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2020英语三级笔译每日一练:To be a king

发布时间:2020-09-15 18:14:14 来源:网络 阅读量:

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2020英语三级笔译每日一练:To be a king

To be a king 新王万岁

Each character he played left little bits in him, whether Brown’s sexy dance moves or Marshall’s liking for fine outfits. But Robinson taught him he should confront the world squarely, calmly, and think he was infallible. He had not been too good at doing that, in his past. Growing up in South Carolina, even well after the Civil Rights Act, he had been run off the road by rednecks, called “boy”and passed by trucks that flew Confederate flags. He had faced it, and failed at facing it. Now, in playing his characters, he could relive those things and respond in a different way.

每一个扮演过的角色都会或多或少的在他心中留下一些痕迹,不论是詹姆斯·布朗的性感舞步,还是瑟古德·马歇尔的时尚衣品。杰基·罗宾逊的坦然沉稳和自信执着更是让他受益匪浅。这些品质正好填补了他的不足。博斯曼成长于南卡州,尽管那时已经实行了民权法案,他依然要远离街上的红脖子白人。路过的卡车上飘动着邦联旗,车里的人喊他“黑小子”。他想面对,却面对不了这一切。如今,在扮演了这些角色之后,他终于可以从这些事情中解脱出来,用更加积极的态度来看待这些事情。

He prepared as thoroughly as possible. For “42” he spent weeks learning to play baseball like a pro. Mick Jagger helped him with“Get on Up”, teaching him how to tease and seduce an audience. He dug deep into the backstories of the characters, filling out their weaker sides and their humanity. It was important to walk in their shoes through the world. Black characters on screen were too often one-dimensional, as if they were second-class.

博斯曼会充分准备每一个角色。在《42号传奇》中,他花了两个星期的时间模仿职业选手打棒球。在《激乐人心》中,滚石乐队的传奇主唱米克·贾格尔教他如何用舞姿吸引观众。博斯曼会深入研究每一个角色的背景故事,把角色塑造的更加饱满、更加立体。扮演好这些角色意义深刻,因为黑人角色通常性格单一,好像天生就比别人差一样。

Yet the fictitious role of T’Challa and his kingdom of Wakanda engaged him even more. This was a work of recovery, the celebration of a severed African past that belonged to all black people. Every part of it had to be properly done. It was he who insisted the cast spoke Xhosa, with its clicks and smacks. He found it beautiful and rhythmical, like ancient music. He helped devise the salute, which reminded him of tomb effigies of the pharaohs. (In 2016 he had played Thoth in “Gods of Egypt”, the one face of African descent among them, taking the part only because, without him, there would have been none.) For close combat he studied Zulu stickfighting and Dambe boxing from west Africa. Costumes, sets and moves fused together different aspects of the continent he loved, a mixing and reconnection that went to his own roots: almost the moment he got the part, he had his DNA tested and found he was Yoruba from Nigeria and Limba from Sierra Leone. Last, he reinforced the film’s relevance by making T’Challa a peacemaker in the Mandela mould while his nemesis Killmonger, his abandoned cousin, was inspired by Malcolm X. That echoed a conversation he had long had with himself: forbearance, or violence.

博斯曼对于虚构的特查拉和他管辖的瓦坎达王国感触颇深。这是一部治愈的电影,一部歌颂非洲历史的电影,一部属于所有非洲人的电影。电影的每一处都恰到好处。博斯曼坚持全体演员使用南非科萨人的班图语,这种语言具有独特的节奏和韵味。他认为黑人的语言就应该如此,就像古代的音乐一样,优美且富有节奏。他在参与设计电影中的经典动作时,受到了法老墓像的启发(2016时,他曾在《埃及之神》中扮演了智慧神托特,他是演员中唯一一位非裔面孔,他能入选也是因为除了他再没有其他合适的黑人演员)。为了训练近身搏斗,他学习了祖鲁棍法和西非特有的达比拳击。电影的服装、布景和动作都融入了非洲特色,这些他钟爱的非洲元素也触及了他在非洲的根:几乎是在得到这个角色的那一刻,他就决定检测自己的DNA,结果显示他有尼尔利亚的约鲁巴人和塞拉利昂的林巴人的基因。他把特查拉塑造成像曼德拉一样的和平缔造者,而他在电影中的宿敌,也是他被遗弃的表兄艾瑞克·克尔芒戈,则是像马尔科姆·X一样的暴力战争派。这就让电影的情节更具现实性,而这种隐忍和暴力的对立已经萦绕在博斯曼心中许久。

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