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一九四二年,当我在伦敦市中心一家剧院看易卜生的《培尔·金特》时,曾一边赞赏,一边想:倘若能让国内观众也看上这出戏,该有多好!当时,那自然只是个梦想而已。一九七八年,当我把此剧第一及第五幕译出,投给一家刚刚用内部发行的形式复刊的杂志时,编辑部考虑了几个月才把它刊出。如今,一九八三年五月,中央戏剧学院导演系师生经过半年的奋战,居然把它搬上了舞台。这标志着“双百”方针近几年来在我国得到进一步的贯彻,同时也实现了四十一年前我做过的一个美梦。《培尔·金特》之所以给我那么深刻的印象,就在于这不仅仅是一出戏,而是就人生观
When I looked at Ibsen’s “Peer Gynt” at a theater in central London in 1942, I admired one by one and wondered if it would be enough for the domestic audience to spot the play Well, at the time, that was only a dream. In 1978, when I translated the first and fifth scenes of the play to a magazine that had just been reprinted in an internally distributed format, the Editorial Department considered it for a few months before it was published. Today, in May 1983, teachers and students from the director of the Central Academy of Drama went through six months of hard work and actually brought it onto the stage. This shows that the “two hundreds” principle has been further implemented in our country in recent years and that it has also realized the dream I had made 41 years ago. The reason why “Per Gilt” impressed me so much is that this is not just a play, but a view of life