218: Act V - This American Life
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00:00 00:00 Transcript Share This American Life Life Partners How to Listen Episodes Recommended About Overview Staff Announcements Fellowships Jobs Music Make Radio On The Road FAQ Submissions Merch Contact Us Our Other Shows Merch Follow Us Life Partners Subscribe to our newsletter Full episode Toggle Audio and Transcript Sync Transcript | Episode #218 | August 20, 2021 218: Act V Note: This American Life is produced for the ear and designed to be heard.
00:00 00:00 文字记录 分享此 美国生活 生活伙伴 如何收听 剧集 推荐 关于 概述 员工公告 奖学金 工作 音乐 在路上制作电台 常见问题解答 提交 商品 联系我们 我们的其他节目 商品 关注我们 生活伙伴 订阅我们的时事通讯 整集 切换音频和文字记录同步 文字记录 | 内容第 218 集 | 2021 年 8 月 20 日 218：第五幕 注：《This American Life》是为耳朵而制作的，旨在让人们听到。
If you are able, we strongly encourage you to listen to the audio, which includes emotion and emphasis that's not on the page.
如果可以的话，我们强烈建议您收听音频，其中包括页面上没有的情感和重点。
Transcripts are generated using a combination of speech recognition software and human transcribers, and may contain errors.
文字记录是使用语音识别软件和人工转录员结合生成的，可能包含错误。
Please check the corresponding audio before quoting in print.
请在印刷版引用前检查相应的音频。
Prologue Ira Glass From WBEZ Chicago, it's This American Life.
序言 来自 WBEZ 芝加哥的 Ira Glass，这就是美国生活。
I'm Ira Glass.
我是艾拉·格拉斯。
OK, here is something that we did not expect.
好吧，这是我们没有预料到的事情。
Check this out.
看看这个。
This was recorded on a stage in Brooklyn, St. Francis College.
这是在布鲁克林圣弗朗西斯学院的一个舞台上录制的。
To be or not to be, that is the question.
存在还是不存在，这是一个问题。
Same month in Hawaii, on the island of Oahu.
同月在夏威夷欧胡岛。
To be or not to be, that is the question-- whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune or to take arms against a sea of troubles and by opposing, end them.
生存还是毁灭，这就是问题所在——在心灵上，是忍受命运的猛烈攻击，还是拿起武器对抗如海的麻烦，并通过反对来结束它们，哪个更高尚。
Same month, a professional company in Boston, Massachusetts, at the Public Theater.
同月，马萨诸塞州波士顿的一家专业公司在公共剧院举行。
Whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune or to take arms against a sea of troubles and by opposing, end them.
无论是忍受暴虐命运的箭矢，还是拿起武器对抗如海的麻烦，并通过反对来结束它们，这两种心态更高尚。
In Colorado, at Camp Shakespeare, you can actually hear the sneakers of the teenaged Hamlet squeaking.
在科罗拉多州的莎士比亚营，您实际上可以听到少年哈姆雷特的运动鞋发出吱吱声。
Why do you go about to recover the wind of me?
你为什么要恢复我的风？
And at the Bay Area Shakespeare Camp, presented by the San Francisco Shakespeare Festival, the kids put on a production that they have concocted that is made up entirely of death scenes from different Shakespeare plays.
在旧金山莎士比亚戏剧节主办的湾区莎士比亚营中，孩子们上演了一部完全由不同莎士比亚戏剧中的死亡场景组成的作品。
That seems because, um, kids love death scenes.
这似乎是因为，嗯，孩子们喜欢死亡场景。
No, no!
不，不！
The drink, the drink!
饮料，饮料！
O, my dear Hamlet, the drink, the drink!
哦，我亲爱的哈姆雷特，喝一杯，喝一杯！
I am poisoned!
我中毒了！
[GAGGING]
[作呕]
[AUDIENCE LAUGHING] Ira Glass Eight-year-old Marissa Graham grabs her throat like a cat in a violent cartoon.
[观众大笑]艾拉·格拉斯 (Ira Glass) 八岁的玛丽莎·格雷厄姆 (Marissa Graham) 掐着自己的喉咙，就像暴力漫画中的猫一样。
Everyone in the production is eight, except for Polonius, who's six.
剧中的每个人都是八岁，除了波洛尼厄斯，他六岁。
The rest is silence.
剩下的就是沉默。
[AUDIENCE CHUCKLING, APPLAUDING]
[观众咯咯笑，鼓掌]
Ira Glass There's actually no way to tell how many productions of Hamlet are up in any given month.
艾拉·格拉斯（Ira Glass） 事实上，我们无法得知某个特定月份《哈姆雷特》的制作量。
In summer 2002, when we first broadcast today's show and when we made these recordings, the American Theatre website listed 12 theaters doing Shakespeare's Hamlet, 11 productions of the play I Hate Hamlet, one production of something called Hamlet Dreams, and one theater doing the dreadful and feared Hamletmachine.
2002 年夏天，当我们第一次播放今天的节目并制作这些录音时，美国剧院网站列出了 12 家剧院上演莎士比亚的《哈姆雷特》、11 家剧院制作的戏剧《我恨哈姆雷特》、一部制作的作品《哈姆雷特之梦》，以及一家剧院上演令人恐惧的《哈姆雷特机器》。
Of course, Hamlet itself is kind of a weird play.
当然，《哈姆雷特》本身就是一部奇怪的戏剧。
The central character is in a situation that very few of us are ever going to find ourselves in.
中心人物所处的境遇是我们中很少有人会遇到的。
His uncle killed his father and then married his mother in order to become the king.
他的叔叔杀了他的父亲，然后娶了他的母亲，以便成为国王。
The play is four hours long.
该剧时长四个小时。
The main conflict of the play is a guy debating, in long, complicated monologues, whether or not he should kill somebody.
该剧的主要冲突是一个人用长而复杂的独白辩论他是否应该杀人。
What is there in that for most of us to relate to?
这对我们大多数人来说有什么关系呢？
Unless, of course, we happen to be murderers.
当然，除非我们碰巧是杀人犯。
And what would the play be like if it were actually performed by murderers and other violent criminals?
如果这出戏真的是由杀人犯和其他暴力犯罪分子表演的话，会是什么样子呢？
What would they see that the rest of us do not?
他们会看到什么我们其他人看不到的东西？
Well, today on our program we answer that question.
好吧，今天在我们的节目中我们回答了这个问题。
And the answer is, a lot.
答案是，很多。
Over the course of six months, reporter Jack Hitt visited prisoners at the Missouri Eastern Correctional Center-- which is a high-security prison-- from their first rehearsal to their last performance of Act V of Shakespeare's Hamlet.
在六个月的时间里，记者杰克·希特探访了密苏里州东部惩教中心（这是一座戒备森严的监狱）的囚犯，从他们第一次排练到最后一次表演莎士比亚的《哈姆雷特》第五幕。
We're devoting our entire program today to the drama that he found there.
我们今天的整个节目都致力于他在那里发现的戏剧。
Our program today, "Act V." We bring you what we believe is one of the most evocative productions of Shakespeare done anywhere in 2002, one you would have had a hard time getting tickets to-- it was only performed in prison.
我们今天的节目是“第五幕”。我们为您带来我们认为是 2002 年最令人回味的莎士比亚作品之一，您很难买到票——它只在监狱里上演。
Here's Jack Hitt.
这是杰克·希特。
The first thing they hand me when I pass through the thick iron doors is a tiny black box called a screamer.
当我穿过厚厚的铁门时，他们递给我的第一件事是一个叫做尖叫器的小黑盒子。
Pull the cord attached, and a phalanx of armed guards will sweep from all points of the prison and try to rescue me.
拉动系上的绳子，一队武装警卫将从监狱的各个角落扫荡并试图营救我。
I keep it in my pocket as I enter a huge yard with more than 1,000 prisoners wandering around.
当我进入一个巨大的院子时，我把它放在口袋里，院子里有 1000 多名囚犯在周围闲逛。
Some of the guys are playing handball against walls, some are lifting weights as I walk across, most are friendly.
有些人在靠墙打手球，有些人在我走过时举重，大多数人都很友好。
A couple of the skinheads, their arms dense with spider tattoos, narrow their eyes as I pass.
当我经过时，几个手臂上布满蜘蛛纹身的光头党眯起了眼睛。
Across the yard, there's a big building.
穿过院子，有一栋高大的建筑。
A long corridor leads to a door marked Education Annex.
一条长长的走廊通向一扇标有“教育附件”的门。
Inside, there's room D-168, where a small, white-haired woman, Agnes Wilcox, is holding auditions for Hamlet.
里面是 D-168 房间，一位身材矮小的白发女子艾格尼丝·威尔科克斯 (Agnes Wilcox) 正在那里举行《哈姆雷特》的试镜。
Let me see.
让我看看。
If you're not Hamlet, Horatio, Laertes, Claudius, or Fortinbras, would you write down roles that interest you?
如果你不是哈姆雷特、霍雷肖、莱尔提斯、克劳狄斯或福丁布拉斯，你会写下你感兴趣的角色吗？
Those roles are Clown 1 and 2, we've got Priest, we've got Osric.
这些角色是小丑 1 和 2，我们有牧师，我们有奥斯里克。
Dressed in loose prison uniforms, the actors sit around tables in the cinder block classroom beneath inspirational slogans-- believe in yourself, think positively.
演员们穿着宽松的囚服，坐在煤渣砖教室的桌子旁，周围写着鼓舞人心的口号——相信自己，积极思考。
The aspiring cast is half black, half white, and ranges from young lifers in their 20s to old timers in their 50s.
演员阵容一半是黑人，一半是白人，范围从 20 多岁的年轻人到 50 多岁的老人。
Because it's against the rules to congregate an audience of felons for the four hours it would take to perform the whole play, Agnes has staged one act every six months, starting in December, 1999.
由于将重罪犯观众聚集在一起表演整部剧需要四个小时，这是违反规定的，因此从 1999 年 12 月开始，艾格尼丝每六个月上演一场。
Tonight is the first read through for Act V, the final bloody climax.
今晚是第五幕的第一次通读，最后的血腥高潮。
Many of the inmates here never finished high school, and all they had known of Shakespeare was the phrase "To be or not to be." Tonight they are hearing some of the other famous speeches for the first time.
这里的许多囚犯都没有完成高中学业，他们所知道的莎士比亚的全部就是“生存还是毁灭”这句话。今晚他们将第一次听到其他一些著名的演讲。
Rhenish.
莱尼什。
Actor Rhenish on my head once.
演员莱尼什曾经在我头上。
This same skull, sir, was sure Yorick's skull, the king's jester.
先生，这同一个头骨肯定是约里克的头骨，国王的小丑。
Alas, poor Yorick.
唉，可怜的约里克。
I knew him, Horatio.
我认识他，霍雷肖。
A fellow of infinite jest, of most excellent fancy.
一个充满无限笑话、最有奇思妙想的家伙。
He hath bore me on his back 1,000 times--
他已经把我背在背上一千次了——
Most read-throughs with any cast are terrible.
大多数演员的通读都很糟糕。
This one is terrible too.
这个也太可怕了吧。
The actors know it.
演员们都知道。
But they plow on through the script.
但他们还是继续写剧本。
An inmate named Paul, who serves as Agnes' assistant director, explains why.
艾格尼丝的助理主任、名叫保罗的囚犯解释了原因。
The first two or three acts I thought, oh no, there's no way.
前两三幕我想，哦不，没办法。
There's no way we're going to get this thing down and go and do a live performance and-- doing a soliloquy that's two pages long, I thought there's-- no, no. This is impossible.
我们不可能把这件事放下来，去现场表演——做一段两页长的独白，我想——不，不。这是不可能的。
But what we're learning here, I guess, from performing it and hearing it done time again, was the "It'll be OK.
但我想，通过表演和再次听到它的表演，我们在这里学到的是“一切都会好的。
It'll work out."
会成功的。”
The local critics agreed with Paul.
当地的批评家同意保罗的观点。
The Act IV performance earned a review in the St. Louis paper.
第四幕的表演赢得了圣路易斯报纸的评论。
The actors were said to be commanding and compelling.
据说演员们威风凛凛、引人注目。
With the entire performance, the reviewer wrote, "A 400-year-old text is restored to freshness." It seemed hard to imagine.
整场演出，评论家写道，“400年前的文字又恢复了新鲜感”。似乎很难想象。
I've seen Hamlet a dozen times.
我看过《哈姆雷特》十几次了。
I've seen Kevin Kline do it at the Public Theater.
我在公共剧院看过凯文·克莱恩表演。
I saw the famous Diane Venora version three nights in a row.
我连续三个晚上看了著名的黛安·维诺拉版本。
I even saw Ingmar Bergman's production done in Brooklyn, performed entirely in Swedish.
我什至看过英格玛·伯格曼在布鲁克林制作的作品，完全用瑞典语演出。
What else is there to learn from watching another Hamlet?
观看另一个哈姆雷特还能学到什么？
But the truth is, this production was different.
但事实是，这部作品是不同的。
Because this is a play about a man pondering a violent crime and its consequences performed by violent criminals living out those consequences.
因为这是一部关于一个男人思考暴力犯罪及其后果的戏剧，而这些后果是由暴力罪犯生活在这些后果中的。
After hanging out with this group of convicted actors for six months, I did discover something.
与这群被定罪的演员相处了六个月后，我确实发现了一些东西。
I didn't know anything about Hamlet.
我对哈姆雷特一无所知。
Remember how it starts.
记住它是如何开始的。
Hamlet sees his father's ghost, who explains he was murdered by Claudius, Hamlet's uncle.
哈姆雷特看到了他父亲的鬼魂，鬼魂解释说他是被哈姆雷特的叔叔克劳狄斯谋杀的。
The ghost commands Hamlet to avenge his death by killing Claudius.
鬼魂命令哈姆雷特杀死克劳迪斯来报仇。
The play is basically Hamlet pondering this single horrific action, and whether he can be the man to do it.
该剧基本上是哈姆雷特思考这一可怕的举动，以及他是否能成为做到这一点的人。
"To be or not to be."
“存在或不存在。”
These days, when people say the name Hamlet, it's usually just a metaphor, shorthand for somebody who is afraid to act, who dithers and thinks too much.
如今，当人们提到哈姆雷特这个名字时，通常只是一个隐喻，是对那些害怕行动、犹豫不决、想得太多的人的简称。
We almost forget just what action Hamlet was contemplating.
我们几乎忘记了哈姆雷特正在考虑采取什么行动。
These actors haven't forgotten.
这些演员没有忘记。
My name is Manuel Johnson, and I'm 36 years old.
我叫曼努埃尔·约翰逊，今年 36 岁。
I'm here for two first degree assaults.
我来这里是为了两次一级袭击。
I play Hamlet.
我扮演哈姆雷特。
When you're onstage doing Hamlet, what do you draw upon in your own experience to make the character come to life?
当你在舞台上表演《哈姆雷特》时，你根据自己的经历如何使这个角色栩栩如生？
The idea of wanting to hurt someone.
想要伤害某人的想法。
I have experience hurting someone-- you know, to the point of their life may be in danger.
我有过伤害别人的经历——你知道，伤害到他们的生命可能处于危险之中。
I was a very confused and angry person.
我是一个非常困惑和愤怒的人。
And you know, it escalated into, you know, me shooting two people and leaving them for dead.
你知道，事情升级为，你知道，我开枪射杀了两个人，然后让他们等死。
My name is Chris Harris.
我叫克里斯·哈里斯。
I'm 38 years old.
我今年38岁了。
And I play the fourth character of Hamlet.
我扮演哈姆雷特的第四个角色。
Let me explain something.
让我解释一下。
The character of Hamlet is played by four people.
哈姆雷特这个角色是由四个人扮演的。
They are all on stage at the same time, taking turns delivering the lines.
他们同时登台，轮流朗诵台词。
Agnes did this partly to give more actors speaking roles and not saddle any one man with all that dialogue.
艾格尼丝这样做的部分原因是为了让更多的演员扮演有台词的角色，而不是让任何一个人承担所有的对话。
But as theatre, it works.
但作为戏剧，它是有效的。
Hamlet's role is full of long soliloquies and rhetorical asides.
哈姆雷特的角色充满了长篇独白和旁白。
This small gang of Hamlets, which mutters to itself and laughs at its own jokes, nicely captures that fractured quality of Hamlet's different personalities.
这小群哈姆雷特自言自语，嘲笑自己的笑话，很好地捕捉到了哈姆雷特不同性格的破碎品质。
And it's also bonded the four actors together.
这也将四位演员联系在一起。
They call themselves "The Hamlets" and constantly talk about their character.
他们称自己为“哈姆雷特”，并不断谈论自己的性格。
To Chris, it seems like Hamlet is just the fifth guy in their odd clique-- another criminal with a complicated past.
对克里斯来说，哈姆雷特似乎只是他们奇怪集团中的第五个人——另一个有着复杂过去的罪犯。
Let me put it in terms of the year 2000s.
让我以2000年代为例。
What we have is an upper-middle class youngster, 19, 20 years old, who comes from a well-to-do family.
我们是一个19、20岁的中上阶层年轻人，来自一个富裕的家庭。
You know, they own quite a bit of land.
你知道，他们拥有相当多的土地。
The people in the small town respect him and love him.
小镇上的人们尊敬他、爱戴他。
And his uncle murdered his father and is now married to his mother.
他的叔叔谋杀了他的父亲，现在嫁给了他的母亲。
So, I mean, all kinds of serious issues there, all kinds.
所以，我的意思是，那里有各种各样的严重问题。
Chris and the Hamlets practice alone most days.
克里斯和哈姆雷特一家大部分时间都是独自练习。
Finding time when the four can just get together by themselves is tough when there's always 1,000 inmates around.
由于周围总是有 1,000 名囚犯，要找到四个人单独聚在一起的时间是很困难的。
So they do it where they can.
所以他们会尽其所能。
On every Sunday after the noon meal, the four of us will assemble.
每个周日中午吃完饭后，我们四个人都会聚在一起。
We'll have our little gray Hamlet books, and we'll proceed down to the track.
我们将带着灰色的《哈姆雷特》小书，然后前往跑道。
And if you were simply walking by, what you'd probably hear is-- you'd hear this chatter of somebody giving their lines clearly, the rest of us with our heads down in the books, walking the line.
如果你只是路过，你可能会听到的是——你会听到有人在清楚地说出自己的台词，而我们其他人则低着头在书本上走着。
Now, there are people-- because there are benches that are all throughout the inside of the track.
现在，有人了——因为赛道内部到处都是长凳。
So there are people that actually watch us.
所以确实有人在关注我们。
So you'll hear this old English-style speech.
所以你会听到这个古老的英语风格的演讲。
You know, "Ho, Horatio," and these people are like, "Ho, what"?
你知道，“嗬，霍雷肖”，而这些人就像，“嗬，什么”？
One of the problems of doing any play in prison is that being a good actor is the exact emotional opposite of what it takes to be a successful inmate.
在监狱里演任何戏剧的问题之一是，成为一名优秀的演员与成为一名成功的囚犯所需要的情感完全相反。
Rather than close off all feeling and look tough, you have to open your vulnerable self up and withstand often cruel laughter as you try to find some authentic emotion within you.
当你试图在自己内心寻找一些真实的情感时，你不能封闭所有的感觉并显得强硬，而必须敞开你脆弱的自我并承受经常残酷的笑声。
In this way, a level-four high-security prison is no different from high school.
这样看来，四级戒备森严的监狱就和高中没有什么区别了。
And so most of the inmates who audition for Agnes tend to be, you know, actor-y people-- the theatre-types of prison.
因此，大多数为艾格尼丝试镜的囚犯往往都是演员——戏剧类型的监狱。
Back in 1999, they just had to put up with abuse from the bigger, meaner inmates.
早在 1999 年，他们就不得不忍受体型更大、更卑鄙的囚犯的虐待。
But that changed.
但情况发生了变化。
In fact, a lot changed, after Agnes cast the role of Hamlet's best friend.
事实上，在艾格尼丝扮演哈姆雷特最好的朋友这个角色后，发生了很多变化。
My name is Derrick, Big Hutch.
我叫德里克，大哈奇。
I just-- I play Horatio, the scholar.
我只是——我扮演霍雷肖，一位学者。
You might be surprised to learn that Derrick "Big Hutch" Hutchison is big.
您可能会惊讶地发现 Derrick“Big Hutch”Hutchison 很大。
He has a smooth, bald skull and hooded threatening eyes-- the kind of guy that if you met him, you might think, he's probably serving 120 years for armed robberies.
他有着光滑的秃头颅骨和带着威胁的眼睛——如果你见到他，你可能会想，他可能因武装抢劫而被判入狱 120 年。
And that would be correct.
那是正确的。
Hutch isn't like the rest of the cast, and he's the first person to tell you.
哈奇与其他演员不同，他是第一个告诉你的人。
In prison, you got this hierarchy system.
在监狱里，你有这种等级制度。
Listen, let's compare it to the ocean.
听着，让我们把它比作海洋。
You've got the minnows, and you've got the killer whale.
你有小鱼，还有虎鲸。
Minnow being the lowest, killer whale the highest.
米诺鱼最低，虎鲸最高。
I'm the blue whale.
我是蓝鲸。
Jack Hitt [CHUCKLING] Right.
杰克·希特[咯咯笑]对。
That mean I control the killer whales, and I can eat up the minnows if I want.
这意味着我可以控制虎鲸，如果我愿意的话，我可以吃掉小鱼。
And I mean, that's how it is.
我的意思是，事情就是这样。
Most of the guys in Hamlet, they're minnows.
《哈姆雷特》中的大多数人都是小鱼。
I mean, I don't normally would associate with them.
我的意思是，我通常不会与他们交往。
Well, as he puts it, the killer whale versus the guppies, we're all guppies and he's the killer whale--
好吧，正如他所说，虎鲸与孔雀鱼，我们都是孔雀鱼，而他是虎鲸——
That's Tim, who plays Osric.
那是蒂姆，扮演奥斯里克。
And as a minnow/guppy, his take is a little different.
作为一条小鱼/孔雀鱼，他的看法有点不同。
In dealing with an individual like a killer whale, a lot of it-- a lot of, even for him, is a lot of show.
在与虎鲸这样的人打交道时，很多——很多，即使对他来说，也是很多表演。
The guys see him out in the yard, all right.
伙计们在院子里看到他了，好吧。
And now some of the guys that have come into Hamlet, seeing how he is in acting and the seriousness that he takes, he's not what his persona is.
现在，一些出演《哈姆雷特》的人，看到他的表演方式和他的严肃态度，就发现他不是他的角色。
In other words, he's an actor.
换句话说，他是一名演员。
But Big Hutch is also a critic.
但大厨也是批评者。
His criticism is sharp and extends to places most actors avoid-- his own character, Horatio.
他的批评很尖锐，并延伸到大多数演员回避的地方——他自己的角色霍雷肖。
Really?
真的吗？
Big Hutch Yeah, I think he a chump.
大厨 是的，我认为他是个傻瓜。
I mean, he supposed to be cool with Hamlet.
我的意思是，他应该对哈姆雷特很满意。
And they're best friends.
他们是最好的朋友。
But I think Horatio is just somebody-- a sounding board for Hamlet.
但我认为霍雷肖只是一个人物——哈姆雷特的参谋。
I mean, the majority of his lines is, eh, my lord, yes, my lord.
我的意思是，他的大部分台词都是，呃，大人，是的，大人。
I mean, if we're friends, we're going to communicate better than that.
我的意思是，如果我们是朋友，我们的沟通会比这更好。
I mean, you're going to tell me your deepest secrets.
我的意思是，你要告诉我你最深的秘密。
So I want to know what you and Ophelia did last night.
所以我想知道你和奥菲莉亚昨晚做了什么。
I believe it.
我相信。
He should have been a little bit-- show me that I'm truly Hamlet's friend.
他应该有点——让我知道我真的是哈姆雷特的朋友。
Don't wait till I get to the end of Act V and I'm getting ready to drink a cup of poison and you stop me.
别等到我第五幕结束，我正准备喝一杯毒药时，你才阻止我。
You know?
你知道？
Let me know down the line, man, that I'm really your friend, you know?
让我知道，伙计，我真的是你的朋友，知道吗？
Have you ever heard anybody talk about Shakespeare's characters this way?
你曾听过有人这样谈论莎士比亚的人物吗？
Hutch was always doing this-- talking tough, but then betraying a real gift for literary criticism.
哈奇总是这样做——言辞强硬，但随后却背叛了真正的文学批评天赋。
Call it his inner minnow.
称其为他内心的小鱼。
In fact, he pointed out a weakness in the structure of the story I'd never heard before in all my experience with the play-- that Hamlet's dilemma over killing Claudius isn't really much of a dilemma.
事实上，他指出了故事结构中的一个弱点，这是我在这部剧的所有经历中从未听说过的——哈姆雷特在杀死克劳迪斯方面的困境并不是真正的困境。
I don't see the conflict.
我没有看到冲突。
I don't see what Hamlet is dealing with, man, that-- oh, I should kill the king now.
我不明白哈姆雷特正在处理什么，伙计，那个——哦，我现在应该杀了国王。
I shouldn't kill him now.
我现在不应该杀他。
No, you knew once your father said, revenge, you knew you was going to do this.
不，你知道一旦你父亲说，报仇，你就知道你会这么做。
So what's the hubbub about?
那么，到底是因为什么而吵闹呢？
Do it.
做吧。
I mean, that's the same way I couldn't see somebody raping my daughter or something and just sitting around.
我的意思是，这就像我不能看到有人强奸我的女儿或其他什么而只是坐视不理。
No, no, no, no, no. I got to do you, man.
不，不，不，不，不。我得做你，伙计。
And that's just-- you done.
这就是——你完成了。
That's why I think Hamlet is an old minnow too, man.
这就是为什么我认为哈姆雷特也是一条老米诺鱼，伙计。
He-- you know.
他——你知道。
Are there no reasons to delay taking swift action, even if you're convinced that you've been wronged?
即使您确信自己受到了冤屈，是否没有理由推迟采取迅速行动？
I mean, that's why he stages the play within the play, right?
我的意思是，这就是他在戏中上演戏的原因，对吗？
To make sure that Claudius is the bad guy.
为了确定克劳狄斯就是坏人。
See, that's why we've got to go back.
瞧，这就是我们必须回去的原因。
Now, if I'm strong enough to believe in ghosts, you know, I'm strong enough to believe what that ghost tells me.
现在，如果我足够强大到相信有鬼魂，你知道，我就足够强大到相信鬼魂告诉我的话。
(CHUCKLING) If I'm strong enough to believe you're a ghost, then I'm sure you know what happened to you.
（咯咯笑）如果我足够坚强相信你是鬼，那么我相信你知道发生了什么事。
Once Hutch got on this riff, he kept going.
一旦哈奇开始这段即兴演奏，他就继续前进。
Denmark's a prison, Hamlet tells Rosencrantz, in Act II.
哈姆雷特在第二幕中告诉罗森克兰茨，丹麦是一座监狱。
And Hutch says you could do a version of the play that takes this central metaphor literally.
哈奇说，你可以制作一个版本的戏剧，从字面上理解这个中心隐喻。
All the characters in the play are types he sees in the yard every day.
剧中的人物都是他每天在院子里看到的类型。
The Claudiuses, who will do anything for the emblems of power-- money, drugs, high-end tennis shoes; Poloniuses, who kiss up to the powerful; Rosencrantz and Guildensterns.
克劳迪斯夫妇为了权力的象征可以做任何事——金钱、毒品、高档网球鞋；波洛尼修斯，巴结有权势的人；罗森克兰茨和吉尔登斯特恩斯。
Rosencrantz and Guildenstern.
罗森克兰茨和吉尔登斯特恩。
Oh, man.
哦，伙计。
Administration puts some guys out there just to get some info.
政府派了一些人去那里只是为了获取一些信息。
Yeah, you got your rats.
是的，你有你的老鼠。
And in Hutch's version, he solves the play's structural problem, fabricating a true dilemma for Hamlet by giving him good reasons to kill Claudius and not to kill him.
在哈奇的版本中，他解决了戏剧的结构问题，为哈姆雷特制造了一个真正的困境，为哈姆雷特提供了杀死克劳迪斯而不是杀死他的充分理由。
This is the way it would happen.
事情就是这样发生的。
Claudius killed this guy here because the guy had the biggest dope business in prison, or something.
克劳狄斯在这里杀了这个家伙，因为这个家伙在监狱里拥有最大的毒品生意，或者什么的。
Gertrude would be some sissy.
格特鲁德会有些娘娘腔。
You find them everywhere in prison.
在监狱里随处可见他们。
But the guy they kill be Hamlet's brother.
但他们杀死的人是哈姆雷特的兄弟。
So now, being in the prison world, he must defend that honor.
所以现在身在监狱世界，他必须捍卫这份荣誉。
But he got a girl talking about, you only got five years.
但他有一个女孩说，你只有五年的刑期。
You know, you did two.
你知道，你做了两个。
Do one more, they're gonna parole you.
再做一次，他们就会假释你。
Come on home, because I love you, and I'm duh-duh-duh-duh.
回家吧，因为我爱你，而且我是duh-duh-duh-duh。
He got another brother in business out there that he can get with to help raise his status.
他还有另一个做生意的兄弟，可以帮助他提高地位。
So he got-- he got all these things to look forward to on the street.
所以他得到了——他在街上得到了所有这些值得期待的东西。
But if he let that killing go, he'll have the roughest three years of his entire life.
但如果他放开了那场杀戮，他将度过一生中最艰难的三年。
He'll be the piss-pot of the institution.
他将成为该机构的麻烦人物。
So I mean, he got this dilemma.
所以我的意思是，他陷入了困境。
Would he be strong enough to survive that and get out there?
他是否有足够的力量度过难关并离开那里？
Hutch wouldn't.
哈奇不会。
I ain't gonna lie.
我不会撒谎。
I-- hey.
我——嘿。
Agnes Wilcox OK.
艾格尼丝·威尔科克斯 好的。
Places, please, for the top of Act I.
请安排第一幕顶部的位置。
Two months after my visit with Hutch at the first read-through, I was cleared once again into the old classroom.
在第一次通读时拜访哈奇两个月后，我再次被允许进入旧教室。
The actors tell me they've been practicing their lines wherever they can, often shouting them from cell to cell.
演员们告诉我，他们一直在尽可能地练习台词，经常在牢房之间喊叫。
Agnes has also had local professors come in and lecture.
艾格尼丝还请了当地的教授来授课。
She assigns the cast essays to write about their characters.
她布置演员论文来写他们的角色。
And the Hamlets have been walking the track, memorizing their lines, as has Danny, the Gravedigger.
哈姆雷特一家一直在这条赛道上行走，背诵台词，掘墓人丹尼也是如此。
This rehearsal, they're already tinkering with tempo and intonation.
这次排练，他们已经在调整节奏和语调了。
That first read-through seems like eons ago.
第一次通读似乎是很久以前的事了。
This same skull, sir, was, sir, Yorick's skull, the king's jester.
先生，这同一个头骨就是约里克的头骨，国王的弄臣。
He hath born me on his back 1,000 times.
他已经在他的背上生下了我一千次。
And now, how abhorred in my imagination it is.
而现在，在我的想象中这是多么令人厌恶。
My gorge rises at it.
我的胃由此升起。
A lot of what you see looks like any rehearsal.
你看到的很多东西看起来都像是排练。
Agnes is taking notes, a couple of guys are reading to themselves, and the occasional line reading devolves into laughter.
艾格尼丝正在做笔记，几个人正在自读，偶尔的台词朗读会变成笑声。
I will fight with him, (CHUCKLING) upon the-- this thing.
我会和他一起战斗，（笑）在这件事上。
The scene that's really slaying everyone tonight is the first appearance of Osric, the king's toadying courtier.
今晚真正让所有人窒息的一幕是国王谄媚的朝臣奥斯里克的首次亮相。
Sweet lord, if your lordship were at leisure, I should impart a thing to you from his majesty.
亲爱的大人，如果您有空的话，我想向您转授陛下的一件事。
No, just talk to Paul.
不，只要和保罗谈谈。
Just talk to Paul.
只要和保罗谈谈就可以了。
Just talk to Paul?
就跟保罗谈谈吗？
Agnes Wilcox Yeah.
艾格尼丝·威尔科克斯 是的。
Come on.
快点。
Let's stay in the scene.
让我们留在现场吧。
My name is Timothy Lantz.
我叫蒂莫西·兰茨。
I'm 38 years old, and I play the role of Osric.
我今年38岁，我扮演奥斯里克这个角色。
Osric is what they call a fop, which a lot of people tend to say, well, he's-- it's a sexual gender thing where he's homosexual or whatever, but he's not.
奥斯里克就是他们所谓的纨绔子弟，很多人倾向于说，好吧，他是——这是一个性别问题，他是同性恋或其他什么，但他不是。
What he is is a king groupie, a wannabe.
他是一个国王追随者，一个崇拜者。
Tim is the one member of the cast with screen time, one second of it.
蒂姆是演员中唯一一个在荧幕上出现的时间只有一秒钟的人。
He used to live in California.
他曾经住在加利福尼亚州。
And in a Frankie Avalon/Annette Funicello revival, he was in the background in one fleeting camera pan, hitting a volleyball.
在弗兰基·阿瓦隆/安妮特·福尼塞洛的重演中，他在背景中一个转瞬即逝的镜头中打着一个排球。
Tim once ran a trucking company, and like most of the cast doesn't want to discuss his crime.
蒂姆曾经经营一家货运公司，和大多数演员一样，他不想讨论他的犯罪行为。
But he does want to talk about how he researched his character-- in the TV room.
但他确实想谈谈他是如何在电视室里研究自己的角色的。
There are so many fops in television and movies.
电视和电影里有很多纨绔子弟。
Nathan Lane was a little bit too much.
内森·莱恩有点太过分了。
I think Robin Williams was a little too hyper.
我认为罗宾·威廉姆斯有点过于亢奋了。
The one that really stood out was David Hyde Pierce, his character of Niles Crane.
真正引人注目的是大卫·海德·皮尔斯（David Hyde Pierce），他饰演的尼尔斯·克兰（Niles Crane）。
I'd watch Frasier and kind of look at how he did things and his mannerisms, and it worked out pretty good.
我会看《弗雷泽》，观察他做事的方式和举止，效果非常好。
I mean, sir, for his weapon.
我是说，先生，为了他的武器。
But in the imputation laid on him by them and his mean, he is unfellowed.
但在他们对他的指责和他的卑鄙中，他是不受欢迎的。
What's his weapon?
他的武器是什么？
Timothy Lantz Rapier and dagger.
蒂莫西·兰茨 细剑和匕首。
What you say?
你说的话？
Jack Hitt Do you think your audience is going to be able to draw the very, sort of, fine distinction you're making between a fop and a gay person?
杰克·希特：你认为你的观众能够区分出你在花花公子和同性恋之间做出的非常细微的区别吗？
Not really.
并不真地。
Jack Hitt To me, this seemed like an especially risky interpretation of the part.
杰克·希特 对我来说，这似乎是对这个角色的一种特别冒险的解释。
But Tim explains that folks on the outside have a TV movie understanding of prison sexuality.
但蒂姆解释说，外面的人对监狱性行为的理解就像电视电影一样。
There is a small group of gay prisoners in the closet, another smaller group that is actually out, and then there's the vast majority of prisoners-- straight men, not having any sex at all.
有一小群同性恋囚犯在柜子里，还有一小群实际上是出柜的，然后是绝大多数囚犯——直男，根本没有任何性行为。
Just like outside, Tim says.
就像外面一样，蒂姆说。
OK, gentle folk, let's refocus.
好吧，温柔的人们，让我们重新集中注意力。
We're going to start where Laertes leaps into the grave.
我们将从雷欧提斯跳进坟墓的地方开始。
Putting on a play in prison is different.
在监狱里演戏就不一样了。
First, Agnes always has to deal with some last minute crisis.
首先，艾格尼丝总是要处理一些最后一刻的危机。
Tonight, one of the Hamlets can't come.
今晚，一位哈姆雷特不能来。
He was assaulted and was placed in solitary for protection.
他遭到袭击并被单独监禁以求保护。
Plus, everyone must be strip-searched in the side room before and after every meeting with Agnes or with me.
另外，每次与艾格尼丝或我会面之前和之后，每个人都必须在侧室接受脱衣搜查。
Worse, it's incredibly hot.
更糟糕的是，天气非常热。
The room is stifling.
房间里很闷。
The only relief is an ancient stand-up fan in the corner.
唯一的安慰是角落里的一把古老的立扇。
And a lot of the time, the actors are just trying to figure out what their lines mean.
很多时候，演员们只是想弄清楚台词的含义。
Here's Chris, one of the Hamlets.
这是克里斯，哈姆雷特之一。
There is a piece of dialogue I give in V.ii in which I'm talking to Horatio about how I got Rosencrantz and Guildenstern.
我在 V.ii 中有一段对话，其中我与霍雷肖谈论我如何得到罗森克兰茨和吉尔登斯特恩。
And it starts like, "Up from my cabin, sea-gown scarf'd about me."
它的开头是这样的：“从我的小屋里出来，我身上围着海袍围巾。”
Up from my cabin, my sea-gown scarfed about me.
从我的船舱出来，我的海袍围在我身上。
I didn't know what that meant.
我不知道那是什么意思。
And one thing Agnes will do, she'll stop us in mid-line.
艾格尼丝会做的一件事是，她会在中线阻止我们。
And she says, what does that mean?
她说，这是什么意思？
Let's go back.
我们回去吧。
Remember that what you're wrapped in is not a cloak.
请记住，包裹你的不是斗篷。
It's fog.
是雾。
How do you describe it?
你如何描述它？
Scarfed about me.
围着我。
Agnes Wilcox Yeah.
艾格尼丝·威尔科克斯 是的。
Your sea-gown scarfed about you is the fog.
你身上裹着的海袍就是雾。
I knew that.
我知道这一点。
Agnes Wilcox Yeah.
艾格尼丝·威尔科克斯 是的。
But now you've got to act it.
但现在你必须采取行动。
The sea-gown scarfed about me is the fog.
裹在我身上的海袍就是雾。
I'm out at night.
我晚上出去。
And it's the flow of the words.
这就是言语的流动。
Up from my cabin, sea-gown scarfed about me, groped I in the dark to find out them.
从我的船舱里出来，我裹着海袍，在黑暗中摸索着寻找他们。
Shakespeare really put some work in this-- and this is the only play I've really studied from him.
莎士比亚确实在这方面付出了一些努力——这是我真正向他学习的唯一一部戏剧。
But he really is good.
但他确实很好。
OK.
好的。
Pick up the pace, y'all.
加快步伐，大家。
Inmate Zip.
囚犯邮编。
Zop.
佐普。
Jack Hitt After a few months, the rehearsals begin to resemble a routine.
杰克·希特 几个月后，排练开始像例行公事。
They always start with some silly voice relaxation exercises.
他们总是从一些愚蠢的声音放松练习开始。
[ALL CHUCKLING] Inmate No, that's not him.
[所有人咯咯笑] 囚犯 不，那不是他。
The cast is such a mix.
演员阵容就是这样的混合。
There's Chris, who's a member of Toastmasters International, and when not rehearsing likes to listen to Journey on his Walkman, while his good pal Brat, a former gang-banger, has a subscription to a lapidary magazine.
克里斯是国际演讲会的成员，排练之余喜欢用随身听听《Journey》，而他的好朋友布拉特（Brat）是一名前帮派成员，他订阅了一份宝石杂志。
Then there's Edgar, a former Post Office employee, and Mike, a fight coordinator and a devout Wiccan.
然后是前邮局雇员埃德加和战斗协调员兼虔诚的巫术崇拜者迈克。
And then Stan, who's obviously a college educated businessman, now trying his hand at writing Zane Grey Westerns.
然后斯坦，显然是一位受过大学教育的商人，现在正在尝试写赞恩·格雷西部片。
And of course, there's Hutch, the killer whale.
当然，还有虎鲸哈奇。
What keeps them coming back to D-168, where Agnes, this tiny, tough lady, bosses them around?
是什么让他们回到 D-168，艾格尼丝，这个娇小而强硬的女士，对他们发号施令？
Here's Edgar.
这是埃德加。
She makes us feel human, man.
她让我们感到人性化，伙计。
She really does.
她确实这么做了。
When I go in there, I have to take my clothes off and get butt naked and bend over and spread my cheeks so some man can look up my butt, you know, all the dehuman-- the humiliating things that they do to us here.
当我进去的时候，我必须脱掉衣服，赤裸屁股，弯下腰，张开脸颊，这样有人就可以看到我的屁股，你知道，所有这些非人的行为——他们在这里对我们所做的羞辱性的事情。
And when she comes in and does what she does, for that minute, them two and a half hours, all these guys with PhDs and can be doing other things, they come in, I at least can feel human in here.
当她进来并做她所做的事情时，在那一分钟，两个半小时，所有这些拥有博士学位并且可以做其他事情的人，他们进来了，我至少可以在这里感受到人性。
I think this is taking me to being sane.
我认为这让我变得理智。
For just one day, just one day I'm sane enough, you know?
就这一天，就这一天我就足够理智了，你知道吗？
This is Brat Jones, another one of the Hamlets.
这是布拉特·琼斯，哈姆雷特的另一位成员。
If you don't keep exercising your mind, then you start to lose it, right?
如果你不持续锻炼你的头脑，那么你就会开始失去它，对吗？
You know, that's possible, right?
你知道，这是可能的，对吧？
This gives me an opportunity to see a society beyond what I'm used to.
这让我有机会看到一个超出我习惯的社会。
I'm familiar with rap music and videos and big butts on the TV and all that.
我熟悉说唱音乐、视频和电视上的大屁股等等。
But let me come back to something that I'm not familiar with.
但让我回到一些我不熟悉的事情上来。
You know, let me get into something else.
你知道，让我谈谈别的事情。
You know, that did open my eyes into getting into reading Sylvia Plath and Frost and Wadsworth and different other people.
你知道，这确实让我开阔了视野，开始阅读西尔维娅·普拉斯、弗罗斯特、沃兹沃斯以及其他人。
Everybody had powerful answers for why they were in the play.
每个人对于自己为何出演这部剧都有强有力的答案。
One guy with a third grade education level said that he was surprised to find out that he wasn't stupid, just uneducated.
一位受过三年级教育的人说，他很惊讶地发现自己并不傻，只是没有受过教育。
And for almost all of them, acting was beside the point.
对于几乎所有人来说，表演并不是重点。
But one inmate got bit by the drama bug, and bit hard.
但一名囚犯却被戏剧的魅力所吸引，而且咬得很厉害。
His first step onto the boards was a revelation.
他踏上董事会的第一步是一个启示。
I'm James Word.
我是詹姆斯·沃德。
I'm 32 years old.
我今年32岁了。
And I play the role of Laertes.
我扮演雷欧提斯这个角色。
My wife told me that I should be an actor.
我的妻子告诉我，我应该成为一名演员。
And she's like, you can act.
她说，你可以演戏。
You should be an actor.
你应该成为一名演员。
She's had the opportunity to see me deal with certain people on certain levels, and she's seen me change my--
她有机会看到我在某些层面上与某些人打交道，她看到我改变了我的——
Wait.
等等。
Certain people on certain levels.
某些人在某些层面上。
OK, come on.
好吧，来吧。
Let's-- as we say in the editorial business, let's air that out a little bit.
让我们——正如我们在编辑界所说的那样，让我们稍微公开一下。
Well, I've always wanted to be a con.
嗯，我一直想成为一个骗子。
And I've always wanted people to like me.
我一直希望人们喜欢我。
I wanted to be liked.
我想被人喜欢。
And the environment that I was in, people liked the bad guy.
在我所处的环境中，人们喜欢坏人。
You know, those were the heroes in our neighborhoods, the bad guy.
你知道，那些是我们社区的英雄，坏人。
And so I went from this real quiet church guy to this real bad guy.
所以我从一个真正安静的教堂人变成了一个真正的坏人。
You know, and I'd get around them, and I'd be like, yeah, I'm this and that, and would act it-- you know what I'm saying?
你知道，我会绕过他们，我会说，是的，我就是这个那个，并且会采取行动 - 你知道我在说什么吗？
Act big, bad, tough, and I don't care, when that really wasn't me.
表现得大、坏、强硬，我不在乎，但那真的不是我。
Because when I went home at night, I felt bad about what I did, and most of the time was scared to death doing what I was doing.
因为当我晚上回家时，我对自己所做的事情感觉很糟糕，而且大多数时候我都被自己正在做的事情吓得要死。
And my wife saw that.
我的妻子看到了。
And I think that's one of the reasons why she's like, you can be an actor.
我认为这就是她说“你可以成为一名演员”的原因之一。
James Word looks like an actor.
詹姆斯·沃德看起来像个演员。
He's young and handsome with a smile that can carry him through just about any situation.
他年轻、英俊，脸上带着微笑，几乎可以应付任何情况。
He plays Laertes, the brother of Ophelia.
他扮演奥菲莉亚的弟弟莱尔提斯。
For the first few acts, Laertes was played by an Amish pedophile.
在前几幕中，莱尔提斯由一名阿米什恋童癖者扮演。
That's another story.
那是另一个故事了。
But the Amish pedophile got transferred, and so it's almost legend in the prison now, like something out of 42nd Street.
但这位阿米什恋童癖者被转移了，所以现在这几乎成了监狱里的传奇，就像第 42 街的故事一样。
James Word stepped into the role.
詹姆斯·沃德接替了这个角色。
He created a sensation among the cast when they realized what a really forceful performance could do for a character.
当演员们意识到真正有力的表演可以为一个角色带来什么时，他在演员们中引起了轰动。
Word made a lasting impression, even on the killer whale.
这句话给虎鲸留下了深刻的印象。
You come along and in Act IV, and you get this guy, James Word.
在第四幕中，你出现了这个人，詹姆斯·沃德。
And Word's playing Laertes.
沃德正在扮演莱尔提斯。
And he was hittin' it, especially when he was mourning the death of Ophelia.
他确实做到了这一点，尤其是当他哀悼奥菲莉亚的去世时。
Is it Scene 4 or something?
是场景4还是什么？
He makes his entrance.
他进来了。
And he's going to be after the king and the queen.
他将追捕国王和王后。
Stop them.
阻止他们。
Hold up.
耽误。
And man, you should have seen this guy Word man.
伙计，你真该看看这个人，Word man。
He come in there like-- dropped to his knees.
他进来时就像——跪倒在地。
And he did, why!
他做到了，为什么！
Why!
为什么！
I said, man, that should have been my part there.
我说，伙计，那应该是我的职责。
I knew I had done a good job.
我知道我做得很好。
You know, I knew I had done a good job.
你知道，我知道我做得很好。
But when it was over, you know, and everybody was leaving and shaking hands and interacting with each other, the comments that was coming afterwards-- you know, we had our questions and answers.
但当活动结束后，你知道，每个人都离开了，握手并互相互动，随后出现的评论 - 你知道，我们有我们的问题和答案。
So many people was just-- man, you were so good.
很多人只是——伙计，你太棒了。
Have you done this before?
你以前做过这个吗？
You should do this more.
你应该多做这个。
You should continue this.
你应该继续这个。
And that feeling for me was just-- it was one of the best feelings I've ever felt.
对我来说，这种感觉是——这是我所感受过的最好的感觉之一。
It was like the day my daughter was born.
这就像我女儿出生的那一天。
And it made me want to be better.
这让我想要变得更好。
Not just in acting.
不仅仅是在表演方面。
I mean, it just opened up a whole world for me, you know?
我的意思是，它为我打开了一个全新的世界，你知道吗？
Like, man, if I apply myself, I can pretty much do whatever I want.
就像，伙计，如果我努力的话，我几乎可以做任何我想做的事。
O treble woe, fall 10 times treble, on that cursed head, whose wicked deed that most ingenious sense deprived thee of.
哦，高音悲哀，十倍高音落在那个被诅咒的头上，最巧妙的感觉剥夺了你的邪恶行为。
Now, pile your dust upon the quick and dead, till of this flat a mountain you have made to overtop old Pelion, or the skyish head of blue Olympus.
现在，把你的尘土堆在生者和死者身上，直到你把这片平地变成一座山，盖过古老的皮立翁山，或者蓝色奥林匹斯山的天空。
The first chance I get to see Word in action is at tonight's rehearsal, where Laertes goes to the grave of his sister Ophelia.
我第一次有机会看到 Word 的实际应用是在今晚的排练中，雷欧提斯前往他妹妹奥菲莉亚的坟墓。
Word was a natural, and talked about acting that way too.
言语是很自然的，谈论的行为也是如此。
Laertes' emotions in the final act roller-coaster from grief to fury to shameful regret.
雷欧提斯的情绪在最后一幕中经历了过山车式的变化，从悲伤到愤怒，再到可耻的悔恨。
To pull it off, Word channels Laertes' character in a way that should make any method actor cringe with jealousy.
为了实现这一目标，Word 以一种让任何方法演员都嫉妒的方式引导雷尔提斯的角色。
Coming into Act IV, he was very angry, violently angry.
进入第四幕，他非常生气，非常生气。
And I can identify with that, and I can play that role very well, because I've been playing that role all my life.
我能认同这一点，而且我能很好地扮演这个角色，因为我一生都在扮演这个角色。
Must there no more be done?
难道就不能再做任何事了吗？
Actor No more be done.
演员 没有更多的事情要做。
Lay her in the earth, and from her fair and unpolluted flesh may violets spring.
把她埋在土里，紫罗兰就会从她美丽、未受污染的肉体中绽放。
I tell thee, old churlish priest, a ministering angel shall my sister be when thou liest howling.
我告诉你，粗鲁的老牧师，当你嚎叫时，我的妹妹将成为侍奉天使。
You know what I'm saying?
你知道我在说什么吗？
And Laertes, he falls into the manipulation.
而雷欧提斯，他陷入了操纵之中。
And he becomes a bad guy for a little while because he's being deceitful now.
他暂时变成了一个坏人，因为他现在很欺骗。
You know, I never really looked at it, and it's somewhat cowardly.
你知道，我从来没有真正看过它，这有点胆怯。
And I can relate that to my past life as a criminal.
我可以将这与我过去作为罪犯的生活联系起来。
To put a gun in somebody's face, that's an unfair advantage.
用枪指着某人的脸，这是一种不公平的优势。
You know, and that's a cowardly act.
你知道，这是一种懦弱的行为。
That's what criminals are.
罪犯就是这样。
We're cowards.
我们是胆小鬼。
You know, when we're criminals, we are cowards.
你知道，当我们是罪犯时，我们就是胆小鬼。
Do you feel like you can be Laertes because so much of Laertes is inside James Word?
你是否觉得自己可以成为莱尔提斯，因为莱尔提斯的大部分内容都在詹姆斯的字里？
I am Laertes.
我是雷欧提斯。
I am.
我是。
I am.
我是。
Ira Glass Coming up, what the ghost of Hamlet's father can teach you about murder.
艾拉·格拉斯（Ira Glass）：接下来，哈姆雷特父亲的鬼魂可以教你有关谋杀的知识。
In a minute, from Chicago Public Radio, when our program continues.
稍后，芝加哥公共广播电台将继续我们的节目。
It's This American Life.
这就是美国生活。
I'm Ira Glass.
我是艾拉·格拉斯。
If you're just tuning in, what we're doing today is that we're devoting our whole show to Jack Hitt's story, from the Missouri Eastern Correctional Center, where over the course of six months Jack watched prisoners rehearse and stage Act V of Hamlet.
如果你刚刚收看，我们今天要做的是，我们将整个节目都集中在密苏里州东部惩教中心的杰克·希特的故事上，在六个月的时间里，杰克在那里观看囚犯排练和上演《哈姆雷特》第五幕。
Again, here's Jack.
再说一次，这是杰克。
As the performance day grew closer and I spoke to more and more of the actors, it became clear that each actor used his past, in dense psychological ways, to understand his part.
随着演出日期的临近，我与越来越多的演员交谈，很明显，每个演员都利用他的过去，以密集的心理方式来理解他的角色。
All the Hamlets saw themselves in their version of the Dane, and Edgar would stop me in the hall to tell me that he thought evil King Claudius had some redeeming qualities.
所有的哈姆雷特都将自己视为丹麦人的版本，埃德加会在大厅里拦住我，告诉我他认为邪恶的克劳迪斯国王有一些救赎的品质。
But for one actor, the relationship was even more complicated.
但对于一位演员来说，这种关系就更加复杂了。
He used his part to help understand his past.
他利用自己的角色来帮助了解他的过去。
My name is Danny Waller.
我叫丹尼·沃勒。
I'm 44 years old.
我今年 44 岁。
The character that I've played was the ghost of Hamlet's father.
我扮演的角色是哈姆雷特父亲的鬼魂。
The reason I chose that, when I first read the script, the words jumped out at me.
我选择的原因是，当我第一次读剧本时，这些话就跳到了我的脑海里。
And they made me feel things that I haven't felt before.
他们让我感受到了我以前从未感受过的东西。
What in your-- what in your experience drew you to those particular words?
在你的经历中，是什么吸引你使用这些特定的词语？
I took a man's life.
我夺走了一个人的生命。
And, uh, I felt he was talking to me through that-- that he wanted me to know what I put him through.
而且，呃，我觉得他是在通过这个跟我说话——他想让我知道我让他经历了什么。
"I am thy father's spirit, doomed for a certain term to walk the night, and for the day confined to fast in fires, 'til the foul crimes done in my days of nature are burnt and purged away.
“我是你父亲的灵魂，在一段时间内注定要在夜间行走，而在白天则必须在火中禁食，直到我在自然时代所犯下的罪行被烧毁并清除。
But that I am forbid to tell the secrets of my prison-house, I could a tale unfold, whose lightest words would harrow up thy soul, freeze thy young blood, and make thy two eyes, like stars, start from their spheres."
但我被禁止说出我监狱里的秘密，我可以展开一个故事，其中最轻微的话语都会折磨你的灵魂，冻结你年轻的血液，让你的两只眼睛像星星一样从它们的球体中睁开。”
There's one other spot that goes like this.
还有一个地方也是这样。
"Thus was I, sleeping, by a brother's hand of life, of crown, of queen, at once dispatched, cut off even in the blossoms of my sin, no reckoning made, but sent to my account with all my imperfections on my head." And it was pretty much the same way with him.
“我就是这样，睡着了，被兄弟的生命之手、王冠之手、王后之手，立即派遣出去，甚至在我罪孽之花中被切断，没有进行清算，而是将我所有的不完美都归到了我的头上。”他的情况也几乎一样。
He was taken before his time.
他在他的时代到来之前就被带走了。
So when you read the character, do you feel like-- who is talking when you say those lines?
所以，当你读到这个角色时，你是否感觉——当你说出这些台词时，是谁在说话？
I'm the body up there.
我就是上面的尸体。
But the words are coming from mostly, uh-- William Pride, the man that I killed.
但这些话大多来自，呃——威廉·普莱德，我杀死的那个人。
He's mostly the one talking.
说话的人大多是他。
There's not much defense between the actor and the word as you get with an actor who puts his or her training between the two.
当演员将自己的训练置于两者之间时，演员和话语之间并没有太多的防御。
These guys call it like they see it.
这些人就像他们看到的那样称呼它。
And it's true.
这是真的。
It's just dead true.
这是千真万确的。
That's Agnes, the director.
那是导演艾格尼丝。
Besides putting on plays in the Missouri Eastern Correctional Center visiting room, she has mounted shows on more familiar stages-- the acclaimed Actor's Studio in New York, the Berkshire Festival in Stockbridge, and the Eugene O'Neill Theater Center in Connecticut.
除了在密苏里州东部惩教中心探视室演出外，她还在更熟悉的舞台上演出——纽约广受好评的演员工作室、斯托克布里奇的伯克希尔音乐节和康涅狄格州的尤金·奥尼尔剧院中心。
After becoming the artistic director of the New Theater in St. Louis, she started an outreach program to take professional actors doing dramatic works by writers like Don DeLillo and perform them before prison audiences.
成为圣路易斯新剧院的艺术总监后，她启动了一项外展计划，让专业演员表演唐·德里罗等作家的戏剧作品，并在监狱观众面前表演。
In time, the prisoners became the actors.
随着时间的推移，囚犯成为了演员。
And in more time, this side project took over her entire theater company.
后来，这个副业项目接管了她的整个剧院公司。
Now this is what she does-- directing prisoners, who may not have the chops of professional actors but have an intimacy with the material that doesn't exist anywhere else.
现在这就是她所做的——导演囚犯，他们可能不具备专业演员的能力，但对其他地方不存在的素材有一种亲密的感觉。
When Claudius is in the chapel and speaks about his sin and his regret and his ability to undo it, it broke my heart.
当克劳迪斯在教堂里讲述他的罪孽、他的悔恨以及他弥补罪孽的能力时，我的心都碎了。
Because the man playing it felt all of those things fully.
因为演奏它的人充分感受到了所有这些东西。
And you know, I know these guys have deep regrets.
你知道，我知道这些人深感遗憾。
But it was palpable.
但这是显而易见的。
The audience was stunned.
观众惊呆了。
You could hear a pin drop.
你可以听到一根针掉落的声音。
And that was especially true with the inmate audience.
对于囚犯观众来说尤其如此。
He says, oh, my offense is rank.
他说，哦，我的冒犯是严重的。
It smells to heaven.
闻起来很香。
It hath the primal, eldest, curse upon it.
它身上有最原始、最古老的诅咒。
A brother's murder.
兄弟被杀。
A brother's murder.
兄弟被杀。
Pray can I not, though inclination be sharp as will.
尽管我的倾向很强烈，但我不能祈祷。
My stronger guilt defeats my strong intent.
我更强烈的内疚打败了我强烈的意图。
What if this cursed hand were thicker than itself with brother's blood?
如果这只被诅咒的手比自己还厚，沾满了兄弟的血怎么办？
Is there not rain enough in the sweet heavens to wash it white as snow?
难道甜蜜的天堂里还没有足够的雨水把它洗得洁白如雪吗？
My name is Edgar Evans.
我的名字是埃德加·埃文斯。
And I'm 39 years old.
我今年39岁了。
And I play the king, King Claudius, in Hamlet.
我在《哈姆雷特》中扮演国王克劳迪斯国王。
And like a man to double business bound, I stand in pause where I shall first begin and both neglect.
就像一个要双重工作的人一样，我在我首先要开始的地方停了下来，两者都忽略了。
I don't consider myself no great actor or nothing, but I try to do the best I can.
我不认为自己不是伟大的演员或什么都不是，但我尽力做到最好。
And when I did the speech, I was looking upward.
当我演讲时，我的目光是向上的。
The chapel was at an incline there.
教堂在那里是一个斜坡。
And I was just looking up toward the top, and it was like no one was there but me.
我只是抬头望向山顶，好像除了我之外没有人。
I literally-- I honestly didn't see a soul in the chapel when I was saying this.
我真的——老实说，当我说这句话的时候，我没有在教堂里看到一个灵魂。
Maybe even-- and I'm just-- I'm not saying this.
甚至可能——我只是——我不是这么说的。
It seemed almost like I was praying this actual speech to God.
看起来我几乎像是在向上帝祈祷这个真实的演讲。
But O, what form of prayer can serve my turn.
但是哦，什么形式的祈祷才能轮到我呢？
Forgive me my foul murder?
原谅我犯下的谋杀罪吗？
That cannot be, since I am still possessed of those effects for which I did the murder-- my crown, my own ambition, and my queen.
那不可能，因为我仍然拥有我谋杀的那些后果——我的王冠、我自己的野心和我的女王。
I have a wife and four kids.
我有一个妻子和四个孩子。
And by being incarcerated, I feel that I've really let them down.
被监禁后，我觉得我真的让他们失望了。
When I said that speech and my wife was here in the visiting room, I don't know if it had an impact on her.
当我说那句话时，我的妻子正在会诊室，我不知道这是否对她产生了影响。
I don't even know if she truly understood all of the content.
我什至不知道她是否真正理解了所有内容。
But I wanted her to hear that speech more than anybody.
但我比任何人都更希望她听到那次演讲。
O, wretched state, O, bosom black as death, O, limed soul, struggling to be free art more engaged.
啊，悲惨的状态，啊，胸膛黑如死亡，啊，石灰的灵魂，努力让自由艺术更加投入。
Help, angels.
救命啊天使们
Make assay.
进行测定。
Bow, stubborn knee, and hearts with strings of steel, be soft as sinews of the newborn babe.
鞠躬，顽固的膝盖，钢弦般的心，柔软如初生婴儿的肌腱。
All may be well.
一切都可能会好起来。
Edgar wouldn't tell me his crime.
埃德加不肯告诉我他的罪行。
Although I found myself playing a constant guessing game with all of them about this, they wouldn't discuss the past.
尽管我发现自己一直在和他们所有人玩这个猜测游戏，但他们不会讨论过去的事情。
That was then, they said.
他们说，那就是那时。
This is now.
这是现在。
But I had to know.
但我必须知道。
So one morning, instead of visiting, I went to downtown St. Louis, not far from the Arch, and sat in a records depository reading old case files.
因此，有一天早上，我没有去参观，而是去了距离拱门不远的圣路易斯市中心，坐在档案库里阅读旧案卷。
It was more horrible than I thought.
这比我想象的更可怕。
One guy I particularly liked shot a man in the head twice at point-blank range.
我特别喜欢的一个人在近距离向一个人的头部开了两枪。
Another of my new friends raped his pubescent daughter, impregnating her.
我的另一个新朋友强奸了他青春期的女儿，使她怀孕。
Later, there was an abortion.
后来，发生了流产。
Another friend grabbed a man getting out of a car, put a gun to his chest during a robbery, and pulled the trigger.
另一位朋友在抢劫时抓住了一名下车的男子，将枪抵在他的胸口，然后扣动了扳机。
Others had sodomized children-- younger children, the age of my own children.
其他人鸡奸了孩子——更小的孩子，和我自己的孩子一样大。
I didn't fall asleep for a long time in my frigid Ramada Inn room.
我在华美达酒店寒冷的房间里很长时间没有睡着。
At 3:00 in the morning, I had one of those cinematic nightmares.
凌晨 3:00，我做了一场电影般的噩梦。
I dreamed that a very good friend of mine, an editor at a magazine, had me over to dinner.
我梦见我的一位好朋友，一家杂志社的编辑，请我去吃晚饭。
She got angry with someone else there, pulled out a gun, and plugged him twice, right in the face.
她对那里的另一个人很生气，掏出枪，对着他的脸插了两下。
Then she asked me not to talk about it with anybody.
然后她让我不要和任何人谈论这件事。
I panicked.
我惊慌失措。
And the next thing I knew, I was sitting up in my hotel bed, panting like a sprinter.
接下来我就知道，我坐在酒店的床上，像短跑运动员一样气喘吁吁。
It didn't take Freud to figure out what it meant.
弗洛伊德无需费力就能明白这意味着什么。
Someone I knew and liked was a murderer.
我认识并喜欢的一个人是凶手。
I wanted to talk to the cast about this, but I was anxious.
我想和演员们讨论这件事，但我很焦虑。
I know this sounds crazy, but I was afraid it might hurt their feelings.
我知道这听起来很疯狂，但我担心这会伤害他们的感情。
I felt like they had betrayed me.
我感觉他们背叛了我。
But strangely, I felt that I had betrayed them too.
但奇怪的是，我觉得我也背叛了他们。
There was only one day left to talk, just before the final performance.
只剩下一天的时间了，就在最后一场演出之前。
So before curtain, I asked Brat to sit down with me.
所以在幕布前，我请布拉特和我一起坐下。
I could barely spit out my question.
我几乎无法吐出我的问题。
You know, we came in here three months ago, or five months ago, and met you all for the first time as actors.
你知道，我们三个月前，或者五个月前来到这里，第一次以演员的身份见到你们。
And so yesterday, we decided to go down to City Hall and read everybody's record.
所以昨天，我们决定去市政厅阅读每个人的记录。
And so we read everybody's record.
所以我们阅读了每个人的记录。
And I have to say, since we met-- you know, since I met you as an actor first and now I know what you did, it's very hard for me to wrap my mind around this other guy that's on paper.
我不得不说，自从我们见面——你知道，自从我第一次见到你作为演员，现在我知道你做了什么，我很难把注意力集中在纸上的另一个人身上。
And so I want to know how you do it.
所以我想知道你是如何做到的。
How do you square the Brat Jones of-- what was it, 13 years ago-- yeah, yeah-- with the one that I see on the stage tonight.
你如何将 13 年前的布拉特·琼斯（Brat Jones）——是的，是的——与我今晚在舞台上看到的那个相提并论。
It's taken a lot of practice.
这需要大量的练习。
I'm trying to discover who I am now.
我正在努力发现我现在是谁。
It's not been easy.
这并不容易。
I was off into the drugs and all those things when I got locked up for that case.
当我因这起案件被关起来时，我就沉迷于毒品和所有这些事情。
And I slowly had to come out of those things.
我不得不慢慢地从这些事情中走出来。
Because I always knew in the back of my mind that I had already went to the lowest point in life.
因为我心里一直知道，我已经到了人生的最低谷。
So now it was time to see what I could do as far as going to the highest point in life.
所以现在是时候看看我能做些什么才能到达人生的最高点。
It was a hard question for any of them to answer.
对于他们中的任何一个人来说，这都是一个很难回答的问题。
They all said the same thing.
他们都说了同样的话。
But I'm this guy now, I'm not that guy.
但我现在是这个人，我不是那个人。
Are we forever the prisoner of our actions?
我们是否永远是自己行为的囚徒？
It's a good question.
这是一个好问题。
It was Hamlet's question, and it's the unresolvable conflict in our penal system.
这是哈姆雷特的问题，也是我们刑罚制度中无法解决的冲突。
Why do we put people in jail?
我们为什么要把人关进监狱？
To rehabilitate them and restore them to our company, or to punish them, regardless of how much they might change?
是给他们平反，让他们回到我们公司，还是惩罚他们，不管他们有多大的改变？
One can't hold both these ideas in one's mind simultaneously.
一个人无法同时将这两种想法牢记在心。
That's why our prison debates on TV and in Congress are so vehement and incoherent.
这就是为什么我们在电视和国会中的监狱辩论如此激烈和语无伦次。
The two sides cannot be squared by mere politics.
两国不能仅靠政治来调和。
They can't even be squared by the people at the center of the debate.
他们甚至无法被辩论中心的人摆平。
Here's Danny.
这是丹尼。
When I first got this sentence, I said, yeah, I'll go ahead and just die in here because I don't deserve to be out there the way I am.
当我第一次听到这句话时，我说，是的，我会死在这里，因为我不应该像现在这样待在那里。
You know, that was 13, 14 years ago.
你知道，那是13、14年前的事了。
But a person changes.
但人是会变的。
I'm no longer the criminal I used to be.
我不再是以前的罪犯了。
I know that I will not do any other crimes out there.
我知道我不会再犯任何其他罪行。
But I took a man's life.
但我夺走了一个人的生命。
Do I deserve to be out there?
我值得在那里吗？
I cannot say.
我不能说。
Hamlet, thou art slain.
哈姆雷特，你被杀了。
No medicine in the world can do thee good.
世界上没有任何药物可以对你有好处。
In thee is not a half an hour's life.
你的生命连半个小时都没有。
No medicine in the world, blah blah blah.
世上无药可救，哈哈哈哈。
I can't get it.
我听不懂。
I forgot.
我忘了。
Line.
线。
The treacherous instrument is in thy hand.
奸诈的工具就在你手里。
It's opening night, dress rehearsal.
开幕之夜，彩排。
Word has flubbed his line again.
消息再次打乱了他的台词。
Things aren't going well.
事情进展不顺利。
The only time the authorities would allow a dress rehearsal is in the hour before actual curtain.
当局唯一允许彩排的时间是在实际演出前一小时。
This is the first time the cast has seen the acting stage, the first time in costume, the first time they have real props, skulls and shovels.
这是演员们第一次看到表演舞台，第一次穿着古装，第一次拥有真正的道具、头骨和铲子。
The shovel is a story in itself, given every prison fear of shovels.
鉴于每个监狱都害怕铲子，铲子本身就是一个故事。
You can use them to dig tunnels, remember.
记住，你可以用它们来挖掘隧道。
The authorities insisted on using only a flimsy cardboard replica.
当局坚持只使用脆弱的纸板复制品。
Everyone is tense, even Agnes.
每个人都很紧张，甚至艾格尼丝也是如此。
Guys, let's double the pace so we can get through this, get it all out.
伙计们，让我们加倍步伐，这样我们就能度过难关，全力以赴。
The sight is dismal.
景象惨淡。
The sight is dismal.
景象惨淡。
Agnes Wilcox And our affairs--
艾格尼丝·威尔考克斯 还有我们的事情——
We are in the prison chapel where their first performance will be held before an audience of inmates.
我们在监狱教堂里，他们将在囚犯观众面前进行首次表演。
Six months after my first visit, it is, at last, showtime.
在我第一次访问六个月后，终于到了表演的时间。
Armed guards let the audience in the door, one by one.
武装警卫一一让观众进门。
Agnes calls her actors together in a corner and gives them the final pep talk.
艾格尼丝把演员们召集到一个角落里，给他们做了最后的鼓舞人心的讲话。
Paul, Edgar, could I have you?
保罗，埃德加，我可以要你吗？
OK.
好的。
Things to think about.
需要思考的事情。
Make sure to stand still on yours and other people's punchlines.
确保在你和其他人的妙语中保持静止。
If something falls apart, pick it up, go somewhere with it.
如果有什么东西散了，就把它捡起来，带着它去某个地方。
Make up words.
编造词语。
I don't think anybody here has memorized it, so we're safe.
我认为这里没有人记住它，所以我们很安全。
And mostly, this afternoon people were working so hard I don't think you had much fun.
大多数情况下，今天下午人们工作得很辛苦，我认为你们没有太多乐趣。
Hard work's behind us.
艰苦的工作已经过去了。
This is the night to just have a blast.
这是一个尽情享受的夜晚。
Say "One for the team." Agnes Wilcox One for the team.
说“为团队一人”。艾格尼丝·威尔科克斯 团队一号。
Ready, set-- hoo-ha!
准备好了，准备好——呼哈！
Jack Hitt Once the play starts, Danny and Stan deliver their lines OK, but all that antique Elizabethan wordplay isn't connecting with the audience.
杰克·希特 戏剧开始后，丹尼和斯坦的台词还不错，但所有那些古老的伊丽莎白时代的双关语并没有与观众产生共鸣。
But then midway through the scene, the crowd starts to really respond to the emotion in Ophelia's funeral march.
但在场景进行到一半时，人群开始真正对奥菲莉亚葬礼进行曲中的情感做出反应。
Laertes is the last mourner, humming at the side of the grave, tossing rose petals on her corpse.
莱尔提斯是最后一位哀悼者，她在坟墓边哼着歌，将玫瑰花瓣撒在她的尸体上。
Right away, the action picks up.
行动立即开始。
The Hamlets appear, taunting Laertes about the sincerity of his grief.
哈姆雷特一家出现，嘲笑雷欧提斯悲伤的真诚。
They quarrel and exchange insults.
他们争吵并互相辱骂。
A duel is proposed, which culminates in the last sword fight scene.
提议进行一场决斗，最终在最后的剑斗场景中达到高潮。
Come, begin!
来吧，开始吧！
Jack Hitt Most directors block the scene as a professional fencing match.
杰克·希特（Jack Hitt） 大多数导演都将场景视为职业击剑比赛。
Agnes has it looking like a knife fight in an alley.
艾格尼丝认为这就像巷子里的持刀打斗。
The audience totally gets it.
观众完全明白了。
Word holds his arms slightly out from his sides, his hand gripping his sword like he would a shiv.
沃兹的双臂从身体两侧微微伸出，他的手像握住匕首一样握住剑。
He and one of the Hamlets are circling each other, like thugs.
他和哈姆雷特之一像暴徒一样围着对方转。
Word jerks his shoulders forward-- a pure back alley feint, a fake movement to intimidate his opponent, something all of them have probably seen right in the yard.
话语猛地向前推了他的肩膀——纯粹的后巷佯攻，一个恐吓对手的假动作，他们可能都在院子里见过。
Then the room goes quiet, as the actors starts slicing one another, leading to Laertes' death scene.
然后房间安静下来，演员们开始互相砍杀，最后出现了雷欧提斯的死亡场景。
James Word Hamlet, thou art slain.
詹姆斯·沃克 哈姆雷特，你被杀了。
No medicine in the world can do thee good.
世界上没有任何药物可以对你有好处。
In thee, there's not half an hour's life.
你的生命连半个小时都没有。
The treacherous instrument is in your hand, unbated and envenomed.
这把危险的工具就在你的手中，未受削弱且充满毒液。
The foul practice has turned itself on me.
这种肮脏的做法已经把矛头指向了我。
Lo, here I lie, never to rise again.
瞧，我躺在这里，再也站不起来了。
Exchange forgiveness with me, noble Hamlet.
与我交换宽恕吧，高贵的哈姆雷特。
Let mine and my father's death be not upon thee.
让我和我父亲的死不归咎于你。
The audience, like a living thing, leans forward in unison to watch Word slide down the chapel wall and die.
观众就像一个活物一样，齐声向前倾身，看着Word从教堂墙壁上滑落而死。
There are no cackles of discomfort, no shouts from the gallery.
观众席上没有任何不适的咯咯笑声，也没有叫喊声。
Just breathless silence, the silence of recognition.
只有令人窒息的沉默，认出的沉默。
In all, there were three performances.
总共演出了三场。
And on the final night, before family and dignitaries, the entire cast found the magic that Paul said would happen during that first read-through.
在最后一晚，在家人和政要面前，全体演员都发现了保罗所说的在第一次通读期间会发生的魔力。
The actors knew that this would be the last time they get to perform as a group.
演员们知道这将是他们最后一次集体表演。
So when Danny and Stan came out for their final gravedigger appearance, somehow those Elizabethan jokes worked.
因此，当丹尼和斯坦最后一次出现在掘墓人面前时，不知怎的，那些伊丽莎白时代的笑话起了作用。
Art a heathen?
艺术是异教徒吗？
How does thou understand the scripture?
你如何理解经文？
The scripture said Adam digged.
圣经说亚当挖了。
Could he dig without arms?
没有手臂他能挖吗？
[AUDIENCE CHUCKLING] Jack Hitt Having seen every performance, I can testify, the actors rose above their talents in that last show.
[观众咯咯笑]杰克·希特看过每一场表演后，我可以作证，演员们在上一场演出中超越了他们的才华。
Mike and Hudson as the belligerent priests, Buck and Tommy as the ambassadors, Sylvester's Fortinbras.
迈克和哈德森扮演好战的牧师，巴克和汤米扮演大使，西尔维斯特扮演福丁布拉。
You could feel the mutual support.
你可以感受到相互的支持。
Just as missed lines and other mistakes play off one another, and can spiral downward into fiasco, the rhythm of the room can go the other way too.
正如漏台词和其他错误相互影响，最终导致惨败一样，房间的节奏也可能走向相反的方向。
Strong lines beget better performances.
强大的线条带来更好的表现。
The gang of Hamlets came together in a way they hadn't before.
哈姆雷特这帮人以前所未有的方式走到了一起。
That little mob seemed like one voice.
那一小群人似乎只有一个声音。
But the real surprise for me that last night was Hutch.
但昨晚对我来说真正的惊喜是哈奇。
I am more an antique Roman than a dame.
我更像是一个古罗马人而不是一个贵妇。
There's still yet some liquor left.
酒还剩下一些。
It's here that Hutch's Horatio delivers his most famous line.
正是在这里，哈奇的霍雷肖说出了他最著名的台词。
The play is almost over.
戏快结束了。
He's surrounded by corpses and speaks to his dying friend Hamlet.
他被尸体包围，并与垂死的朋友哈姆雷特交谈。
In the other performances, I always thought Hutch had been plagued by what you might call the Jack Nicholson syndrome.
在其他表演中，我一直认为哈奇受到了所谓的杰克·尼科尔森综合症的困扰。
The actor's persona is bigger than any role he might play.
演员的人格比他可能扮演的任何角色都重要。
But tonight, Horatio has Hutch under control and the audience in his hand.
但今晚，霍雷肖掌控了哈奇，掌控了观众。
He has the one great line to deliver.
他有一条伟大的路线要传达。
And as Hutch might say, he nails it.
正如哈奇可能会说的那样，他做到了。
Now cracks a noble heart.
现在，一颗高贵的心裂开了。
Good night, sweet prince, and flights of angels sing thee to thy rest.
晚安，可爱的王子，天使们为你歌唱，让你安息。
So Hamlet dies, and Fortinbras takes over.
于是哈姆雷特死了，福丁布拉斯接任。
And then the drums of Hamlet's funeral begin.
然后哈姆雷特葬礼上的鼓声响起。
On other stages, a curtain would fall.
在其他舞台上，帷幕将会落下。
But here, beneath the cafeteria's unforgiving fluorescence, the actors just stop.
但在这里，在自助餐厅无情的荧光下，演员们停下来了。
From the back of the room, Agnes says simply--
艾格尼丝在房间的后面简单地说——
Jack Hitt The audience tonight is a mix of St. Louis' artistic elite.
杰克·希特 今晚的观众云集了圣路易斯的艺术精英。
It's a theater crowd-- polite, well-dressed people.
这是一群看戏的人——彬彬有礼、衣着考究的人。
Many of them have helped fund this production.
他们中的许多人为这部作品提供了资金支持。
They want and fully expect to meet the talent afterwards.
他们希望并充分期待在之后见到人才。
And for many of the actors, this moment-- they call it the cast party-- is the most prized.
对于许多演员来说，这一刻——他们称之为演员聚会——是最珍贵的。
James Word and Edgar Evans mentioned it specifically when I talked to them.
当我与詹姆斯·沃德和埃德加·埃文斯交谈时，他们特别提到了这一点。
Just the chance to stand around in a room full of normal people, drink a Coke, and carry on about the play, the future, the weather, the freedom to chat and mingle, like you were in the lobby of a theater instead of a bulletproof visiting room.
只是有机会站在一个满是普通人的房间里，喝可乐，继续谈论戏剧、未来、天气、自由聊天和交往，就像你在剧院的大厅而不是防弹的探视室一样。
Hey, how you doing?
嘿，你好吗？
Audience Member I'm doing well.
观众朋友我做得很好。
Good to see you.
很高兴见到你。
Audience Member This is my sixth time here.
观众 这是我第六次来这里。
Yeah, you come to all of them.
是的，你来找他们所有人。
Yeah, I appreciate it.
是的，我很感激。
And we thank you.
我们感谢你。
Thank you very much.
非常感谢。
In a high-security prison, though, when a play is over, it's over.
然而，在戒备森严的监狱里，当一场戏结束时，一切就结束了。
No sooner had the bows finished than Danny, who doubles as the stage manager, turns right around and starts frantically striking the set.
鞠躬结束后，兼任舞台监督的丹尼立即转身，开始疯狂地敲击布景。
The guards had informed everyone that they'd have about 10 minutes for the cast party.
警卫通知大家，他们有大约 10 分钟的时间参加演员聚会。
Like any play, all the work was for this moment-- to get to the end of the last performance successfully.
和任何戏剧一样，所有的工作都是为了这一刻——成功地完成最后一场演出。
And now that it's here, these few minutes are shot through with a kind of melancholy.
现在到了这里，这几分钟充满了一种忧郁。
Soon everything will end, and everyone will return to his pre-acting life.
很快一切都会结束，大家都会回到演戏前的生活。
Here, that near future is visible.
在这里，不久的将来是可见的。
In the side room, everyone sees him, is the guard waiting to strip search them back into the yard.
在侧屋里，每个人都看到了他，守卫正在等待着将他们脱光搜查到院子里。
He wears a dull expression on his face and rubber gloves on his hands.
他表情呆滞，手上戴着橡胶手套。
But that would be 10 minutes from now.
但那是 10 分钟后的事了。
There's still time for pretending.
还有时间假装。
Thank you, sir.
谢谢您，先生。
Thanks for coming out.
谢谢你出来。
We appreciate the support.
我们感谢您的支持。
It was so complicated.
事情太复杂了。
Audience Member --counter-balance between the beginning and the end.
观众——开头与结尾的平衡。
According to the prison commissioner, 97% of the people locked up today will someday join us on the outside.
据监狱专员称，今天被关押的人中有 97% 有一天会在外面加入我们。
Manuel is leaving for a halfway house in 48 hours.
48 小时后，曼努埃尔将前往中途宿舍。
He could have been out weeks before but chose to stay in prison so he could finish the play.
他本来可以在几周前出狱，但他选择留在监狱里，以便完成这部剧。
Hutch has a scheduled date for release.
哈奇已经确定了发布日期。
And a few more of the cast have parole board hearings coming up to decide whether they've changed enough and should be allowed to mingle with us on the outside.
还有一些演员即将举行假释委员会听证会，以决定他们是否已经做出了足够的改变，是否应该被允许在外面与我们交往。
To that extent, this whole night, including the cast party, is just another rehearsal.
从这个意义上说，这一整晚，包括演员聚会，都只是又一次排练。
Thanks for coming!
感谢您的光临！
Audience Member Oh, you were great.
观众哦，你太棒了。
Yes, ma'am.
是的，女士。
Audience Member Well, you're very good.
观众朋友嗯，你很好。
Jack Hitt, he's a longtime contributor to our show and a writer for the New York Times Magazine.
杰克·希特（Jack Hitt）是我们节目的长期撰稿人，也是《纽约时报》杂志的撰稿人。
Since we first aired this program back in 2002, all of the main actors that Jack to in his story have been released from prison.
自 2002 年我们首次播出该节目以来，杰克故事中的所有主要演员均已出狱。
Edgar, who played Claudius, went to work at a hospital - became chief union steward there - and recently retired.
扮演克劳迪斯的埃德加在一家医院工作，成为那里的首席工会代表，最近退休了。
Big Hutch works in public transit.
Big Hutch 在公共交通领域工作。
Tim moved to Hollywood hoping to produce his own screenplays.
蒂姆搬到好莱坞希望制作自己的剧本。
Danny, the guy who talked about speaking as the man he killed -- was released from prison just a few months ago, in May.
丹尼，那个谈论他所杀的人的人，几个月前，即五月，刚从监狱释放。
Manuel got out long ago and died in a truck crash in 2008.
曼努埃尔很早就出狱了，并在 2008 年的一场卡车事故中丧生。
Agnes Wilcox their director died in 2017 after decades of running Prison Performing Arts, which she founded.
他们的主任艾格尼丝·威尔考克斯 (Agnes Wilcox) 于 2017 年去世，此前她经营了她创立的监狱表演艺术中心数十年。
Chris, Edgar, and Big Hutch were at her funeral.
克里斯、埃德加和大哈奇参加了她的葬礼。
The organization is still going strong.
该组织仍然很强大。
Chris Edgar and Brat are involved with their alumni theater program.
克里斯·埃德加和布拉特参与了他们的校友戏剧计划。
You can learn more about them at prisonperformingarts.org.
您可以访问prisonperformingarts.org 了解更多有关他们的信息。
Credits Ira Glass This episode of our program was produced by Alex Blumberg, with Starlee Kine, Wendy Dorr, Jonathan Goldstein, and me.
致谢 Ira Glass 我们的这一集节目由 Alex Blumberg 与 Starlee Kine、Wendy Dorr、Jonathan Goldstein 和我共同制作。
Our senior producer for this episode was Julie Snyder.
我们本集的高级制片人是朱莉·斯奈德。
Our technical director for our show is Matt Tierney.
我们节目的技术总监是马特·蒂尔尼。
Production help with today's show from Diane Wu.
Diane Wu 为今天的节目提供制作帮助。
Our website, thisamericanlife.org.
我们的网站 thisamericanlife.org。
This American Life is delivered to public radio stations by PRX, the Public Radio Exchange.
《美国生活》由公共广播电台 PRX 向公共广播电台播出。
Thanks, as always, to our programs co-founder Mr. Torey Malatia, or as we like to call him, Shamu.
一如既往地感谢我们的项目联合创始人 Torey Malatia 先生，或者我们喜欢称呼他 Shamu。
I control the killer whales.
我控制虎鲸。
And I can eat up them minnows if I want.
如果我愿意的话，我可以吃掉它们。
I'm Ira Glass.
我是艾拉·格拉斯。
Back next week with more stories of This American Life.
下周我们将带来更多《美国生活》的故事。
This American Life is produced in collaboration with WBEZ Chicago and delivered to stations by PRX The Public Radio Exchange.
《This American Life》与 WBEZ Chicago 合作制作，并由 PRX 公共广播电台传送到各电台。