LOVE'S LABOUR'S LOST by William Shakespeare
(愛的徒勞)；. Love's Labour's Lost. 莎士比亞喜劇【空愛一場】。1594或1595年首演。諷刺當時裝腔作勢的社會風氣。
Wikipedia article "Love's Labour's Lost".---
電影(2000),：愛情急轉彎,
紐約時報
---韓國鬧劇：兩名星結婚12天後說再見
Where the Wrong Gift Can Mean Loves Labors Lost
SEOUL, South Korea When two young television stars called it quits only 12 days after their wedding recently, their very public and acrimonious divorce shined a rare spotlight on the underside of marriage in South Korea.
華爾街日報的舞評 DANCE | ||
Annandale-on-Hudson, N.Y.
Independence was in the air as well as on the calendar for the world premiere on July 4 of Mark Morris's "Romeo & Juliet, on Motifs of Shakespeare." His Prokofiev-inspired, four-act ballet came to the stage of Bard College's Fisher Center innocently independent of some 70 years of history framing the work born in Russia.
What Sergey Prokofiev and his dramatist collaborator Sergey Radlov planned initially for Moscow's Bolshoi Ballet was scuttled in the mid-1930s under the terrible regime of Stalin, ostensibly for its rewriting of Shakespeare to give the stage classic a "happy" ending.
But such upbeat endings were not without precedent in Soviet art. Tchaikovsky's intended, tragic conclusion for "Swan Lake" was readily changed to a lyrical alternative in productions within Soviet Russia. What seems to have rankled Stalin's watchdogs was Prokofiev's temerity in bucking an authority such as Shakespeare and proceeding independently with ideas of his own. As Prokofiev put it, recalling his motivation to rework Shakespeare's tragedy and keep Romeo and Juliet alive: "Living people can dance; the dying cannot."
![[The second cast for the title roles in 'Romeo & Juliet,' Maile Okamura and Noah Vinson, fared better than the premiere cast.]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_t6UDVfNmBe2PZmkf5QOMZNRvxvREbjhb2sWpk5BxR2_izJzfOz-ocKAmr4-kUnVvp4RVCaDihKzIPI8UUzIz3Jig7LRecHiyb-4CyoDTzeLsWhsJsIi8eTyYvEKBiTYobu7THuRT3qz6n2D-6Z1Q=s0-d) |
| Gene Schiavone |
| The second cast for the title roles in 'Romeo & Juliet,' Maile Okamura and Noah Vinson, fared better than the premiere cast. |
Eventually, in 1940, an approved, reworked Prokofiev score for "Romeo and Juliet," with the title characters meeting tragic ends, was staged by Leonid Lavrovsky for Leningrad's Kirov Ballet. Over the next decades, some 90 choreographic hands inside and outside Russia have had their go at the altered work.
Enter Prokofiev scholar Simon Morrison and his recent discovery of the original score and its plans in a Moscow archive. He chose Mr. Morris to stage the work as originally written and conceived by Prokofiev. The modern-dance choreographer and director of his own company, the Mark Morris Dance Group, has said that he took on the project only because the score was now fresh and thus presented a challenging opportunity to create a vehicle for his own dancers.
Mr. Morris has noted in interviews that the 1930s "Romeo and Juliet" is more "through-composed," meaning that the famously music-minded choreographer found the older four-act score less choppy than the reworked three-act version the composer was forced to accept.
Mr. Morris's production, as shown over the weekend in the cozy confines of the Fisher Center's Sosnoff Theater, is about as intimate and idiosyncratic as many previous versions have been large-scale and sweeping. Allen Moyer's sets are natural-wood-toned in hue and include charming little Renaissance buildings that act as much like furniture as like background architecture. Martin Pakledinaz's costumes are dance-friendly reductions of 14th-century Italianate fashion.
Mr. Morris decidedly avoids ballet's way with applause-getting high points, such as punctuational strokes that use expansively taut, dramatically held poses and acrobatically scaled lifts to cap individual scenes. With his modern-dance stress on gesture -- often colorfully and wittily detailed here with Italian street gesticulation of Mr. Morris's own inventive devising -- and on weighted footwork that paces the narrative action noticeably on the pulse of Prokofiev's rhythms, this "Romeo and Juliet" is more like a pageant and home-spun tapestry than a cinematic, operatic spectacle. The swordplay is all with wooden weapons, lending the artfully reductive nature of Mr. Morris's theatrics a faux-naïf dimension: Think a little of "Peter Pan."
The Mark Morris Dance Group rises happily to the occasion. Almost every subsidiary character is clear and colorful without distorting the "through-line" of the choreography's internal impetus. Joe Bowie's formidable but never bluff Escalus, Samuel Black's amusing but not cutesy Peter, and Lauren Grant's feisty but not vulgar Nurse are just three of the lesser roles that stand out amid the storytelling. The casting of female dancers as the male characters Tybalt and Mercutio, however, is occasionally more puzzling than pointed.
Not all of Prokofiev's original intentions serve the unfolding drama well. The repeated scenes of the festival that frame Romeo and Juliet's arresting wedding scene seem to cry out for trimming. The three gift-presentation dances to celebrate the planned nuptials of Juliet and Paris are show-stopping in a less than desirable sense.
So far, also, the respective title roles -- which fared better in a second cast, with Noah Vinson and Maile Okamura, than with David Leventhal and Rita Donahue in the premiere cast -- fail to claim the full focus of our attention. Mr. Morris introduces his protagonists neatly: Romeo as something of a poetic loner on a Verona street and Juliet as a delicately willful daughter in her father's house. But, while the choreographer's direction of each often shows them consistently outside the social life of their elders, as single-minded teens can tend to be, their specific choreography seems almost offhand at times.
Both characters memorably share a recurring and pretty pose -- the flicking of one leg behind the other as if confidently kicking up their heels. It's essentially, however, not until the elegiac "happy ending" duet that constitutes the newly discovered Act 4 epilogue -- set with a blue sky and glowing stars -- that the couple's choreography sets them truly apart in notable dance terms.
But Mr. Morris's ambitious undertaking seems still to be evolving. When I noted to a company spokesman that much of the music sounded more similar than I expected to the Stalin-approved version, with its attendant heaviness, I was told that there was some disagreement with Leon Botstein, the American Symphony Orchestra conductor and Bard College president, about this, and that Mr. Morris plans to work further to get the score eventually lightened to what he and Mr. Morrison understand to be Prokofiev's intentions.
More work and more independence remain in the stars for Prokofiev's "Romeo and Juliet." Happy endings rarely come easily.
Mr. Greskovic writes about dance for the Journal.
根據Shakespeares Words一書，Quality 一字在莎士比亞作品中有九義。
現在談一義，它出自Sir Edward Elgar( 1857-1934，今年是誕生150年慶)的(威儀堂堂進行曲)（Pomp and Circumstance March No.1 In D Major Op.39）--英國的地下（非正式）國歌，曲名引莎士比亞的Othello說法。中文的音樂blog不多，不過可以找到：
「Pomp and Circumstance March No.1
London Symphony Orchestra Sir George Solti
Pomp and Circumstance，中譯『威風凜凜』。此詞乃引用莎士比亞於奧泰羅的名句，後成了英國人朗朗上口的名言。現在多指"正式典禮或聚會".....
Elgar於1907年完成此曲，其中以第一號最為著名。二次大戰期間，英國國勢大不如前，靠著英吉利海峽及英吉利空戰的短暫勝利才勉強撐到美國的加入。期間這首曲子幾乎成了英國的第二國歌，在那段黑暗的日子陪伴英國人躲避希特勒的空襲，在烽煙漫天裡維持著英國人的尊嚴。
這樣的時節，或許我們需要音樂來振奮一下心情，找回人民的尊嚴。
由 chinchun 發表於 March 27, 2004 04:54 PM
本文的引用網址:
http://blog.bluecircus.net/cgi-bin/mt-tkbk.cgi/1235」
我要談莎翁作品及其中文翻譯之比較：
POMP AND CIRCUMSTANCE MARCHES, OP. 39
(Note: March No. 1 later became "Land of Hope and Glory") Duration for all five marches: 30 minutes
The title is taken from from Act III, Scene 3, lines 347--354 of Shakespeare's Othello, where Othello says:
O, now for ever
Farewell the tranquil mind! farewell content!
Farewell the plumed troop, and the big wars
That make ambition virtue! O, farewell!
Farewell the neighing steed and the shrill trump,
The spirit-stirring drum, th'ear-piercing fife,
The royal banner, and all quality,
Pride, pomp, and circumstance of glorious war!
這段，都只是散文體 梁實秋的翻譯比較按部就班 朱的有掉plumed等字眼：
永別了安寧的心境；永別了滿足；永別了使野心成為美德的羽軍和大戰！啊！永別了！永別了嘶鳴的戰馬，銳聲的喇叭，助威的顰鼓，刺耳的軍笛，威風凜凜的大纛，以及光榮戰爭中的一切璀爍壯麗的鋪張！
朱生豪的翻譯比較簡麗：
永別了，安寧的心緒！永別了，平和的幸福！永別了！威武的大軍，激發壯志的戰爭！啊！永別了！永別了，長嘶的駿馬，銳利的號角，驚魂的顰鼓，刺耳的橫笛、莊嚴的大旗和一切戰陣上的威儀！
, David 1717–1779.British actor and theater manager who was considered the foremost Shakespearean player of his time.
"I am disappointed by that stroke of death that has eclipsed the gaiety of nations, and impoverished the public stock of harmless pleasure."
如 新帕尔格雷夫经济学大词典专题
所以日本解釋路德的論文
The Social Background of Luther's "Trade and Usury" ... ルター「商業・利子論」の社会的背景.
Did you but know the city's usuries And felt them knowingly; the art o' the court As hard to leave as keep; whose top to climb ...
現在有許多專業詞點攻參考
Shakespeare's Legal Language: A Dictionary - Google Books Result
| by B. J. Sokol, Mary Sokol - 2005 - Literary Criticism - 497 pages |
