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剧院风情|Theater

第二章|Chapter 2

属类： 双语小说 【分类】双语小说 -[作者: 毛姆] 阅读：[12574]
朱莉娅是个兽医的女儿，家庭条件一般。初入演艺圈的时候，也没什么传奇经历，不过是慢慢表演，慢慢展露才华，得到一个有眼光的导演的肯定，一步步把表演能力提升，渐渐地成了大明星。她丈夫是位绅士，外貌条件非常好，但在表演方面天才有限，只能演一些小角色。不过他是位出色的商人。这样，他们俩一个经营，一个表演，可谓是珠联璧合。他们的剧院经营得相当出色，两个人也是演艺圈里的模范夫妻。
《 字+字- 行+行- 页+页- 字+字- 行+行- 页+页- 》
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等两个男人走后，她又翻阅了一遍这些照片，之后把它们放回原处。

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“对于一个四十六岁的女人来说还不错，”她笑道，“我跟照片里一样，没必要否认。”她想在房间里找面镜子照照，但却没有。“可恶的设计师。可怜的迈克尔，难怪他从来不用这间屋子。当然，我始终拍不好照片。”

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她有种想看一看她的旧照片的冲动。迈克尔是个整洁、有条理的人，她的照片都保存在一个大纸箱里，标注了日期，并按照时间顺序存放。他本人的照片在那个纸箱的其他盒子里。

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“当有人愿意写我们的职业生涯的故事时，他会发现所有他需要的资料都已经准备好了。”迈克尔这样说道。

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本着同样值得赞许的目的，他把有关他们俩的媒体报道全都剪下来，按照时间顺序，贴在了一本本簿子里。

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那里有朱莉娅儿童时期的照片，少女时期的照片，她饰演第一个角色的照片，她初为人妻的照片，和迈克尔在一起，之后有了罗杰，她的儿子，那时他还是个婴儿。有一张他们一家三口的照片，迈克尔很男人，极其英俊，她自己温婉恬淡地低头看着罗杰，眼神中充满母爱，而罗杰是个一头鬈发的小男孩，这张照片拍得简直太成功了。所有画报都整版刊登了它，他们还曾在节目单中用过，后来缩印成明信片大小，在外省售卖了好多年。让人懊恼的是当罗杰去了伊顿公学后就拒绝跟她一起拍照了。他不想上报纸这件事还真让人觉得好笑。

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“人们会以为你变丑了或是发生了其他的事情，”她告诉罗杰，“而且这并不是什么不好的事情。你应该去首演夜看一看，看那些社会人士是如何聚集在摄影师旁边的，内阁大臣，法官，所有人。他们可能假装不喜欢被拍照，但你看看当他们觉得摄影师盯上他们时摆出的姿势就知道了。”

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但罗杰很固执。

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朱莉娅看到一张她饰演比阿特丽斯的照片。这是她唯一扮演过的莎剧角色。她知道她穿那身戏服并不好看；她无法理解原因，因为没人能像她那样把现代服装穿得光彩照人。她的衣服，不论是舞台的还是私人的，都在巴黎定制，按裁缝的说法，没人比她的订单更多了。她身材姣好，这一点有口皆碑；作为一个女人来说她很高，双腿修长。可惜的是，她从未有机会扮演罗莎琳德(1)，她穿男孩的戏服应该会很好看，当然现在为时已晚，但或许没有冒险尝试也不错。虽然你可能认为，以她的聪明才智、淘气可爱，以及她的幽默感，她一定会呈现完美的表演。评论家从来没有真正喜欢过她演的比阿特丽斯。这都是那可恶的无韵诗搞的鬼。她的声音低沉浑厚，带着令人印象深刻的嘶哑，遇到倾诉情感的台词，会让你的心都揪起来；如果是搞笑的台词，则会添加不少幽默效果。但当她读比阿特丽斯的台词时，感觉完全不对。还有，关于她的吐字，她吐字非常清晰，即使不提高嗓门，也能让楼座最后一排的观众听得清清楚楚；人们说，这声音让诗歌听起来像散文。而在她看来，其实是因为她过于现代。

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(1) 罗莎琳德（Rosalind），莎剧《皆大欢喜》的女主角。
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迈克尔是演莎剧出道的。那会儿她还不认识他。他在剑桥出演过罗密欧，当他离开剑桥在一所戏剧学院待了一年后，本森雇用了他。他在全国巡演，扮演了各种角色。但他认识到莎剧对他职业发展没什么帮助，如果想要成为一名主演他必须获得出演现代戏剧的经验。有个叫詹姆斯·兰顿的人在米德尔普尔经营一个轮演剧目剧团，吸引了不少人关注。迈克尔在本森那儿待了三年，当公司去米德尔普尔巡演的时候，他写信给兰顿，问能不能与他见一面。詹姆斯·兰顿，一个肥胖秃头、满脸红光的四十五岁男人，模样宛如鲁本斯画中殷实的市民，却对戏剧情有独钟。他是一个古怪、自大、活力四射、自负又迷人的家伙。他爱表演，但他的体形让他无法出演太多角色，但所幸他演得也不怎么样。他无法抑制他那炫耀的本性，虽然他出演每个角色都会仔细琢磨，百般研究，但他的表演最后总是怪诞可笑。他夸大每个动作，夸张每个声调。但当他指导他的演员班底进行排练时，又成了另外一副样子——他无法忍受任何浮于表面的表演。他的耳朵非常灵敏，虽然他自己无法说出正确的声调，但他绝不会放过别人声调里的一丝错误。

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“不要真的自然，”他告诉他的团员，“舞台不是为了这种东西存在的。舞台是虚假的艺术。但看上去要自然。”

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他为他的剧团紧张而努力地工作。团员们每天早晨从十点开始排练，直到下午两点他才会让他们解散，并敦促他们回家研习各自的角色，在晚上正式表演前稍事休息。他威吓他们，朝他们大喊大叫，嘲弄他们。他给他们微薄的工资。但如果他们演好了一出感人的戏，他会像孩子一样大哭；而如果他们按照他想要的样子说了一句有趣的台词，他会哈哈大笑。如果高兴了，他可以单腿在舞台上跳来跳去；如果生气了，他会把剧本扔在地上，踩上几脚，并让愤怒的眼泪在他的脸颊上流淌。整个剧团的员工都嘲笑他，冷落他，又都尽其所能地取悦他。他激起他们一种保护的本能，他们所有人都觉得不能让他失望。虽然他们说他像对待奴隶一样对待他们，他们从来没有自己的时间，连身体都无法忍受这样的工作强度，但顺从他那令人发指的要求带给他们一种变态的满足感。当他紧紧握着一个周薪七英镑的老团员的手说道：“我向上帝发誓，老家伙，你太棒了！”那老团员感觉自己好像是查尔斯·基恩(2)一般。

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(2) 查尔斯·基恩（Charles Kean，1811—1868），著名男演员，萨拉·西登斯的弟弟。
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迈克尔按时赴约，而此刻吉米·兰顿正好需要一个年轻的主角。他已经猜到迈克尔想要见他的原因，因此前一天晚上去看了他出演的戏剧。迈克尔扮演的是茂丘西奥(3)，兰顿并不看好他的表演，但当迈克尔来到他的办公室时，他被迈克尔的美貌打动了。迈克尔穿着棕色外套和灰色法兰绒长裤，甚至没有化妆，他那帅气的外表能让人惊羡得无法呼吸。他举止文雅，说话如谦谦君子。当迈克尔说明他的来意，兰顿一丝不苟地观察着他。如果他会演戏的话，再加上这副外表，这个年轻人一定前程远大。

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(3) 莎士比亚的《罗密欧与朱丽叶》中的人物，是罗密欧的朋友。
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“我昨晚去看了你演的丘西奥，”他说道，“你自己是怎么看这角色的？”

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“糟糕透了。”

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“我也这么认为。你多大了？”

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“二十五。”

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“我估计肯定有人告诉过你，你长得很好看。”

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“这是为什么我选择了舞台的原因。否则我会像我父亲那样去参军。”

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“天啊！如果我要是有你的外表，我该会是个多么好的演员。”

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这次会晤以迈克尔拿到一份合约结束。他在米德尔普尔待了两年。不久，他与剧团成员混熟。他幽默和善，尽力地帮助每一个人，不计麻烦。他的美貌在米德尔普尔引起了一阵轰动，女孩子常常在戏院门口等着见他。她们给他写情书，递鲜花。他将这一切视作观众对演员正常的敬慕，但绝不允许自己被冲昏头脑。他渴望上进，决计不让任何情感纠葛阻碍他职业的发展。最后，仍旧是他的美貌救了他，因为吉米·兰顿很快认识到，虽然他有坚持的毅力和成功的意愿，但他当演员永远不称职。他的声音有点单薄，慷慨激昂时，会更加尖细。这声音所展示的效果是歇斯底里而不是激情四射。但他作为年轻主演最致命的缺点是他无法表演求爱。在念普通的对话时，他还算轻松自如，能够表现出台词的意义，但要表达强烈感情时，似乎有什么东西抑制了他。他感到窘迫，手足无措。

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“可恶，不要像抱着一袋土豆一样抱着那女孩。”吉米·兰顿冲他怒吼道，“你亲吻她时就好像你怕你们正站在风口处。你跟那女孩是相爱的。你必须自己感受到你跟她处于恋爱中。就好像你的骨头在你身体里要融化了，即使下一分钟地震将你吞噬，你也会不管不顾，让地震去见鬼。”

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但这些都没用。除了他的美貌、他的优雅和他的随和，迈克尔依旧是一个冷漠的爱人。但这并不妨碍朱莉娅疯狂地爱上了他。他们就是在迈克尔加入兰顿的轮演剧目剧团时认识的。

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朱莉娅的事业可谓顺风顺水。她出生在泽西岛，她父亲也在岛上出生，是一名兽医。她母亲的妹妹嫁给了一个法国煤炭商人，住在圣马洛(4)，朱莉娅被送到那里与姨妈一起生活，在当地中学读书。她的法语说得与法国女人一般无二。她是天生的演员，而且，自她能记事起，大家就认为她将来一定会登台演出。她的姨妈，法卢夫人，与一位老年女演员“有点关系”，这位女演员曾是法兰西喜剧院的一个成员，现在退休住在圣马洛，靠着她的一个情人在多年的忠诚同居之后与她分手时给她的微薄的赡养费活着。朱莉娅十二岁的时候，这名女演员已是一个性子泼辣、身材臃肿的六十多岁的老女人，但她活力依旧，热爱食物胜过世界上的一切。她笑声爽朗，像男人一样，说起话来声音低沉响亮。是她为朱莉娅上了表演的启蒙课。她把她在艺术学校所学的所有艺术知识都教授给了朱莉娅，她与她讲赖兴贝格到七十岁还在出演天真少女，讲萨拉·伯恩哈特和她的金嗓子，讲穆内·萨利(5)和他的威严，还有科克兰，他是这群演员中最出色的。她用在剧院学会的方法，把高乃依和拉辛慷慨激昂的长篇演说背诵给朱莉娅，并教她以同样的方式念出来。听到朱莉娅用孩子气的嗓音背诵《费德尔》里那些充满激情的演讲简直太有趣了，她会强调亚历山大诗体的节拍，满口的词被她念得装腔作势却又充满戏剧化。这个珍妮·塔特布一定是个做作的女演员，但她教会朱莉娅吐字清晰、如何走路以及如何控制自己，她告诉朱莉娅不要害怕自己的声音，强调时间感的重要性，这也是朱莉娅与生俱来的本能，在她后来的舞台生涯中成了她最厉害的天赋之一。

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(4) 圣马洛，法国西北部海港城市，为疗养胜地。
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“不要停顿，除非你有特殊的理由，”她严肃地说道，握紧的拳头重重地砸在她前面的桌子上，“但当你停顿的时候，你就尽可能长时间地停顿。”

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朱莉娅十六岁时去了坐落在高尔街上的皇家戏剧艺术学院，彼时她已经知道了那里能教给她的一切。她需要抛弃一些已经过时的技巧，采用更加谈话式的语调来演戏。她赢得了每一个她所能参与的奖项的评选，当她完成学业后，一口流利的法语立刻让她在伦敦获得了一个法国女仆的小角色。一时看来，似乎她的法语技能会让她专门出演那些需要外国口音的角色，在法国女仆这一角色后，她又扮演了一个奥地利服务员。大概在两年后吉米·兰顿发现了她。那时她正在全国巡演一出在伦敦受到好评的情景剧；在这个阴谋诡计最终败露的意大利女骗子的角色里，她正试图呈现一个四十岁女人的样子，有些力不从心。因为剧中的女主角是个金发白肤的成熟女人，却在扮演一个妙龄少女，表演缺乏真实。吉米那时正在休假，而他的度假方式是夜夜去戏院观戏，一个城市的剧院看完接着去下一个城市。在朱莉娅的戏结束后，吉米到后台去见她。以他在戏剧圈的知名度足以让朱莉娅感到受宠若惊，当他邀请她第二天中午共进午餐时，她答应了。

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待他们一坐下来，吉米便直奔主题。

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“我一宿没合眼，一直在想你。”他说道。

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“这太突然了。您的提议是光明正大的还是无耻下流的？”

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他并没有在意朱莉娅无礼的答复。

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“我在这个圈子里混了二十五年了。我曾做过催场员、置景工、舞台监督、演员、宣传，该死，我甚至做过剧评人。我自从离开寄宿学校就住在剧院，如果还有我不知道的有关表演的事情，那就是不值得我知道。我觉得，你是个天才。”

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“您过奖了。”

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“别说话。让我来说。你样样具备：合适的身高，漂亮的外形，像天然橡胶一样的脸。”

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“您在恭维我，是吧？”

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“正是这样。这是一张女演员都想要的脸。一张能展现一切的脸，甚至是美丽，一张能展现任何脑袋中想法的脸。杜丝就有这样一张脸。昨晚尽管你并没有思考你正在做的事情，但你说的那些话时刻都写在你的脸上。”

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“这是个糟糕的角色，让我实在无法专注。您听到我说的那些台词了吗？”

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“是演员糟糕，并不是角色。你音色很棒，能够抓住观众的心，我不知道你演喜剧的功底，但我打算冒次险。”

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“您说这个是什么意思？”

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“你演戏的时机很对。这点是无法被指导的，你一定是天生就懂。这可比后天学来的不知好多少。现在让我们讲讲基本事实。我一直在四处打听你。你好像法语说得跟法国女人一样，所以他们总是给你糟糕的英语角色。出演这种角色你不会有前途，你知道的。”

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“我只能拿到这种角色。”

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“你自己满足于永远扮演这类角色吗？你会陷入这些角色里，大众也不会接受你演其他角色。你只能演次要角色。一周最多挣二十镑，而且你非凡的才华都浪费掉了。”

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“我总是期盼有一天我能有机会出演一个正式的角色。”

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“什么时候？你可能需要等待十年。你现在多大？”

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“二十岁。”

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“酬劳多少？”

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“一周十五英镑。”

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“撒谎。你一周拿十二英镑，而且你并不值这些。你还有很多东西要学习。你的动作太普通。你不知道，每一个手势动作都必须有意义。你不知道如何在你开始说话前让观众都看你。你妆化得太浓。以你这样的脸，妆越少越好。难道你不想成为一位明星吗？”

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“谁不想呢？”

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“来我这儿吧，我会把你塑造成英国最伟大的女演员。你学东西学得快吗？你这个年龄应该学得很快。”

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“我觉得我可以在四十八小时内记住任何角色的台词。”

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“你需要的是经验，以及我作为你的经纪人。来我这儿吧，我会让你一年出演二十个角色，易卜生、萧伯纳、巴克、苏徳曼、汉金、高尔斯华绥。你自带磁力，但你却不知道如何运用它。”他咯咯地笑了起来，“上帝，如果你知道这一点，那个老女人也不会让你出演现在的剧了。你得掐住观众的脖子，跟他们说，‘你们这些狗崽子，你们都给我注意了。’你必须镇住他们。如果你没有这点天赋，没人能帮得了你，但如果你有，你可以通过学习明白如何使用它。我告诉你，你有成为一名伟大女演员的一切素养。我这辈子还没有如此肯定过。”

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“我知道我需要舞台经验。当然我得仔细考虑一下。我不介意去您那里待一个演出季。”

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“见鬼去吧。你认为我能在一个演出季就把你塑造成一名伟大的女演员吗？你认为我会全力以赴就为了让你能在伦敦出演一些微不足道的小角色？你把我当成了什么傻瓜？我会跟你签三年的合同，给你一周八英镑的薪水，而你将像牛马一样地工作。”

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“八英镑一周太可笑了。我无法接受。”

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“你能。你现在就值这么多，你也就只能拿这么多。”

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朱莉娅已经演了三年的戏，学到了不少东西。另外，珍妮·塔特布，一个非严格的道德家，还向她传授了许多其他有用的信息。

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“您是不是觉得我会让您跟我睡觉？”

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“天哪，你认为我有时间跟我剧团的成员睡觉？比起这个，我有更加重要的事情去做，我的小姐。而且，你会发现，在四个小时的排练和晚上的演出后，如果能将这些事情都能做到令我满意，再加上日常演出，你自己不会有太多时间，或者还有跟别人做爱的精力。当你回到床上，你只会想睡觉。”

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但是，关于这一点，吉米·兰顿预测错了。

59
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(5) 穆内·萨利（Mounet-Sully，1841—1916），法国男演员。

60
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When the two men had gone she looked through the photographs again before putting them back.

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“Not bad for a woman of forty-six,” she smiled. “They are like me, there’s no denying that.” She looked round the room for a mirror, but there wasn’t one. “These damned decorators. Poor Michael, no wonder he never uses this room. Of course I never have photographed well.”

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She had an impulse to look at some of her old photographs. Michael was a tidy, businesslike man, and her photographs were kept in large cardboard cases, dated and chronologically arranged. His were in other cardboard cases in the same cupboard.

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“When someone comes along and wants to write the story of our careers he’ll find all the material ready to his hand,” he said.

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With the same laudable object he had had all their press cuttings from the very beginning pasted in a series of books.

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There were photographs of Julia when she was a child, and photographs of her as a young girl, photographs of her in her first parts, photographs of her as a young married woman, with Michael, and then with Roger, her son, as a baby. There was one photograph of the three of them, Michael very manly and incredibly handsome, herself all tenderness looking down at Roger with maternal feeling, and Roger a little boy with a curly head, which had been an enormous success. All the illustrated papers had given it a full page and they had used it on the programmes. Reduced to picture-postcard size it had sold in the provinces for years. It was such a bore that Roger when he got to Eton refused to be photographed with her any more. It seemed so funny of him not to want to be in the papers.

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“People will think you’re deformed or something,” she told him. “And it’s not as if it weren’t good form. You should just go to a first night and see the society people how they mob the photographers, cabinet ministers and judges and everyone. They may pretend they don’t like it, but just see them posing when they think the cameraman’s got his eye on them.”

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But he was obstinate.

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Julia came across a photograph of herself as Beatrice. It was the only Shakespearean part she had ever played. She knew that she didn’t look well in costume; she could never understand why, because no one could wear modern clothes as well as she could. She had her clothes made in Paris, both for the stage and for private life, and the dressmakers said that no one brought them more orders. She had a lovely figure, everyone admitted that; she was fairly tall for a woman, and she had long legs. It was a pity she had never had a chance of playing Rosalind, she would have looked all right in boy’s clothes, of course it was too late now, but perhaps it was just as well she hadn’t risked it. Though you would have thought, with her brilliance, her roguishness, her sense of comedy she would have been perfect. The critics hadn’t really liked her Beatrice. It was that damned blank verse. Her voice, her rather low rich voice, with that effective hoarseness, which wrung your heart in an emotional passage or gave so much humour to a comedy line, seemed to sound all wrong when she spoke it. And then her articulation; it was so distinct that, without raising her voice, she could make you hear her every word in the last row of the gallery; they said it made verse sound like prose. The fact was, she supposed, that she was much too modern.

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Michael had started with Shakespeare. That was before she knew him. He had played Romeo at Cambridge, and when he came down, after a year at a dramatic school, Benson had engaged him. He toured the country and played a great variety of parts. But he realized that Shakespeare would get him nowhere and that if he wanted to become a leading actor he must gain experience in modern plays. A man called James Langton was running a repertory theatre at Middlepool that was attracting a good deal of attention; and after Michael had been with Benson for three years, when the company was going to Middlepool on its annual visit, he wrote to Langton and asked whether he would see him. Jimmie Langton, a fat, bald-headed, rubicund man of forty-five, who looked like one of Rubens’ prosperous burghers, had a passion for the theatre. He was an eccentric, arrogant, exuberant, vain and charming fellow. He loved acting, but his physique prevented him from playing any but a few parts, which was fortunate, for he was a bad actor. He could not subdue his natural flamboyance, and every part he played, though he studied it with care and gave it thought, he turned into a grotesque. He broadened every gesture, he exaggerated every intonation. But it was a very different matter when he rehearsed his cast; then he would suffer nothing artificial. His ear was perfect, and though he could not produce the right intonation himself he would never let a false one pass in anyone else.

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“Don’t be natural,” he told his company. “The stage isn’t the place for that. The stage is make-believe. But seem natural.”

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He worked his company hard. They rehearsed every morning from ten till two, when he sent them home to learn their parts and rest before the evening’s performance. He bullied them, he screamed at them, he mocked them. He underpaid them. But if they played a moving scene well he cried like a child, and when they said an amusing line as he wanted it said he bellowed with laughter. He would skip about the stage on one leg if he was pleased, and if he was angry would throw the script down and stamp on it while tears of rage ran down his cheeks. The company laughed at him and abused him and did everything they could to please him. He aroused a protective instinct in them, so that one and all they felt that they couldn’t let him down. Though they said he drove them like slaves, and they never had a moment to themselves, flesh and blood couldn’t stand it, it gave them a sort of horrible satisfaction to comply with his outrageous demands. When he wrung an old trouper’s hand, who was getting seven pounds a week, and said, by God, laddie, you’re stupendous, the old trouper felt like Charles Kean.

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It happened that when Michael kept the appointment he had asked for, Jimmie Langton was in need of a leading juvenile. He had guessed why Michael wanted to see him, and had gone the night before to see him play. Michael was playing Mercutio and he had not thought him very good, but when he came into the office he was staggered by his beauty. In a brown coat and grey flannel trousers, even without make-up, he was so handsome it took your breath away. He had an easy manner and he talked like a gentleman. While Michael explained the purpose of his visit Jimmie Langton observed him shrewdly. If he could act at all, with those looks that young man ought to go far.

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“I saw your Mercutio last night,” he said. “What d’you think of it yourself?”

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“Rotten.”

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“So do I. How old are you?”

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“Twenty-five.”

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“I suppose you’ve been told you’re good-looking?”

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“That’s why I went on the stage. Otherwise I’d have gone into the army like my father.”

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“By gum, if I had your looks what an actor I’d have been.”

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The result of the interview was that Michael got an engagement. He stayed at Middlepool for two years. He soon grew popular with the company. He was good-humoured and kindly; he would take any amount of trouble to do anyone a service. His beauty created a sensation in Middlepool and the girls used to hang about the stage door to see him go out. They wrote him love letters and sent him flowers. He took it as a natural homage, but did not allow it to turn his head. He was eager to get on and seemed determined not to let any entanglement interfere with his career. It was his beauty that saved him, for Jimmie Langton quickly came to the conclusion that, notwithstanding his perseverance and desire to excel, he would never be more than a competent actor. His voice was a trifle thin and in moments of vehemence was apt to go shrill. It gave then more the effect of hysteria than of passion. But his gravest fault as a juvenile lead was that he could not make love. He was easy enough in ordinary dialogue and could say his lines with point, but when it came to making protestations of passion something seemed to hold him back. He felt embarrassed and looked it.

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“Damn you, don’t hold that girl as if she was a sack of potatoes,” Jimmie Langton shouted at him. “You kiss her as if you were afraid you were standing in a draught. You’re in love with that girl. You must feel that you’re in love with her. Feel as if your bones were melting inside you and if an earthquake were going to swallow you up next minute, to hell with the earthquake.”

22

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But it was no good. Notwithstanding his beauty, his grace and his ease of manner, Michael remained a cold lover. This did not prevent Julia from falling madly in love with him. For it was when he joined Langton’s repertory company that they met.

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Her own career had been singularly lacking in hardship. She was born in Jersey, where her father, a native of that island, practised as a veterinary surgeon. Her mother’s sister was married to a Frenchman, a coal merchant, who lived at St. Malo, and Julia had been sent to live with her while she attended classes at the local lycée. She learnt to speak French like a Frenchwoman. She was a born actress and it was an understood thing for as long as she could remember that she was to go on the stage. Her aunt, Madame Falloux, was “en relations” with an old actress who had been a sociétaire of the Comédie Fran?aise and who had retired to St. Malo to live on the small pension that one of her lovers had settled on her when after many years of faithful concubinage they had parted. When Julia was a child of twelve this actress was a boisterous, fat old woman of more than sixty, but of great vitality, who loved food more than anything else in the world. She had a great, ringing laugh, like a man’s, and she talked in a deep, loud voice. It was she who gave Julia her first lessons. She taught her all the arts that she had herself learnt at the Conservatoire and she talked to her of Reichenberg who had played ingénues till she was seventy, of Sarah Bernhardt and her golden voice, of Mounet-Sully and his majesty, and of Coquelin the greatest actor of them all. She recited to her the great tirades of Corneille and Racine she had learnt to say them at the Fran?ais and taught her to say them in the same way. It was charming to hear Julia in her childish voice recite those languorous, passionate speeches of Phèdre, emphasizing the beat of the Alexandrines and mouthing her words in the manner which is so artificial and yet so wonderfully dramatic. Jane Taitbout must always have been a very stagy actress, but she taught Julia to articulate with extreme distinctness, she taught her how to walk and how to hold herself, she taught her not to be afraid of her own voice, and she made deliberate that wonderful sense of timing which Julia had by instinct and which afterwards was one of her greatest gifts.

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“Never pause unless you have a reason for it,” she thundered, banging with her clenched fist on the table at which she sat, “but when you pause, pause as long as you can.”

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When Julia was sixteen and went to the Royal Academy of Dramatic Art in Gower Street she knew already much that they could teach her there. She had to get rid of a certain number of tricks that were out of date and she had to acquire a more conversational style. But she won every prize that was open to her, and when she was finished with the school her good French got her almost immediately a small part in London as a French maid. It looked for a while as though her knowledge of French would specialize her in parts needing a foreign accent, for after this she was engaged to play an Austrian waitress. It was two years later that Jimmie Langton discovered her. She was on tour in a melodrama that had been successful in London; in the part of an Italian adventuress, whose machinations were eventually exposed, she was trying somewhat inadequately to represent a woman of forty. Since the heroine, a blonde person of mature years, was playing a young girl, the performance lacked verisimilitude. Jimmie was taking a short holiday which he spent in going every night to the theatre in one town after another. At the end of the piece he went round to see Julia. He was well enough known in the theatrical world for her to be flattered by the compliments he paid her, and when he asked her to lunch with him next day she accepted.

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They had no sooner sat down to table than he went straight to the point.

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“I never slept a wink all night for thinking of you,” he said.

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“This is very sudden. Is your proposal honourable or dis-honourable?”

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He took no notice of the flippant rejoinder.

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“I’ve been at this game for twenty-five years. I’ve been a callboy, a stage-hand, a stage-manager, an actor, a publicity man, damn it, I’ve even been a critic. I’ve lived in the theatre since I was a kid just out of a board school, and what I don’t know about acting isn’t worth knowing. I think you’re a genius.”

31

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“It’s sweet of you to say so.”

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“Shut up. Leave me to do the talking. You’ve got everything. You’re the right height, you’ve got a good figure, you’ve got an indiarubber face.”

33

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“Flattering, aren’t you?”

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“That’s just what I am. That’s the face an actress wants. The face that can look anything, even beautiful, the face that can show every thought that passes through the mind. That’s the face Duse’s got. Last night even though you weren’t really thinking about what you were doing, every now and then the words you were saying wrote themselves on your face.”

35

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“It’s such a rotten part. How could I give it my attention? Did you hear the things I had to say?”

36

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“Actors are rotten, not parts. You’ve got a wonderful voice, the voice that can wring an audience’s heart, I don’t know about your comedy, I’m prepared to risk that.”

37

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“What d’you mean by that?”

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“Your timing is almost perfect. That couldn’t have been taught, you must have that by nature. That’s the far, far better way. Now let’s come down to brass tacks. I’ve been making enquiries about you. It appears you speak French like a Frenchwoman and so they give you broken English parts. That’s not going to lead you anywhere, you know.”

39

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“That’s all I can get.”

40

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“Are you satisfied to go on playing those sort of parts for ever? You’ll get stuck in them and the public won’t take you in anything else. Seconds, that’s all you’ll play. Twenty pounds a week at the outside and a great talent wasted.”

41

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“I’ve always thought that someday or other I should get a chance of a straight part.”

42

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“When? You may have to wait ten years. How old are you now?”

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“Twenty.”

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“What are you getting?”

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“Fifteen pounds a week.”

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“That’s a lie. You’re getting twelve, and it’s a damned sight more than you’re worth. You’ve got everything to learn. Your gestures are commonplace. You don’t know that every gesture must mean something. You don’t know how to get an audience to look at you before you speak. You make up too much. With your sort of face the less make-up the better. Wouldn’t you like to be a star?”

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“Who wouldn’t?”

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“Come to me and I’ll make you the greatest actress in England. Are you a quick study? You ought to be at your age.”

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“I think I can be word-perfect in any part in forty-eight hours.”

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“It’s experience you want and me to produce you. Come to me and I’ll let you play twenty parts a year. Ibsen, Shaw, Barker, Sudermann, Hankin, Galsworthy. You’ve got magnetism and you don’t seem to have an idea how to use it.” He chuckled. “By God, if you had, that old hag would have had you out of the play you’re in now before you could say knife. You’ve got to take an audience by the throat and say, now, you dogs, you pay attention to me. You’ve got to dominate them. If you haven’t got the gift no one can give it to you, but if you have you can be taught how to use it. I tell you, you’ve got the makings of a great actress. I’ve never been so sure of anything in my life.”

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“I know I want experience. I’d have to think it over of course. I wouldn’t mind coming to you for a season.”

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“Go to hell. Do you think I can make an actress of you in a season? Do you think I’m going to work my guts out to make you give a few decent performances and then have you go away to play some twopenny-halfpenny part in a commercial play in London? What sort of a bloody fool do you take me for? I’ll give you a three years’ contract, I’ll give you eight pounds a week and you’ll have to work like a horse.”

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“Eight pounds a week’s absurd. I couldn’t possibly take that.”

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“Oh, yes, you could. It’s all you’re worth and it’s all you’re going to get.”

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Julia had been on the stage for three years and had learnt a good deal. Besides, Jane Taitbout, no strict moralist, had given her a lot of useful information.

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“And are you under the impression, by any chance, that for that I’m going to let you sleep with me as well?”

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“My God, do you think I’ve got time to go to bed with the members of my company? I’ve got much more important things to do than that, my girl. And you’ll find that after you’ve rehearsed for four hours and played a part at night to my satisfaction, besides a couple of matinées, you won’t have much time or much inclination to make love to anybody. When you go to bed all you’ll want to do is to sleep.”

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But Jimmie Langton was wrong there.

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序号 英文/音标 中文解释 更多操作

decorator

[’dekəreɪtə(r)]

n.装饰者;室内装潢师

Michael

[’maɪkəl]

n.迈克尔(男子名)

paste

[peɪst]

n.浆糊

Roger

[’rɒdʒə(r)]

n.罗杰(男子名)

tenderness

[’tendənɪs]

n.温柔;娇嫩;柔软

maternal

[mə’tɜːnl]

adj.母亲的;母系的;母方的;母性的

programme

[ˈprəʊgræm]

n.电视台播放的各种电视节目

deform

[dɪ’fɔːm]

vt.使变形;使畸形

obstinate

[’ɒbstɪnət]

adj.固执的;倔强的;不易屈服的;(病)难治的

Shakespearean

[ʃeɪkˈspɪərɪən]

adj.(英国作家)莎士比亚的;莎士比亚似的;莎士比亚作品【风格】的

Paris

[’pærɪs]

n.巴黎;重楼(百合科植物);帕里斯(姓氏)

dressmaker

[’dresmeɪkə(r)]

n.裁缝

brilliance

[’brɪliəns]

n.才华;(色彩)鲜明;光辉;辉煌

roguish

[’rəʊɡɪʃ]

adj.捣蛋的;无赖的

verse

[vɜːs]

n.诗;韵文;诗节

prose

[prəʊz]

adj.散文的

Shakespeare

[ˈʃeɪkspɪə]

n.莎士比亚(英国诗人、剧作家)

theatre

[ˈθɪətə]

n.戏院,剧场,电影院

eccentric

[ɪk’sentrɪk]

adj.古怪的;反常的;不同圆心的

arrogant

[’ærəɡənt]

adj.傲慢的;自大的

fortunate

[’fɔːtʃənət]

adj.幸运的;侥幸的;带来幸运的

rehearse

[rɪ’hɜːs]

vt.预演;排演;预先演习;详述;复述

casting

[’kɑːstɪŋ]

n.铸造

make-believe

[meɪkbɪ’liːv]

n.假装;假扮;幻想

bully

[’bʊli]

n.欺凌弱小者;开球

mock

[mɒk]

v.嘲弄;嘲笑;模仿

underpay

[ˌʌndə’peɪ]

vt. 少付 ... 工资; 付给 ... 不足额的工资

bellow

[’beləʊ]

vi. & vt. 咆哮；怒号；(痛苦地)嚎叫;

stamp

[stæmp]

【1】 n.邮票; 图章【2】v.盖邮戳,盖印章

arouse

[ə’raʊz]

v.叫醒;唤醒;激起;睡醒

felted

[’feltɪd]

v. 把 ... 制成毡(使 ... 粘结)

juvenile

[’dʒuːvənaɪl]

adj.青少年的

stagger

[’stæɡə(r)]

vi.蹒跚;犹豫;动摇

make-up

[meɪkʌp]

n.化妆品;性格;补考

shrewd

[ʃruːd]

adj.精明的;敏锐的;狡猾的

good-looking

[ɡʊd’lʊkɪŋ]

adj.好看的;漂亮的

kindly

[’kaɪndli]

adj.和蔼的;温和的;爽快的

excel

[ɪk’sel]

vt.优于;超过

competent

[’kɒmpɪtənt]

adj.有能力的;足够的;胜任的

singular

[’sɪŋɡjələ(r)]

a. 非凡的；卓越的;

Jersey

[’dʒɜːzi]

n.毛线衫;毛织运动衫

veterinary

[’vetnri]

adj.兽医的

Madame

[’mædəm]

n.夫人

vitality

[vaɪ’tæləti]

n.活力;生命力

recite

[rɪ’saɪt]

vt.背诵;朗诵;叙述;列举

tirade

[taɪ’reɪd]

n.长篇的攻击性演说

childish

[’tʃaɪldɪʃ]

adj.孩子气的;幼稚的

passionate

[’pæʃənət]

adj.热情的;激情的;易怒的

deliberate

[dɪ’lɪbərət]

adj.深思熟虑的;故意的;从容不迫的

bang

[bæŋ]

n.巨响;重击;刘海

clench

[klentʃ]

v.紧握;紧咬;牢牢地抓住;确定

Academy

[əˈkædəmɪ]

高等(专科)院校研究院(所)

conversational

[ˌkɒnvə’seɪʃənl]

adj.会话的;对话的;健谈的

machination

[ˌmæʃɪ’neɪʃn]

n.阴谋;图谋

inadequate

[ɪn’ædɪkwət]

adj.不适当的;不充分的

theatrical

[θi’ætrɪkl]

adj.剧场的;夸张的

flatter

[’flætə(r)]

v.奉承;恭维;取悦;显得好看

compliment

[’kɒmplɪmənt]

n.称赞;恭维;(复数)致意

sooner

[’suːnə]

adv. soon的比较级

wink

[wɪŋk]

n.眨眼;使眼色;瞬间

honorable

[’ɒnərəbl]

adj.光荣的;可敬的;体面的.

rejoinder

[rɪ’dʒɔɪndə(r)]

n.回答;反驳;第二次答辩

brass

[brɑːs]

n.黄铜(制品);铜管(乐器)

tack

[tæk]

n.大头钉;行动方针

magnetism

[’mæɡnətɪzəm]

n.磁性;吸引力;磁学

chuckle

[’tʃʌkl]

v.轻声笑;咯咯笑;暗自笑

twopenny-halfpenny

[tʌ’pəniːh’eɪpnɪ]

adj.二便士半的;微不足道的

moralist

[’mɒrəlɪst]

n.道德学家;卫道士

inclination

[ˌɪnklɪ’neɪʃn]

n.倾向;意愿;趋势;斜坡;倾斜度

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