 12 月的最后日子里，一位名叫尤金·奥尼尔 (Eugene O’Neill) 的四十九岁作家，忧郁且日渐衰弱，与他的第三任妻子卡洛塔 (Carlotta) 搬到了一个偏远的山腰隐居处——位于旧金山以东 35 英里的加利福尼亚州丹维尔，人烟稀少的农场高处。
To most observers, the notoriously shy and reclusive playwright seemed to be at the very pinnacle of his career — the groundbreaking onetime golden boy of Broadway — the most celebrated playwright in the world by far — winner of no fewer than three Pulitzer Prizes, and the recipient that very year of the Nobel Prize itself — the only American dramatist ever to have been so honored.
对于大多数观察者来说，这位出了名的害羞和隐居的剧作家似乎正处于他职业生涯的巅峰——这位开创性的百老汇金童——迄今为止世界上最著名的剧作家——不少于三项普利策奖的获得者，也是当年诺贝尔奖的获得者——唯一一位获此殊荣的美国剧作家。
And yet, as O'Neill himself more than half-sensed at the time, by the winter of 1937 — as he and Carlotta settled into the brooding edifice they called "Tao House" — everything that mattered most in his life seemed on the verge of slipping away.
然而，正如奥尼尔本人当时半明半暗地意识到的那样，到了 1937 年冬天——当他和卡洛塔搬进了他们称之为“陶楼”的阴森建筑时——他生命中最重要的一切似乎都处于溜走的边缘。
In the months and years to come — as his health deteriorated, and his reputation declined, and his days as a writer seemed increasingly numbered — memories and experiences that had haunted him for a lifetime would come swarming in — bringing to a climax one of the most riveting and moving sagas in the history of American theater — and leaving behind three of the greatest tragic masterpieces ever written by an American.
在接下来的岁月里，随着他的健康状况每况愈下，声誉下降，作为作家的日子似乎越来越屈指可数，困扰他一生的记忆和经历将蜂拥而至，将美国戏剧史上最引人入胜、最感人的传奇故事之一推向高潮，并留下美国人有史以来最伟大的三部悲剧杰作。
Performance, Al Pacino (Hickey) : I even caught myself hating her for making me hate myself so much.
阿尔·帕西诺（希基）的表演：我什至发现自己恨她，因为她让我如此恨自己。
There's a limit to the guilt you can feel and the forgiveness and the pity you can take!
你所能感受到的内疚、所能承受的宽恕和怜悯都是有限度的！
I mean you have to begin blaming somebody else!
我的意思是你必须开始责怪别人！
Sidney Lumet, film director : You see, an extraordinary thing happened with O'Neill.
西德尼·吕美特，电影导演：你看，奥尼尔身上发生了一件非同寻常的事情。
I don't know where he got the confidence to know that there was greatness lying ahead of him.
我不知道他从哪里来的信心知道他面前有伟大的事业。
It's as if he knew that those great plays were there at the end of his life to write, whatever preparation is needed O'Neill was making all of his life — in the plays that he wrote, some of them not even good plays.
就好像他知道那些伟大的戏剧是在他生命的最后时刻写出来的，奥尼尔一生都在做任何需要的准备——在他写的戏剧中，其中一些甚至不是好戏剧。
But he knew — he knew somewhere.
但他知道——他知道某个地方。
That's what's so staggering.
这就是令人震惊的地方。
Tony Kushner, playwright : I mean the thing that's amazing to me is that after he won the Nobel Prize he wrote his greatest work — and basically the last, or the second to last, thing that he wrote, is the greatest play ever written by an American and one of the greatest plays ever written.
剧作家托尼·库什纳：我的意思是，令我惊奇的是，在他获得诺贝尔奖后，他写出了他最伟大的作品——基本上，他写的最后一部或倒数第二部作品，是美国人写的最伟大的戏剧，也是有史以来最伟大的戏剧之一。
And it's thrilling.
这很令人兴奋。
O'Neill's career is so enviable in that way — I mean, it is like Michelangelo, it is like Shakespeare, in the sense that it gets better and better and better and better.
奥尼尔的职业生涯在这方面非常令人羡慕——我的意思是，它就像米开朗基罗，就像莎士比亚，从某种意义上说，它变得越来越好、越来越好。
Lloyd Richards : A long day's journey into the unknown — into night — and we shall eventually fold up in it.
劳埃德·理查兹：漫长的一天旅程进入未知世界——进入夜晚——我们最终将在其中折叠起来。
That was a play where he put himself, he put his family on the stage, in an effort to try and understand them.
在这部戏中，他把自己、家人放在舞台上，努力尝试理解他们。
Now that could be described as a cruel thing because he exposed everybody.
这可以说是一件残酷的事情，因为他暴露了所有人。
Honesty and truth are hard.
诚实和真理很难。
Truth is clean, but it's hard and he spoke the truth about those closest to him.
真相是干净的，但很难，他对最亲近的人说了实话。
Performance, Zoe Caldwell (Mary) : Let me see.
表演，佐伊·考德威尔（玛丽）：让我看看。
What did I come in here to find?
我来这里是为了寻找什么？
I know it's something I lost.
我知道这是我失去的东西。
Something I need terribly.
我非常需要的东西。
I remember when I had it I was never lonely or afraid.
我记得当我拥有它时，我从不感到孤独或害怕。
I can't have lost it forever, I would die if I thought that.
我不可能永远失去它，如果我这么想我就会死。
Because then there would be no hope.
因为那样的话就没有希望了。
Performance, Christopher Plummer (Tyrone) : Yes, maybe life overdid the lesson for me, and made a dollar worth too much, and then the time came when it ruined my career as a fine actor.
表演，克里斯托弗·普卢默（蒂龙）：是的，也许生活给了我太多的教训，让一美元变得太值钱，然后它就毁了我作为一名优秀演员的职业生涯。
Jason Robards, actor : It's amazing, it has drawn universally everyone into the family unit somehow — or family they didn't have or did have, or reminded them of things that have happened in their family because it's a terribly, a deep family play, love and hate and how we handle these things or if we handle them.
杰森·罗巴兹，演员：这太神奇了，它以某种方式把每个人都吸引到了家庭单位——或者他们没有或曾经拥有的家庭，或者提醒他们家庭中发生过的事情，因为这是一部可怕的、深刻的家庭剧，爱和恨以及我们如何处理这些事情或我们是否处理它们。
Edward Shaughnessy, scholar : Well, in his life, O'Neill was not given the grace, opportunity, to work things through with his brother, with his mother, with his dad.
爱德华·肖内西（Edward Shaughnessy），学者：嗯，在奥尼尔的一生中，他没有得到恩典和机会来与他的兄弟、他的母亲、他的父亲一起解决问题。
Is that not the case for so many of us?
我们很多人不都是这样吗？
In the here and now, in the tyranny of the moment, the tragedy of time, we so often can't finish that.
在此时此地，在当下的暴虐中，在时间的悲剧中，我们常常无法完成它。
The play finishes that.
这部剧就这样结束了。
Narrator : To a remarkable degree, Eugene O'Neill's whole life had gone into the making of Long Day's Journey Into Night — and the handful of other autobiographical masterpieces he pulled from himself only at the very end of his career — as if the truths they conveyed and feelings they laid bare were almost more than he could endure.
旁白：在很大程度上，尤金·奥尼尔的一生都投入到了《漫长的一天到黑夜之旅》的制作中——以及他在职业生涯的最后阶段才从自己那里拿出来的其他几部自传杰作——就好像它们所传达的真理和所暴露的感情几乎超出了他的承受能力。
Haunted from the start by memories of a lonely house on the Connecticut shore, his whole life, he later said, would be a kind of "seeking flight — a restless search for meaning and identity, reality and truth" — at once an escape from and a search for the Gorgons of his past — and the oblivion he felt at the center of his soul.
他后来说，他的一生从一开始就被康涅狄格州海岸一座孤独房子的记忆所困扰，他的一生将是一种“寻求逃亡——对意义和身份、现实和真理的不懈探索”——同时逃避和寻找他过去的戈尔贡——以及他在灵魂中心感受到的遗忘。
"You're the most conceited man I've ever known," a friend once remarked, of his habit of continually looking at himself in mirrors.
“你是我所认识的最自负的人，”一位朋友曾经这样评价他不断照镜子的习惯。
"No," he replied.
“不，”他回答道。
"I'm just trying to be sure I'm still here."
“我只是想确定我还在这里。”
Performance, Robert Sean Leonard (Edmund): It was a great mistake, my being born a man, I would have been much more successful as a sea gull or a fish.
表演，罗伯特·肖恩·伦纳德（埃德蒙）：这是一个巨大的错误，我生来就是一个男人，如果我是一只海鸥或一条鱼，我会更成功。
As it is, I will always be a stranger who never feels at home, who does not really want and is not really wanted, who can never belong, who must always be a little in love with death.
事实上，我永远是一个陌生人，从来没有宾至如归的感觉，不是真正想要的，也不是真正被需要的，永远无法归属，总是有点爱上死亡。
Lloyd Richards : His life was a turmoil and he spent his life trying to understand something of that turmoil and he saw the turmoil in others.
劳埃德·理查兹：他的生活充满了混乱，他一生都在试图理解这种混乱，他也看到了别人的混乱。
He saw the torture in people because he felt it in himself.
他看到人们遭受酷刑，因为他自己也感受到了这种折磨。
He felt it in himself the pulling apart.
他感觉到自己正在分裂。
He was being pulled apart by the questions that he introduced into his life.
他被自己引入生活中的问题弄得心烦意乱。
Edward Shaughnessy : These are the age-old questions of the theater itself: Who am I?
爱德华·肖内西：这些是剧院本身的古老问题：我是谁？
And where do I come from?
我从哪里来？
And what is my part in — do I have a part in — my own fate?
我自己的命运是什么？我有什么参与吗？
Or am I simply a checker on the board being moved around?
或者我只是棋盘上被移动的棋子？
Do I belong to anything?
我属于什么吗？
To anyone?
对任何人？
To whom do I belong now?
我现在属于谁？
To God, who seems to be abandoning me.
上帝似乎抛弃了我。
Tony Kushner : This is somebody who suffered terribly as a result of his complete fealty to a vision of the truth, to a notion that there is a depth, that there's a profundity, that there is great complexes and abysses of meaning underneath the surface of life.
托尼·库什纳：这个人因为完全忠于真理的愿景、忠于生命表面之下存在着深刻的、深刻的、巨大的复杂性和意义深渊的观念而遭受了可怕的痛苦。
And that our job as artists and as people is to dig and to go deep — or to dive, as Melville kept saying, deeper and deeper and deeper.
作为艺术家和普通人，我们的工作就是挖掘、深入——或者像梅尔维尔一直说的那样，越挖越深。
And that it hurts, and the more deeply you dive, the more you are at risk of being dismantled or crushed, but that's what your job is, and you don't flinch from it.
这很痛苦，你潜得越深，你就越有被拆除或压碎的风险，但这就是你的工作，你不会畏缩。
In O'Neill, there's this absolute sort of God-ordained mission, which is to keep searching, even if in the process he discovered that there is no God.
在奥尼尔身上，有一种绝对的上帝注定的使命，那就是不断寻找，即使在这个过程中他发现上帝并不存在。
It's a terrifying sort of mandate, but it also, I think, should be the mandate of all artists, and in a way, of all people.
这是一种可怕的使命，但我认为，它也应该是所有艺术家的使命，在某种程度上，是所有人的使命。
Performance, Christopher Plummer (Tyrone) : Who's play is it?
表演，克里斯托弗·普卢默（蒂龙）：这是谁的表演？
A stinking old miser!
一个臭老守财奴！
Well, maybe you're right.
好吧，也许你是对的。
Maybe I can't help being, although all my life since I had anything I've thrown money over the bar to buy drinks for everyone in the house, loaned money to sponges I knew would never pay it back — But of course that was in barrooms, when I was full of whiskey.
也许我情不自禁地这样，尽管自从我拥有了一切以来，我一直把钱扔到酒吧里为家里的每个人买饮料，借钱给我知道永远不会还清的海绵——但当然那是在酒吧里，当我喝满了威士忌的时候。
I can never feel that way about it when I'm sober in my home.
当我在家里清醒的时候，我永远不会有这种感觉。
It was at home I learned the value of a dollar and the fear of the poorhouse.
在家里，我了解到一美元的价值以及对济贫院的恐惧。
I've never been able to believe in my luck since.
从那以后我再也不敢相信自己的运气了。
But still, the more property you own, the safer you think you are!
但是，您拥有的财产越多，您认为自己就越安全！
That may not be logical, but it's the way I have to feel.
这可能不合逻辑，但这是我的感受。
John Guare, playwright : Before O'Neill, there was no American theater.
剧作家约翰·瓜尔（John Guare）：在奥尼尔之前，美国没有剧院。
The American theater was Ben-Hur , live horses on stage in a chariot race, Little Eva going up to heaven in Uncle Tom's Cabin.
美国的戏剧是《宾虚》，舞台上的活马参加战车比赛，小伊娃在汤姆叔叔的小屋里升入天堂。
Serious theater was Shakespeare.
严肃的戏剧是莎士比亚。
Theater was James O'Neill and The Count of Monte Cristo barnstorming around the country for thirty-five years.
戏剧是詹姆斯·奥尼尔和基督山伯爵在全国各地进行了三十五年的巡回演出。
Tony Kushner : You can't help but conclude that in somebody who was as trapped in the family drama as O'Neill that there was an absolute necessity, given that father and that life, to be in the theater and to make that his, you know, arena of contestation.
托尼·库什纳：你不能不得出结论，对于像奥尼尔这样陷入家庭戏剧的人来说，考虑到他的父亲和他的生活，绝对有必要进入剧院，并将其作为他的竞争舞台。
I mean, he was going to become a worker in the theater, because that's where he did battle with his father and those ghosts.
我的意思是，他将成为剧院的一名工人，因为那是他与父亲和那些鬼魂战斗的地方。
Narrator : He was born in a hotel room in 1888, in the heart of what would become Times Square — the brooding youngest son of a celebrated actor who would fail to fulfill the early promise of his career, and of his long, tormented drug-addicted wife.
旁白：1888 年，他出生在时代广场中心的一间酒店房间里，他的父亲是一位著名演员，但他未能兑现自己职业生涯的早期承诺，他的母亲是长期饱受毒瘾折磨的妻子，他是一个沉思的小儿子。
From the very start, he would be haunted by events that had taken place long before his birth — by the ghost of a dead child — and by the tragically blighted lives of his parents, James and Ella — and his two older siblings, Jamie and Edmund.
从一开始，他就会被他出生前很久发生的事情所困扰——一个死去孩子的鬼魂——以及他的父母詹姆斯和艾拉以及他的两个哥哥杰米和埃德蒙悲惨的生活。
Re-enactment, Mary Tyrone : The past is the present, isn't it?
重演，玛丽·蒂龙：过去就是现在，不是吗？
It's the future too.
这也是未来。
We try to lie ourselves out of that, but life won't let us.
我们试图欺骗自己，但生活不允许我们这样做。
Narrator : From the very start, life had gone as neither of his parents had expected.
旁白：从一开始，生活就不像他的父母所预料的那样。
His mother, Ella — a shy and retiring ex-convent girl who had fallen madly in love with her future husband practically the first time she met him — had never been able to adjust to the rootless life his acting career imposed upon the family.
他的母亲艾拉是一位害羞、隐居的前修道院女孩，几乎在第一次见到她未来的丈夫时就疯狂地爱上了他，她始终无法适应演艺事业强加给家庭的无根生活。
His father, James — a dashing, dark-haired Irish immigrant who had risen from extreme poverty to become one of the most promising actors of his generation -- had never been able to escape the crippling fears his childhood had instilled in him — sacrificing his talent in the end for financial security.
他的父亲詹姆斯——一位风度翩翩、黑发的爱尔兰移民，从极端贫困中崛起，成为同代人中最有前途的演员之一——始终无法摆脱童年灌输给他的严重恐惧——最终为了经济保障而牺牲了自己的才华。
Arthur Gelb : His father compromised his artistic talent.
亚瑟·盖尔布：他的父亲损害了他的艺术天赋。
He was capable of succeeding America's greatest Shakespearean actor, Edwin Booth.
他有能力接替美国最伟大的莎士比亚演员埃德温·布斯。
Instead he took the easier road, and he found a play, The Count of Monte Cristo , which was one of America's most popular theater successes and the money starts rolling in, the show is sold out every night.
相反，他走了一条更容易的路，他找到了一部戏剧《基督山伯爵》，这是美国最受欢迎的戏剧成功之一，资金开始滚滚而来，演出每晚都卖光了。
So he can't give up the role.
所以他不能放弃这个角色。
He plays it night after night, week after week, he travels across the country with the production, he buys it outright for a paltry sum.
他夜复一夜、周复一周地演奏这首曲子，他带着制作作品走遍全国，并以微不足道的价格直接购买了它。
And every time he tries to escape from the imprisonment of that play, to try Shakespeare, the audience doesn't want him to do that.
而每次他试图逃离那部戏剧的禁锢，尝试莎士比亚时，观众都不希望他这么做。
They want him back in that play
他们希望他回到那场戏
Sidney Lumet : It's interesting to me that a piece of cheap melodrama should become so central to these genuinely tragic lives — and as James Tyrone says, became his suicide in a way.
西德尼·吕美特：对我来说很有趣的是，一部廉价的情节剧应该成为这些真正悲剧性生活的中心——正如詹姆斯·蒂龙所说，在某种程度上成为了他的自杀。
He lost the ability to do Iago one night and Othello the next with Edwin Booth, the greatest actor of his day.
他失去了与当时最伟大的演员埃德温·布斯一起扮演《伊阿古》和下一夜《奥赛罗》的能力。
Narrator : In 1884, with rising profits from the new play, James overcame his morbid fear of poverty long enough to buy a drafty cottage on the Connecticut shore — where the continually itinerant family would come to rest for a few months each year.
旁白：1884年，随着新剧的利润不断增加，詹姆斯克服了对贫穷的病态恐惧，在康涅狄格州海岸买了一座通风良好的小屋——每年不断流动的一家人都会在那里休息几个月。
The only home the O'Neills ever had, it was destined to become a house of heartache and pain.
这是奥尼尔一家唯一的家，它注定会成为一个充满心痛和痛苦的房子。
Barbara Gelb : The big tragedy and the actual turning point for Ella O'Neill, even before Eugene was born, was the death of her second son, Edmund.
芭芭拉·盖尔布：埃拉·奥尼尔的大悲剧和真正的转折点，甚至在尤金出生之前，就是她的第二个儿子埃德蒙的去世。
He was two years old when Ella decided to join James on tour — and left Jamie who was four years older, and Edmund, with her mother, with their grandmother.
当艾拉决定和詹姆斯一起巡演时，他才两岁，留下了大四岁的杰米，还有埃德蒙和她的母亲以及祖母。
And she was very conflicted about going, she didn't really want to leave her children but she did finally let herself be persuaded to go and be with him for a bit of his tour.
她对于去那里感到非常矛盾，她真的不想离开她的孩子，但她最终还是被说服去和他一起参加他的巡演。
And no sooner had she arrived than she had a wire from her mother saying that Jamie had measles.
她一到，就收到母亲发来的电报，说杰米得了麻疹。
And, almost immediately after that, she wired that Edmund, the baby, had measles, and that of course was very dangerous in a very young child.
几乎在那之后，她就发电报说婴儿埃德蒙得了麻疹，这对于一个很小的孩子来说当然是非常危险的。
So Ella instantly back to New York — but before she could reach New York, the baby had died.
于是艾拉立即返回纽约，但在她到达纽约之前，孩子就死了。
And she was devastated — she felt it was her fault — she felt guilty for having left him — and she believed that Jamie had deliberately exposed the baby to his own case of measles.
她很伤心——她觉得这是她的错——她为离开他而感到内疚——她相信杰米故意让孩子接触到他自己的麻疹病例。
Robert Sean Leonard, actor : I think the tragedy of Jamie is that he was condemned at the age of seven for killing his brother.
罗伯特·肖恩·伦纳德，演员：我认为杰米的悲剧在于他七岁时因杀害他的兄弟而受到谴责。
And I don't think she ever forgave him for it.
我认为她永远不会原谅他。
And that's it — that's a jail sentence.
就是这样——这就是监禁。
I don't think you return from that, from your mother, feeling that about you.
我不认为你会从你母亲那里回来，对你有这种感觉。
So Jamie's tragedy is I think is that he died at the age of seven and had to play out the long hours of every day of the rest of his life as a walking corpse and the only respite he found was in whores and booze.
所以我认为杰米的悲剧是他七岁时去世，余生的每一天都必须像行尸走肉一样度过漫长的时光，而他唯一的喘息机会就是嫖娼和酗酒。
Narrator : Jamie would never recover from psychic damage inflicted by the death of his younger brother, Edmund.
旁白：杰米永远无法从弟弟埃德蒙的死所造成的精神伤害中恢复过来。
Neither, in the end, would James and Ella, whose marriage now descended into a domestic hell of guilt, remorse and bitter recrimination.
最终，詹姆斯和艾拉也不会这么做，他们的婚姻现在陷入了充满愧疚、悔恨和痛苦相互指责的家庭地狱。
Barbara Gelb : That was something that Ella never recovered from.
芭芭拉·盖尔布（Barbara Gelb）：艾拉从未从这件事中恢复过来。
She felt terribly guilty about that and she made up her mind she would never have another child.
她对此感到非常内疚，并决定不再再生孩子。
And so when Eugene was conceived she immediately felt that this was terrible and that God was going to punish her for having another child, for presuming to have another child, after allowing herself to lose Edmund.
因此，当尤金怀孕时，她立即感到这太可怕了，上帝会惩罚她，因为她在失去埃德蒙之后又生了一个孩子，因为她擅自生了另一个孩子。
And that really began the cycle of tragedy.
这确实开始了悲剧的循环。
And as soon as Eugene was born — partly because she was in a very depressed state and partially because it was a difficult birth — she started taking morphine.
尤金一出生——部分原因是她处于非常抑郁的状态，部分原因是分娩过程很困难——她就开始服用吗啡。
Arthur Gelb : That was the environment in which O'Neill was brought into the world.
阿瑟·盖尔布：奥尼尔就是在这样的环境下出生的。
He was an unwanted child — his mother blamed him for her morphine addiction and she became totally hooked on drugs.
他是一个不受欢迎的孩子——他的母亲指责他对吗啡成瘾，而她却完全沉迷于毒品。
Zoe Caldwell, actor : It must be very strange to grow up in a household — where the mother simply absents herself.
演员佐伊·考德威尔：在一个母亲完全缺席的家庭中长大一定很奇怪。
And at a time maybe when you most need to talk to her, touch her, or have her sit quietly in the room beside you, she may be in the room, but she's not there, because she has chosen to absent herself from you.
也许当你最需要和她说话，触摸她，或者让她安静地坐在你旁边的房间里时，她可能在房间里，但她不在那儿，因为她选择离开你。
Barbara Gelb : From his earliest childhood, he used to stare out to sea, he had no real home.
芭芭拉·盖尔布：从他很小的时候起，他就常常凝视着大海，他没有真正的家。
He toured with his father and mother as an infant, until he was seven years old and was sent to boarding school.
他小时候就和父母一起旅行，直到七岁被送到寄宿学校。
So he was a very lonely child and the only thing that he took any pleasure in or consolation in was reading and staring at the sea in his summer home in New London.
所以他是一个非常孤独的孩子，他唯一感到高兴或安慰的事情就是在新伦敦的避暑别墅里读书和凝视大海。
I think that it first meant a sense of freedom.
我认为它首先意味着一种自由感。
He would look out to sea and he would see the seagulls circling and he would think, you know, if only he could be a seagull himself, totally free, unbound to anything ashore, unbound to a difficult, uncaring mother and a rather domineering father.
他会眺望大海，看到海鸥在盘旋，他会想，你知道，如果他自己也能成为一只海鸥就好了，完全自由，不受岸上任何事物的束缚，不受难相处、冷漠的母亲和相当专横的父亲的束缚。
Narrator : With his actor father frequently on the road — and a house filled with unexplained absences and unsaid things — the dreamlike unrealities of life and of the theater would be strangely intermingled in his experience.
旁白：他的演员父亲经常出差，房子里充满了无法解释的缺席和未说出口的事情，生活和戏剧中梦幻般的不现实会奇怪地混合在他的经历中。
Barbara Gelb : And, of course, Ella was getting more and more deeply involved with her morphine addiction.
芭芭拉·盖尔布：当然，艾拉的吗啡瘾越来越深。
And there was an English nurse, named Sarah Sandy who took care of Eugene, and if she hadn't been there for Eugene no one would have been.
还有一位名叫莎拉·桑迪的英国护士负责照顾尤金，如果没有她在尤金身边，就没有人了。
And James was very much occupied with his career, as always, and he wasn't even aware that Ella was taking morphine, until some druggist said do you know that this is addictive, this medicine.
詹姆斯一如既往地忙于他的事业，他甚至不知道艾拉正在服用吗啡，直到一些药剂师说你知道吗，这种药会让人上瘾。
It was then that he first realized that she was addicted.
就在那时，他第一次意识到她上瘾了。
Narrator : Shielded from the truth of his mother's condition by his father and brother and Sarah Sandy, he was often frightened by her mysterious withdrawals and irrational behavior, and frequently feared for her sanity.
旁白：他的父亲、兄弟和莎拉·桑迪向他隐瞒了母亲病情的真相，他经常被她神秘的退缩和非理性行为吓到，并经常担心她的神志不清。
Told of her deep remorse over the death of his older brother, Edmund, he often prayed for her recovery — to no avail.
当得知她对哥哥埃德蒙的死深感悔恨时，他经常祈祷她康复，但没有成功。
For Ella herself, the darkest times came when, in her grief and delirium, her faith fell away entirely and she felt that God had abandoned her.
对于艾拉本人来说，最黑暗的时刻到来了，在她的悲伤和精神错乱中，她的信仰完全消失，她觉得上帝抛弃了她。
Performance, Vanessa Redgrave (Mary) : If only I could find my faith so that I could pray again.
表演，凡妮莎·雷德格雷夫（玛丽）：如果我能找到我的信仰，这样我就可以再次祈祷。
Hail Mary, full of grace, the Lord is with Thee.
万福玛利亚，充满恩典，主与祢同在。
Blessed art Thou amongst women, and blessed is the fruit of Thy womb, Jesus.
你在妇女中是有福的，你子宫里的孩子耶稣也是有福的。
Holy Mary Mother of God, pray for us sinners.
天主之母圣母玛利亚，请为我们罪人祈祷。
Now and ...
现在和...
and ...
和...
Narrator : Two days after his seventh birthday, he was sent away to a rigid Catholic boarding school in the Bronx — where in the years to come his own faith would begin to waiver.
旁白：他七岁生日后两天，他被送到布朗克斯一所严格的天主教寄宿学校——在未来的岁月里，他自己的信仰将开始放弃。
Barbara Gelb : He was bitterly unhappy about being sent to boarding school — more because he was taken away from Sarah Sandy than even from his mother.
芭芭拉·盖尔布（Barbara Gelb）：他对被送到寄宿学校感到非常不满——更多的是因为他被从莎拉·桑迪身边带走，甚至比从他的母亲身边被带走。
He stayed there until he was thirteen.
他在那里一直呆到十三岁。
He was very lonely and he mainly withdrew into reading.
他非常孤独，主要集中在读书上。
That was the only pleasure he had in his life.
这是他一生中唯一的乐趣。
Narrator : The turning point of his childhood came with the revelation of Ella's affliction.
旁白：随着艾拉的痛苦被揭露，他的童年迎来了转折点。
Returning home from prep school one afternoon in the spring of 1901, he surprised his mother with a needle in her hand in the family's temporary Upper West Side apartment.
1901 年春天的一个下午，他从预科学校回家时，在上西区的临时公寓里，他的母亲手里拿着一根针，这让他大吃一惊。
Two years later, in the summer of 1903, his father and brother were forced to reveal the full truth of her condition — following a garish nighttime episode in which Ella, desperate for morphine, ran out of the house in her dressing gown and tried to drown herself in the Thames River.
两年后，即 1903 年夏天，他的父亲和兄弟被迫揭露了她病情的全部真相——在一次花哨的夜间插曲之后，艾拉因极度渴望吗啡，穿着晨衣跑出家门，试图在泰晤士河里淹死自己。
The impact of the revelation was cataclysmic — shattering what remained of his religious beliefs, and unleashing in a blow all the bleak phantoms of his childhood — along with a tidal wave of conflict within the family.
这一启示的影响是灾难性的——粉碎了他仅存的宗教信仰，并释放了他童年时期所有阴暗的幻影——以及家庭内部的冲突浪潮。
One Sunday morning, late that same summer, he informed his father he would no longer be attending church.
同年夏末的一个周日早上，他通知父亲他将不再去教堂。
James tried to force him to go, and the two nearly came to blows.
詹姆斯试图强迫他离开，两人差点打起来。
But he stood his ground and his father finally marched off to church alone.
但他坚持自己的立场，他的父亲最终独自前往教堂。
O'Neill was not yet fifteen.
奥尼尔还不到十五岁。
His seeking flight had begun.
他的寻找之旅开始了。
Edward Shaughnessy : Eugene lost faith.
爱德华·肖内西：尤金失去了信心。
He left the Church at fifteen years old.
他十五岁时离开了教会。
He never came back.
他再也没有回来。
It would do nobody any service whatsoever to try to reclaim him for the Church.
试图让他重新加入教会对任何人都没有任何帮助。
He was an apostate.
他是一个叛教者。
But, as he said time and time again, "Once a Catholic, always a Catholic." Those are deep roots and deep scars, if you want.
但是，正如他一次又一次地说的那样，“一旦是天主教徒，永远是天主教徒。”如果你愿意的话，这些都是深深的根和深深的伤疤。
Narrator : Years later, in a poignant diagram he made during a brief, aborted attempt at psychoanalysis, he tried to sum up the nightmarish character of his childhood, and the impact it had had on him.
旁白：多年后，他在一次短暂但失败的精神分析尝试中绘制了一张令人心酸的图表，试图总结他童年的噩梦般的性格，以及它对他的影响。
Re-enactment, Eugene O'Neill : World of reality practically unrealized, nightmares, terror of the dark, seven years old, complete break, school, resentment and hatred of father as cause break with mother, reality faced and fled from in fear, life of fantasy and religion in school, inability to belong to reality.
重演，尤金·奥尼尔：现实世界几乎没有实现，噩梦，黑暗的恐怖，七岁，完全崩溃，学校，对父亲的怨恨和仇恨导致与母亲的决裂，面对现实并在恐惧中逃离，学校里的幻想和宗教生活，无法属于现实。
Discovery of mother's inadequacy, resentment against father, hatred and defiance of father.
发现母亲的不足，对父亲的怨恨，对父亲的仇恨和反抗。
Narrator : For the rest of his life, trapped between the shadowy terrors of the outer world, and a disturbing sense of inner unreality, he would never be able to escape the conviction instilled in him in childhood that he had been born with something dead inside him.
旁白：在他的余生中，他被困在外部世界的阴暗恐怖和内心不真实的令人不安的感觉之间，他永远无法摆脱童年时灌输给他的信念，即他生来就带着死的东西。
John Guare : Well, but you look at him — and he looks like a ghost.
约翰·瓜雷：嗯，但是你看他——他看起来就像一个幽灵。
He looks like a ghost haunting his own life.
他看起来就像一个困扰着自己生活的幽灵。
The same life that destroyed his mother — destroyed him in a different way.
同样的生活摧毁了他的母亲——以不同的方式摧毁了他。
He didn't belong anywhere.
他不属于任何地方。
So I think he dreamed of places where people belonged — why that cottage at New London meant so much to him, because it was as close to a home as they ever had.
所以我认为他梦想着人们所属的地方——为什么新伦敦的那间小屋对他来说意义重大，因为它是他们曾经拥有的最接近家的地方。
Narrator : The first phase of his seeking flight would be a desperate headlong rush into oblivion.
旁白：他寻求逃亡的第一阶段将是绝望地一头扎进遗忘之中。
For the next ten years, he would run from the bleak wreckage of the past — wandering aimlessly, drinking recklessly, and angrily courting oblivion and self-destruction — desperately looking for a purpose to his life, and for some place to fit in.
在接下来的十年里，他将从过去的惨淡残骸中逃离——漫无目的地流浪，肆意饮酒，愤怒地寻求遗忘和自我毁灭——拼命地寻找自己的生活目标，寻找一个可以融入的地方。
Graduating from prep school in 1906, with no plans for the future other than vague dreams of going to sea and becoming a poet, he enrolled at Princeton — but was thrown out before the end of his first year for drinking too much and cutting classes.
1906 年，他从预科学校毕业，除了出海和成为一名诗人的模糊梦想之外，对未来没有任何计划，他进入普林斯顿大学就读，但在第一年结束前就因酗酒和逃课而被开除。
At twenty-one — driven by fierce gusts of emotion he could neither control nor understand — he would marry, then abruptly abandon, a young woman named Kathleen Jenkins — fleeing the responsibilities of fatherhood and marriage to the jungles of Honduras, then to South America, aboard a ship called the Charles Racine .
二十一岁时，在他既无法控制也无法理解的猛烈情感的驱使下，他娶了一位名叫凯瑟琳·詹金斯的年轻女子，然后突然抛弃了她，逃离了父亲和婚姻的责任，前往洪都拉斯的丛林，然后乘坐一艘名为查尔斯·拉辛号的船前往南美洲。
He would see his bewildered wife and child only once after taking to sea.
出海后，他只见过一次困惑的妻子和孩子。
He wouldn't see his son again — whom she had bravely named Eugene Junior — until the boy was eleven.
他再也见不到他的儿子了——她勇敢地将他命名为小尤金——直到他十一岁。
Barbara Gelb : And once he did go to sea, he felt total release, and a sense of complete freedom, being away from land, and being away from everything that was pressured and what he considered hypocritical.
芭芭拉·盖尔布：一旦他出海，他就感到完全的释放，一种完全的自由感，远离陆地，远离一切压力和他认为虚伪的东西。
Sailors he found to be totally unassuming, and warm and friendly, and not demanding of anything from him.
他发现水手们完全谦逊、热情、友好，对他没有任何要求。
And he was able to really relax, and feel that could be himself on the sea.
他能够真正放松下来，感觉在海上就是他自己。
And then it became kind of a mystical calling.
然后它变成了一种神秘的召唤。
He wanted all his life after that, he tried to live near the sea.
他想要从此以后的生活，他试图住在靠近海边的地方。
When he was away from the sea he really missed it terribly.
当他离开大海的时候，他真的非常想念大海。
Narrator : Lying on the bowsprit of the Charles Racine , one night on his way to Argentina, he would have an experience that would haunt him for the rest of his life — a rapturous blurring of the boundaries between himself and the world around him — that brought with it a transcendent, heartbreakingly brief sense of belonging, and connection to something larger.
旁白：在前往阿根廷途中的一个晚上，躺在查尔斯·拉辛号的船首斜桅上，他将经历一种终其一生都难以忘怀的经历——一种他与周围世界之间界限的欣喜若狂的模糊——随之而来的是一种超然的、短暂的、令人心碎的归属感，以及与更大事物的联系。
But if his days at sea were some of the brightest he ever had, the ensuing months he spent in Buenos Aires would be some of the darkest.
但如果说他在海上的日子是他一生中最光明的时光，那么接下来他在布宜诺斯艾利斯度过的几个月将是最黑暗的。
Arthur Gelb : He drank himself into insensibility, how he survived that period, only God knows.
亚瑟·盖尔布：他喝得不省人事，他是如何熬过那段时期的，只有天知道。
He barely, barely had the physical stamina to return by ship, he found a berth on a cargo ship and he barely was able to get on that ship and get himself back to New York.
他几乎没有体力乘船返回，他在一艘货船上找到了一个泊位，他几乎没能登上那艘船回到纽约。
When he comes back what does he do — he goes to a saloon called Jimmy the Priest's on the foot of Fulton Street, and he lives there as a derelict, drinks rotgut whiskey, you know five cents a shot, and he lives upstairs with other derelicts, and he has no ambition to do anything at this point.
当他回来时，他会做什么——他去了富尔顿街脚下一家叫吉米牧师的酒馆，他像一个被遗弃的人一样住在那里，喝着劣质威士忌，你知道一瓶五美分，他和其他被遗弃的人住在楼上，此时他没有野心做任何事情。
Narrator : On a freezing night in the winter of 1912 — filled with shame and self-disgust, and a sense of utter hopelessness — he returned to his filthy cell at Jimmy the Priest's, swallowed a bottle of Veronal tablets, and lay down to die.
旁白：1912年冬天一个寒冷的夜晚，他充满羞耻、自我厌恶和彻底的绝望感，回到神父吉米肮脏的牢房，吞下一瓶维罗那药片，躺下等死。
At a bottom-of-the-sea bar at the foot of Manhattan, which, thirty years later, would become the setting of one of his greatest plays, he had come to the end of the road.
在曼哈顿脚下的一家海底酒吧，三十年后，这里成为了他最伟大的戏剧之一的背景，他已经走到了路的尽头。
He was twenty-three years old.
他二十三岁。
Tony Kushner : That bar, which is so profoundly important in O'Neill's life, I mean, it's the place where he became a writer really, I mean, at the end of the youthful journeys on the sea, and the suicide attempt, that's where he hit the bottom.
托尼·库什纳：那个酒吧在奥尼尔的一生中非常重要，我的意思是，这是他真正成为作家的地方，我的意思是，在年轻的海上旅程结束时，以及自杀企图，那是他跌入谷底的地方。
That's where he arrived at his own O'Neillian moment, and emerged either alive or not alive, depending on, you know, how you want to look at it.
这就是他到达自己的奥尼尔时刻的地方，并且要么活着，要么死了，这取决于，你知道，你想如何看待它。
And in some ways clearly he felt not alive; I mean, that that's the point at which the O'Neills finally got what they deserved, which is this dead child.
从某些方面来说，他显然感觉自己没有活着。我的意思是，就在那时，奥尼尔一家终于得到了他们应得的，那就是这个死去的孩子。
And, of course, thank God for American theater, and for world literature, the child didn't actually die, and went on to write plays.
当然，感谢上帝赐予美国戏剧和世界文学，这个孩子实际上并没有死，而是继续写戏剧。
But there's a moment of a kind of a soul death in that bar that he then resurrects, in that completely just deeply frightening play.
但在那个酒吧里有一个灵魂死亡的时刻，然后他又复活了，在那场完全令人恐惧的戏剧中。
Narrator : It was the beginning of a kind of rebirth, he later said.
旁白：他后来说，这是一种重生的开始。
Admitted to a sanitarium later that year, with a case of tuberculosis, retribution he believed for the brutally punishing life he had led, he began to look inward, to confront the bleak realities he had been running from for years, and to see a way forward.
那年晚些时候，他因患上肺结核住进疗养院，他相信这是对自己过着残酷折磨的生活的报应，他开始向内看，面对多年来一直逃避的惨淡现实，并寻找前进的道路。
He would become a playwright,but the plays he would write would be unlike any his father had ever acted in.
他将成为一名剧作家，但他所写的戏剧将不同于他父亲曾演过的任何戏剧。
Mining the pain and conflict he felt deep in himself and others — he would overturn the shallow commercial conventions of Broadway and create an entirely new kind of American drama — one that was ruthlessly honest — true to life — and deeply, exhilaratingly tragic.
挖掘他内心深处对自己和他人的痛苦和冲突——他将推翻百老汇肤浅的商业惯例，创造出一种全新的美国戏剧——一种无情的诚实——真实的生活——以及深刻、令人兴奋的悲剧。
"I want to be an artist or nothing," he declared, not long after returning to New London in the summer of 1913.
1913 年夏天回到新伦敦后不久，他宣称：“我想成为一名艺术家，否则什么都不是。”
Escaping now, not into the oblivion of drink and death, but into the phantom mirror world of art, he would spend the next thirty years relentlessly plumbing the depths of his own experience — endlessly searching for a poetic language capable of conveying his deeply tragic sense of existence.
现在，他不再逃避酒精和死亡的遗忘，而是进入艺术的幻镜世界，在接下来的三十年里，他不懈地探索自己的经历深处——无休止地寻找一种能够传达他深刻的悲剧性存在感的诗意语言。
American theater would never be the same.
美国戏剧将永远不会一样。
Re-enactment, Eugene O'Neill : What I am after is to get an audience to leave the theater with an exultant feeling from seeing somebody on the stage facing life, fighting against the eternal odds, not conquering, but perhaps inevitably being conquered.
重演，尤金·奥尼尔：我追求的是让观众在离开剧院时带着一种欣喜的感觉，看到舞台上的一个人面对生活，与永恒的困难作斗争，不是征服，而是可能不可避免地被征服。
The individual life is made significant just by the struggle.
个人的生活只有通过奋斗才变得有意义。
John Guare : The shape of O'Neill's life is very simple.
约翰·瓜雷：奥尼尔的生活形态非常简单。
He wrote.
他写道。
He was a young boy, a young man, lived in a theatrical world.
他是一个小男孩，一个生活在戏剧世界里的年轻人。
Then he couldn't fit in, went away to sea, came back drank and drank and drank and drank — and then after 1916, Bound East for Cardiff at the Provincetown Playhouse — the date when O'Neill is "born." From then on he just writes.
然后他无法适应，出海了，回来后一直喝啊喝啊喝啊喝——然后在 1916 年之后，他在普罗温斯敦剧院向东前往卡迪夫——这一天是奥尼尔“出生”的日子。从此他就只管写作。
He writes to the exclusion of having a life.
他写作是为了排除自己的生活。
O'Neill's trajectory is just a man who is consumed by writing.
奥尼尔的轨迹只是一个沉迷于写作的人。
Narrator : Over the next six years, in one of the most tumultuous professional and personal apprenticeships in the history of American theater, O'Neill would teach himself how to write plays, see his first work produced on stage, marry and start a family of his own with a pretty young writer named Agnes Boulton, then scale the ramparts of Broadway itself and take mainstream American theater by storm.
旁白：在接下来的六年里，在美国戏剧史上最动荡的职业和个人学徒生涯之一中，奥尼尔自学了如何写戏剧，观看了他在舞台上的第一部作品，与一位名叫艾格尼丝·博尔顿的年轻漂亮作家结婚并建立了自己的家庭，然后登上了百老汇的城墙，席卷了美国主流戏剧。
Robert Brustein : America didn't have a playwright of consequence up until the time O'Neill came along.
罗伯特·布鲁斯坦：在奥尼尔出现之前，美国还没有一位有影响力的剧作家。
I mean, O'Neill was essentially America's first serious playwright in the teens and in the early twenties.
我的意思是，奥尼尔本质上是美国第一位十几岁和二十出头的严肃剧作家。
O'Neill was really trying to get at the same kind of issues as the great modernists like Ibsen and Strindberg and Chekhov.
奥尼尔确实试图解决与易卜生、斯特林堡和契诃夫等伟大现代主义者相同的问题。
Whether or not he was achieving these aims was less important than the fact that he was attempting them.
他是否实现了这些目标并不重要，重要的是他正在尝试这些目标。
And a lot of people thought he was achieving them.
很多人认为他正在实现这些目标。
Narrator : On February 20th, 1920, O'Neill's first full-length play, Beyond the Horizon , opened on Broadway, and changed forever the course of American theater.
旁白：1920年2月20日，奥尼尔的第一部长剧《超越地平线》在百老汇上演，永远改变了美国戏剧的进程。
The first true American tragedy, the uncompromisingly bleak drama, about the blighted dreams of two brothers in love with the same woman, received rave reviews, brought in more than $6,000 and at the end of the season, won the Pulitzer Prize in drama.
第一部真正的美国悲剧，一部极其凄凉的戏剧，讲述了两个兄弟爱上同一个女人的梦想破灭的故事，受到好评如潮，票房收入超过 6,000 美元，并在季末获得普利策戏剧奖。
O'Neill knew he had arrived, and so did his father, James, who had sat with Ella in the balcony on opening night with tears streaming down his cheeks.
奥尼尔知道他来了，他的父亲詹姆斯也知道，开幕之夜，詹姆斯和艾拉坐在阳台上，泪水顺着脸颊流下来。
Barbara Gelb : O'Neill had fought with his father almost up to the day that he died, but toward the end he and his father were reconciled, especially after Beyond the Horizon was produced in 1920.
芭芭拉·盖尔布：奥尼尔几乎一直与他的父亲争吵到他去世的那一天，但到最后他和他的父亲和解了，特别是在 1920 年制作《超越地平线》之后。
His father did realize that his son was talented.
他的父亲确实意识到他的儿子有才华。
He was very impressed with the fact that it got wonderful reviews and that he was now an accepted playwright.
它获得了精彩的评论，而且他现在已成为一名公认的剧作家，这给他留下了深刻的印象。
Narrator : A week after the play opened, his father suffered a crippling stroke, then learned he had inoperable cancer of the intestine, and four months later, went home to New London to die.
旁白：戏剧开演一周后，他的父亲中风致残，随后得知自己患有无法手术的肠癌，四个月后，他回到新伦敦的家中去世。
On his deathbed, he revealed the full extent of the bitter regret he felt at having betrayed his own talent, and his last words left a deep impression on his younger son.
临终前，他充分表达了自己对背叛自己才华的痛苦悔恨，他的遗言给小儿子留下了深刻的印象。
"I'm going to a better sort of life," he gasped.
“我要过上更好的生活，”他喘着气说。
"This sort of life, here ...
“这样的生活，在这里......
all froth ...
全部都是泡沫...
no good ...
不好...
rottenness!"
腐烂！”
Re-enactment, Eugene O'Neill : That's what caused me to make up my mind that they would never get me.
重演，尤金·奥尼尔：这就是让我下定决心他们永远不会抓到我的原因。
I determined then and there that I would never sell out.
我当时就下定决心，我永远不会卖掉它。
His dying words are written indelibly, seared on my brain, a warning from the beyond to remain true to the best that is in me though the heavens fall.
他临终前的话语不可磨灭地写在我的脑海里，烙印在我的脑海里，这是来自远方的警告，让我即使天塌下来，也要忠于我内心最好的一面。
Narrator : Two years later, his mother, Ella, having finally recovered from her long addiction, died of a stroke while on a trip to California.
旁白：两年后，他的母亲埃拉终于从长期的毒瘾中康复，在去加利福尼亚旅行时因中风去世。
Not long after, in the fall of 1923, his brother, Jamie, nearly blind, and in the terminal stages of alcoholism, died at the age of forty-five, his life the most cruelly blighted of the four tragic O'Neills.
不久之后，1923 年秋天，他的兄弟杰米几乎失明，并且处于酗酒的晚期，去世时享年四十五岁，他的一生是四个悲剧奥尼尔中最残酷的。
"Within the last four years," O'Neill wrote to a friend, "I have lost my Father, my Mother and my only brother."
“在过去的四年里，”奥尼尔在给朋友的信中写道，“我失去了我的父亲、我的母亲和我唯一的兄弟。”
Now he was alone with their ghosts.
现在他独自一人和他们的鬼魂在一起。
One way or another, they would continue to haunt him for the rest of his days.
无论如何，它们将在他余下的日子里继续困扰着他。
Arthur Gelb : First thing you have to understand is that O'Neill is someone who can't get his ideas down on paper fast enough.
阿瑟·盖尔布：首先你必须明白，奥尼尔是一个无法足够快地将自己的想法写在纸上的人。
They are always percolating in his mind, not one idea, but a dozen ideas, two dozen ideas.
它们总是在他的脑海里渗透，不是一个想法，而是十几个想法，两打想法。
He is constantly trying to understand himself, he can't understand himself because a lot of ideas are unconscious, they come in dreams.
他不断地试图了解自己，但他无法了解自己，因为很多想法都是无意识的，它们来自梦中。
O'Neill dreamt all of Desire Under the Elms and Ah!
奥尼尔梦见了《榆树下的欲望》和《啊！
Wilderness.
荒野。
He dreamt fragments of dozens of other plays.
他梦见了其他几十部戏剧的片段。
Narrator : Following the success of Beyond the Horizon, O'Neill's career would take off with a speed and intensity unparalleled in the annals of American theater.
旁白：随着《超越地平线》的成功，奥尼尔的事业以美国戏剧史上无与伦比的速度和强度起飞。
Over the next fourteen years, he would write eighteen new plays, see twenty-one of his works produced on and off Broadway, win two more Pulitzer Prizes, and become the most critically acclaimed playwright of his generation.
在接下来的十四年里，他写了十八部新剧，在百老汇内外观看了他的二十一部作品，又赢得了两项普利策奖，并成为他这一代中最受好评的剧作家。
Tony Kushner : I mean he was a hugely famous writer.
托尼·库什纳：我的意思是他是一位非常著名的作家。
He filled a cultural space that needed to be filled.
他填补了一个需要填补的文化空间。
We had a couple of great novelists — we had Melville, Hawthorne, Henry James, and O'Neill came along at a point when and we needed a great playwright.
我们有几位伟大的小说家——梅尔维尔、霍桑、亨利·詹姆斯和奥尼尔出现在我们需要一位伟大剧作家的时候。
And he knew that, I mean, it was a created persona as well...
他知道，我的意思是，这也是一个被创造的角色......
I mean, he posed for all those gorgeous pictures of himself, and you know ...
我的意思是，他为自己拍摄了所有这些漂亮的照片，你知道......
and he was an actor's son, and he really knew how to look haunted and you know driven.
他是一个演员的儿子，他真的知道如何让自己看起来心神不宁，你知道如何让自己看起来充满动力。
Barbara Gelb : The fact that he was able to, on his own terms, overturn the very frivolous Broadway that he came into in early 1920, and that he was able to make producers accept him on his own terms, was a remarkable thing for the time and he never tried to repeat his early successes, he always wanted to try something different.
芭芭拉·盖尔布：事实上，他能够以自己的方式推翻他在 1920 年初进入的非常轻浮的百老汇，并且他能够让制片人以自己的方式接受他，这在当时是一件了不起的事情，他从不试图重复他早期的成功，他总是想尝试一些不同的东西。
Often, he fell on his face in trying.
他常常在尝试时摔倒在地。
But, each time he was reaching for something bigger and beyond what he had already done for something even more important and more revealing of life.
但是，每次他都在追求更大的目标，超越他已经做过的事情，追求更重要、更能揭示生活的东西。
Tony Kushner : I think that there's a necessity to experiment when you're involved in something as protean as actually literally inventing American theater.
托尼·库什纳：我认为，当你参与到像真正发明美国戏剧这样千变万化的事情时，就有必要进行实验。
Narrator : In The Emperor Jones , he would use Expressionist scenery and the sound of throbbing drums to highlight the disintegration of his main character, a black man haunted by three hundred years of American racism and the past.
旁白：在《琼斯皇帝》中，他会用表现主义的风景和震耳欲聋的鼓声来突出他的主角的崩溃，一个被三百年的美国种族主义和过去所困扰的黑人。
In The Hairy Ape , he would use savagely stylized dialogue and masks to evoke the inner life of working men ground to dust by the forces of industrialization.
在《毛猿》中，他用野蛮风格化的对话和面具来唤起被工业化的力量磨成灰尘的工人的内心生活。
In Anna Christie , which would bring him a second Pulitzer, he would explore the deeply conflicted hopes and fears of a one-time prostitute, the father who abandoned her, and the strapping Irish sailor she falls in love with.
在为他带来第二次普利策奖的《安娜·克里斯蒂》中，他探讨了一名曾经的妓女、抛弃她的父亲以及她爱上的魁梧爱尔兰水手之间深刻冲突的希望和恐惧。
Performance, Liam Neeson : And me to listen to that talk from a woman like you and be frightened to close her mouth with a slap!
表演，连姆·尼森：而我，听着像你这样的女人的谈话，吓得一巴掌闭上了嘴！
O God help me, I'm a yellow coward for all men to spit at!
上帝啊，请帮助我，我是一个值得所有人吐口水的黄色胆小鬼！
But I'll not be getting out of this 'til I've had me word.
但在我得到消息之前我不会离开这件事。
And let you look out now how you'd drive me!
现在让你看看你会如何驱赶我！
John Guare : That's where O'Neill wanted to take us, he wanted to take us to the place where the interior life of the characters was ripped open and revealed.
约翰·瓜雷：这就是奥尼尔想要带我们去的地方，他想带我们去一个角色的内心生活被撕开和揭示的地方。
And in this limitless America — this land without a horizon — what do we do faced with the desolate boundaries that we feel within us?
在这片无边无际的美国——这片没有地平线的土地——面对我们内心感受到的荒凉边界，我们该怎么办？
Narrator : To a striking degree, the painful inner turmoil his characters faced mirrored conflicts in his own life, past and present.
旁白：在很大程度上，他的角色所面临的痛苦的内心混乱反映了他自己过去和现在生活中的冲突。
In 1924, with strains in their marriage already on the rise, he and Agnes moved with five-year-old Shane to Bermuda, where in 1925 a second child, Oona, was born, and where the conflict between them intensified.
1924 年，由于婚姻关系日益紧张，他和艾格尼丝带着五岁的谢恩搬到了百慕大，1925 年，第二个孩子乌娜出生，他们之间的冲突加剧。
Drinking too much, and ill-equipped for the family life he craved, he often felt as he had after the birth of Shane, "homesick for homelessness and irresponsibility," he said, and filled with regret that he had gone "in for play-writing, mating and begetting" children.
他喝得太多，而且对自己渴望的家庭生活缺乏准备，他经常感到像肖恩出生后一样，“因为无家可归和不负责任而想家”，他说，并对自己“从事剧本创作、交配和生育”孩子感到遗憾。
Agnes, in turn, increasingly resented the maintenance his personality required; and always more social than he, had little sympathy with his increasingly desperate struggle to give up drinking.
反过来，艾格尼丝越来越讨厌他的个性需要维持。总是比他更爱交际，对他日益绝望的戒酒斗争几乎没有同情心。
Arthur Gelb : O'Neill stopped cold when he was forty.
阿瑟·盖尔布：奥尼尔四十岁时就不再感冒了。
He had to stop cold, because psychiatrists told him his brain would turn to the white of an egg, and he knew that without writing, he would die.
他必须停止冷静，因为精神科医生告诉他，他的大脑会变成蛋清，而且他知道，如果不写作，他就会死。
Narrator : Quitting, however, left him feeling even more strangely unsettled inside, and he compensated by retreating even more deeply into his work.
旁白：然而，退出让他内心感到更加奇怪的不安，他通过更加深入地投入工作来弥补。
He became increasingly obsessed with masks, and with what they seemed to convey of the unnamed, undisclosed forces beneath the surface of life, conscious at times that his work itself was a kind of mask behind which he was hiding.
他越来越痴迷于面具，以及它们似乎传达的生活表面下未命名、未公开的力量，有时意识到他的作品本身就是一种他隐藏在后面的面具。
Haunted more than ever by the loss of his religious faith, he looked increasingly for something to replace it — restlessly searching in play after play for the "Force behind," he said, "Fate, God, our biological past whatever one calls it, Mystery, certainly."
他比以往任何时候都更被宗教信仰的丧失所困扰，越来越多地寻找某种东西来取代它——在一场又一场的比赛中焦躁不安地寻找“背后的力量”，他说，“命运，上帝，我们的生物过去，无论人们如何称呼它，当然是神秘。”
Ransacking the literature of three millennia, in works of increasing length, complexity and ambition, he would push the boundaries of the American theater to the very limit, haunted, as he drove himself forward, by the nagging suspicion that he had still not created the masterworks of which he was capable.
他翻遍了三千年的文学作品，创作出越来越长、越来越复杂、越来越雄心勃勃的作品，将美国戏剧的界限推向了极限，在他不断前进的过程中，他不断地怀疑自己仍然没有创造出他有能力创作的杰作。
Robert Brustein : No one understood better his own limitations than O'Neill.
罗伯特·布鲁斯坦：没有人比奥尼尔更了解自己的局限性。
Now, the fear of being what Freud called "a pseudo-genius," someone who has all the desires to be a writer, a great genius writer, and all the ambition and all the feelings of a writer, but just can't make it, that's terrifying.
现在，害怕成为弗洛伊德所说的“伪天才”，一个拥有成为一名作家的所有愿望，一个伟大的天才作家，以及作家的所有野心和所有感情，但就是无法实现，这是可怕的。
And imagine living with that day by day, and not knowing whether you have it or not, and not knowing in spite of all the praise that has been lavished on you, whether you really are worthy of any of that praise.
想象一下，日复一日地生活在这种情况下，不知道自己是否拥有它，也不知道尽管人们对你给予了如此多的赞扬，但你是否真的值得这些赞扬。
I'm sure he must have felt that.
我相信他一定也有这种感觉。
Re-enactment, Eugene O'Neill : One's outer life passes in a solitude haunted by the masks of others; one's inner life passes in a solitude hounded by the masks of oneself.
重演，尤金·奥尼尔：一个人的外在生活在被他人的面具所困扰的孤独中度过；一个人的内心生活在孤独中度过，被自己的面具所困扰。
Tony Kushner : I think that if you look at this obsession that he has with illusions and dreams, and the way that he ties this into the national question of America as a kind of hollow dream or a dream that will never be fulfilled this sort of very, very tragic and dark vision of what this country is, what this country does to people's dreams.
托尼·库什纳：我认为，如果你看看他对幻想和梦想的痴迷，以及他将其与美国国家问题联系起来的方式，就像一种空洞的梦想或一个永远不会实现的梦想，这种非常非常悲惨和黑暗的愿景，关于这个国家是什么，这个国家对人们的梦想做了什么。
The whole obsession with masks in the Twenties, I mean the idea of life as a kind of a failing theater, really, makes it absolutely imperative that he work in the theater and that he write plays because the theater is a perfect metaphor for him for a central question of life, which is the artifice of it, the way that we construct realities to protect ourselves, to make it possible for us to survive, and the horrible effort it requires to keep those realities intact and to enlist other people into our own "little plays", and how, finally, one loses the vigor and ruthlessness necessary to keep your dreams the dominant reality that surrounds you every waking minute, and as those dreams fall apart you realize that you've lived a lie.
二十年代对面具的痴迷，我的意思是，生活就像一个失败的剧院的想法，真的，使得他绝对有必要在剧院工作和写戏剧，因为剧院对他来说是生活中心问题的完美隐喻，这是它的技巧，我们构建现实来保护自己，使我们能够生存，以及保持这些现实完好无损并让其他人加入我们自己的“小戏剧”所需的可怕努力，最后，一个人如何失去了让你的梦想成为你醒着的每一分钟的主导现实所必需的活力和无情，当这些梦想破灭时，你意识到你一直生活在谎言中。
And you can't find a better way of expressing that than on a stage, because you're of course watching a constantly decomposing dream that cannot remain intact, that has all these holes in it that the audience is aware of, that frighten and electrify.
你找不到比在舞台上更好的表达方式，因为你当然正在观看一个不断分解的梦想，它无法保持完整，其中有观众意识到的所有这些漏洞，这些漏洞令人恐惧和震惊。
And I think it makes the theater the perfect medium for somebody who's as heartbroken about disillusionment, who really finally on some level can't reconcile himself to the fact that there's no salvation, that there's no redemption, that there's no life after death, that everything that made life possible, bearable, is really, kind of, finally, a lie.
我认为，对于那些因幻灭而心碎的人来说，剧院成为了完美的媒介，他们最终在某种程度上无法接受这样一个事实：没有救赎，没有救赎，没有死后的生命，一切使生命成为可能的、可以忍受的，最终实际上是一种谎言。
And I think that theater is a perfect medium for somebody who's as grief stricken about that as O'Neill was.
我认为对于像奥尼尔一样对此感到悲痛的人来说，戏剧是一个完美的媒介。
Narrator : In the winter of 1928, Strange Interlude , his longest and most ambitious undertaking yet, opened on Broadway.
旁白：1928 年冬天，他迄今为止最长、最雄心勃勃的作品《奇怪的插曲》在百老汇上演。
A nine-act, five-hour boldly sexual novel in play form, it would prove to be his most successful play to date — bringing him more than a quarter of a million dollars in royalties — and at the end of the season a third Pulitzer Prize.
这是一部九幕、时长五个小时的戏剧形式的大胆性小说，这将被证明是他迄今为止最成功的戏剧——为他带来了超过一百万美元的版税——并在季末第三次获得普利策奖。
By then, however, O'Neill himself had long since taken flight again.
然而此时，奥尼尔本人早已再次飞走了。
On February 10, 1928, he set sail for Europe aboard the steamship Berengaria.
1928年2月10日，他乘坐贝伦加里亚号轮船启航前往欧洲。
Behind him was his life with Agnes, and his children, Shane and Oona, to whom he had not even said goodbye.
他身后是他与艾格尼丝以及他的孩子谢恩和乌娜的生活，他甚至没有向他们告别。
With him was a woman he had fallen passionately in love with two years earlier, who would alter the course of his entire existence, and eventually help bring his seeking flight to an end.
与他在一起的是两年前他热烈爱上的一个女人，这个女人将改变他整个存在的轨迹，并最终帮助他结束对逃亡的追求。
Her name was Carlotta Monterey.
她的名字叫卡洛塔·蒙特雷。
For the next twenty-five years, the drama of his life would be inextricably bound up with her complex personality.
在接下来的二十五年里，他的人生戏剧将与她复杂的性格密不可分。
Her ultimate impact on the fate of his career would be incalculable.
她对他职业生涯的最终影响将是不可估量的。
Archival footage, Carlotta Monterey : When I married Mr. O'Neill, I knew nothing about him, except that he was a dramatist.
档案片段，卡洛塔·蒙特雷：当我嫁给奥尼尔先生时，我对他一无所知，只知道他是一位剧作家。
I'd played in a play he had.
我演过他演的一部剧。
And he kept saying to me — he didn't say, "I love you, I think you're wonderful, I think you're grand" — he kept saying to me, "I need you, I need you, I need you." And sometimes it was a bit frightening.
他一直对我说——他没有说，“我爱你，我认为你很棒，我认为你很伟大”——他一直对我说，“我需要你，我需要你，我需要你。”有时这有点令人恐惧。
I'd been brought up in England and nobody ever sort of gritted their teeth and said they'd needed me.
我在英国长大，从来没有人咬紧牙关说他们需要我。
And he did need me I discovered.
我发现他确实需要我。
And he never was in good health, he always had a cold.
而且他的身体一直不好，总是感冒。
Narrator : She had made herself up in many ways — right from the beginning — like a character a play or novel of her own invention.
旁白：她从一开始就以多种方式塑造自己，就像她自己发明的戏剧或小说中的角色一样。
Though she always claimed otherwise, she had not in fact been brought up in England under genteel circumstances — nor in fact was her real name Carlotta Monterey.
尽管她总是声称并非如此，但实际上她并不是在英国的上流环境下长大的——事实上她的真名卡洛塔·蒙特利也不是。
Arthur Gelb : Her real name was Hazel Tharsing.
亚瑟·盖尔布：她的真名是黑泽尔·塔辛。
She was a very elegant woman, and quite beautiful in an exotic way and she created drama for herself.
她是一位非常优雅的女人，非常美丽，具有异国情调，她为自己创造了戏剧。
Barbara Gelb : She grew up poor in Oakland, California.
芭芭拉·盖尔布：她在加利福尼亚州奥克兰长大，家境贫寒。
Her father abandoned her family, her mother ran a boarding house.
她的父亲抛弃了她的家庭，她的母亲经营着一家寄宿屋。
And she was quite an accomplished seductress by the time she met Eugene.
当她遇到尤金时，她已经是一个非常熟练的诱惑者了。
Heads turned whenever she walked into a room, she was absolutely beautiful, beautiful actress -- not very talented, but she got parts because of her great beauty.
每当她走进一个房间时，人们都会转过头来，她是一个绝对美丽的女演员——不是很有才华，但她因为她的美丽而得到了角色。
Narrator : They had met once before in 1922, during the Broadway production of The Hairy Ape , in which she had played the role of Mildred.
旁白：他们曾在1922年见过一次面，当时是在百老汇演出《毛猿》期间，她在剧中扮演米尔德里德。
But it was a chance encounter on a lake in Maine four years later that had kindled their romance.
但四年后在缅因州湖上的一次偶遇点燃了他们的恋情。
He was, it turned out, exactly what she was looking for; she was exactly what he needed.
事实证明，他正是她要找的人。她正是他所需要的。
Years after he was gone, she would return in her mind to her earliest memories of him.
他离开多年后，她的脑海里又会浮现出对他最早的记忆。
Archival footage, Carlotta Monterey : He asked if he could come to tea.
档案录像，卡洛塔·蒙特雷：他问是否可以来喝茶。
I hardly knew the man.
我几乎不认识这个人。
And he sat down and he began to talk about his early life,that he'd had no home.
他坐下来，开始谈论他的早年生活，说他没有家。
He had no mother in the real sense, no father in the real sense.
他没有真正意义上的母亲，也没有真正意义上的父亲。
Barbara Gelb : And she started working on him at that point and she persuaded him that he was living the wrong kind of life and said, "you know, you need someone, this is not the life you need, you're a distinguished playwright." He should be protected, he should have serenity, he should be surrounded by beauty, he shouldn't have to smell diapers and lamb stew.
芭芭拉·盖尔布：从那时起，她开始对他进行研究，她说服他，他过着错误的生活，并说，“你知道，你需要一个人，这不是你需要的生活，你是一位杰出的剧作家。”他应该受到保护，他应该拥有宁静，他应该被美丽包围，他不应该闻尿布和炖羊肉的味道。
And he was completely seduced by her.
而他，已经完全被她迷惑了。
He always wanted to have someone who would take care of him and he finally did find that kind of woman in Carlotta, who was not interested in children and who was prepared to devote her life to being his protectress and nurse and mother and secretary, and that was the woman he ultimately ended up with.
他一直想要有人照顾他，他终于在卡洛塔身上找到了这样的女人，她对孩子不感兴趣，准备奉献一生，成为他的保护者、护士、母亲和秘书，这就是他最终找到的女人。
Narrator : Though their battles could be epic — and at the very end they would inflict almost unbearable pain on each other — for much of their twenty-four year marriage they would do everything in their power to give each other what they wanted — which, in the end, could be simply stated.
旁白：虽然他们的战斗可能是史诗般的——最后他们会给彼此带来几乎难以忍受的痛苦——但在他们二十四年婚姻的大部分时间里，他们会尽一切努力给对方他们想要的东西——最后，这可以简单地表述出来。
He wanted beauty, serenity and protection.
他想要美丽、宁静和保护。
She wanted to be the wife of a great genius.
她想成为一位伟大天才的妻子。
And so they ran away together.
于是他们就一起逃跑了。
Barbara Gelb : And it was a very stormy beginning and they almost broke up.
芭芭拉·盖尔布：这是一个非常暴风雨的开始，他们几乎分手了。
They went off to Europe and they began traveling around France.
他们去了欧洲，并开始环游法国。
But he was very torn, I mean, he was not totally without a conscience about Agnes and the two children.
但他很矛盾，我的意思是，他对艾格尼丝和两个孩子并不是完全没有良心。
And they had terrible battles, and she left him a couple of times.
他们经历了可怕的争斗，她也离开过他几次。
But for some reason they did manage to stick.
但由于某种原因，他们确实坚持了下来。
From that point on, when they rented the house in France and he settled down to write Mourning Becomes Electra, it was a very serene, and very happy relationship for the next several years.
从那时起，当他们在法国租了房子，他安顿下来写《哀悼变成伊莱克特拉》时，在接下来的几年里，这是一种非常平静、非常幸福的关系。
Narrator : It was during his sojourn with Carlotta in France, sustained as never before by his relationship with a woman, that something in him began to shift.
旁白：正是在他与卡洛塔在法国逗留期间，他与女人的关系前所未有地维持着他内心的某些东西开始发生变化。
More and more, he was growing impatient with experimentation for its own sake.
他对实验本身越来越不耐烦。
"The limits began to narrow," one man later said.
“限制开始缩小，”一名男子后来说。
"The artistic aim was no longer to find God, but to know what lay within himself."
“艺术的目的不再是寻找上帝，而是了解他内心深处的东西。”
As his imagination began to contract and turn inward, he challenged himself to go deeper, and to find a truer instrument with which to express himself.
当他的想象力开始收缩并向内转时，他挑战自己要更深入，并找到一种更真实的工具来表达自己。
"O for a language to write drama in," he wrote to a friend in 1929, "for a speech that is dramatic and isn't just conversation!
1929 年，他在给朋友的信中写道：“啊，希望有一种写戏剧的语言，希望有一场戏剧性的演讲，而不仅仅是谈话！
But where to find that language?"
但哪里可以找到那种语言呢？”
That spring, he set to work on Mourning Becomes Elektra — a sprawling nine-act trilogy based on the Orestaia , the first and greatest of the ancient Greek tragedies -- which he had chosen to retell, he said, because "it has greater possibilities of revealing all the deep hidden relationships in the family than any other."
那年春天，他开始创作《哀悼埃莱克特拉》——这是一部根据古希腊第一部也是最伟大的悲剧《奥瑞斯泰亚》改编的庞大九幕三部曲，他说，他之所以选择重述这部作品，是因为“它比其他任何一部剧更有可能揭示家庭中所有深藏的关系。”
Increasingly now, he was being drawn back towards memory, family and the past.
现在，他越来越被拉回到记忆、家庭和过去。
Six months after the play's triumphant Broadway opening in October 1931, he and Carlotta retreated to Sea Island, Georgia, where he awoke one morning with the "idea for a nostalgic comedy" running through his head — "fully formed and ready to write" — he remembered.
该剧于 1931 年 10 月在百老汇大获成功，六个月后，他和卡洛塔撤退到佐治亚州的海岛。一天早上，他醒来时脑海中闪过“一部怀旧喜剧的想法”——“已经完全成形，准备好写作了”——他回忆道。
It was Ah, Wilderness !
那是啊，荒野！
An imaginary portrait of his New London boyhood, viewed through wistfully rose-colored glasses, it represented a longing "for a youth I never had," he later said, "showing the way I would have like my boyhood to have been."
这是一幅他在新伦敦童年的想象肖像，透过令人渴望的玫瑰色眼镜观看，它代表了一种“对我从未拥有过的青春的渴望”，他后来说，“展示了我希望我的童年的样子。”
He completed a first draft in a record six weeks.
他在创纪录的六周内完成了初稿。
John Guare : O'Neill needed to write Ah, Wilderness !
约翰·瓜雷：奥尼尔需要写《啊，荒野！》
He was heading back towards his, unconsciously, where he wanted to go, going back to that house in Connecticut.
他不知不觉地正朝着他想去的地方走去，回到康涅狄格州的那所房子。
That I think he had to create a dream version of it, the happy version of it, the life lie.
我认为他必须创造一个梦想版本，幸福版本，生活谎言。
Narrator : And still his inward retreat continued.
旁白：但他的内心退缩仍在继续。
For years, he had been growing increasingly impatient with what he called the "show shop" of Broadway.
多年来，他对他所谓的百老汇“表演商店”越来越不耐烦。
In January 1934, following the savage critical reception of his next play, Days Without End , a solemn, overlong meditation on his lost religious faith, he vowed to distance himself from the commercial theater entirely and withhold all future production of his work.
1934 年 1 月，他的下一部戏剧《无尽的日子》受到了猛烈的批评，这部戏剧是对他失去的宗教信仰的庄严而冗长的沉思，他发誓要完全远离商业剧院，并停止今后制作他的所有作品。
He would not have another play on Broadway for nearly twelve years.
近十二年来，他再也没有在百老汇上演过戏剧。
Barbara Gelb : He was very angry and very resentful, and he felt that this great laudatory group of people, who came to see everything he wrote and loved everything he wrote, suddenly turned on him, and, didn't go near this play and thought it was awful.
芭芭拉·盖尔布（Barbara Gelb）：他非常生气，非常怨恨，他觉得这群伟大的赞美者，他们来看他写的所有东西，喜欢他写的所有东西，突然转向他，并且没有接近这部戏，认为它很糟糕。
And so, he felt, well, "I'll teach them a lesson, I'll just withdraw and I won't write anything for Broadway."
所以，他觉得，好吧，“我会给他们一个教训，我会退出，我不会为百老汇写任何东西。”
Narrator : Warned by his doctor that he was "teetering on the verge of a nervous breakdown," he returned to Sea Island, and threw himself into a new project, the most ambitious and ultimately ill-fated of his career — a massive cycle of plays, chronicling a hundred and fifty years in the life of an Irish American family, doomed to strangle on its own greed.
旁白：他的医生警告他“在精神崩溃的边缘摇摇欲坠”，他回到海岛，全身心投入到一个新的项目中，这是他职业生涯中最雄心勃勃、最终命运多舛的一个项目——一个庞大的戏剧循环，记录了一个爱尔兰裔美国家庭一百五十年的生活，注定要被自己的贪婪扼杀。
He called it A Tale of Possessers Self-Dispossessed , and for the next five years he would devote every ounce of energy he had to the constantly expanding project.
他将其称为“拥有者自我剥夺的故事”，在接下来的五年里，他将把自己的每一分精力都投入到这个不断扩大的项目中。
"The only thing he wanted," Carlotta recalled, "was to write, write, write — and never go near a theater."
“他唯一想要的，”卡洛塔回忆道，“就是写作、写作、写作——而且永远不要靠近剧院。”
But they would soon be on the run again.
但他们很快就会再次逃亡。
In the fall of 1936, worn down by the brutally hot Georgian summers, and worried by the steadily increasing tremor in his hands, he and Carlotta set out for the Pacific Northwest, looking for a new home.
1936 年秋天，乔治亚酷热的夏季让他精疲力尽，双手不断加剧的颤抖让他感到担忧，于是他和卡洛塔出发前往太平洋西北地区，寻找新家。
They had just come to rest in early November, in a rented house overlooking Puget Sound, when their seclusion was shattered by the news that O'Neill had won the Nobel Prize.
十一月初，他们刚刚在俯瞰普吉特湾的租来的房子里休息，奥尼尔获得诺贝尔奖的消息打破了他们的隐居生活。
He was too weary to take much joy in it, however, and, in the end, too ill to travel to Stockholm for the ceremony, and by mid-December, he and Carlotta were on the move again, heading south for California, where, on the day after Christmas 1936, his health collapsed completely, and he was rushed to a hospital in Oakland, suffering from appendicitis and a host of other ailments.
然而，他太累了，无法享受太多乐趣，最后，病得太重，无法前往斯德哥尔摩参加仪式。到了 12 月中旬，他和卡洛塔再次启程，向南前往加利福尼亚州。1936 年圣诞节后的第二天，他的健康状况完全崩溃，被送往奥克兰的一家医院，患有阑尾炎和许多其他疾病。
He was still there ten weeks later, when on February 17, 1937, the Swedish consul general officially awarded him the Nobel Prize, in a private ceremony in his hospital room that lasted less than five minutes.
十周后，他仍然在那里，1937 年 2 月 17 日，瑞典总领事在他的病房里举行了一场持续不到五分钟的私人仪式，正式授予他诺贝尔奖。
Barbara Gelb : And he almost died at one point, and he and Carlotta almost gave up thinking that they could ever live anywhere anymore.
芭芭拉·盖尔布：他有一次差点就死了，他和卡洛塔几乎放弃了他们可以再住在任何地方的想法。
And finally he did recover, and they did find this very isolated and beautiful place in the mountains in California.
最后他确实康复了，他们也确实在加利福尼亚州的山区找到了这个非常偏僻而美丽的地方。
As he had planned it, he was going to settle down there, and that was the last place he would ever live, and he would finish writing whatever he was going to write, until he died, and that was where he would be, with Carlotta.
按照他的计划，他要在那里定居下来，那是他最后住的地方，他会写完他要写的任何东西，直到他去世，而那是他和卡洛塔在一起的地方。
But I think that he did not really expect what happened to him at that point.
但我认为他并没有真正预料到当时会发生什么。
Robert Brustein : If he died after Ah, Wilderness !
罗伯特·布鲁斯坦：如果他在《啊，荒野》之后死了！
we would have thought, "Very interesting, but too bad he never made it as a great playwright." But then something happened.
我们会想，“非常有趣，但遗憾的是他从未成为一名伟大的剧作家。”但后来发生了一些事情。
He went into hibernation, and did not show his face to the world, and began writing works that he may not ever have intended the world to see.
他进入冬眠状态，不再向世人露面，并开始创作他可能从未想让世界看到的作品。
And he had what was then diagnosed as Parkinson's disease, and it was causing his hand to shake badly and made the very act of writing difficult and painful.
他患有当时被诊断为帕金森氏症的疾病，这导致他的手严重颤抖，使写作变得困难和痛苦。
And there he was a sick man in a shuttered room, writing.
他是一个病人，在一间紧闭的房间里写作。
And that image is very poignant because he emerged with those plays in his hands from that room and those plays were masterpieces.
这个形象非常令人心酸，因为他手里拿着这些戏剧从那个房间里出现，而这些戏剧都是杰作。
Narrator : And so they came at last to Tao House, the isolated land-locked haven they had built for themselves from the ground up on a mountainside in California.
旁白：于是他们终于来到了陶屋，这是他们在加利福尼亚州的山腰上为自己建造的一个与世隔绝的内陆避风港。
They moved into the house at the end of 1937, ensconcing his beloved player piano, "Rosie," on the ground floor, in a snug parlor at the foot of the stairs, with views of Mount Diablo.
1937 年底，他们搬进了这所房子，把他心爱的自动钢琴“Rosie”安置在底层楼梯脚下的舒适客厅里，可以看到迪亚布罗山的景色。
Upstairs, in the silent, thick-walled study of his new home, he arranged the scores of outlines, scenarios and drafts he had already created for the "Cycle," along with the dozens of notebooks he had been filling with play ideas since he had begun writing at twenty-four.
楼上，在他新家安静、厚墙的书房里，他整理了他已经为《循环》创作的几十个大纲、场景和草稿，还有他从二十四岁开始写作以来一直在写满游戏想法的几十本笔记本。
For the next eighteen months, he labored over the gargantuan project, drafting one play, outlining another, doubling back to research a third, but the more progress he made, the longer and more complex the nightmarishly difficult project grew, and the further the endpoint receded.
在接下来的十八个月里，他致力于这个庞大的项目，起草一部戏剧，概述另一部戏剧，加倍努力研究第三部戏剧，但他取得的进展越多，这个噩梦般困难的项目就越长、越复杂，终点也退得越远。
Re-enactment, Eugene O'Neill : That's the devil of this job, the constant driving on while seeming, in the light of final completion, to be making no progress.
重演，尤金·奥尼尔：这就是这项工作的魔鬼之处，不断地前进，而从最终完成的角度来看，似乎没有取得任何进展。
Narrator : All the while it was becoming increasingly clear that his body was simply failing him.
旁白：一直以来，越来越明显的是，他的身体已经让他失望了。
For years he been showing signs of premature old age, but now a litany of woes descended on him, including insomnia, night sweats, prostate pain and low blood pressure.
多年来，他一直表现出过早衰老的迹象，但现在一连串的烦恼降临到他身上，包括失眠、盗汗、前列腺疼痛和低血压。
He often had trouble swallowing, but even more disturbing were the steadily worsening tremors, that made it increasingly difficult to write, and that sometimes caused him to lose control of his arms and legs completely.
他经常出现吞咽困难，但更令人不安的是不断加剧的颤抖，这使得写作变得越来越困难，有时甚至导致他完全失去了对手臂和腿的控制。
Unable to set down his thoughts with any other instrument than a pencil, his handwriting now grew smaller and smaller as he struggled to control the tremor — until he was squeezing more than a thousand words at a time onto a single sheet of paper.
除了铅笔之外，他无法用任何其他工具来写下自己的想法，随着他努力控制颤抖，他的字迹变得越来越小——直到他一次把一千多个字挤在一张纸上。
Carlotta had to use a magnifying glass to transcribe it.
卡洛塔不得不使用放大镜来转录它。
By the spring 1939, he had outlined ten of the eleven plays of the Cycle, and written scenarios or multiple drafts of eight, nearly a million words in all.
到 1939 年春天，他已经勾勒出了该剧的 11 部剧目中的 10 部，并撰写了 8 部剧本或多份草稿，总共近百万字。
But something inside him had reached the breaking point, and on June 5, 1939 he made a fateful entry in his diary.
但他内心的某些东西已经达到了崩溃的临界点，1939 年 6 月 5 日，他在日记中写下了一个决定命运的条目。
Afraid he would soon be forced to give up writing altogether, he felt "a sudden necessity," he said, "to write plays I'd wanted to write for a long time that I knew could be finished."
他担心自己很快就会被迫完全放弃写作，他觉得“突然有必要”，他说，“写一些我一直想写的戏剧，我知道可以完成。”
Tony Kushner : I think a bell goes off in his head that it's going to kill him, and it's too much for him to do, he's not going to be able to finish it.
托尼·库什纳：我认为他的脑海里响起了这会杀了他的钟声，这对他来说太过分了，他无法完成它。
And you know he makes a decision at that point to abandon the whole "Cycle" and to go back to his childhood, to go back to the seminal moments in his life and to create these three or four titanic works.
你知道他在那一刻做出了决定，放弃整个“循环”，回到他的童年，回到他生命中的开创性时刻，创作出这三四部泰坦巨制的作品。
Narrator : In the end, something in him had to finish dying for his writing to be reborn.
旁白：最终，他身上的某些东西必须死掉，他的写作才能重生。
In the silence of his study at Tao House, confronted by the specter of his own failing body, and the hopelessness of finishing the "Cycle,"his imagination fell back helplessly into the past, and he returned in his mind to his own most powerful memories and experiences — to the shabby bar he had almost died in at the foot of Manhattan in 1912, and to his family's desolate cottage by the sea that same year.
在道馆静谧的学习中，面对着自己日渐衰弱的身体的幽灵，以及完成“循环”的无望，他的想象力无助地退回到了过去，他在脑海中回到了自己最强烈的记忆和经历——回到了1912年他差点死在曼哈顿脚下的那个破旧酒吧，以及同年回到了他家在海边的荒凉小屋。
On June 6, 1939, the day after reaching his decision to abandon the Cycle, he conceived the idea for his two greatest plays simultaneously.
1939 年 6 月 6 日，也就是他决定放弃《循环》的第二天，他同时萌生了创作两部最伟大戏剧的想法。
Re-enactment, Eugene O'Neill : Read over notes on various ideas for single plays — decide to do outlines of two that seem to appeal most, and see — the Jimmy the Priest-Hell Hole idea — and the New London family one.
重演，尤金·奥尼尔：仔细阅读关于单剧的各种想法的笔记 - 决定制作两个似乎最吸引人的大纲，然后看看 - 牧师吉米 - 地狱洞的想法 - 和新伦敦家庭的想法。
Narrator : It was the beginning of what would become The Iceman Cometh and Long Day's Journey Into Night .
旁白：这是《冰人降临》和《漫漫长夜之旅》的开始。
Conceived when he was more than fifty — the two plays would be completely unlike anything that had come before — in tone, style, diction, structure, depth and tragic power.
他五十多岁时构思的——这两部戏剧在基调、风格、措辞、结构、深度和悲剧力量上都与之前的任何作品完全不同。
Perhaps no great writer in the history of literature had ever taken so long to discover where his deepest talents lay.
也许文学史上没有一位伟大的作家会花如此长的时间来发现自己最深的才华所在。
John Guare : I've had the feeling that all the fat is burned away.
John Guare：我有一种感觉，所有的脂肪都被燃烧掉了。
He no longer has the need to experiment.
他已经没有必要再去尝试了。
He no longer has to find out about masks.
他不再需要去了解面具的事了。
He no longer has to find out about inner monologues.
他不再需要去探寻内心独白。
He no longer has to find out about two actors playing the same part, to show the split in modern man.
他不再需要找出两个演员扮演同一角色来展现现代人的分裂。
The last plays are just man living with his dreams, with his anguish, with his nightmares.
最后的戏剧只是一个带着梦想、痛苦和噩梦生活的人。
The last plays are just saying, "What do I do with the agony that I carry around with me?"
最后的戏剧只是在说：“我该如何处理我随身携带的痛苦？”
Performance, Al Pacino (Hickey) : It kept piling up, like I said.
阿尔·帕西诺（希基）的表演：正如我所说，它一直在堆积。
So I got so I thought about it all the time.
所以我一直在思考这个问题。
I hated myself more and more, thinking of all the wrong I'd done to the sweetest woman in the world who loved me so much.
我越来越恨自己，想到我对这个世界上最可爱的女人所做的一切错事，她如此爱我。
I got so I'd curse myself for a lousy bastard every time I saw myself in the mirror.
我明白了，每次看到镜子里的自己，我都会咒骂自己是个混蛋。
I felt such, such, pity for her it drove me crazy.
我对她感到如此、如此、怜悯，这让我发疯。
You wouldn't believe a guy like me, knocked around so much, could feel such pity.
你不会相信像我这样颠沛流离的人会感到如此可怜。
It got so every night I'd wind up hiding my face in her lap, bawling and begging her forgiveness.
于是每天晚上我都会把脸埋在她的腿上，嚎啕大哭，乞求她的原谅。
And, of course, she'd always comfort me and say, "Never mind, Teddy, I know you won't ever again." Christ, I loved her so, but I began to hate that pipe dream.
当然，她总是安慰我说：“没关系，泰迪，我知道你不会再介意了。”天哪，我是如此爱她，但我开始讨厌那个白日梦。
I began to be afraid I was going bughouse, because sometimes I couldn't forgive her for forgiving me.
我开始担心自己会被送进疯人院，因为有时我无法原谅她原谅我。
I even caught myself hating her for making me hate myself so much.
我什至发现自己恨她，因为她让我如此恨自己。
There's a limit to the guilt you can feel and the forgiveness and the pity you can take!
你所能感受到的内疚、所能承受的宽恕和怜悯都是有限度的！
I mean you have to begin blaming somebody else!
我的意思是你必须开始责怪别人！
I mean it got so sometimes she'd kiss me it was like she did it on purpose to humiliate me.
我的意思是，有时她会吻我，就像她故意这样做来羞辱我一样。
Narrator : He turned first to The Iceman Cometh — not to his own family yet, but to the family of outcasts with whom he had identified so completely in his early twenties.
旁白：他首先转向《冰人来了》——还不是转向他自己的家人，而是转向他在二十岁出头时就完全认同的被遗弃者的家庭。
Completing a rough outline in just two weeks, and the entire four hour play itself in less than six months, he knew from the start it was the finest play he had ever written -- the truest, the deepest, and the bleakest.
他在短短两周内完成了一个粗略的提纲，而整个四个小时的剧本在不到六个月的时间内就完成了，他从一开始就知道这是他写过的最好的剧本——最真实、最深刻、最凄凉的剧本。
" The Iceman ," O'Neill wrote, "is a denial of any other experience of faith in my plays.
奥尼尔写道：“《冰人》是对我戏剧中任何其他信仰体验的否定。
In writing it, I felt I had locked myself in with my memories."
在写这篇文章时，我觉得我把自己锁在了记忆里。”
Taking as its theme the impossibility of salvation in a world without God, the play presented a vision of existence stripped of even the remotest possibility of any kind of redemption, or life beyond the here and now — the hope for which still falteringly flickers, if only because life would be intolerable without it.
该剧以在没有上帝的世界中不可能获得救赎为主题，呈现出一种存在的景象，这种存在被剥夺了任何救赎的最遥远的可能性，或者超越此时此地的生活——这种希望仍然摇摇欲坠地闪烁，哪怕只是因为没有它，生活就无法忍受。
Robert Brustein : The vision of The Iceman Cometh is essentially a nihilistic vision.
罗伯特·布鲁斯坦：《冰人降临》的愿景本质上是一种虚无主义的愿景。
It's the vision of King Lear.
这是李尔王的愿景。
Those two plays are twin plays.
这两部剧是双胞胎剧。
At the end of King Lear , King Lear looks into the abyss of nothingness that mere humans cannot look at without turning to stone.
在《李尔王》的结尾，李尔王凝视着虚无的深渊，人类在凝视这个虚无的深渊时，会变成石头。
That's what O'Neill does in The Iceman Cometh .
这就是奥尼尔在《冰人降临》中所做的事情。
He looks into an abyss of life without illusion, without what he calls pipe dreams and that is death.
他审视生命的深渊，没有幻想，没有他所谓的白日梦，那就是死亡。
To have life without illusion is to be in a state of paralysis, is to die, in effect.
没有幻想的生活就等于瘫痪，实际上就是死亡。
That's what he says and that's a terrifying insight.
这就是他所说的，这是一个可怕的见解。
It's a very truthful insight.
这是一个非常真实的见解。
Narrator : Set in a seedy rot gut saloon, like the one he had nearly died in thirty years before — which O'Neill depicted as a broken-down microcosm of the world — the action of the play revolved around the self-deluding denizens of Harry Hopes' bar — each of whom clings to one tattered illusion or another — each of which is exposed in the course of the play as utterly futile, and yet utterly necessary to his existence.
旁白：故事发生在一间破旧腐烂的酒吧里，就像三十年前他差点死去的那间酒吧一样——奥尼尔将其描述为世界的一个破碎的缩影——该剧的情节围绕着哈利·霍普斯酒吧里自欺欺人的居民展开——他们每个人都坚持着一种或另一种破烂的幻想——每一种幻想都在戏剧的过程中暴露为完全徒劳，但对他的存在却是绝对必要的。
Robert Brustein : He is dealing with a single theme — namely the influence of pipe dreams on one's existence.
罗伯特·布鲁斯坦：他正在处理一个主题——即白日梦对一个人的存在的影响。
But he has to deal with it in every possible ramification.
但他必须应对每一个可能的后果。
Political pipe dreams, religious pipe dreams, social pipe dreams, romantic pipe dreams, every illusion is absolutely annihilated.
政治白日梦、宗教白日梦、社会白日梦、浪漫白日梦，一切幻想都彻底破灭。
In order to do this, he has to develop a kind of centrifugal pattern or form, and seem to be repeating himself, and going around and around and around and around.
为了做到这一点，他必须发展出一种离心模式或形式，并且似乎在重复自己，一圈又一圈，一圈又一圈。
But what he is actually doing is getting concentric circles that get narrower and narrower and narrower until they hit a nuclear center and explode.
但他实际上所做的是让同心圆变得越来越窄，直到它们撞击核中心并爆炸。
Narrator : At the center of the play stands the apocalyptic, unforgettable figure of Theodore Hickey, a fast-talking traveling salesman, with a terrifying secret, and an abyss of unpurged guilt.
旁白：这部剧的中心人物是西奥多·希基（Theodore Hickey）这个世界末日般的、令人难忘的人物，他是一位语速很快的旅行推销员，有着一个可怕的秘密，还有一个无法净化的罪恶深渊。
In O'Neill's dark allegory — at once surprisingly tender, uproariously comic and devastatingly bleak — the twelve drink-sodden apostles in Harry Hope's saloon await the arrival of their ironic Messiah — Hickey, the iceman — who when he comes brings death, not life with him into the bar — trying to persuade them to give up their pipe dreams and live without guilt or illusion.
在奥尼尔的黑暗寓言中——既令人惊讶的温柔、令人捧腹的滑稽又极其凄凉——哈利·霍普的酒吧里十二个喝得酩酊大醉的使徒等待着他们讽刺的弥赛亚——冰人希基的到来——当他到来时，希基带着死亡，而不是生命与他一起进入酒吧——试图说服他们放弃白日梦，没有负罪感或幻想地生活。
John Guare : And Hickey comes in, and tells everyone that he's discovered the truth -- he's discovered you have to take away all illusions, man has to live illusion-free.
约翰·瓜尔：希基进来了，告诉大家他发现了真相——他发现你必须消除所有幻想，人类必须生活在没有幻想的环境中。
And they all, for a moment, face up to the truth and decide to move on, and they see he's mad and they all sink back into their dreams.
他们所有人，有那么一刻，正视事实并决定继续前进，他们看到他疯了，他们又回到了自己的梦想中。
The play becomes a plea for the life-lie that we have to get through our lives, that life is so intolerable, that if we don't create some sort of illusion in which we live, we cannot survive.
这部剧变成了对生活谎言的恳求，我们必须度过我们的生活，生活是如此难以忍受，如果我们不创造某种我们生活在其中的幻觉，我们就无法生存。
Narrator : In the long, tormented confession scene that forms the play's terrible climax, Hickey reveals the dark secret he has been carrying within him, and that he too, unable to live with the truth of his own existence, still clings to one last horrifying illusion.
旁白：在构成该剧可怕高潮的漫长而痛苦的忏悔场景中，希基揭示了他内心深处的黑暗秘密，而他也无法接受自己存在的真相，仍然坚持最后一个可怕的幻想。
Performance, Al Pacino (Hickey) : That last night, I'd driven myself crazy trying to figure out some way out for her.
表演，阿尔·帕西诺（希基）：昨晚，我疯狂地试图为她找到出路。
And I went in the bedroom, I was gonna tell her it was the end.
我走进卧室，我要告诉她一切都结束了。
But I couldn't do that to her, she was sound asleep.
但我不能这样对她，她睡得很熟。
I thought, God, if she'd only never wake up -- she'd never know.
我想，上帝啊，要是她永远不醒来就好了——她永远不会知道。
And then it came to me.
然后我想到了。
The one only possible way out, for her sake.
为了她，这是唯一可能的出路。
I remembered I'd given her a gun for protection while I was away and it was in the bureau drawer.
我记得我不在的时候给了她一把枪来保护她，它放在衣柜抽屉里。
She'd never feel any pain.
她从来不会感到任何疼痛。
She'd never wake up from her dream.
她永远不会从梦中醒来。
So I...
所以我...
So I killed her.
所以我杀了她。
And then I saw I'd always known that was the only possible way to give her peace and free her from the misery of loving me.
然后我发现我一直都知道这是给她平安并使她摆脱爱我的痛苦的唯一可能的方法。
I saw it meant peace for me, too, knowing she was at peace.
我知道这对我来说也意味着平静，因为我知道她很平静。
I felt as though a ton of guilt was lifted off my mind.
我感觉好像大量的负罪感从我的脑海中消失了。
I remember I stood by the bed and suddenly, I had to laugh.
我记得我站在床边，突然，我忍不住笑了。
I couldn't help it.
我忍不住了。
And I knew Evelyn would forgive me.
我知道伊芙琳会原谅我。
I remember I heard myself speaking to her as if it was something I always wanted to say.
我记得我听到自己对她说话，就好像这是我一直想说的话。
"WELL YOU KNOW WHAT YOU CAN DO WITH YOUR PIPE DREAM NOW, YOU DAMN BITCH!" No, I never...
“你现在知道你的白日梦能做什么了，你这个该死的婊子！”不，我从来没有...
No, that's a lie, I never said that.
不，那是谎言，我从来没有这么说过。
Good God, I couldn't have said that.
天哪，我不能这么说。
If I did I'd gone insane.
如果我这么做了我就会发疯。
Why, I loved Evelyn better than anything in life.
哎呀，我爱伊芙琳胜过爱生命中的一切。
Boys, you're all my old pals, you've all known old Hicky for years.
孩子们，你们都是我的老朋友了，你们都认识老希基很多年了。
You know, I'd never...You've known me longer that anyone, Harry.
你知道，我永远不会……你认识我的时间比任何人都长，哈利。
You know I must have been insane, I wouldn't have said that.
你知道我一定是疯了，我不会这么说。
Don't you Governor?
州长不是吗？
Robert Sean Leonard : Of course, Hickey's pipe dream is so deeply embedded in his soul that he killed his wife because he loved his wife, when in fact the truth is he hated her.
罗伯特·肖恩·伦纳德：当然，希基的白日梦深深地植根于他的灵魂中，他因为爱他的妻子而杀死了他的妻子，而事实上，他恨她。
It's the thing that he must believe to continue to maintain his sanity.
这是他必须相信的事情，才能继续保持理智。
Al Pacino : And in The Iceman , the entire bar is revived because the dream is still there.
阿尔·帕西诺：在《冰人》中，整个酒吧都复活了，因为梦想仍然存在。
The reality: he was insane, Hickey was insane when he did that, yeah, he's a nut, he had to be.
事实是：他疯了，希基这么做的时候也疯了，是的，他是个疯子，他一定是个疯子。
And so everything revives and life comes back.
于是一切都复苏了，生命也回来了。
And the stories we tell each other is part of that.
我们互相讲述的故事也是其中的一部分。
And when you bow out of that, when you leave the dream, it's an abyss.
当你屈服于此，当你离开梦想时，那就是一个深渊。
It's nothing.
没什么。
Tony Kushner : The thing that makes the tragedy so powerful and true is that you're not allowed to escape what's horrible, you're not allowed any kind of denial.
托尼·库什纳：这场悲剧之所以如此强大和真实，是因为你不被允许逃避可怕的事情，你不被允许任何形式的否认。
It's annihilating, and on one level, I don't think you leave the theater feeling in any way uplifted, and then on the other hand, you are brought to the absolute worst place that a human being can go, and you have survived, you've come out of this nightmare alive, and as I said, the stage is now sort of purged of this horror.
它是毁灭性的，在某种程度上，我不认为你离开剧院时有任何振奋的感觉，然后另一方面，你被带到了人类可以去的绝对最糟糕的地方，你活了下来，你活着走出了这场噩梦，正如我所说，舞台现在已经清除了这种恐怖。
It's catharsis.
这是宣泄。
It's what Aristotle was talking about.
这就是亚里士多德所说的。
And it leaves open the possibility that now something new will come at the end after the bombs fall and the landscape is clean.
它留下了一种可能性，即在炸弹落下、景观干净之后，现在会出现一些新的东西。
It's the nothing that gives birth to something.
正是“无”孕育出“有”。
Narrator : Unlike The Iceman Cometh , which poured from him with relative ease in a six-month period, the next play he wrote would be an agony to write, take nearly two years, and almost kill him.
旁白：与他在六个月内相对轻松地写出《冰人来了》不同，他写的下一部剧将是一个痛苦的过程，需要近两年的时间，几乎要了他的命。
On June 21st, 1939, as he completed the final outline for The Iceman , Carlotta made a fateful entry in her daybook.
1939 年 6 月 21 日，当他完成《冰人》的最终大纲时，卡洛塔在她的日记本上留下了重要的一笔。
Re-enactment, Carlotta Monterey : Gene talks to me for hours, about a play in his mind of his mother, his father, his brother and himself in his early 20's in New London!
重演，卡洛塔·蒙特雷：吉恩和我聊了好几个小时，讲述了他脑海中20岁出头的新伦敦的一场戏剧，讲述了他的母亲、父亲、兄弟和他自己！
Autobiography.
自传。
A hot, close, sleepless night — An ache in our hearts for things we can't escape!
一个炎热、亲密、不眠的夜晚——我们内心为无法逃避的事情而痛苦！
Narrator : The play was, of course, Long Day's Journey Into Night .
旁白：这部戏当然是《长夜漫漫》。
After nearly four decades of wandering from the oblivion of his childhood, he had come home.
在从童年的遗忘中漂泊了近四十年之后，他终于回到了家。
Tony Kushner : O'Neill's decision finally to reduce his ambition from writing this kind of great national epic, ends with trying to find the national epic in really what's finally one story, and that's the story of Long Day's Journey into Night , which of course becomes a play that I think contains every theme of any significance in American life and American democracy.
托尼·库什纳：奥尼尔最终决定减少自己写这种伟大的民族史诗的野心，最终试图在一个真正的故事中找到民族史诗，这就是《长日行进黑夜》的故事，我认为它当然成为一部包含美国生活和美国民主中所有重要主题的戏剧。
Robert Sean Leonard : I think he writes everybody, without judgment, including himself.
罗伯特·肖恩·伦纳德：我认为他不加评判地写下每个人，包括他自己。
He writes himself without judgment and strangely from a distance of some kind.
他在写作时不带任何判断力，并且奇怪地从某种距离出发。
The emotional naked bravery of Long Days Journey into Night is to me unprecedented even in English theater.
即使在英国戏剧中，《长夜行进》中情感上赤裸裸的勇敢对我来说也是前所未有的。
Maybe the Greeks are the closest, but boy, it's a rare thing to find
也许希腊人是最接近的，但是男孩，这是很难找到的
Robert Falls : It's one of those rare, unique pieces of art that by being so completely obsessively about one family, in every bit of minutia, becomes about all families.
罗伯特·福尔斯：这是一件稀有、独特的艺术作品，它对一个家庭的每一个细节如此完全着迷，最终变成了对所有家庭的关注。
Zoe Caldwell : But I don't think he could've written that play a minute earlier.
佐伊·考德威尔：但我认为他不可能提前一分钟写出那部戏。
Something had to evolve in him, to be able to understand all of them in the house.
他身上必须有某种东西进化，才能理解房子里的所有人。
Re-enactment, Carlotta Monterey : And he explained to me then that he had to write this play; he had to write it because it was a thing that haunted him and he had to forgive whatever caused this, in them and in himself.
重演，卡洛塔·蒙特利：然后他向我解释说他必须写这个剧本；他必须写下来，因为这是一件困扰他的事情，他必须原谅造成这一切的一切，无论是在他们身上还是在他自己身上。
It was a most strange experience to watch that man being tortured every day by his own writing.
看着那个人每天都被自己的写作所折磨，这是一种最奇怪的经历。
He would come out of his study at the end of a day gaunt and sometimes weeping.
一天结束时，他从书房出来时会憔悴不堪，有时还会哭泣。
His eyes would be all red and he looked ten years older than when he went in in the morning.
他的眼睛通红，看上去比早上进来时苍老了十岁。
Barbara Gelb : And he would tell her what a terribly wrenching experience it was for him to face, to confront his dead and, to finally, he said, to forgive them.
芭芭拉·盖尔布：他会告诉她，面对他的死者，并最终原谅他们，对他来说是多么痛苦的经历。
I'm not sure that it is really that forgiving a play, but it certainly is an understanding, a compassionate play, to a great degree.
我不确定这是否真的是一种宽容的戏剧，但在很大程度上，它确实是一种理解、一种富有同情心的戏剧。
It probably was the most horrendous emotional experience of his life writing that.
这可能是他一生中最可怕的情感经历。
Narrator : Summarizing the story in a letter to a friend, he wrote that it was "not concerned with the present world's crisis, as the title might indicate, but the story of one day, 8am to midnight, in the life of a family of four — father, mother, and two sons — back in 1912 — a day in which things occur which evoke the whole past of the family and reveal every aspect of its interrelationships.
旁白：他在给朋友的一封信中总结了这个故事，他写道，它“并不像标题所暗示的那样，与当今世界的危机有关，而是讲述了 1912 年，一个四口之家（父亲、母亲和两个儿子）的一天，早上 8 点到午夜的故事，这一天发生的事情唤起了这个家庭的整个过去，并揭示了其相互关系的各个方面。
A deeply tragic play, but without any violent dramatic action.
一部深刻的悲剧，但没有任何暴力的戏剧动作。
At the final curtain, there they still are, trapped within each other by the past, each guilty and at the same time innocent, scorning, loving, pitying each other, understanding and yet not understanding at all, forgiving but still doomed never to be able to forget.
到了最后的帷幕，他们仍然在那里，被过去困在彼此之中，彼此有罪，同时又无辜，彼此蔑视，相爱，怜悯，理解，却又不理解，原谅，却又注定永远无法忘记。
Tony Kushner : It's this thing in Proust — Proust says that there are events so big that they can't be contained in the present moment, and they have to be seen as both spilling into the past and into the future as well, and that's what the great moments in O'Neill really are.
托尼·库什纳：普鲁斯特就是这样——普鲁斯特说，有些事件是如此之大，以至于它们无法包含在当下，必须将它们视为既蔓延到过去又延伸到未来，而这正是奥尼尔的伟大时刻。
Memory engulfs, and the terror of what's to come, infused by a sense of what you've learned and what's happened, overwhelms the future.
记忆吞噬了一切，对即将发生的事情的恐惧，以及你所学到的和已经发生的事情的感觉，淹没了未来。
Performance, Robert Sean Leonard (Edmund) : The fog was where I wanted to be.
表演，罗伯特·肖恩·伦纳德（埃德蒙）：雾是我想去的地方。
Half-way down the path you can't see this house.
走到一半就看不到这栋房子了。
You'd never know it was here.
你永远不会知道它就在这里。
Everything looked and sounded unreal.
一切看起来、听起来都不真实。
It was like walking on the bottom of the sea.
就像行走在海底一样。
As if I had drowned long ago.
就好像我很久以前就被淹死了一样。
As if I was a ghost belonging to the fog, and the fog was the ghost of the sea.
仿佛我是属于雾的幽灵，而雾则是大海的幽灵。
It felt damned peaceful to be nothing more than a ghost within a ghost.
成为鬼中鬼的感觉真是该死的平静。
Narrator : As he returned in his mind to the cottage in New London, where his own most painful memories lay, his imagination contracted to the space of a single room — and to the duration of a single day — as if the larger world no longer mattered, and the action itself were unfolding in the theater of his own mind
旁白：当他的脑海中回到新伦敦的小屋时，他自己最痛苦的记忆就在那里，他的想象力收缩到一个房间的空间——以及一天的持续时间——仿佛更大的世界不再重要，而行动本身正在他自己的心灵剧场中展开。
Robert Sean Leonard : There are no tricks.
罗伯特·肖恩·伦纳德：没有什么技巧。
Even the names of the characters are the same.
就连角色的名字都是一样的。
The only theatrical adjustment is to give himself his dead brother's name says more about him than maybe anything else in the play.
唯一的戏剧调整是给自己取死去兄弟的名字，这可能比剧中的其他任何内容都更能说明他的情况。
I mean talk about being a little in love with death.
我的意思是谈论有点爱上死亡。
Wanting to disappear into the fog.
想要消失在雾中。
Narrator : Beginning hopefully, with daybreak burning off the last remnants of fog, the play descended implacably into the dark abyss of family life — illuminating the searing traumas and deeply conflicted feelings that have bound it together and torn it apart — relentlessly revealing each of the four main characters — O'Neill's proud, but miserly actor father, James; his doomed older brother, Jamie, filled with a self-loathing, and a lacerating rage, and hopelessly alcoholic; O'Neill himself as he was a twenty-four, embodied in the consumptive younger brother, Edmund; and his long-tormented, mother Mary, who in the course of the play is pulled back into the fog of her addiction — unleashing all the pent up guilt and pain in the family.
旁白：满怀希望地开始，随着黎明烧尽最后残留的迷雾，这出戏无情地坠入了家庭生活的黑暗深渊——揭示了将家庭联系在一起又撕裂的灼热创伤和深深冲突的感情——无情地揭示了四个主要角色中的每一个——奥尼尔骄傲但吝啬的演员父亲詹姆斯；他注定要失败的哥哥杰米，充满了自我厌恶和撕裂般的愤怒，而且酗酒成性。奥尼尔本人二十四岁，化身为患有肺病的弟弟埃德蒙；以及他长期饱受折磨的母亲玛丽，在戏剧的过程中，她被拉回到毒瘾的迷雾中，释放出家庭中所有压抑的内疚和痛苦。
Performance, Liam Neeson (Jamie) : What are you trying to do, accuse me?
表演，连姆·尼森（杰米）：你想做什么，指责我？
Don't play the wise guy with me!
别跟我玩聪明人！
I've learned more of life than you'll ever know!
我学到的关于生活的知识比你知道的还要多！
Just because you've read a lot of highbrow junk, don't think you can fool me!
别以为你读了很多曲高和寡的垃圾就能骗我！
You're only an overgrown kid!
你只是一个已经长大的孩子！
Mama's baby and Papa's pet!
妈妈的宝贝和爸爸的宠物！
The family White Hope!
白色希望家族！
Sidney Lumet : Over and over again in both plays are the moments of self-hatred — "Mamma's baby, Pappa's pet," you know, when Jamie is attacking Edmund those periods of self-hatred are so blinding because out of those terrible moments come these bursts of revelation about all of our behavior — about us, about who we are, and what we are and the way we are and what we do to each other.
西德尼·吕美特：两部剧中都一遍又一遍地出现自我憎恨的时刻——“妈妈的宝贝，爸爸的宠物”，你知道，当杰米攻击埃德蒙时，这些自我憎恨的时刻是如此令人眼花缭乱，因为在那些可怕的时刻中，我们所有的行为都会突然暴露出来——关于我们，关于我们是谁，我们是什么，我们是怎样的，我们对彼此做了什么。
And O'Neill does that fifty times in a play.
奥尼尔在一场戏中就这样做了五十次。
He illuminates life for you like with a lightning flash.
他像闪电一样为你照亮生命。
Performance, Liam Neeson (Jamie) : Think it over when you're away from me in the sanatorium.
表演，连姆·尼森（杰米）：当你离开我在疗养院时再想一想。
Make up your mind you've got to tie a can to me, get me out of your life, think of me as dead.
你下定决心，你必须把一个罐子绑在我身上，让我离开你的生活，把我当作死了。
Tell people, "I had a brother but he's dead." Only don't forget me.
告诉人们，“我有一个兄弟，但他死了。”只是别忘了我。
Remember: I warned you.
记住：我警告过你。
For your sake.
为了你。
Give me credit.
给我信用。
Greater love has no man than this, that he saveth his brother from his self.
人没有比这更大的爱了，他救了自己的弟兄脱离自我。
Narrator : Of all the revelations in the play, none would be more powerful than his father's confession of the harrowing remorse he felt at having wasted his artistic talent.
旁白：在剧中的所有揭露中，没有什么比他父亲对浪费了自己的艺术天赋感到痛苦的悔恨的忏悔更有力的了。
Performance, Christopher Plummer (Tyrone) : Yes, maybe life overdid the lesson for me, and made a dollar worth too much, and then the time came when it ruined my career as a fine actor.
表演，克里斯托弗·普卢默（蒂龙）：是的，也许生活给了我太多的教训，让一美元变得太值钱，然后它就毁了我作为一名优秀演员的职业生涯。
I've never admitted this to anyone before, lad, but tonight I'm so heartsick I feel at the end of everything, and what's the use of fake pride and pretense.
我以前从未向任何人承认过这一点，小伙子，但今晚我感到非常伤心，我觉得一切都结束了，假装的骄傲和伪装有什么用呢？
That God-damned play that I bought for a song and made such a great success in — a great money success — it ruined me with its promise of an easy fortune.
我为了一首歌而买的那部该死的戏剧，并取得了如此巨大的成功——一笔巨大的金钱成功——它因为它承诺的轻松发财而毁了我。
I didn't want to do anything else, and when I finally woke up to the fact I'd become a slave to the damned thing and did try other plays, it was too late.
我不想做任何其他事情，当我最终醒悟到我已经成为这该死的东西的奴隶并尝试其他戏剧的事实时，已经太晚了。
They had identified me with that one part, they didn't want to see me in anything else.
他们已经认定我就是这个角色，他们不想看到我扮演其他角色。
And, they were right, too.
而且，他们也是对的。
I'd lost that great talent I had through years of easy repetition, never learning a new part, never really working hard.
我失去了多年的轻松重复、从未学习新部分、从未真正努力工作所拥有的伟大天赋。
At thirty-five to forty thousand dollars net profit a season, it was like snapping your fingers!
一季净利润三十五到四万美元，简直就是打响指！
It was too great a temptation.
这诱惑太大了。
But before I bought the damned play I was considered one of the three or four young actors with the greatest artistic promise in America.
但在我买下这部该死的戏剧之前，我被认为是美国最有艺术前途的三四个年轻演员之一。
I'd worked like hell.
我工作得像地狱一样。
I'd left a good job as a machinist to take super parts because I loved the theater.
我辞去了机械师的好工作，转而从事超级零件的工作，因为我喜欢剧院。
I was wild with ambition.
我野心勃勃。
I read all the plays that were ever written.
我读过所有曾经写过的戏剧。
I studied Shakespeare like you'd study the Bible.
我研究莎士比亚就像你研究圣经一样。
I educated myself.
我自我教育。
I got rid of an Irish brogue you could cut with a knife.
我去掉了一种可以用刀切的爱尔兰粗革。
I loved Shakespeare.
我喜欢莎士比亚。
I would have acted in any of his plays for nothing, for the joy of being alive in his great poetry.
我愿意出演他的任何一部戏剧，只是为了享受生活在他伟大的诗歌中的乐趣。
And I acted well in him.
而且我在他身上演得很好。
I felt inspired by him.
我感到受到了他的启发。
I could have been a great Shakespearean actor, if I'd kept on.
如果我坚持下去，我本可以成为一名伟大的莎士比亚演员。
I know that!
我知道！
In 1874 when Edwin Booth came to the theater in Chicago where I was leading man, I played Cassius to his Brutus one night, Brutus to his Cassius the next, Othello to his Iago, and so on.
1874年，当埃德温·布斯（Edwin Booth）来到芝加哥剧院时，我在那里担任男主角，前一天晚上我为他的布鲁图斯扮演卡西乌斯，下一晚为他的卡西乌斯扮演布鲁图斯，为他的伊阿古扮演奥赛罗，等等。
And the first night I played Othello, he said to our manager, "That young man is playing Othello better than I ever did!" That from Booth, the greatest actor of his day or any other!
我玩《奥赛罗》的第一个晚上，他对我们的经理说：“那个年轻人玩《奥赛罗》比我以前玩得更好！”这是来自布斯的，他是他那个时代最伟大的演员或任何其他演员！
And it was true!
这是真的！
And I was only twenty-seven years old!
而我才二十七岁！
As I, as I looked back on it now, that night was the high spot in my career.
现在回想起来，那天晚上是我职业生涯中的最高点。
I had life where I wanted it!
我过上了我想要的生活！
And after a time I kept on upward with ambition high.
过了一段时间，我怀着雄心壮志继续向上。
I married your mother.
我嫁给了你妈妈。
Ask her what I was like in those days.
问她那些日子我过得怎么样。
Her love was an added incentive to ambition.
她的爱是对野心的额外激励。
But a few years later my good bad luck made me find the big money-maker.
但几年后，我的好运气让我找到了赚钱的大户。
It wasn't that in my eyes at first.
一开始我眼里可不是这样的。
It was a great romantic part I knew I could play better than anyone else.
这是一个非常浪漫的部分，我知道我可以比其他人演得更好。
But it was a great box office success from the start — and then life had me where it wanted me — at about thirty-five to forty thousand net profit a season!
但这从一开始就取得了巨大的票房成功——然后生活让我达到了它想要的境界——每季净利润约为三十五到四万！
A fortune in those days — even in these.
在那些日子里，即使是现在，也是一笔财富。
What the hell was it I wanted...that I wanted to buy, that was worth ...
我到底想要什么……我想买，那值得……
well, no matter.
好吧，没关系。
A late day for regrets.
后悔的日子迟到了。
My play, isn't it?
我的戏，不是吗？
Narrator : He labored over the play every morning, many afternoons, and sometimes in the evenings, off and on for the better part of two years — frequently distracted by news of the war in Europe, and by his own worsening health.
旁白：两年来的大部分时间里，他每天早上、许多个下午，有时甚至是晚上，都断断续续地忙着写剧本——经常因欧洲战争的消息和自己日益恶化的健康状况而分心。
Often he wept as he wrote.
他常常一边写一边哭泣。
He slept fitfully, in a room adjoining his study, in a carved teak bed converted from a Chinese opium table, which Carlotta had bought for him to accommodate his now wraith-like six-foot frame.
他在书房旁边的一个房间里睡得断断续续，床上有一张由中国鸦片桌改造而成的雕花柚木床，这张床是卡洛塔为他买的，以适应他现在幽灵般的六英尺身材。
Occasionally in the night, he would go to her room and talk of the play, and of the suffering he endured while writing it — of his belief that the sins of the father would be laid upon the sons, and of his overwhelming need to forgive his family and himself, for all they had done to each other.
偶尔在晚上，他会去她的房间，谈论这部剧，谈论他在写剧本时所遭受的痛苦——他相信父亲的罪孽将加在儿子身上，以及他迫切需要原谅他的家人和他自己，因为他们对彼此所做的一切。
Re-enactment, Carlotta Monterey : At times I thought he'd go mad.
重演，卡洛塔·蒙特雷：有时我以为他会发疯。
It was terrifying to watch his suffering.
看到他的痛苦真是令人恐惧。
It nearly killed him to write this play.
写这部戏差点让他丧命。
After his day's stint he would be physically and mentally exhausted.
经过一天的工作，他的身体和精神都会疲惫不堪。
Night after night I had to hold him tight in my arms so he could relax and sleep.
夜复一夜，我必须把他紧紧地抱在怀里，这样他才能放松地睡觉。
Thus the play was written.
这部剧就这样写成了。
John Guare : At the end, it's the family together — no outsiders, no audience, no hangers-on.
John Guare：最后，一家人在一起——没有外人，没有观众，没有随从。
Even the servants are off.
连佣人都下班了。
It's just them.
只是他们。
And they're quiet.
他们很安静。
And the horror of the situation has at least interrupted the constant battle, the never-ending battle of moment to moment, of just fighting for your territory.
形势的恐怖至少打断了持续不断的战斗，每时每刻、永无休止的战斗，只是为了争夺你的领土而战。
It's as she comes down in her madness, and her beauty silences them, and they have to let her speak.
当她陷入疯狂时，她的美丽让他们沉默，他们不得不让她说话。
Narrator : By the end of the play, Mary has sunk back completely into the delirium of her addiction — far beyond the reach of the three men — returning in her mind to her days in the convent, the last place she had ever felt safe in — before the death of her child, and the loss of her faith and the onset of her addiction.
旁白：在戏剧结束时，玛丽完全陷入了毒瘾的谵妄之中——远远超出了三个男人的能力范围——她的脑海里又回到了她在修道院里的日子，那是她感到安全的最后一个地方——在她的孩子去世、信仰丧失和毒瘾发作之前。
Edward Shaughnessy : In my opinion, the greatest characterization in that play is of Ella or Mary, as she's called in the play.
爱德华·肖内西：在我看来，这部剧中最精彩的人物塑造是艾拉或玛丽，正如她在剧中的称呼。
They all need her — and she needs them, too — but she is willing to go away from them if that can give her some peace and respite.
他们都需要她——她也需要他们——但如果这能让她得到一些平静和喘息，她愿意离开他们。
They need her.
他们需要她。
At one point in the play, under the influence of the drugs, she comes to them trailing her wedding gown, don't you know -- and they're all sitting silent, stunned, and amazed — tragic figures at the end of the play.
在剧中的某个时刻，在药物的影响下，她拖着婚纱来到他们面前，你知道吗——他们都静静地坐着，震惊而惊讶——在剧的结尾成为悲剧人物。
"Where is mother?
“妈妈在哪儿？
Where is my beautiful wife?
我美丽的妻子在哪里？
Where is she?" No one owns anybody else in this world or in the next.
她在哪里？”无论是在这个世界还是在下一个世界，没有人拥有任何其他人。
Performance, Zoe Caldwell (Mary) : Let me see.
表演，佐伊·考德威尔（玛丽）：让我看看。
What did I come in here to find?
我来这里是为了寻找什么？
It's terrible, how absent-minded I've become.
太可怕了，我变得多么心不在焉。
I'm always dreaming and forgetting.
我总是在做梦并且忘记。
What is it I'm looking for?
我在寻找什么？
I know it's something I lost.
我知道这是我失去的东西。
Something I need terribly.
我非常需要的东西。
I remember when I had it I was never lonely or afraid.
我记得当我拥有它时，我从不感到孤独或害怕。
I can't have lost it forever, I would die if I thought that.
我不可能永远失去它，如果我这么想我就会死。
Because then there would be no hope.
因为那样的话就没有希望了。
I had talk with Mother Elizabeth.
我和伊丽莎白修女谈过。
She's so sweet and good.
她是如此的甜美和善良。
A saint on earth.
地球上的圣人。
I love her dearly.
我非常爱她。
Because she always understands, even before you say a word.
因为她总是能理解，甚至在你说一句话之前。
Her kind blue eyes look right into your heart.
她温柔的蓝眼睛直视你的内心。
All the same, I don't think she was so understanding this time.
尽管如此，我认为她这次并没有那么理解。
I told her I wanted to be a nun.
我告诉她我想成为一名修女。
I explained how sure I was of my vocation, that I had prayed to the Blessed Virgin to make me sure, and to find me worthy.
我解释了我对自己的使命有多么确定，我向圣母祈祷，让我确信，并发现我配得上。
But Mother Elizabeth told me I must be more sure that than even.
但伊丽莎白母亲告诉我，我必须更加确定这一点。
That I must prove it wasn't simply my imagination.
我必须证明这不仅仅是我的想象。
She said if I was so sure than I wouldn't mind putting myself to a test by going home after I graduated and living as other girls lived by going out to parties and dances and enjoying myself, and then after a year or two if I still felt sure, I could come back to see her and we would talk it over.
她说，如果我有把握的话，我不介意在毕业后回家，像其他女孩一样出去参加聚会、跳舞、享受生活，以此来考验自己，然后一两年后，如果我仍然有把握，我可以回来看她，我们会讨论一下。
I never dreamed Holy Mother would give me such advice!
我做梦也没想到圣母会给我这样的建议！
I was really shocked.
我真的很震惊。
I said, of course, I would do anything she suggested, but that I knew it was simply a waste of time.
我说，当然，我会做她建议的任何事情，但我知道这只是浪费时间。
After I left, I felt all mixed up, so I went to the shrine and prayed to the Blessed Virgin and found peace again — because I knew she heard my prayer, and would always love me and see no harm ever came to me as long as I never lost my faith in her.
离开后，我感到很困惑，所以我去了神社，向圣母祈祷，并再次找到了平静——因为我知道她听到了我的祈祷，并且会永远爱我，只要我不失去对她的信心，她就不会受到任何伤害。
That was the winter of Senior year.
那是高三的冬天。
Then in the spring something happened to me.
然后在春天，我发生了一些事情。
Yes, I remember.
是的，我记得。
I fell in love with James Tyrone and was so happy for a time.
我爱上了詹姆斯·蒂龙，一度非常幸福。
Robert Whitehead : He's taken that family of his, and he didn't compromise on the truth at all.
罗伯特·怀特海德：他夺走了他的家人，而且他根本没有在真相上妥协。
It is a totally creative thing.
这是一件完全有创意的事情。
There's not a second in it in which you could ever feel that it was calculated simply to be a successful selling play.
没有一瞬间你会觉得这只是一场成功的销售游戏。
It just has something inside both the spirit and the heart of the play that is the deadly truth, and it will be there forever.
它只是在这部剧的精神和核心中蕴含着致命的真理，而且它将永远存在。
Narrator :He completed the drama in March 1941 — marking the occasion with a simple entry in his diary.
旁白：他于 1941 年 3 月完成了这部戏剧，并在日记中简单记录了这一时刻。
"Like this play better than any I have ever written — does most with the least — a quiet play!
“我喜欢这部剧，比我写过的任何一部剧都要好——用最少的钱做最多的事——一部安静的剧！
— And a great one, I believe."
——我相信，这是一件伟大的事。”
One night at Tao House, reciting from memory the final lines of the play to a group of close friends visiting from New York, he came to the end, and stood for a long time at the window, gazing out at Mount Diablo, struggling to contain his emotion.
一天晚上，他在陶楼向一群从纽约来访的好友背诵剧中的最后几句，唱到最后，他在窗前久久地站着，凝视着窗外的暗黑破坏神山，难以抑制自己的情绪。
"After a long pause," he spoke.
“经过长时间的停顿，”他说道。
"I think that is the greatest scene I have ever written," he said.
“我认为这是我写过的最伟大的场景，”他说。
He also knew that he did not want his autobiographical masterpiece publicly presented, at least during his lifetime.
他也知道，他不希望自己的自传体杰作公开展示，至少在他有生之年是这样。
"There are good reasons in the play itself," he wrote to a friend not long after completing it, which is "why I'm keeping this one very much to myself, as you will appreciate when you read it."
“这部剧本身有很好的理由，”他在完成这部剧后不久写给一位朋友，这就是“为什么我把这部剧保密，当你读到它时你会感激的。”
In the end, he had the unpublished manuscript sealed with red wax and placed in a vault at Random House in New York — with explicit instructions that it not be published until twenty-five years after his death — and that it never be performed.
最后，他将未出版的手稿用红蜡密封起来，放在纽约兰登书屋的一个金库里——并明确指示，该手稿要在他死后二十五年才能出版——而且永远不会被表演。
Barbara Gelb : I guess it cost him his life.
芭芭拉·盖尔布：我猜这让他丧命。
Tennessee Williams said that "O'Neill gave birth to the American theater, and he died for it." And that's a kind of a highfalutin way of putting it, but he did expend every bit of energy and emotion on his plays.
田纳西·威廉姆斯说，“奥尼尔诞生了美国戏剧，他也为之而死”。这是一种冠冕堂皇的说法，但他确实把每一点精力和情感都花在了他的戏剧上。
Nothing really mattered to him except his plays.
除了他的表演之外，没有什么对他来说真正重要。
The only thing that kept him going, really, was the thought that he was going to write something even better than he had written before — that he, one day, would write the absolutely greatest masterpiece.
事实上，唯一让他继续前进的想法就是他要写出比以前写得更好的东西——有一天，他会写出绝对最伟大的杰作。
Narrator : A few weeks after completing the play, he received the diagnosis he had been dreading for years, when he learned he was suffering from an incurable neurological disorder, not unlike Parkinson's.
旁白：完成该剧几周后，他收到了多年来一直害怕的诊断结果，得知自己患有无法治愈的神经系统疾病，与帕金森氏症不同。
Over the next eighteen months, despite his worsening condition, he would manage to finish two more plays, each a minor masterpiece — A Touch of the Poet and the one-act Hughie — then turn his attention to the work that would be his last — a haunting, guilt-ridden elegy to his doomed older brother Jamie, called A Moon for the Misbegotten — a play he would come to loathe, he said, but that would eventually be ranked among his very finest.
在接下来的十八个月里，尽管他的病情不断恶化，他还是设法完成了另外两部戏剧，每部都是一部小杰作——《诗人的感动》和独幕剧《休吉》——然后他将注意力转向了他的最后一部作品——一部为他注定要失败的哥哥杰米创作的一部令人难以忘怀、充满负罪感的挽歌，名为《误生者的月亮》——他说，这部戏剧他会逐渐厌恶，但最终会被列为他最好的作品之一。
He finished it in the summer of 1943, and two months later was forced by illness to give up writing altogether.
他于 1943 年夏天完成了这本书，两个月后因病被迫完全放弃写作。
Though he would live ten more years, and never completely extinguish the hope that he might be able to write again, his artistic career was over.
尽管他还能再活十年，并且永远不会完全熄灭他能够再次写作的希望，但他的艺术生涯已经结束了。
He was not yet fifty-five.
他还不到五十五岁。
Re-enactment, Eugene O'Neill : Tough game — take sedatives and feel a dull dope — don't take, and feel as if maggots were crawling all over inside your skin.
重演，尤金·奥尼尔：艰难的游戏——服用镇静剂，感觉很沉闷——不服用，感觉好像蛆虫在你的皮肤里爬行。
The worst part is the inner shakes, which are so much harder to take than the outer — when you feel it inside all over your body until even your brain seems to do the shimmy.
最糟糕的是内心的震动，它比外在的震动更难承受——当你感觉到它遍布你的身体内部，直到你的大脑似乎也在颤抖。
Lloyd Richards : He did not die, I do not believe, a contented writer.
劳埃德·理查兹：我不相信他没有死，他是一位心满意足的作家。
He hadn't completed the work that he considered to be his reason for writing.
他还没有完成他认为写作的目的的工作。
I think he still had that compulsion, whether he was capable of it or not, of getting up and sitting down with the twelve pencils and trying to go further into the understanding of these human beings who were his family and thus humankind.
我认为，无论他是否有能力，他仍然有那种冲动，站起来，拿着十二支铅笔坐下来，试图进一步了解这些人，他们是他的家人，也是人类。
Sidney Lumet : The belief in art is what's so moving to me.
Sidney Lumet：对艺术的信仰让我如此感动。
The redemptive quality of art.
艺术的救赎品质。
That this life of misery — I mean, we know what happened with the children, what happened with his wives, what happened to him physically.
这种痛苦的生活——我的意思是，我们知道孩子们发生了什么，他的妻子发生了什么，他的身体发生了什么。
What are we talking about?
我们在说什么？
We're talking about hell.
我们正在谈论地狱。
And, if there would have even have been a way of asking him, I don't doubt for a minute that he would have said it's been worth it.
而且，如果有办法问他的话，我毫不怀疑他会说这是值得的。
Narrator : On the afternoon of November 27, 1953, he died in a hotel room along the Charles River in Boston, with Carlotta at his side — raising himself slightly at the end, and whispering in a barely audible voice — "Born in a hotel room — and goddamn it — died in a hotel room." He was sixty-five years old.
旁白：1953年11月27日下午，他死在波士顿查尔斯河沿岸的一家酒店房间里，卡洛塔在他身边——最后稍微抬起身子，用几乎听不见的声音低声说——“生在酒店房间里——该死的——死在酒店房间里。”他已经六十五岁了。
By then, his life's work and literary reputation had already started to sink into obscurity.
那时，他一生的作品和文学声誉已经开始陷入默默无闻。
The plays with which he had made his name in the nineteen twenties and thirties had long since come to seem irrelevant, or overrated.
他在十九世纪二三十年代成名的戏剧早已显得无关紧要，或者被高估了。
Of the five great works he had wrenched from himself at Tao House, three had never been performed at all — two had failed to find an audience — and the greatest of them all, Long Day's Journey Into Night , had at O'Neill's own request been consigned to theatrical oblivion.
在他从陶楼夺取的五部伟大作品中，三部根本没有上演过——其中两部未能找到观众——而其中最伟大的一部《长日行进黑夜》，在奥尼尔的要求下被置于戏剧的遗忘之中。
Robert Whitehead : You see, Carlotta, after he died she suddenly had some big figuring to do.
罗伯特·怀特海德：你看，卡洛塔，在他死后，她突然有一些重大的事情要做。
And the figuring was, "How am I going to make Gene into the most important and significant writer in the history of our time?" And she was very much afraid that he was going to be passed by by time and she was absolutely determined that wouldn't happen.
我的想法是，“我怎样才能使吉恩成为我们这个时代历史上最重要、最重要的作家？”她非常害怕他会随着时间的流逝而消失，她绝对不会发生这种情况。
Narrator : In the spring of 1955, less than eighteen months after her husband's death, Carlotta put into motion plans to have Long Day's Journey Into Night published and performed — over the strenuous objections of his long-time publisher, Bennett Cerf of Random House.
旁白：1955 年春天，卡洛塔在丈夫去世后不到 18 个月，就开始计划出版并演出《漫长的一天到黑夜的旅程》，尽管他的长期出版商、兰登书屋的贝内特·瑟夫极力反对。
Barbara Gelb : Yes, of course, she betrayed him.
芭芭拉·盖尔布：是的，当然，她背叛了他。
But, on the other hand, I think he expected her to.
但另一方面，我认为他希望她这么做。
He gave her everything, he made her his executrix, he had cut his children out of his will, he gave her all his plays and everything.
他给了她一切，他让她成为他的遗嘱执行人，他把他的孩子从他的遗嘱中剔除，他把他所有的戏剧和一切都给了她。
And he knew her character, he knew exactly what kind of person she was, and I think he had a fairly good idea that the minute he was gone, she would publish Long Day's Journey Into Night .
而且他了解她的性格，他清楚地知道她是什么样的人，而且我认为他有一个相当好的想法，他一走，她就会出版《长日行进夜》。
Narrator : On the night of November 7, 1956, the curtain rose on the first American production of Long Day's Journey Into Night .
旁白：1956年11月7日晚上，第一部美国制作的《长日行进夜》拉开了帷幕。
When the lights dimmed to black and the final curtain fell, most members of the audience were in tears.
当灯光暗下来，最后的帷幕落下时，大多数观众都流下了眼泪。
Jason Robards : At the end, the curtain came down and we came out to take our calls, silence.
Jason Robards：最后，幕布落下，我们出来接听电话，一片寂静。
Silence.
沉默。
And then it went, boom, tremendous applause, blah-ahh — everyone got on their feet.
然后，轰隆隆，热烈的掌声，等等——每个人都站了起来。
And the thing that we were standing there, we were taking a couple, three, I don't know how many calls we were doing, you lose track.
我们站在那里，接听了几个、三个电话，我不知道我们打了多少个电话，你就失去了踪迹。
And then the audience started to come to the stage.
然后观众开始上台。
This is what I never had happen before or since, they came down to stage.
这是我在他们上台之前或之后从未发生过的事情。
They were all down there looking up and we were standing there looking down on the faces of people that we knew or that we didn't know.
他们都在下面向上看，而我们则站在那里，俯视着我们认识或不认识的人的脸。
It was absolutely incredible.
这绝对令人难以置信。
: In the end Long Day's Journey Into Night would prove to be the unforgettable theatrical event of the season, reviving O'Neill's faltering reputation, and bringing him posthumously an unprecedented fourth Pulitzer.
：最终，《漫漫长夜之旅》将成为本季令人难忘的戏剧事件，重振了奥尼尔摇摇欲坠的声誉，并为他身后带来了史无前例的第四次普利策奖。
Edward Shaughnessy : This is a great playwright with just this one play.
爱德华·肖内西：这是一位伟大的剧作家，只有这一部剧。
So his life was a tragedy that made it worth making tragedies from, I guess.
所以我想，他的一生是一场悲剧，因此值得制造悲剧。
Is it confessional?
是忏悔吗？
Not in a self-pitying way that so many pieces of work are, I think.
我认为，这并不是像很多作品那样自怜自艾。
And when they transcend those selfish limitations, then maybe they become classics, something worth a great deal, forever monuments, as Yeats called them, of the ages — un-aging monuments of intellect and art.
当它们超越了这些自私的限制时，也许它们就会成为经典，一种价值不菲的东西，正如叶芝所说的那样，成为各个时代的永恒丰碑——智力和艺术的不朽丰碑。
Archival footage, Eugene O'Neill : You've just told me some highspots in your memories.
档案片段，尤金·奥尼尔：你刚刚告诉了我你记忆中的一些亮点。
Want to hear mine?
想听听我的吗？
They're all connected with the sea.
它们都与大海息息相关。
Here's one.
这是一个。
I was on the Squarehead square rigger bound for Buenos Aires.
我在开往布宜诺斯艾利斯的 Squarehead 方索船上。
Full moon in the Trades.
交易满月。
The old hooker driving fourteen knots.
老妓女的航速为十四节。
Narrator : In the climactic fourth act of Long Day's Journey Into Night , in one of the most beautiful and quietly moving passages O'Neill ever wrote, Edmund struggles to put into words the ephemeral sense of connection with something larger that had sometimes come over him while at sea.
旁白：在《长日入夜之旅》的高潮第四幕中，在奥尼尔写过的最美丽、最安静动人的段落之一中，埃德蒙努力用语言表达与他在海上时有时会遇到的更大事物的短暂联系。
Performance, Robert Sean Leonard (Edmund) : I was on The Squarehead, square rigger, bound for Buenos Aires.
表演，罗伯特·肖恩·伦纳德（埃德蒙）：我在方头号上，方索具，开往布宜诺斯艾利斯。
Full moon in the Trades.
交易满月。
The old hooker driving fourteen knots.
老妓女的航速为十四节。
I lay on the bowsprit, facing astern, the water foaming into spume under me, the masts with every sail white in the moonlight, towering high above me.
我躺在船头斜桅上，面向船尾，海水在我身下冒出泡沫，桅杆上的每张帆在月光下呈白色，高高地耸立在我上方。
I became drunk with the beauty and singing rhythm of it, and for a moment I lost myself, actually lost my life.
我陶醉在它的美感和歌声节奏中，有一瞬间我迷失了自己，实际上是失去了生命。
I was set free!
我被释放了！
I dissolved in the sea, became white sails and flying spray, became beauty and rhythm, became moonlight and the ship and the high dim-starred sky!
我溶入了大海，变成了白帆和飞溅，变成了美丽和韵律，变成了月光、船和高高的星辰大海！
I belonged, without past or future, within peace and unity and a wild joy, within something greater than my own life, or the life of Man, to life itself!
我属于，没有过去或未来，在和平、统一和狂野的喜悦中，在比我自己的生命或人类的生命更伟大的事物中，属于生命本身！
To God, if you want to put it that way.
对上帝来说，如果你想这么说的话。
And several other times in my life, when I was swimming far out, or lying alone on a beach, I have had the same experience, became the sun, the hot sand, green seaweed anchored to a rock, swaying in the tide.
我一生中也有几次，当我游到很远的地方，或者独自躺在海滩上时，我也有过同样的经历，变成了太阳、滚烫的沙子、锚定在岩石上的绿色海藻，在潮汐中摇曳。
Like a saint's vision of beatitude.
就像圣人的幸福愿景一样。
Like the veil of things as they seem drawn back by an unseen hand.
就像事物的面纱一样，它们似乎被一只看不见的手拉开了。
For a second you see, and seeing the secret, you are the secret.
有那么一瞬间，你看到了，看到了秘密，你就是秘密。
For a second there is meaning!
一秒钟就有了意义！
Then the hand lets the veil fall and you are alone, lost in the fog again, and you stumble on towards nowhere for no good reason.
然后手让面纱落下，你独自一人，再次迷失在雾中，无缘无故地跌跌撞撞地走向无处可去的地方。
It was a great mistake, my being born a man, I would have been much more successful as a sea gull or a fish.
这是一个巨大的错误，如果我生而为人，如果我是海鸥或鱼，我会更加成功。
As it is, I will always be a stranger who never feels at home, who does not really want and is not really wanted, who can never belong, who must always be a little in love with death.
事实上，我永远是一个陌生人，从来没有宾至如归的感觉，不是真正想要的，也不是真正被需要的，永远无法归属，总是有点爱上死亡。
Robert Brustein : Well, there's that beautiful moment in Long Day's Journey when Edmund begins to reflect on the time when he was at sea, and he found God, or what he thought was God in the quiet and the silence and the coming together of all the elements.
罗伯特·布鲁斯坦：嗯，《漫长的旅程》中有一个美丽的时刻，埃德蒙开始反思他在海上的时光，他在安静、寂静和所有元素的聚集中找到了上帝，或者他认为是上帝。
And his father sits and wonders at this and says, "There's a touch of the poet in you." And he says, "No, I'm not a poet.
他的父亲坐下来，对此感到惊奇，说道：“你身上有一种诗人的气质。”他说：“不，我不是诗人。
I don't even have the makings."
我连这个资格都没有。”
Performance, Robert Sean Leonard (Edmund) : No...I couldn't touch what I tried to tell you just now.
表演，罗伯特·肖恩·伦纳德（埃德蒙）：不……我无法触及我刚才试图告诉你的事情。
I just stammered.
我只是结结巴巴地说。
That's the best I'll ever do.
这是我做过的最好的事情。
Well, it will be faithful realism at least.
好吧，至少这将是忠实的现实主义。
Stammering is the native eloquence of us fog people.
结巴是我们雾人天生的口才。
Robert Brustein : It is so painfully honest in the way that O'Neill begins to admit his own defects as a writer, recognizes that he's not eloquent, that he doesn't have the gift of the poet, he only has "the makings," as he says.
罗伯特·布鲁斯坦：奥尼尔开始承认自己作为作家的缺陷，认识到自己不善于雄辩，没有诗人的天赋，他只有“天赋”，正如他所说，这是如此令人痛苦的诚实。
In recognizing that, O'Neill becomes a real poet at last, and not a stutterer, not a stammerer as he says he is in that play.
认识到这一点后，奥尼尔最终成为一名真正的诗人，而不是一个口吃者，不像他在剧中所说的那样是一个口吃者。
He begins to soar and it's impossible to see that play without being profoundly moved by it and also moved by the eloquence of it.
他开始飞升，看到那出戏，他不可能不被它深深地感动，也被它的雄辩所感动。
Tony Kushner : He is our Shakespeare.
托尼·库什纳：他是我们的莎士比亚。
He sets the standard, the highest that an American playwright has reached, I think, with Journey , and in a way, with the whole body of work.
我认为，他在《旅程》中树立了美国剧作家所达到的最高标准，在某种程度上，在整个作品中也是如此。
Robert Whitehead : Because that body of work does say something about the world to us.
罗伯特·怀特海德：因为这部作品确实向我们讲述了一些关于世界的事情。
If it touches any sinew in us and you follow that, the following of it changes your own life, and it never leaves your life.
如果它触动了我们内心的任何一根筋，而你遵循它，那么它的遵循就会改变你自己的生活，而且它永远不会离开你的生活。
Every show you ever see, and every event in your life, is finally conditioned by something that was in him.
你看过的每一场演出，你生活中的每一件事，最终都会受到他内心的某种东西的制约。
Edward Shaughnessy : O'Neill is alive.
爱德华·肖内西：奥尼尔还活着。
As long as there are people who love the theater and who love honesty and who love great acting and great words, that will take care of itself, I think.
我想，只要还有人热爱戏剧、热爱诚实、热爱伟大的表演和伟大的言语，那就会自然而然地发生。
Jason Robards : That's the eternal triangle — the writer, the audience, and the actor — where they join.
杰森·罗巴兹：这就是永恒的三角关系——作家、观众和演员——他们在这里结合在一起。
And here's the thing, when you go in there to a three-hour and forty-five minute performance, or a 4:45 or 5 hours like in The Iceman , and if it's going right, it seems like about two minutes.
事情是这样的，当你去看一场三小时四十五分钟的表演，或者像《冰人》那样的四小时四十五分或五小时的表演，如果进展顺利的话，看起来大约是两分钟。
You break time, and space and time.
你打破了时间、空间和时间。
Ralph Richardson said, "Every time we go on the stage, we break time — if we do it right — we break space, and it's our time to dream.
拉尔夫·理查森说：“每次我们登上舞台，我们都会打破时间——如果我们做得对的话——我们就会打破空间，这是我们实现梦想的时候。
We dream, we have to be able to dream."
我们有梦想，我们必须有能力实现梦想。”
Even before it premiered in a small New York theater in May 1924, the play caused controversy because it depicted a relationship between a white woman and a black man.
甚至在 1924 年 5 月在纽约一家小剧院首演之前，该剧就引起了争议，因为它描绘了一名白人女性和一名黑人男性之间的关系。
Browse a list of Eugene O'Neill's completed works, year by year, listed alongside some major historical events.
逐年浏览尤金·奥尼尔完成的作品列表，并与一些重大历史事件一起列出。
Here he talks about his work on the life of playwright Eugene O'Neill.
在这里，他谈论了他关于剧作家尤金·奥尼尔生活的作品。
Eugene O'Neill drew on the tragic events of his dysfunctional family's life to produce some of the most powerful dramas of the American theater.
尤金·奥尼尔借鉴了他不和的家庭生活中的悲惨事件，创作了一些美国戏剧界最具影响力的戏剧。
As a touring stage actor, James O'Neill exposed his son Eugene to the theater at an early age.
作为一名巡演舞台演员，詹姆斯·奥尼尔让他的儿子尤金从小就接触了剧院。
Eugene O'Neill's mother, Mary Ellen "Ella" Quinlan, was a child of parents who immigrated to America from Ireland.
尤金·奥尼尔的母亲玛丽·艾伦·“埃拉”·昆兰是从爱尔兰移民到美国的父母的孩子。
Eugene O'Neill left the first two women he married and stayed with the third, who was the mainstay in his life until the end despite their sometimes rocky relationship.
尤金·奥尼尔离开了他所娶的前两个女人，并与第三个女人在一起，尽管他们的关系有时不稳定，但她一直是他生命中的支柱，直到最后。
Scarred by his upbringing, Eugene O'Neill could not forge a lasting bond with his own three children.
尤金·奥尼尔因成长经历而受到创伤，无法与自己的三个孩子建立持久的联系。
Before Eugene O'Neill's work first hit the Broadway stage in 1920, audiences typically came to the theater in search of amusement and distraction — and got what they were looking for.
在 1920 年尤金·奥尼尔的作品首次登上百老汇舞台之前，观众通常来到剧院寻找娱乐和消遣，并得到了他们想要的东西。
Eugene O'Neill first experienced the American theater as a young child at the end of the 19th century, when he accompanied his stage-actor father James O'Neill touring as the lead in The Count of Monte Cristo .
尤金·奥尼尔 (Eugene O'Neill) 第一次接触美国戏剧是在 19 世纪末，他还是个小孩子，当时他陪伴舞台剧演员父亲詹姆斯·奥尼尔 (James O'Neill) 在《基督山伯爵》(The Count of Monte Cristo) 中担任主角进行巡回演出。
Throughout his career, O'Neill faced protests and efforts at censorship over material that some found objectionable and scandalous.
在他的整个职业生涯中，奥尼尔面临着一些人认为令人反感和诽谤的材料的抗议和审查。
Eugene O'Neill dominated the early years of the award, winning three of the first 10 given.
尤金·奥尼尔在该奖项的早期几年占据主导地位，在前 10 个奖项中赢得了 3 个奖项。