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Books and Arts; Book Review;New theatre: “Travelling Light”;
文藝；書評；新劇院：《輕裝上陣》；
The screen at the end of the world;Antony Sher plays the part of a lifetime;
世界盡頭的銀幕；安東尼·謝爾：生為猶太身，今演猶太人；
Jacob Bindel, the timber merchant in Nicholas Wright's “Travelling Light” at the Lyttelton theatre, is the second of three Jewish roles that Sir Antony Sher has signed up for in less than a year—after decades of parts from other worlds than that of his forefathers. First he was Phillip Gellburg in last autumn's production of Arthur Miller's “Broken Glass” at London's Tricycle theatre, a repressed businessman in 1938 New York who tries to ignore the violent pogroms taking place in Germany. And later this summer he will reanimate Sigmund Freud in Terry Johnson's “Hysteria” in Bath.
身為猶太人，安東尼·謝爾爵士（Sir Antony Sher）數十年從未演過本民族角色。而最近不到一年，他已接下了三個猶太角色。去年秋季，他在倫敦三輪車劇院首度出演猶太人，于阿瑟·米勒（Arthur Miller）劇《碎玻璃杯》中飾演菲利普·蓋爾博格（Phillip Gellburg），一個情感壓抑的商人，1938年住在紐約，試圖忽視德國殘暴的猶太人大屠殺。第二個角色便是在利特爾頓劇院扮演尼古拉斯·賴特（Nicholas Wright）劇《輕裝上陣》中的猶太木材商人雅各布·賓德爾（Jacob Bindel）。而今夏，他將在巴斯重新詮釋泰利·約翰遜（Terry Johnson）劇《歇斯底里》中的西格蒙德·佛洛依德。
Of the three roles, Jacob Bindel may well prove the most memorable. It could make the South African-born actor as unforgettable to London audiences as Chaim Topol was as Tevye in “Fiddler on the Roof” half a century ago.
安東尼的三個角色中，雅各布·賓德爾可能最令人難忘。也許該角能使這位南非出生的演員與哈伊姆·托波爾（Chaim Topol）一樣讓倫敦觀眾無法忘懷——托波爾五十年前曾在前音樂劇《屋頂上的小提琴手》中出演泰維（Tevye）一角。
Mr Wright has set his new play in a remote village in eastern Europe at the dawn of the 20th century. Motl Mendl (a fluid and captivating Damien Molony) has returned after a long absence to his uncle's photography studio, where he is entranced by the flickering shadows of a motion picture. Jacob enters, intent on having a photograph taken of his wife and their only son before the boy is called upon to don the uniform of the tsar. At least, that is his plan until he decides to have the family farewell filmed as a motion picture and succumbs to the allure of the movies.
這部賴特新作中的故事發生在20世紀初葉一個遙遠的東歐小鎮上。莫特爾·門德爾（Motl Mendl）長相酷似達米恩·莫羅尼（Damien Molony），動作靈活優雅，充滿魅力。久別之后，他回到了叔叔的照相館，在那兒對電影閃爍的光影著了迷。某天，雅各布來到相館，本想在獨子應征加入沙皇的軍隊前為妻兒照張合照，后來決定將家人的惜別之景攝為電影；電影的魅力征服了他。
Orphaned and illiterate, the ebullient self-made businessman explains why: “Me, I don't know words. Words for me are like stone wall around God's world. So I am stranger to God's world…Then I see your motion picture, and the door to paradise open for me. I see big light, big sun, big sky! Because no words! No words but all of feelings! Love, happiness, sadness, tears. I see them clear.” Inspired by Anna, Motl's clever and captivating assistant (Lauren O'Neil), the young director begins making films with Jacob as the world's first movie producer.
這位白手起家的商人幼時失蔭，一字不識，卻對電影滿腔熱情。對此，他解釋道：“俺——我不識字。那些字兒跟石頭墻似的把我擋在上帝的世界外頭。對那里頭我啥也不曉得……后來看到你的電影，天堂的大門就開了。我看到好多的光，好大的日頭，好寬的天空！愛啊，幸福啊，傷心啊，眼淚啊，全都能看清。”莫特爾從聰慧迷人的女助手安娜（Anna）（Lauren O'Neil飾）身上得到靈感，開始拍攝電影。雅各布與他合作，成為世上第一位制片人。
Mr Wright's paean to the earliest days of film-making—a homage to the birth of Hollywood with its Sam Goldwyns and its Louis B. Mayers—is funny and generous. The warmth of the shtetl feeds the creativity of these nascent cinephiles. Together the two men go back to the flood, discovering the power of stories, dramatic montage, captivated audiences and the thrill of the casting couch.
這部音樂劇情節有趣，內容豐富，是賴特獻給電影制作最初時光的贊美詩，也是賴特對好萊塢誕生的敬意。當時，它擁有許多像山姆·高德溫、路易斯·梅耶一樣的大人物。在劇中，猶太小鎮的溫情滋養著兩位初出茅廬的電影迷的創造力。他們一同投身事業的洪流，逐漸明白了應該如何講述故事，如何進行戲劇性剪輯，如何抓住觀眾，還知道了選角時辦公室沙發上發生的那些“讓人激動的事兒”。
Earthy, wheedling and endlessly instinctive, Sir Antony's Jacob is at the heart of it all, whether he is trying to meddle in the directing or keep his wife and daughter out of the film and cast Anna, instead, as the leading lady (“When I look at that girl…I like 18 again. I like tree in springtime with hot sap like kettle rise into every branch. You hear my meaning?”) Or even when he tries surreptitiously to rent out his cow to the studio. In fact, Sir Antony is so powerfully Jacob Bindel that it becomes a problem. The second act takes place in Hollywood 30 years later. Jacob barely appears. The audience feels bereft.
安東尼深得人物精髓，他的雅各布土里土氣、滿嘴甜言蜜語、辦事依賴直覺，在所有場景中始終表現如一。雅各布試圖插手導演，不讓妻女涉足影片，反而將安娜定為女主角（“我看著那姑娘……好像又回到了18歲。我像棵春天的樹，滾燙的樹液像在燒開的水壺里一樣撲騰，沖進每根樹枝。你聽懂我說啥了吧？”），甚至還想偷偷把自己的牛租給制片廠。事實上，他演的雅各布實在太出彩了，反倒成了麻煩。該劇第二幕的背景是三十年后的好萊塢。雅各布很少出現，讓觀眾悵然若失。
