欲望号街车翻译
欲望号街车 中文剧本精编版
《欲望号街车》全本人物表白兰琪斯蒂拉斯坦利米奇尤尼斯斯狄夫巴勃罗黑人妇女大夫护士年轻收款员墨西哥妇女第一场【新奥尔良一条街拐角一栋两层楼房的外景。
街名依利恩地段，位于L及N交通沿线与河之间。
这地区虽穷，但却和美国其他城市里相应的地区不同，倒有一种可爱的俗气。
房子大都是白色框架，因风吹日晒已变成灰色，外面有一道摇摇欲坠的楼梯、走廊和装饰古怪的山墙。
楼房有上下两套房间，由一道白色油漆已经脱落的楼梯通往这两套房间的门口。
【这是五月初傍晚天刚黑的时候。
天空衬着朦朦胧胧的白楼房显得特别蔚蓝，使景色增添了优雅的情趣，巧妙地冲淡了落日的气氛。
你仿佛可以嗅到从那黄褐色的河面飘来的热气，河岸远处有一排排散发着香蕉和咖啡清香的仓库。
黑人乐队在街头拐角一家酒吧间里奏出配合气氛的音乐。
在新奥尔良这一地区，你总可以在街角或沿街走不到几家门口，就能听到由棕色的手指在小钢琴上娴熟的演奏出的音乐。
这种“布鲁斯钢琴曲”表达出此地的生活风貌。
【两个妇女，一个白人和一个黑人，正在楼梯上乘凉。
白人妇女是住在楼上套间的尤尼斯；黑人妇女是邻居，因为新奥尔良是个世界性城市，旧城有多名族混杂居住，相处的比较热情和睦。
【街上传来人声，盖住了“布鲁斯钢琴曲”。
【两个男人，斯坦利.科华尔斯基和米奇走到街头拐角。
他们二十八或三十岁左右，随随便便穿着一身蓝色斜纹工作服。
斯坦利拿着他的滚木求外套和一包从肉铺里买来沾着血斑的东西。
他们在楼梯口停下。
斯坦利：（大声喊）喂，喂！斯蒂拉，宝贝！【斯蒂拉从底层平台上走出来。
她是个年轻温厚的女人，二十五岁左右，出身显然和她丈夫大不相同。
斯蒂拉：（温和的）别这样对我嚷嚷。
米奇，你好。
斯坦利：接住！斯蒂拉：什么东西“斯坦利：肉！【他把纸包递给她。
她责怪的叫起来，勉强接住，随即喘着气笑起来。
她丈夫和同伴已转身回街角。
斯蒂拉：（在他后面喊）斯坦利！你去哪儿？斯坦利：打滚木球去！斯蒂拉：我可以来看吗？斯坦利：来吧。
（下）斯蒂拉：一会儿就完了。
英文电影片名翻译研究
口的经 典佳译 。 文字优美 、 言简 意赅 ， 具 有强烈 的吸 引力和感 染 力的译 名方 可 引入人 胜 ， 保证 影片 的艺
些 精 彩 的 意 译 还 有 ：“ Ｂｏ ｄ ｙ ｇ ｕ ａ ｒ ｄ ” 一一
《 护花 倾情》、“ Ｆ ｒ ｅ ｎ ｃ ｈ Ｋｉ ｓ ｓ ” 一一 《 情定 巴黎》、 ‘ ‘ Ａ １ １ Ｑｕ ｉ ｅ ｔ ｏ ｎ ｔ ｈ ｅ Ｗｅ ｓ ｔ ｅ ｒ ｎ Ｆ ｒ ｏ ｎ ｔ ” 一一 《 西线 无战
一 一
பைடு நூலகம்
还 有一些精 彩 的译 名 如 ： “ Ｐ ｒ ｅ ｔ ｔ ｙ Ｗｏ ｍａ ｎ ”
《 风 月俏佳 人 》、“ Ｓ ａ ｎ ｄ ａ ｎ ｄ Ｂ ｌ ｏ ｏ ｄ ” 一一 《 碧
“ Ｃ ａ ｔ ｃ ｈ Ｍｅ Ｉ ｆ Ｙ ｏ ｕ Ｃ ａ ｎ ” 一一 《 逍遥 法外》 、 “ Ｆ ａ ｃ ｅ Ｏ ｆ” 一 一 《 夺面 双 雄 》 、 “ Ｎ ｏ ｗ Ｙ ｏ ｕ Ｓ ｅ ｅ Ｍｅ ”
事》 、 “ Ｔ ｈ ｅ Ｂ ｒ ｉ ｄ ｇ ｅ ｏ ｆ Ｍａ ｄ ｉ ｓ ｏ ｎ Ｃ ｏ ｕ ｎ ｔ ｙ ” 一一 《 廊 桥 遗 梦 》、“ Ｍｙ Ｆ ａ ｉ ｒ Ｌ ａ ｄ ｙ ” 一一 《 窈 窕 淑女 》 、 “ Ｇ ｈ ｏ ｓ ｔ ” 一一 《 人鬼 隋未了》 。
直译法不仅 能保 持电影片名的原本意 义和格调 ，
《 巴顿将军》 、 “ Ｔ ￣ － ＇ ｚ ａ ｎ ＇ ’—— 《 人猿泰山》 等。
电影 “ Ｓ ｈ ｒ ｅ ｋ ”被 译 为 《 怪 物 史 莱克 》， 不仅 保 留 了发 音 ， 而 且 点名 了主人 公 的形 态 特点 ， 顾 此 又 及彼。 再 看 惊 险动 作 片 “ Ｓ ｐ ｅ ｅ ｄ ”， 改译为 《 生 死 时 速》 ， 充分 体现 了影片内容 ， 又描 写 出电影 的紧张气 氛， 译名可谓形 神兼 备， 非常经 典 。 又如著 名心理惊 悚片 “ Ｓ ｅ ７ ｅ ｎ ” ， 叙述了一个疯 狂的凶手 围绕 天主教七 大死 罪的惩戒逐条 杀人的犯罪故事。 影片被译 为 《 七 宗 罪》， 点 明故事 主线 ， 又揭 示了七大 罪状 ， 是改 译 的经典范例 。
欲望号街车
THANK YOU！
6. symbolize
Blanche Dubois: White,pure Old South's plantation
symbolize
Stanley: The Norther emerging industries
symbolize
Lampshade:
No longer held in esteem escape from reality
symbolize
Bath: confess
self-atonement
begining
symbolize
Flowers: death
References
The Absence of Father in A Streetcar Named Desire (2015)陈彦 《欲望号街车》中父权制的加冕与脱冕 (2015) 祖华萍 Conflicts in A Streetcar Named Desire(2014)禹雪含 Analysis of Blanche ’ s Tragedy Life in the Streetcar Named Desire(2014)安晓芳 Symbolic Representation of Blanche DuBois’ s Tragic Fate in A Streetcar Named Desire(2013)陈微微
Stella Kowalski:
mild
kind-hearted escapist逃避现实的
Charactersቤተ መጻሕፍቲ ባይዱ
Stanley kowalski:a force of nature：
欲望号街车
• He had those on when you met him?
• I stayed and fought for it, bled for it, almost died for it! - Stop this hysterical outburst and tell me what's happened.
Excerpt
1. No! I'm out, I've got to go home pretty soon. 2. Well, I got a sick mother and she don't go to sleep until I get in at night… 3. I talked to my mother about you and she said, " How old is Blanche?" 4. No , I don’t think I want to marry you anymore …No- You're not clean enough to bring into the house with my mother.
Stella
• Submissive • Passive • entrust the whole life on her husband • Love her sister • Compromise to reality
Mitch
Manly in the appearance, But has Oedipus complex in his mind Lack of manliness
Conceited Hysterical Vanity desirable
Desire Cemeteries Elysian Fields
欲望号街车 ( a streetcar named desire)原创
Blanche Dubois: An Anti-Hero In a streetcar named desire Abstract:This paper was how much I disagreed with some of the claims made about Blanche，I genuinely found some of the statements made by thesecritics to be quite inaccurate, at least in my opinion, so proving themwrong with the evidence from Tennessee Williams in my paper followednaturally. Blanche, as the representative of delicate and fragile southernfemale images, has been the focus of discussion. Later on, this paperanalyzes this typical controversial heroine from the perspective offeminism in terms of social culture, economic factorKeywords: desire, feminism, social culture, economic factor1IntroductionTennessee Williams is widely considered the greatest southern playwright and one of the greatest playwrights in the history of American drama, whose masterpieces include Glass Menagerie, A Streetcar Desire, The Rose Tattoo, Cat on a Hot Tin Roof, Night of the Iguana, etc.. In these plays, he creates many unforgettable characters, especially lonely, depressed, coward and mind-distorted southern female images.As one of the most recognizable characters in American drama and a fading but sexy Southern belle, Blanche Dubois suffers from the death of her husband who has turned out to be homosexual and committed suicide, the loss of her ancestral home and the passing away of her elder relatives. Guilty and grieve, she dates with a variety of men. Finally her reputation is ruined and she is dismissed due to having an affair with a young boy in her school. And then she turns to her sister Stella for help, who lives in the slum of New Orleans where she is acquainted with Mitch, the brother-in-law Stanley‟s fellow worker. Blanche dreams to start a new life with him, but the dream is broken due to her conflict with Stanley. In the end, their final, inevitable confrontation—a rape—results in Blanches nervous breakdown, and she is sent to a madhouse. Like a delicate and fragile work of art handed down from American Old South, she cannot get rid of a set of hypocritical, strict and controversial moral standards and shows difficulty in adapting to modern culture. She is doomed to undergo misfortunes, lose self and finally go to destruction.2 From the perspective of Tennessee WilliamsThrough the play , Wi lliams‟s sympathies lie with Blanche; this sympathy condemns the environment that has brought about Blanches tragic circumstances. Sympathy for Blanche in A Streetcar Named Desire is found in large part from the obvious trauma she has experienced due to the loss of her beloved husband, Allan Grey. Ironically, this aspect of the play is also one that critics and readers frequently use to demonize Blanche and disprove her role as a sympathetic character. critics claim Williams believes Blanche behaved hatefully toward her husband or failed him in some manner, leading to the death she now laments and Blanche had a responsibility as a wife to somehow rescue her husband from his own sexuality However, this claim compared with the trauma that the death has caused Blanche, and the implications of the overwhelming love she felt for Allan Grey may have been the last true emoti on‟Evidence also shows that the traumatic loss of her husband was a driving force that leads Blanche to Stella‟s doorstep. The scandalous event s that drive Blanche to her ultimate defeat do not begin until after Allan‟s death, and she even admits, “After the death of Allan—intimacies with strangers was all I seemed able to fill my empty heart with . . . I think it was panic, just panic, that drove me from one to another, hunting for some protection”. Williams implies that Blanche is not inherently impious; the disintegration of the loving marriage she once clung to leads her to a wrong path.Another situation in which Williams shows sympathy toward Blanche is her most dramatic victimization in the play: her rape. This scene requires careful analysis to understand that Stanley‟s rape of Blanche is indeed an antagonistic victimization, some claim that Williams goes to great lengths to obscure the fact that rape is a political crime ,making this seem a crime of passion and desire rather than one of violence, cruelty, and revenge .However, this argument is in complete dissonance with the obvious signs of Blanches noncompliance in the rape and utterly ignores Williams‟s vilification of Stanley throughout the play. In addition to Blanches evident noncompliance, Williams‟s vilification of Stanley throughout the entire play draws aclear distinction between victim and villain in the rape scene. Upon Stanley‟s first appearance, Williams describes how “he seizes women up at a glance . . . crude images flashing into his mind and determining the way he smiles at them,” and in the next line Blanche not coincidentally “draw s involuntarily back from his stare” (25). This significant exchange sets the mood for the tension between Blanche and Stanley that continues throughout the play. Several times Blanche regards Stanley with a “look of panic” or a “frightened look”, subtle stage directions that further Stanley‟s dark portrayal and foreshadow his victimization of Blanche. The fact that Stanley is characterized as erotic and Blanche merely as mentally weak and insecure reflects where Williams‟s sympathies lie; it does not imply that Blanche brings on Stanley‟s womanizing cruelty but rather that any woman could become his prey. Williams establishes Blanche‟s role as Stanley‟s victim far earlier on in the play than his physical domination of her, and Stanley‟s menacing characterization implies that Blanche‟s flawed chara cter does not give her singular potential to fall victim to him.In A Streetcar Named Desire‟s final scene, Williams makes his sympathetic tone toward Blanche tangible by exploiting her vulnerability before the indifference of the people and society that surrounds her. In addition to the ir onic comment “I have always depended on the kindness of strangers”, Blanche‟s vulnerability is also illuminated through stage directions such as “a look of sorrowful perplexity as though all human experience shows on her face” and “She turns her face to [the doctor] and stares at him with desperate pleading”. Blanches vulnerability leaves her sharply exposed before the cold unresponsiveness of the people who witness her defeat and represent the society in which she has been immersed: the men‟s poker game resumes abruptly after her dramatic exit, Blanches own sister Stella returns her pleas delivered in a “frightening whisper” by staring blankly back at her in a “moment of silence”, and Eunice simply responds to her claim of rape with, “Don‟t ever believe it. Life has got to go on”. The other characters in the play, representative of the era‟s misogynistic society, choose to disregard Blanches plight in accordance with what society expects. Blanche has fallen victim to the brutality of male dominance, yet even the women around her turn a blind eye to her suffering in order to avoid any disruption of theireveryday lives.One can easily deduce Williams‟s sympathy toward Blanche throughout the play and even in the circumstances of her downfall, which gives greater insight into both Williams‟s perceptions of her role as a character and his own views. Although at first glance Blanches checkered sexual past and addiction to the attention of men seem to safely secure her a pigeonhole in a womanizing society, in reality her experiences have only broken down her weak spirit and driven her to her downfall. Because of Williams‟s sympathy, Blanche becomes a tra gic protagonist in A Streetcar Named Desire and transforms the play into a sort of allegory: Williams uses her plight to criticize the social circumstances that have both shaped her flawed persona and led to her demise. This social commentary leaves Williams‟s motivations in question: as a homosexual male, why exactly is Williams so sympathetic toward Blanche? One possibility is that Williams‟s homosexuality in a heavily masculine society rendered him naturally sympathetic toward the plight of women, with whom he probably identified more than with the archetypical male of the era. Another explanationis that, as a homosexual, Williams criticized heterosexuality itself, condemning the sexuality that turns Blanche into a victim, Stanley into a monster, and the rest of the characters into puppets on socio-cultural strings. Altho ugh Williams‟s personal motives are debatable, the story he creates with Blanche Dubois presents a clearly sympathetic portrait of a woman .3. Social cultureIt is reasonable that almost every person‟s fame is closely related to the place where he/she grows up, so it is necessary to probe into briefly the history of the South and its cultural background in order to have a deeper investigation of the heroine‟s destruction. The prewar South is full of contradictory memories. The Southern plantation economy set a division between planters and slaves. The slaves worked all-day long under the whip, whereas the rich planters behaved like feudal lords and lived a luxury life. Under the influence of such an economic environment, the upper class of the South believ ed “itself to be unique, because it projected itself as suchthrough its writers and spokesmen, because it manufactured a folklore of plantation aristocracy, of the magnolia paradise of the antebellum days, of the Greek society and the peculiar institution of slavery, of the Lost Cause, of White Supremacy, and of the need to be born there to understand it all, and Southerners repeated this litany so many times that it became true—or almost so.” (Horton, 1987: 377) Then the framework of the South can be established: its social pattern is based on manor; its civilization is Permeated with idealized chivalry; its ruling class behaves as an aristocracy, either a gentleman or a lovely lady. They live in large mansions, own lots of estates, and have colorful soci al life. It is a “world singularly polished and mellow and poised, wholly dominated by ideals of honor and chivalry and noblesse” (Li, 2004: 21), where Blanche was brought up and used to live for years. In fact, the self-contained and self-sufficient South is an epitome of patriarchal society. Simone de Boudoir points out in her book The second sex, “males don‟t interpret females according to females Themselves, whereas they regard females as independent ones… males can be taken as the reference to define and distinguish females, while the reference to define and distinguish males cannot be females. …She‟ is the Essential in opposition of the Inessential. …He‟ is the subject and the Absolute, whereas …she‟ is the other.” (Boudoir, 1998:11) From the above arguments, it can be seen that there exists a relation of subordination and dominance, the essential and inessential, object and subject, and the other and self between males and females. Therefore, in patriarchal society, males stand at a positive position and females play a passive and inessential role. Charlotte Perkins Gilman also considers gender as the core of analysis to reveal the fact of gender oppression, pointing out that the females‟ dependence on males is not due to physiological difference but the result of coercive act of male culture (Jin, 2004:367). Particularly Kate Millet holds in Sexual Politics that the gender relation between males and females is a kind of power one, that is “sexual politics” (Jin, 2004:595). Similarly, in the south, the men as the center of the society control money, power and even women. They form their own standards to evaluate the society and other people. Women live a life of dependence on them, both economically and mentally. And there is another obvious feature here. That is the tendency toward idealism, romanticismand hedonism. Women have to keep beautiful appearance, behave graciously and flirt with men in order to please them. It is inevitable that women would lose their self when faced with traditional customs and strict standards set by men.4. Economical factorMarxism feminist theory argues that economic factor is the root of the oppression that women suffer from (Luo, 2004:100). The economic dependence on men deprives women of the right to dominate their own fate and the strength to struggle against men so that they are reduced into the other affiliated by men. British writer, Virginia Woolf thinks that women‟s independent economic status is the material foundation to obtain personal freedom. If women are dependent on men economically, they are deprived of all the equal rights (Wu, 2005:69). The economic structure of plantation in the South removes women from productive labor so that they cannot obtain the independent economic status. Even if Blanche is forced to work outside because of economic necessity, she has to choose to be a teacher in a high school which is regarded as a decent occupation of women. And as Blanche tells Mitch her miserable situation, “A teacher‟s salary is barely sufficient for her living expenses. I didn‟t save a penny last year and so I had to come here for the summer.”(Williams, 2005:1179) Evidently, her meager incomes are barely enough to maintain her extravagant life. So, it is quite natural that she has to turn to men for help after the suicide of her husband, death of relatives and loss of her manor, and she considers it the only choice to face the cruel environment, as she says, “Whoever you are-I have always dependedon the kindness of strangers” (Williams, 2005:1203) She is in and out through the gate of the second-rate hotel of Laurel and keeps dating with different men until she is banished from the town. Then she doesn‟t have any thing to her name except a dishonorable past and a trunk that just contains her clothes and some worthless papers, so she has no alternative but to seek refuge from her sister Stella in New Orleans. In Stella‟s house, she seduces her brother-in-law Stanley when meeting him for the first time, because she understands that she needs his financial support when she stays there. She says, “…maybe he (Stanley) is what we need to mix with our blood nowthat we‟ve lost Belle Reve.”(Williams, 2005:1156) But her behavior of Southern culture of delicacy and romance doesn‟t fit in with Stanley who is an animalize d person with peevish disposition. It is an irony that just immediately after she resolves to Stella at the poker night “I‟m going to do something. Get hold of myself and make myself a new life,” (Williams, 2005:1166), she turns to a married millionaire S hep Huntleigh for financial support. Her excuse is that she only has “sixty-five measly cents in coin of the realm” in the purse. Thus having recourse to this millionaire seems an effective means “to get hold of some money” and “the way out.” (Williams, 2005:1166) However, the help call and the message are not sent out. And her next proposal is Stanley‟s fellow worker Mitch, by whom she wants to get rid of the destitution and the dependence on Stanley. She thinks if the marriage with Mitch happens, she can “leave here (Stella‟s home), and not be anyone‟s problem” (Williams, 2005:1173) and live a stable life. But things do not turn out as one wishes. When knowing her past, Mitch abandons her ruthlessly. After she parts company with Mitch, she is so depressed that she creates an illusion for herself, in which she has received a telegram form Shep Huntleigh inviting her to a cruise of the Caribbean on a yacht. Without exception her luxurious life is again built on the support of men, even in an illusion. Actually, this millionaire may not exist at all, and just appears an imagined person in Blanche‟s one-sided statement. He stands for an ideal symbol that can bring material strength of dependence and guarantee for women, more exactly for Blanche. That he never shows up and gives the substantial aid to Blanche may suggest that if women place their hope and fortune on men, their oppressed and subordinate status can never be changed, and their dream of happy life is bound to break. In short, women‟s economic depende nce on men in patriarchal society serves as one of factors that result in Blanche‟s destruction.5.ConclusionBlanche is one of such females born and brought up in Old South who feels difficult in mastering her own fate and facing conflicts brought by industrialization and commercialization under the restriction and oppression of patriarchy, and onlyhides herself in imaginative world to release herself. Williams extends his great sympathy to this victim of patriarchy. However, it is evident from what Williams depicts about women that once they yield themselves to patriarchy, instead of struggling indomitably for their freedom, their miserable situation will not be changed.REFERENCES[1]Beauvoir, Simone de. (1998). The second sex. (Tao Tiezhu, Trans.). Beijing: China Books Press.[2]Horton, Rod W. & Edwards, Herbert W.. (1987). Backgrounds of American literary thought (3rd ed.).[3]JIN Li. (2004). Literary females and female literature. Beijing: Foreign Language Teaching and Researching Press.[4]LI Li. (2004). Women‟s growth: a feminist approach to Tennessee Williams‟s works. Tianjin: Tianjin[5]People‟s Publishing House. [4]LUO Ting. (2004). Feminist literary criticism in West and China. Beijing: China Social Science Press.[6]Williams, Tennessee. A streetcar named desire. Alison Booth, J. Paul Hunter, & Kelly J. Mays (Eds.)。
欲望号街车
第一幕ST Sister Blanche, I've got a little birthday remembrance for you. I hope that you like it.B Why- Why, it's aST It's a ticket! Back to Auriol! On a bus! Tuesday!S Blanche!You didn't need to do that.ST Don't forget all that I took off her.S You don't need to be so cruel to someone alone as she is. –ST Delicate article as she is.S She is! She was! You didn't know Blanche as a girl. Nobody, nobody, was as tender and trusting as she was. But people like you abused her, and forced her to change.B Oh, stop it!S Why did you do this to her?ST Let go of my shirt.S I want to know why. Tell me why.ST The first time, baby, when we first met, me and you , baby, you thought I was common as dirt. How right you was, I was common as dirt. And wasn't we happy together, wasn't all okay till she showed here? Hoity-toity, describing me like an ape.Stella! What 's the matter with you?B Honey, what's the matter with you?ST Did I hurt you?B Honey? What is it?S Take me to the hospital.第二幕B Who is it , please?M Me- me, me. Mitch.B Hello Mitch! Y' know, I really shouldn't let you in after the treatment I have received from you this evening! So utterly uncavalier! But I forgive you. I forgive you because it' s such a relief to see you. You've stopped that polka tune that I had caught in my head.How's your mother? Is your mother ill?M Why?B Why, what's the matter with you tonight? But never mind，I'll just- pretend I don't notice anything different about you! That- music a gain…M What music?B The polka tune they were playing when Allan- wait!There! That shot! It always stops after that. Yes, now it's stopped.M Are you boxed out of you r mind?B I cant hear what u r saying ,Had you forgotten your invitation to supper?M I wasn't going to see you any more.B What's in your mind? I see something in your eyes!M I've never seen you in the light, that's a fact! I've never had a real good look at you, Blanche,Let's turn on the light in here.B Light? Which light? What for? Oh! What did you do that for?M So I can take a look at you good and plain!B Of course you don't really mean to be insulting!M No, just realistic.B I don't want realism. I want magic!M Magic!B Yes, yes, magic!I try to give that to people. I do misrepresent things. I don't tell the truth,I tell what ought to be truth.DON'T TURN THE LIGHT ON…M Oh, I don't mind you being older than what I thought, But- but, all the rest of it- Oh! The pitch about your ideals being so old-fashioned，But I was a fool enough to believe you was straight.B Who told you I wasn't- 'Straight'? My loving brother-in-law. And you believe him.M No! No! I called him a liar at first. And then I checked on the story.Didn't you stay at a hotel called the Flamingo?B Flamingo? NO! Tarantula was the name of it!M Tarantula Arms?B Yes, a big spider! Yes, I've had many meeting with strangers.After the death of Allan- intimacies with strangers was all I seemed able to fill my empty … .. it was panic, just panic, that drove me searching for some protection- even, at last, in a seventeen-year-old boy but- I was played out. You know what played out is?M I thought you were straight. –B Straight? What's straight?A line can be straight or a street, but the heart of a human being…M You lied to me, Blanche. –B Don't say I lied to you.M Lies, lies, inside and out, all lies. –B Never inside, I never lied in my heart…卖花人- Flores!…Flores para los muertos … - Flores!…Flores para los muertos …B What? Oh! Someone outside.卖花人Crona! Crona! Crones para los muertos… Flowers! Flowers for the dead.祭奠死者的花，要不要？B No, no! not now! not now!I lived into the house once where death was as close as you are…The opposite is desire. How could you wonder? How could you possibly wonder!Marry me, Mitch! –M No. I don't think I want to marry you any more.B No? –M You're not clean enough to bring in the house with my mother.B Get out of here before I start screaming. Get out of here quick before I start screaming!第三幕ST Blanchy…B Oh, StanleyST What've you got the fine features out for? –B Oh, that's right. You left before my wire came.ST Oh, you got a wire?B I received a telegram from an old admirer of mine.ST - Anything good? –B I think so. An invitation.ST - What to?B - A cruise of the Caribbean on a yacht!ST - Who did you say it was from?B An old beau of mine. Mr. Shep Huntliegh,. I didn't seen him for a while.ST This millionaire isn't going to interfere with your privacy none?B This man is a gentleman and he respect me. What he want is my companionship.A cultivated woman, can enrich a man's life. .Physical beauty is passing. But beauty of the mind and richness of the spirit and tenderness of the heart increase with the years! Oh- How strange that I should be called a destitute woman! I think of myself as a very, very rich woman! But I have been foolish.ST Swine huh ?B Yes, swine! And I'm thinking not only of you but of your friend, Mr. Micthell. He came here tonight, And to repeat slander to me, vicious stories that he had gotten from you!I gave him his walking papers… But then he returned. He returned with a box of roses to beg my forgiveness!But something's are not forgivable. So I said to him, "thank you,"So farewell, my friend! And let there be no hard feelings…ST as this before or after you got the telegram?B Telegram? What telegram! Oh! As a matter of fact, my wire came just asST As a mater of fact, there wasn't no wire at all! There is no millionaire! And Mitch didn't come in here with roses' cause I know where he is- There isn't a goddam thing but imagination! and lies and conceit and tricks! Take a look at yourself in that worn-out MardiGras outfit, and with the crazy crown on. What kind of queen do you think you are? You know that I don’t like you from the start! You came in here and you spray perfume and you stick a paper lantern over the light bulb and make youself into the Queen.Sitting on your throne and swilling down my liquor! You know what I say? Ha!- Ha!- Ha! Do you hear me? Ha!- Ha!- Ha!卖花者Flores. Flores. Flores para los muertos! Corones. Corones para los muertos. Flowers. Flores para los muertos! 花！祭奠死者的花！B Oh, no! not now.Operator! Operator! Get me western Union.Do you hear me? Do you hear me? Take down this message!"In desperate, desperate circumstances! Caught in a trap. Help me! Caught in a trap!", Oh!第四幕旁白：now, they want to send blanchy to psychological hospital…ST Would you mind waiting outside a second? She's…DOCTOR --Surely!ST Someone is calling for Blanche.B It is for me, then!Is it the gentleman I was expecting from Dallas?ST Yes!B yes, honey. I believe it is. – I'm not - not- quite ready.ST Everything packed? –Shall we go now, Blanche?S Stanley, she'll be out in a minute.I'll go with you.B How do I look?S Lovely. - Lovely.B You are not the gentleman I was excepting. S Did you forget something, Blanche? –B Yes! Yes- I forgot something!S What are they going to do? Don't let them hurt her!What did you forget, Blanche?DOCTOR It does’t matter. We can pick it up later. –ST Sure. We can send it along with the trunk.B I don't know you- I don't know you. I want to be- left alone- please!ST Now, Blanche! you left nothing here -unless it's the paper lantern you want to take with you. You want the lantern? DOCTOR Miss Dubois-- Please. - It' won't be necessary.B Ask him to let go of me.DOCTOR Yes- let go.B Whoever you are, I have always depended on the kindness of strangers。
a street car named desire欲望号街车
Learn about the controversial play 'A Streetcar Named Desire,' why it was so controversial, and why it is still considered a classic piece of American literature.A Streetcar Named DesireIn this lesson, we will examine A Streetcar Named Desire. We'll look at when it came out, identify the main characters and basic elements of the plot, and examine how it is an example of both social and psychological realism.At the end of its premiere on Broadway, the audience of A Streetcar Named Desire sat quiet - apparently they were a little shocked. But after the shock wore off, they went wild, applauding for thirty minutes straight. What could be so controversial, so shocking, and worth applauding for thirty minutes straight? In order to understand the phenomena of A Streetcar Named Desire, we need to take a look at the cultural scene at the time.In 1947, when Streetcar came on the scene, people were entertained by lighthearted productions, and musical comedies were hugely popular. It was a time after World War II, and people were in a stateof happy complacency, enjoying a carefree life free from the burdens of being at war. But Tennessee Williams had something new in store: some deep and slightly dark portrayals of human existence. He had just produced his first big success, The Glass Menagerie, a play about the inner turmoil experienced by a brother and sister who struggle to fill the expectations of their overbearing mother.While The Glass Menagerie was definitely a little controversial at the time for its portrayal of a dysfunctional family life, A Streetcar Named Desire completely broke down the door of convention with its portrayal of sexuality, violence, and a slow, rather tragic demise into insanity. Elements like these weren't talked about in public, and they certainly weren't shown on public stages, so people were taken aback at first. In the end, Williams' portrayals were so real that audiences fell in love with this play. It went on to win the Pulitzer Prize for best drama and to later become an American film classic.Characters And SettingLooking at a breakdown of the play, A Streetcar Named Desire takes place in a run-down section of New Orleans, where jazz and booze flow constantly, where different cultures intermingle, and where street fights are common. It starts off on a streetcar named - you guessed it - 'Desire,' where Blanche Dubois, the main character, steps off into this steamy and volatile setting.For the record, Blanche is a highly emotional, flamboyant sort of Southern belle fleeing from the loss of her ancestral plantation Belle Reve. I say 'sort of a Southern belle' because this is the image she tries to portray, wearing super-frilly dresses and constantly flirting when, in fact, her beauty is fading and she is really an out-of-work schoolteacher with a shady past. She does try to uphold the fantasy, though, and she is always reminiscing about better times in a very poetic and dreamy kind of way. Blanche uses her poetic speech to create this fantasy image of herself in order to cover up a rather shady past, which is understandable. She's dealing with guilt from her husband committing suicide, which took place after she discovered him in bed with another man. And then, having trouble coping with the loss of her husband and loss of her estate, she ended up sleeping with one of her students, which causes her to lose her job.When Blanche arrives with this haunted sort of past, she comes to stay with her sister Stella and her brother-in-law Stanley Kowalski. Stella is pregnant and they are both living in a run-down, tinyapartment, but they seem pretty happy. The drama starts in right away as Blanche flirts about the apartment like an old-school Southern belle while Stanley interrogates her about losing his wife's estate. Stanley Kowalski is a crude, straight-to-the-point, brawling factory parts salesman who doesn't buy any of Blanche's romantic fantasies. Stanley is often called 'primitive,' compared to an animal in the play, and dominates this scene physically, acting according to his wants and desires - not exactly the well-behaved citizen who follows the rules and expectations of society.The PlotBlanche and Stanley have some pretty serious sexual tension, but mostly they just bicker, with Blanche calling him 'a drunk, animal thing' and Stanley stomping around the apartment trying to reclaim his territory and maintain his position as man of the house. From Stanley's perspective, Blanche is maybe the worst roommate ever, constantly complaining about the apartment andbad-mouthing him and then drinking all of the booze and making it hard for him to sleep with his wife. At one point, the argument goes so far that violence ensues. Stanley becomes enraged by Blanche's and Stella's lack of respect for him, and he ends up beating his pregnant wife, Stella. Afterward, when he realizes that she has left him, he becomes remorseful, and in a famous scene, he stumbles out into the street calling 'STELLA!' He reminds me of a whiny toddler at this point. To Blanche's horror, however, Stella is touched by his desperation and walks back down to embrace Stanley.After this traumatic event, in an effort to keep Stella, Stanley tries to tolerate her sister Blanche - not that Blanche wants to be there. She would love for a handsome and wealthy gentleman to come and sweep her off her feet, but since there are no handsome or wealthy gentlemen around, she ends up settling for Mitch, one of Stanley's fellow factory workers. But just when she's charmed Mitch into marrying her, Stanley tells him all about the scandals of her past, which breaks up the couple for good.This causes Blanche to sink even deeper into insanity. She actually dresses up in even more gaudy costumes, puts on a tiara and starts talking full-time to 'Shep Huntleigh,' who she keeps saying is going to send for her to come and stay with him on his yacht in the Caribbean. It's hard not to feel sorry for Blanche at this point; if she hasn't completely lost her marbles, she is definitely on the path to do so. Certainly she is not stable enough to handle being sexually assaulted, but that's what happens.Stanley comes home and starts a fight with Blanche; she resists but ends up losing the battle and becoming a victim of rape via Stanley. The irony is that for a character who is known for living in a fantasy world, when she does actually tell the truth and reveal that Stanley raped her, no one believes her. She is too psychologically fragile to handle this, and she ends up completely losing her sanity. While Blanche is sent off to a mental institution, Stella and Stanley go on as a couple taking care of their baby - all in all, a pretty tragic story.Social RealismNow that we know the basic plot, we can view the play for its portrayal of social realism, which means that it realistically shows relationships going on in society at the time. Specifically, A Streetcar Named Desire is a commentary on the social changes taking place during the first half of the 20th century due to industrialization and immigration. When Streetcar came out, there was a definite clash between different classes and cultures. Immigrants were often viewed as second-classcitizens, and there was a ton of prejudice and judgment about whether immigrants were really'American.'Blanche represents the old-school traditions that separated races and classes, whereas Stanley and Stella represent the new mixing of class and culture. When Blanche shows up in New Orleans, she is full of prejudice about class, which is out-of-place in New Orleans and in direct contrast to her sister and Stanley's relationship. And when Blanche touches on a sensitive issue and tries to belittle Stanley by referring to his Polish heritage, he gets super defensive, shouting 'I'm American!' So you can see how Stanley and Blanche are not only super-volatile characters but how they also represent this larger confrontation going on in the culture at the time about what it really means to 'be American.'Psychological RealismWilliams' work is also known for its psychological realism, meaning that in his plays, we get to see reality not necessarily as it exists in the physical world but as it exists in the mind. The trip down the lane of mental instability is common in Williams' work, and it can be a little disturbing because it seems kind of plausible. For example, we have all been in that situation where something we really wanted to happen just didn't, and we just have to deal with it. Williams gives us characters who are often unable to just deal with it, and we get a close look into the frailty of the human mind.In A Streetcar Named Desire, Blanche literally blocks out the 'harsh light of reality,' using a paper lantern to cover up the bright bulb in the Kowalski apartment. Her comment on the light is informative when she says 'I don't want realism, I want magic! Yes, yes, magic! I try to give that to people. I misrepresent things to them. I don't tell the truth, I tell what ought to be truth. And if that is sinful, then let me be damned for it! - Don't turn the light on!' In this line, she confesses her inability to confront reality, and it is painful to watch her become more and more mentally unstable as she struggles to escape from the reality of her current situation by living in a fantasy. We all have desire, which for Blanche is taken to an extreme. Desire is ultimately her demise, and in Blanche, Tennessee Williams gives us a sad, yet realistic portrayal of the frailty of the human psyche.Lesson SummaryTo sum up: for its disturbing yet realistic portrayals, A Streetcar Named Desire is known as one of the best dramas in American contemporary literature. Openly exploring the controversial themes of sexuality, violence, and mental instability, it broke traditional conventions of the time and opened the door for writers to explore the darker side of humanity.。
欲望号街车(译文经典)
精彩摘录
这是《欲望号街车（译文经典）》的读书笔记模板，可以替换为自己的精彩内容摘录。
感谢观看
欲望号街车（译文经典）
读书笔记模板
01 思维导图
03 读书笔记 05 作者介绍
目录
02 内容摘要 04 目录分析 06 精彩摘录
思维导图
本书关键字分析思维导图
戏剧
悲剧
街车
社会
导言
街车
简介
经典
欲望号
方式 欲望号
舞台
欲望号
世界
年表
演职员表
内容摘要
美国20世纪备受争议的天才剧作家田纳西·威廉斯的扛鼎之作，同名电影由影史传奇费雯·丽和马龙·白兰 度主演。纤毫毕现的南方式绝望，粗暴的情欲，彻底的堕落，极乐的疯狂；破碎世界的梦幻缩影，激烈而又惊悚 的亲密关系，动物般的肉体与征服。《欲望号街车》女主人公布兰奇是典型的南方淑女，家庭败落以后，不肯放 弃旧日的生活方式，逐渐堕落腐化，后来不得不投靠妹妹斯黛拉。但又与妹夫斯坦利粗暴的生活方式格格不入， 继而遭妹夫强奸，最后被送进疯人院。现代社会中野蛮残忍的势力无情地蹂躏温柔优雅的弱者，《欲望号街车》 无疑是向社会发出了一声振聋发聩的嘶喊——是谁把布兰奇逼疯了！1947年该剧在纽约上演后获得巨大成功，囊 括美国三项戏剧大奖：普利策奖、纽约戏剧奖和唐纳德森奖。阿瑟米勒称“《欲望号街车》的首演等于是在商业 戏剧的土地上插上了一面美的旗帜”。
读书笔记
“满腔悲哀，满腔情欲。 “威廉斯还赋予一个堕落女性形象男性同性恋的实质”，更大的悲剧。 我们无法真正地理解对方，无法真正地知道真实与虚假，因为我们无法诚实地面对自己。 后面的主题辨析真的太绝了！Who told you I wasn't——"straight"？。 看完原著发现翻拍的电影确实相当出色，白兰度和费雯丽演活了斯坦利的原始粗暴和兰奇的神经质和优雅。 来读这本书最大的原因在于摩登家庭这部剧。 主题解析很棒，让我更深刻理解了故事真谛，社会造就了悲哀的人生，人性的贪婪刚好触碰到欲望的陷阱！ 无奈……。 对话精妙，人物刻画特别好，但对于同性恋这个隐晦描写，真的没看出来，我太笨了，不去想的话，真的想 不到。 从时间线上来讲，《欲望号街车》是《飘》的延续。 《欲望号街车》：大学一年级新学期开学没多久，便在电影选修课上看了这部电影。
important lines欲望号街车
Lonelines
The companion theme to desire is loneliness, and between these two extremes, Blanche is lost. She desperately seeks companionship and protection in the arms of strangers. And she has never recovered from her tragic and consuming love for her first husband. Blanche is in need of a defender. But in New Orleans, she will find instead the predatory and merciless Stanley.
Blanche DuBois
insecure, dislocated individual lives in a state of perpetual panic about her fading beauty depends on male sexual admiration for her sense of self-esteem
像一叶无依无靠的浮萍终于被风浪吞没，像 一朵美丽芬芳的花朵在风雨中凋落，粗俗与 欲望的践踏，心灵深处的呼唤，无可挽回的 堕落。爱了骗了背叛了疯了，只有眼神依然 迷离而深情，只有欲望的街车依然在黑暗的 夜色中出没
They told me to take a street-car named Desire, and transfer to one called Cemeteries, and ride six blocks and get off at—Elysian Fields!
欲望号街车 中文剧本概述
《欲望号街车》全本人物表白兰琪斯蒂拉斯坦利米奇尤尼斯斯狄夫巴勃罗黑人妇女大夫护士年轻收款员墨西哥妇女第一场【新奥尔良一条街拐角一栋两层楼房的外景。
街名依利恩地段，位于L及N交通沿线与河之间。
这地区虽穷，但却和美国其他城市里相应的地区不同，倒有一种可爱的俗气。
房子大都是白色框架，因风吹日晒已变成灰色，外面有一道摇摇欲坠的楼梯、走廊和装饰古怪的山墙。
楼房有上下两套房间，由一道白色油漆已经脱落的楼梯通往这两套房间的门口。
【这是五月初傍晚天刚黑的时候。
天空衬着朦朦胧胧的白楼房显得特别蔚蓝，使景色增添了优雅的情趣，巧妙地冲淡了落日的气氛。
你仿佛可以嗅到从那黄褐色的河面飘来的热气，河岸远处有一排排散发着香蕉和咖啡清香的仓库。
黑人乐队在街头拐角一家酒吧间里奏出配合气氛的音乐。
在新奥尔良这一地区，你总可以在街角或沿街走不到几家门口，就能听到由棕色的手指在小钢琴上娴熟的演奏出的音乐。
这种“布鲁斯钢琴曲”表达出此地的生活风貌。
【两个妇女，一个白人和一个黑人，正在楼梯上乘凉。
白人妇女是住在楼上套间的尤尼斯；黑人妇女是邻居，因为新奥尔良是个世界性城市，旧城有多名族混杂居住，相处的比较热情和睦。
【街上传来人声，盖住了“布鲁斯钢琴曲”。
【两个男人，斯坦利.科华尔斯基和米奇走到街头拐角。
他们二十八或三十岁左右，随随便便穿着一身蓝色斜纹工作服。
斯坦利拿着他的滚木求外套和一包从肉铺里买来沾着血斑的东西。
他们在楼梯口停下。
斯坦利：（大声喊）喂，喂！斯蒂拉，宝贝！【斯蒂拉从底层平台上走出来。
她是个年轻温厚的女人，二十五岁左右，出身显然和她丈夫大不相同。
斯蒂拉：（温和的）别这样对我嚷嚷。
米奇，你好。
斯坦利：接住！斯蒂拉：什么东西“斯坦利：肉！【他把纸包递给她。
她责怪的叫起来，勉强接住，随即喘着气笑起来。
她丈夫和同伴已转身回街角。
斯蒂拉：（在他后面喊）斯坦利！你去哪儿？斯坦利：打滚木球去！斯蒂拉：我可以来看吗？斯坦利：来吧。
（下）斯蒂拉：一会儿就完了。
美国戏剧--欲望号街车经典台词
Classical lines in A Streetcar Named Desire
苏日娜 31305015
BLANCHE: A woman's charm is fifty percent illusion.
BLANCHE:How pretty the sky is I wanna go there on the rocket, but never comes down.
BLANCHE: I made the discovery--love. All at once and much, much too completely. It was like you suddenly turned a blinding light on something that had always been half in shadow, that's how it struck the world for me. But I was unlucky. Deluded.
BLANCHE: Having great wealth sometimes makes people lonely!A cultivated woman, a woman of intelligence and breeding, can enrich a man's life--immeasurably!
BLANCHE: Physical beauty is passing. But beauty of the mind and richness of the spirit and tendernes of the heart--and I have all of those things--aren't taken away, but grow! Increase with the years! How strange that I should be called a destitute woman! When I have all of these terasures locked in my heart.
经典英文电影台词、翻译
经典英文电影台词、翻译1、Today,I consider myself the luckiest man on the face of the earth.现在，我想我是这个世界上最幸运的人。
（《扬基的骄傲》1942）2、I'm king of the world!我是世界之王！（《泰坦尼克号》1997）3、I'll have what she's having.我会拥有她所拥有的。
（《当哈里遇上萨莉》1989）4、I have always depended on the kindness of strangers.我总是非常依赖陌生人的仁慈。
（《欲望号街车》1951）5、Fasten your seatbelts. It's going to be a bumpy night.系紧你的安全带，这将是一个颠簸的夜晚。
（《彗星美人》1950）6、Toto,I've got a feeling we're not in Kansas anymore.托托，我想我们再也回不去堪萨斯了。
（《绿野仙踪》1939）7、Play it,Sam. Play'As Time Goes By'.弹这首，山姆，就弹“时光流逝”.（《卡萨布兰卡》1942）8、Show me the money!让我看到钱！（《甜心先生》1996）9、life was like a box a chocolates, never know what you're gonna get.生活就像一盒巧克力：你永远不知道你会得到什么。
（《阿甘正传》1994 ）10、All right,Mr.DeMille,I'm ready for my close-up.好了，德米勒先生，我已经准备好拍摄我的特写镜头了。
（《日落大道》1950）11、As God is my witness,I'll never be hungry again.上帝为我作证，我不会再让自己挨饿了。
漫谈中外电影名称的互译
浅谈中外电影片名的英汉互译一、引言电影是深受人们喜爱的一种艺术表现形式，而电影片名作为电影内容的最高度集中的概括，起到浓缩主题和画龙点睛的作用，好的电影片名，犹如电影的商标，不仅揭示了电影剧情，也激发观众的丰富联想，吸引他们一睹为快。
但是大量外国电影蜂拥而来的今天，英语电影片名的汉译出现了很多问题，同一影片同时出现很多版本的翻译名，给人带来混乱和不少遗憾。
电影片名对影片的传播有着举足轻重的作用，是电影的“商标”。
学者贺莺对电影片名的功能作了以下的划分：（１）信息功能，即表现影片内容，使观众能够更好地理解原片；（２）表情功能，奠定影片感情基调，以强烈的抒情、惊险或喜剧氛围感染观众；（３）审美功能，最大程度地激发观众的想象力与观影欲望，使观众得到美的享受；（４）广告功能，以吸引观众，增加票房收入。
因此，电影片名翻译是一种“工具翻译”，翻译目的就是以美感意境的方式让观众了解剧情，达到广告宣传，赚取商业利润的目的，电影片名翻译应该在忠实于原片名或影片内容的基础上，做到生动活泼，传神达意，力求达到艺术的再创造，让片名起到推广、宣传影片的作用。
二、电影片名翻译中应遵循的原则进行电影片名的翻译时应注意以下几点:1.忠实性忠实是翻译的最基本的标准，电影片名的忠实除了要求在语言上做到忠实，还应该在文化信息、功能特征等方面做到忠实，这才是翻译电影片名的理想境界。
2.通俗性所谓通俗性是指翻译出的电影片名要通俗易懂，容易为广大观众所理解、接受和欣赏。
电影片名可看作影片的广告，因此它兼具文化价值与商业价值于一身。
要实现商业价值,就要使译名趣味盎然引人注目。
因此在进行电影片名的翻译时应以通俗为基本出发点，使译名具有群众性，不可为了标新立异而选取观众不熟悉的译名，应使其符合观众的审美取向。
只有把握了语言的特性与观众的审美情趣，才能缩小影片与观众的距离，才能取得商业价值。
3.文化性语言是文化的一部分。
翻译理论家尤金・奈达指出：“对于真正成功的翻译而言，熟悉两种文化甚至比掌握两种语言更重要，因为词语只有在其作用的文化背景中才有意义。
欲望号街车 A Streetcar Named Desire
Cruelty
• This sin is Stanley’s specialty. His final assault against Blanche is a merciless attack against an already-beaten foe. • Blanche, on the other hand, is dishonest but she never lies out of malice. • Her cruelty is unintentional; often, she lies in a vain or misguided effort to please.
History and related research of the topic
• Interpretation on the Tragic Fate of Blanche in Tennessee William’s A Streetcar Named Desire 对田纳西·威廉的《欲望号街车》布兰奇悲 剧命运的解读 • Blanche Must be Mad: A Re-reading of Blanche’s Madness in a Streetcar Named Desire 重读《欲望号街车》中白兰奇的疯狂 • Representation of Gender and Sexuality in a Streetcar Named Desire 《欲望号街车》中对性别与两性的表现 • On the Destruction of Blanche Dubois’s Ego： Psycho-social Analysis of a Streetcar named Desire 论布朗琪·杜波依斯自我的毁灭 ——《欲望号街车》的精神社会分析
【英文电影片名汉译的特点及策略】电影片名翻译特点
【英文电影片名汉译的特点及策略】电影片名翻译特点一个好的英文电影片名的翻译,往往能够使影片锦上添花;优秀的片名翻译对丰富群众业余文化生活、增进国际文化艺术交流起着非同小可的作用。
同时,电影片名的翻译也是一份极具挑战性的工作,因为它需要译者对源语与译入语都有充分理解。
好的片名翻译,除了要符合语言的规范性,体现原片名的语言特色,达到与影片内容的完美统一,同时还要兼顾观众欣赏层次的多样性及其将带来的经济效益。
一电影片名汉译的特点电影片名是对电影内容及主题思想的浓缩概括。
片名字数不应过多,文字要求优美、生动、言简意赅,具有强烈的感染力和吸引力,同时应满足目的语多层次文化背景的需求。
许多优秀的译制片,如Waterloo Bridge《魂断蓝桥》,Gone with the Wind《乱世佳人》,Top Gun《壮志凌云》等在中国观众中经久不衰,除了影片感人至深的情节、精美的商业包装之外,巧妙的译名更是起到了很大的作用。
美国大片The Matrix,其名源于计算机术语“矩阵”,抽象的科学概念令人费解,而中文译名《黑客帝国》不仅对电影内容有所引导,而且抓住了科幻片的特质,一举获得了商业上的成功。
由此可见,对于观众而言,电影片名就是电影的“门面”,它对观众的视觉冲击力,会对影片产生增值效应,既有利于实现其艺术价值,发挥文化传播的功能,也有利于实现其商业价值。
与其他文本的翻译相比,电影翻译的语言有其独特的特征:(1)通俗易懂,大众化。
影视翻译的对象是社会各界的人民大众,要求用纯粹清新、明白流畅的普通话口语翻译,这样就排除了大量书面词藻,以及不能朗朗上口,一听就懂的词语。
(2)内涵丰富,形式多样。
电影作品是现实生活真实的或虚构的反映,包含了大量的文化因素和地方特色。
与小说等文体比较,电影更能呈现某个国家或地区的人文气息。
但是影片的叙事较为松散,跳跃性强,叙述时间和篇幅有限。
这使影片中文化信息的翻译更为困难。
(3)具有艺术和商业双重价值。
欲望号街车a streetcar named desire
woman
In 1943, as her behavior became increasingly
disturbing, she was subjected to a lobotomy, unfortunately with disastrous results, and was subsequently institutionalized for the rest of her life
—"They told me to take a streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at—Elysian Fields!"
Stanley and Stella
Tom Wingfield: works at a shoe warehouse to support his family but is frustrated by his job and aspires to be a poet
Jim O’Connor: An old high-school acquaintance of Tom and Laura
a little girl who lives around in Stanley’s world an Army engineer in World War II, having served as a Master Sergeant
has a vicious temper
Mitch: a suitor of Blanche
A happier ending
Doomed to be a
tragedy
欲望号街车翻译
欲望号街车——姐妹相认部分（改编后）[Blanche sits in a chair very stiffly with her shoulders slightly hunched and her legs pressed close together and her hands tightly clutching her purse as if she were quite cold. After a while, the blind look goes out of her eyes and she begins to look slowly around. A cat screeches. She catches her breath with a startled gesture. Suddenly she notices something in a half- opened closet. She springs up and crosses to it, and removes a whisky bottle. She pours a half tumbler of whisky and tosses it down. She carefully replaces the bottle and washes out the tumbler atthe sink. Then she resumes her seat in front of the table.] 【however，Stella has not came back yet. Blanche determined to look for her. Shecame to the bowling alley, which Eunice had told her.】[She came in thebowling ally,head towards to bar counter.]Waiter: Hello. madam ,what can I do for you?Blanche:Well,I am looking for Stella,I mean Mrs Stanley.Waiter:She is over there.[he poins to the crowd]Blanche:thanks.[she working to there][Stella comes quickly and runs to bar counter.]Stella [calling out joyfully]: Blanche![For a moment, they stare at each other. Then Blanche springs up and runs to her with a wild cry.]Blanche: Stella, oh, Stella, Stella! Stella for Star![She begins to speak with feverish vivacity as if she feared for either of them to stop and think. They catch each other in aspasmodic embrace.]Blanche: Now, then, let me look at you. But don't you look at me, Stella, no, no, no, not till later, not till I've bathed and rested! [Stella laughs and complies.] Oh, my baby! Stella! Stella for Star! [She embraces her again.]Stella:did you find my place?Blanch:I thought you would never come back to this horrible place! Oh, I'm not going to be hypocritical, I'm going to be honestly critical about it! Never, never, never in my worst dreams could I picture - Only Poe! Only Mr Edgar Allan Foe! - could do it justice! [She laughs.] What am I saying! I didn't mean to say that. I meant to be nice about it and say - Oh, what a convenient location and such - Ha-a-ha! Precious lamb! You haven't said a word to me.Stella: You haven't given me a Chance to, honey! [She laughs but her glance at Blanche is a little anxious.]Blanche: Well, now you talk. Open your pretty mouth and talk! Stella:now come to say ―hello‖to Stanly first.Blanche:oh.no,not now,not now.Stella:come on.just say ―hello‖.Blanche:which is he?which one is he?[men are quarreling]Blanch:is that one?Stella:The one looks like troublemaker.he looks cool,isn’t he? [men continued to making quarrel]Blanche:Stella,I can’t meet he,now.Not like this .Stella:would you like some drink?Blanche:great!that would be lovely of you.[they came to an empty table and sit down ]Stella:would you like some coke?Blanch: No coke, honey, not with my nerves tonight! Where - where - where is –Stella:ok.waiter![waiter came]whisky.Blanch: You haven't asked me how I happened to get away from the school before the spring term ended.Stella; Well, I thought you'd volunteer that information - if you wanted to tell me.Blanche: You thought I'd been fired?Stella: No, I - thought you might have - resigned....Blanche: I was so exhausted by all I'd been through my - nerves broke. [Nervously tamping cigarette.] I was on the verge of- lunacy, almost! So Mr Graves - Mr Graves is the high school superintendent - he suggested I take a leave of absence. I couldn't put all of those details into the wire. ... [She drinks quickly.} Oh, thisbuzzes right through me and feels so good![Waiter came with a bottle of whisky]Waiter:mandam here is your whisky.Blanche:thanks.Waiter:I have not seen you before.[waiter opens the bottle and poured a cup ]Stella:oh,she is my sisiter.Waiter:wow,she looks verey pretty.Blanche:thank you very much.[she tossed off a drink][waiter left]wow,nice.Stella: Won't you have another?Blanche: No, one's my limit.Stella: Sure?Blanche: You haven't said a word about my appearance.Stella: You look just fine.Blanche: God love you for a liar! Daylight never exposed so total a ruin. But you - you've put on some weight, yes, you're just as plump as a little partridge. And it's so becoming to you.Stella: Now, BlancheBlanche: Yes, it is, it is or I wouldn't say it . You just have to watch around the hips a little.Stella:e on…[a little be unhappy]excuse me,may I have awash?Blanche:go ahead.[Stella left ,Blanche looked around and suddenly she saw a gentle man drinking alone,the man threw her a look of appreciating,and comes to her]Man:hello,mandam!You looks graceful and elegent.You must be well-educated.Blanche：I’m flattered.well,I am an English teacher in a high school. Man:wow,but my English is poor since Primary School.would you like to teach me sometime?Blanche:yes,I’d like to.maybe during the night.Man:Fine,I have to go.See you.【the man left when he saw stella came back】Stella:who are you talking with?do you know him?Blanche:an admirer.[they went to Stella’s home]Blanche:[Stella complies reluctantly.] You messy child, you, you've spilt something on that pretty white lace collar ! About your hair –you ought to have it cut in a feather bob with your dainty features. Stella, you have a maid, don't you?Stella: No. With only two rooms it'sBlanche: What? Two rooms, did you say?Stella: This one and —[She is embarrassed.}Blanche: The other one?[She laughs sharply. There is an embarrassed silence.] How quiet you are, you're so peaceful. Look how you sit there with your little hands folded like a cherub in choir! Stella[uncomfortably}: I never had anything like your energy, Blanche.Blanche: Well, I never had your beautiful self-control. I am going to take just one little tiny nip more, sort of to put the stopper on, so to speak.... Then put the bottle away so I won't be tempted.[She rises.} I want you to look at my figure! [She turns around.] You know I haven't put on one ounce in ten years, Stella? I weigh what I weighed the summer you left Belle Reve. The summer Dad died and you left us...Stella [a little wearily]: It's just incredible, Blanche, how well you're looking.Blanche: You see I still have that awful vanity about my looks even now that my looks are slipping . [She laughs nervously and glances at Stella./ot reassurance.]Stella [dutifully]: They haven't slipped one particle.Blanche: After all, I've been through? You think I believe that story ? Blessed child! [She touches her forehead shakily.] Stella, there's only two rooms?Stella: And a bathroom.Blanche: Oh, you do have a bathroom. First door to the right at the top of the stairs. [They both laugh uncomfortably.] But, Stella, I don't see where you're going to put me!Stella: We're going to put you in here.Blanche: What kind of bed's this - one of those collapsible things? [She sits on it.]Stella: Does it feel all right?Blanche [dubiously]: Wonderful, honey. I don't like a bed that gives much. But there's no door between the two rooms, and Stanley - will it be decent?Stella: Stanley is Polish, you know.Blanche: Oh, yes. They're something like Irish, aren't they? Stella: WellBlanche: Only not so - highbrow? [They both laugh again in the same way.} I brought some nice clothes to meet all your lovely friends in.Stella: I'm afraid you won't think they are lovely.Blanche: What are they like?Stella: They're Stanley's friends.Blanche: Polacks?Stella: They're a mixed lot, Blanche.Blanche: Heterogeneous types?Stella: Oh, yes. Yes, types are right!Blanche: Well - anyhow - I brought nice clothes and I'll wear them. I guess you're hoping I'll say I'll put up at a hotel, but I'm not going to put up at a hotel. I want to be near you, got to be with somebody, I can't be alone! Because - as you must have noticed - I'm not very well. ... [Her voice drops and her look is frightened.]Stella: You seem a little bit nervous or overwrought or something. Blanche: Will Stanley like me, or will I be just a visiting in-law, Stella?I couldn't stand that.Stella: You'll get along fine together, if you'll just try not to - well - compare him with men that we went out with at home.Blanche: Is he so - different?Stella: Yes. A different species.Blanche: In what way; what's he like?Stella: Oh, you can't describe someone you're in love with! Here's a picture of him! [She hands a photograph to Blanche.]Blanche: An officer?Stella: A Master Sergeant in the Engineers' Corps. Those are decorationsBlanche: He had those on when you met him.Stella: I assure you I wasn't just blinded by all the brass.Blanche: That's not what IStella: But of course, there were things to adjust myself to later on. Blanche: Such as his civilian background I [Stella laughs uncertainly.] How did he take it when you said I was coming? Stella: Oh, Stanley doesn't know yet.Blanche [frightened]: You - haven't told him?Stella: He's on the road a good deal.Blanche: Oh. Travels?Stella: Yes.Blanche: Good. I mean - isn't it?Stella [half to herself]: I can hardly stand it when he is away for a night. ...Blanche: Why, Stella? Stella: When he's away for a week I nearly go wildBlanche: Gracious!Stella: And when he comes back I cry on his lap like a baby. ... [She smiles to herself.]Blanche: I guess that is what/I meant by being in love.... [Stella looks up with a radiant smile.] StellaStella: What?Blanche [in an uneasy rush]:I haven't asked you the things you probably thought I was going to ask. And so I'll expect you to be understanding about what have to tell youStella: What, Blanche? [Her face turns anxious.]Blanche: Well, Stella - you're going to reproach me, I know that you're bound to reproach me - but before you do take into consideration - you left! I stayed and struggled . You came to New Orleans and looked out for yourself! I stayed at Belle Reve and tried to hold it together! I'm not meaning this in any reproachful way, but all the burden descended on my shoulders.Stella: The best I could do was making my own living, Blanche. [Blanche begins to shake again with intensity.]Blanche: I know, I know. But you are the one that abandoned Belle Reve, not I! I stayed and fought for it, bled for it, almost died for it! Stella: Stop this hysterical outburst and tell me what's happened? What do you mean fought and bled? What kind of Blanche: I knew you would, Stella. I knew you would take this attitude about it Stella: About - what? - pleaseBlanche [slowly]: The loss - the loss...Stella: Belle Reve? Lost, is it? No! Blanche; Yes, Stella.[They stare at each other across the yellow-checked linoleum of the table. Blanche slowly nods her head and Stella looks slowly down at her hands folded on the table. The music of the 'blue piano' grows louder. Blanche touches her handkerchief to her forehead.} Stella: But how did it go? What happened?Blanche {springing up}: You're a fine one to ask me how it went Stella: Blanche!Blanche: You're a fine one to sit there accusing me of itStella: Blanche!Blanche: I, I, took the blows in my face and my body! All those deaths! The long parade to the graveyard! Father, mother! Margaret, that dreadful way! So big with it, it couldn't be put in a coffin! But had to be burned like rubbish You just came home in time for the funerals, Stella. Funerals are quiet, but deaths - not always. Sometimes their breathing is hoarse, and sometimes it rattles, and sometimes they even cry out to you,You didn't dream, but I saw! Saw! Saw! And now you sit there telling me with your eyes that I let the place go. How in hell do you think all that sickness and dying was paid for ? Death is expensive, Miss Stella! Only poor Jessie - one hundred to pay for her coffin. That was all, Stella! And I with my pitiful salary at the school. Yes, accuse me! Sit there and stare at me, thinking I let the place go! I let the place go? Where were you? In bed with your - Polak!Stella [springing]: Blanche. You be still. That's enough [She starts out.]Blanche: Where are you going?Stella: I'm going into the bathroom to wash my face.Blanche: Oh, Stella, Stella, you're crying. Stella: Does that surprise you?Blanche: Forgive me——I don’t mean to——Group Two：组员------------饰演角色占双双--------陈赛金-----------陈琳-----------翁月兰-----------杨晓玲-----------丁静静-----------。
欲望号街车英文影评
A Streetcar Named DesireTennessee Williams is an American dramatist.He was Born in Columbus and his original name is Thomas Lanier Williams.His father was a shoe salesman.He studied at the Missouri University In 1929 and graduated from the Iowa University in 1938. Williams is good at writing women of the South with the abnormal state of mind .They are the product of deformed social.After World War II,he is recognized as one of the best playwrights.Tennessee Williams said, his work is to show the process of a person who are sensitive, vulnerable, but do not want to compromise with reality eventually being destroyed .So when I watched the movie called A Streetcar Named Desire by Tennessee Williams,I have seen fragileness, helplessness, deep sorrow, and desire .I feel terribly sorry for Blanche's fate. Maybe she was a lier, who was be hated by others. She is a faded Southern belle without a dime left to her name,after generations of mismanagement led to the loss of the family fortune.After losing her position as a schoolteacher she is forced to depend on the kindness of her one living relation,her sister Stella.But she has difficulty understanding the passion in her sister's marriage and is coolly calculating in her relationship with Mitch.Stella loves her dearly,but Stanley is in direct opposition to her false appearance and selfish attitude. So When Blanche is immersed in the fantasy , Stanley will expose her dream.Blanche DuBois, a fragile and neurotic woman on a desperate prowl for someplace in the world to call her own. Blanche is a thorough idealist, and she have a strong desire to pursuit of perfect spiritual about art and poetry.She tried to adapt to and conquer the reality which is rough and brutal by her own aristocratic elegance and poetry.However, she eventually destroyed in the real world.Desire is the centra theme of the play.this play tells us reality will eventually won the name of desire.。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
欲望号街车——姐妹相认部分（改编后）[Blanche sits in a chair very stiffly with her shoulders slightly hunched and her legs pressed close together and her hands tightly clutching her purse as if she were quite cold. After a while, the blind look goes out of her eyes and she begins to look slowly around. A cat screeches. She catches her breath with a startled gesture. Suddenly she notices something in a half- opened closet. She springs up and crosses to it, and removes a whisky bottle. She pours a half tumbler of whisky and tosses it down. She carefully replaces the bottle and washes out the tumbler atthe sink. Then she resumes her seat in front of the table.] 【however，Stella has not came back yet. Blanche determined to look for her. Shecame to the bowling alley, which Eunice had told her.】[She came in thebowling ally,head towards to bar counter.]Waiter: Hello. madam ,what can I do for you?Blanche:Well,I am looking for Stella,I mean Mrs Stanley.Waiter:She is over there.[he poins to the crowd]Blanche:thanks.[she working to there][Stella comes quickly and runs to bar counter.]Stella [calling out joyfully]: Blanche![For a moment, they stare at each other. Then Blanche springs up and runs to her with a wild cry.]Blanche: Stella, oh, Stella, Stella! Stella for Star![She begins to speak with feverish vivacity as if she feared for either of them to stop and think. They catch each other in aspasmodic embrace.]Blanche: Now, then, let me look at you. But don't you look at me, Stella, no, no, no, not till later, not till I've bathed and rested! [Stella laughs and complies.] Oh, my baby! Stella! Stella for Star! [She embraces her again.]Stella:did you find my place?Blanch:I thought you would never come back to this horrible place! Oh, I'm not going to be hypocritical, I'm going to be honestly critical about it! Never, never, never in my worst dreams could I picture - Only Poe! Only Mr Edgar Allan Foe! - could do it justice! [She laughs.] What am I saying! I didn't mean to say that. I meant to be nice about it and say - Oh, what a convenient location and such - Ha-a-ha! Precious lamb! You haven't said a word to me.Stella: You haven't given me a Chance to, honey! [She laughs but her glance at Blanche is a little anxious.]Blanche: Well, now you talk. Open your pretty mouth and talk! Stella:now come to say ―hello‖to Stanly first.Blanche:oh.no,not now,not now.Stella:come on.just say ―hello‖.Blanche:which is he?which one is he?[men are quarreling]Blanch:is that one?Stella:The one looks like troublemaker.he looks cool,isn’t he? [men continued to making quarrel]Blanche:Stella,I can’t meet he,now.Not like this .Stella:would you like some drink?Blanche:great!that would be lovely of you.[they came to an empty table and sit down ]Stella:would you like some coke?Blanch: No coke, honey, not with my nerves tonight! Where - where - where is –Stella:ok.waiter![waiter came]whisky.Blanch: You haven't asked me how I happened to get away from the school before the spring term ended.Stella; Well, I thought you'd volunteer that information - if you wanted to tell me.Blanche: You thought I'd been fired?Stella: No, I - thought you might have - resigned....Blanche: I was so exhausted by all I'd been through my - nerves broke. [Nervously tamping cigarette.] I was on the verge of- lunacy, almost! So Mr Graves - Mr Graves is the high school superintendent - he suggested I take a leave of absence. I couldn't put all of those details into the wire. ... [She drinks quickly.} Oh, thisbuzzes right through me and feels so good![Waiter came with a bottle of whisky]Waiter:mandam here is your whisky.Blanche:thanks.Waiter:I have not seen you before.[waiter opens the bottle and poured a cup ]Stella:oh,she is my sisiter.Waiter:wow,she looks verey pretty.Blanche:thank you very much.[she tossed off a drink][waiter left]wow,nice.Stella: Won't you have another?Blanche: No, one's my limit.Stella: Sure?Blanche: You haven't said a word about my appearance.Stella: You look just fine.Blanche: God love you for a liar! Daylight never exposed so total a ruin. But you - you've put on some weight, yes, you're just as plump as a little partridge. And it's so becoming to you.Stella: Now, BlancheBlanche: Yes, it is, it is or I wouldn't say it . You just have to watch around the hips a little.Stella:e on…[a little be unhappy]excuse me,may I have awash?Blanche:go ahead.[Stella left ,Blanche looked around and suddenly she saw a gentle man drinking alone,the man threw her a look of appreciating,and comes to her]Man:hello,mandam!You looks graceful and elegent.You must be well-educated.Blanche：I’m flattered.well,I am an English teacher in a high school. Man:wow,but my English is poor since Primary School.would you like to teach me sometime?Blanche:yes,I’d like to.maybe during the night.Man:Fine,I have to go.See you.【the man left when he saw stella came back】Stella:who are you talking with?do you know him?Blanche:an admirer.[they went to Stella’s home]Blanche:[Stella complies reluctantly.] You messy child, you, you've spilt something on that pretty white lace collar ! About your hair –you ought to have it cut in a feather bob with your dainty features. Stella, you have a maid, don't you?Stella: No. With only two rooms it'sBlanche: What? Two rooms, did you say?Stella: This one and —[She is embarrassed.}Blanche: The other one?[She laughs sharply. There is an embarrassed silence.] How quiet you are, you're so peaceful. Look how you sit there with your little hands folded like a cherub in choir! Stella[uncomfortably}: I never had anything like your energy, Blanche.Blanche: Well, I never had your beautiful self-control. I am going to take just one little tiny nip more, sort of to put the stopper on, so to speak.... Then put the bottle away so I won't be tempted.[She rises.} I want you to look at my figure! [She turns around.] You know I haven't put on one ounce in ten years, Stella? I weigh what I weighed the summer you left Belle Reve. The summer Dad died and you left us...Stella [a little wearily]: It's just incredible, Blanche, how well you're looking.Blanche: You see I still have that awful vanity about my looks even now that my looks are slipping . [She laughs nervously and glances at Stella./ot reassurance.]Stella [dutifully]: They haven't slipped one particle.Blanche: After all, I've been through? You think I believe that story ? Blessed child! [She touches her forehead shakily.] Stella, there's only two rooms?Stella: And a bathroom.Blanche: Oh, you do have a bathroom. First door to the right at the top of the stairs. [They both laugh uncomfortably.] But, Stella, I don't see where you're going to put me!Stella: We're going to put you in here.Blanche: What kind of bed's this - one of those collapsible things? [She sits on it.]Stella: Does it feel all right?Blanche [dubiously]: Wonderful, honey. I don't like a bed that gives much. But there's no door between the two rooms, and Stanley - will it be decent?Stella: Stanley is Polish, you know.Blanche: Oh, yes. They're something like Irish, aren't they? Stella: WellBlanche: Only not so - highbrow? [They both laugh again in the same way.} I brought some nice clothes to meet all your lovely friends in.Stella: I'm afraid you won't think they are lovely.Blanche: What are they like?Stella: They're Stanley's friends.Blanche: Polacks?Stella: They're a mixed lot, Blanche.Blanche: Heterogeneous types?Stella: Oh, yes. Yes, types are right!Blanche: Well - anyhow - I brought nice clothes and I'll wear them. I guess you're hoping I'll say I'll put up at a hotel, but I'm not going to put up at a hotel. I want to be near you, got to be with somebody, I can't be alone! Because - as you must have noticed - I'm not very well. ... [Her voice drops and her look is frightened.]Stella: You seem a little bit nervous or overwrought or something. Blanche: Will Stanley like me, or will I be just a visiting in-law, Stella?I couldn't stand that.Stella: You'll get along fine together, if you'll just try not to - well - compare him with men that we went out with at home.Blanche: Is he so - different?Stella: Yes. A different species.Blanche: In what way; what's he like?Stella: Oh, you can't describe someone you're in love with! Here's a picture of him! [She hands a photograph to Blanche.]Blanche: An officer?Stella: A Master Sergeant in the Engineers' Corps. Those are decorationsBlanche: He had those on when you met him.Stella: I assure you I wasn't just blinded by all the brass.Blanche: That's not what IStella: But of course, there were things to adjust myself to later on. Blanche: Such as his civilian background I [Stella laughs uncertainly.] How did he take it when you said I was coming? Stella: Oh, Stanley doesn't know yet.Blanche [frightened]: You - haven't told him?Stella: He's on the road a good deal.Blanche: Oh. Travels?Stella: Yes.Blanche: Good. I mean - isn't it?Stella [half to herself]: I can hardly stand it when he is away for a night. ...Blanche: Why, Stella? Stella: When he's away for a week I nearly go wildBlanche: Gracious!Stella: And when he comes back I cry on his lap like a baby. ... [She smiles to herself.]Blanche: I guess that is what/I meant by being in love.... [Stella looks up with a radiant smile.] StellaStella: What?Blanche [in an uneasy rush]:I haven't asked you the things you probably thought I was going to ask. And so I'll expect you to be understanding about what have to tell youStella: What, Blanche? [Her face turns anxious.]Blanche: Well, Stella - you're going to reproach me, I know that you're bound to reproach me - but before you do take into consideration - you left! I stayed and struggled . You came to New Orleans and looked out for yourself! I stayed at Belle Reve and tried to hold it together! I'm not meaning this in any reproachful way, but all the burden descended on my shoulders.Stella: The best I could do was making my own living, Blanche. [Blanche begins to shake again with intensity.]Blanche: I know, I know. But you are the one that abandoned Belle Reve, not I! I stayed and fought for it, bled for it, almost died for it! Stella: Stop this hysterical outburst and tell me what's happened? What do you mean fought and bled? What kind of Blanche: I knew you would, Stella. I knew you would take this attitude about it Stella: About - what? - pleaseBlanche [slowly]: The loss - the loss...Stella: Belle Reve? Lost, is it? No! Blanche; Yes, Stella.[They stare at each other across the yellow-checked linoleum of the table. Blanche slowly nods her head and Stella looks slowly down at her hands folded on the table. The music of the 'blue piano' grows louder. Blanche touches her handkerchief to her forehead.} Stella: But how did it go? What happened?Blanche {springing up}: You're a fine one to ask me how it went Stella: Blanche!Blanche: You're a fine one to sit there accusing me of itStella: Blanche!Blanche: I, I, took the blows in my face and my body! All those deaths! The long parade to the graveyard! Father, mother! Margaret, that dreadful way! So big with it, it couldn't be put in a coffin! But had to be burned like rubbish You just came home in time for the funerals, Stella. Funerals are quiet, but deaths - not always. Sometimes their breathing is hoarse, and sometimes it rattles, and sometimes they even cry out to you,You didn't dream, but I saw! Saw! Saw! And now you sit there telling me with your eyes that I let the place go. How in hell do you think all that sickness and dying was paid for ? Death is expensive, Miss Stella! Only poor Jessie - one hundred to pay for her coffin. That was all, Stella! And I with my pitiful salary at the school. Yes, accuse me! Sit there and stare at me, thinking I let the place go! I let the place go? Where were you? In bed with your - Polak!Stella [springing]: Blanche. You be still. That's enough [She starts out.]Blanche: Where are you going?Stella: I'm going into the bathroom to wash my face.Blanche: Oh, Stella, Stella, you're crying. Stella: Does that surprise you?Blanche: Forgive me——I don’t mean to——Group Two：组员------------饰演角色占双双--------陈赛金-----------陈琳-----------翁月兰-----------杨晓玲-----------丁静静-----------。