From the start, it is clear something is going on. The entire auditorium is plastered in plywood, with stadium seating arranged in the round. The set evokes an army barracks, with mattresses arranged in rows. Two men are already onstage before the play even starts, dressed like soldiers on break (camo shorts, chiselled muscles, shaved heads) and engrossed in the video-game “Guitar Hero”. If most productions of Shakespeare heighten how remote these works can feel by setting the action at a distant time in a distant land (a place where even American actors mysteriously sound English), this one, directed by Sam Gold, capitalises on the ways “Othello” is not just timeless but also timely. A tragedy about love, jealousy, war, ambition, race and rage, it feels startlingly appropriate in the world of today.
从一开始，很明显有些事不大寻常。整个剧院大厅贴满了夹板，观众席位设在舞台中央两旁。摆成一排排的床垫使人想起军队营房。在表演开始以前，舞台上已站着两个男人，他们穿得像休息中的士兵（他们穿着迷彩短裤，有着大块的肌肉，留着光头），玩着游戏“吉他英雄”。如果大多数的莎士比亚戏剧都是通过将场景设置在久远的时间和空间（在这样的空间里，连美国演员的说话腔调听起来也很英式）来凝造距离感的话，山姆.戈尔德导演的这一部则是利用了“奥赛罗”永恒而又合时宜的特点。这是一部关于爱情,嫉妒,战争,野心,种族和愤怒的悲剧,它是如此惊人地适用于现代社会。
This is Mr Gold’s first Shakespeare play. For a director who tends to collaborate with living playwrights on new work, this marks a departure. Mr Gold was eager for the challenge of a more formally rhetorical play, particularly if his experiment could be off-Broadway. “The smaller the audience, the easier it is for me to deliver the kind of performance that interests me,” he explains. Tackling the bard is “scary stuff”, he admits, but he has tried to treat “Othello” as if it were “a new play, without the burden of Shakespeare’s importance and the rules that come along with it”.
这是戈尔德第一次导演莎士比亚戏剧。他通常都是与现世剧作家合作新作品，因而这一次尝试标志着一个分水岭。戈尔德很想挑战这样一部更为正式的、文风更为华丽的戏剧，而且他的这次尝试将在外百汇上演。“观众越少，我就越容易呈现出我所感兴趣的表演，”他解释道。期待您的翻译，您可以将翻译留言到文章底部，第二天会有详细解析哦。
