翻译Ben Whishaw:A man of mistery（吐槽版）
呼~译这么长一篇我都觉得自己有毛病，译完先去吐个血……
译者英文只有高中水平，译文无国家安全认证，无质量合格证，若有看官不幸将其当做标准译文……只能算汝倒霉。
同时，欢迎英文好的同志前来拍砖。
……没错，我传小本和马修这张略感微妙的合照就是为了捣乱。
Ben Whishaw's performances on stage and screen are mesmerising (令人着迷)colleagues, critics and audiences alike. He has conquered Hamlet and got inside the skin of a serial killer, yet it seems the role he struggles most with is being himself. By Chloe Fox
本.韦肖在舞台和银幕上的表演令他的同行、评论家以及观众都深深入迷。他成功地驾驭了哈姆雷特这个角色，抽丝剥茧地展现出了一个连环杀手的内心世界——不过看起来最令他纠结困惑的角色，似乎是他自己。
He is only 27 years old and yet Ben Whishaw has already earned himself a reputation as one of Britain's finest actors. In his relatively short career, he has taken on two of classical theatre's most coveted （令人垂涎，梦寐以求的）roles - Hamlet at the Old Vic in 2004 (aged just 23) and Konstantin in Chekhov's The Seagull at the National Theatre in 2006 - and made them his own, garnering （收集，争取）some astonishing notices along the way.
虽然年仅27，本.韦肖已经被誉为不列颠最优秀的演员。在他到目前为止的短暂演艺生涯中，他已经演绎过两个经典剧目中最抢手的角色——2004年（年仅23）在老维克剧团饰演哈姆雷特，2006年他在国家大剧院上演的契诃夫的《海鸥》中饰康斯坦丁一角——他正逐步引起人们的强烈关注。
Great Hamlets blaze （闪耀，发光）across the theatrical firmament （苍穹、穹顶）about as often as Halley's Comet,' Charles Spencer declared on the front page of The Daily Telegraph, before going on to describe the wiry（金属丝般，瘦长结实的） Rada graduate as one such great. 'A Shakespearean star was born last night,' Nicholas de Jongh concurred (意见一致)in The Evening Standard. Two years later, the critics were at it again. 'He did not play the part of Chekhov's doomed, demented（癫狂的） anti-hero,' Tim Walker wrote in The Sunday Telegraph of his sulky （郁郁不乐）portrayal （肖像、描述）of Konstantin. 'He was him.'
“伟大的哈姆雷特的光芒如同哈雷彗星一般划过戏剧界的天空。”在对这位瘦削的皇家戏剧学院毕业生大加誉美之前，查尔斯.斯宾塞在《每日电讯报》的头版中这样说。“一颗莎剧新星在昨晚冉冉升起。”尼古拉斯.德.容在《标准晚报》上表达了一致观点。两年后，评论家们再次对他赞誉有加，“他不是在扮演契诃夫笔下的那个疯癫的另类英雄，”蒂姆.沃克在周日电讯报上这样描述他饰演的抑郁的康斯坦丁：“他就是康斯坦丁。”
Whishaw makes a point of never reading his reviews. In fact, he tries not to read anything about himself if he can help it. He is notoriously（出名地） private; a blank canvas （帆布，画布）in the truest sense. He seems genuinely baffled（使迷惑、使困扰） by strangers' attempts to make a connection between the person he is and the actor who is of interest.
韦肖从不看关于他的报导 。事实上，他尽可能避免去看任何与他有关的读物。他出了名地注重隐私（要不然我们咋可能到现在还不确定你的取向啊是不是~），如同一块画布一般空白而本真。当陌生人试图把真实的他和他们所感兴趣的那名演员联系起来时，他看起来困惑不已。
'That's not the reason I got into doing this,' he said in a recent interview.
“我干这一行并不是为了博取关注。”他在最近的一则采访中强调道。
Talking about himself and his work is not something that comes easily to Whishaw - who is fighting flu on the day I meet him. Twiddling（玩弄） strands （缕）of thick, dark hair with long, elegant fingers, sitting back mid-sentence and sighing in frustrated defeat, he apologises over and over again. 'I'm really sorry, I'm not very good at this.'
让韦肖谈谈他自己以及他的工作对他而言并不轻松——我和他见面当天他正与流感作斗争。他坐在房间中央，优雅的手指抚弄着几股浓密的黑色鬈发，（记者君的修辞真是……elegant这种形容词用在这里怎么感觉gay兮兮地……），发出沮丧的叹气声，他不停地向我道歉：“实在抱歉，我不太擅长干这个（接受采访）。”
'It is Ben's unknowability that makes him such an exciting actor to watch,' says Julian Jarrold, who recently directed him as Sebastian Flyte in Brideshead Revisited. 'And, I would imagine, such a hard person to interview.'
“正是小本的神秘莫测使他成为这样一名令人着迷的演员，”朱里安.杰拉德（小本在他的新作《故园风雨后》中饰演塞巴斯蒂安.弗莱特）评论道：“而且，我想象得出他有多难采访。”
Almost without exception, Whishaw's performances, both on stage and screen, have been defined by a certain mercurial brilliance. In Tom Tykwer's 2006 film adaptation of Patrick Süskind's novel Perfume: The Story of a Murderer he plays Jean-Baptiste Grenouille, a social outsider whose heightened sense of smell sends him on a murderous quest to procure （取得）the perfect scent（气味）. Whishaw does not utter a single word for the first half-hour of the film and yet you cannot take your eyes off him.
不出所料，韦肖的表演——无论是在舞台还是银幕上，都被贴上了“多变的天才”的标签。2006年，他在汤姆.提克威执导、改编自帕特里克.聚斯金德同名小说的《香水：一个杀手的故事》中饰演让.巴蒂斯特.格雷诺耶——有着超凡的灵敏嗅觉的社会边缘人，这种天赋促使他不顾一切地寻求最完美的香气。韦肖在影片的前半个小时没有一句台词，可你却无法将目光从他身上移开。
In this year's I'm Not There, Todd Haynes's critically acclaimed rumination（反刍，沉思） on the life of Bob Dylan, Whishaw embodies（表现、象征） the poetic aspect of the singer's life and work. His quiet other-worldliness stands out among the more starry performances of several better-known actors, including Cate Blanchett and Richard Gere.
而今年，在托德.海因斯批判性地探讨鲍勃.迪伦的一生的《我不在那儿》中，韦肖象征了这名歌手在生活和工作中诗化的一面。他仿佛来自异世，从包括凯特.布兰切特和理查.基尔在内的领衔众星中脱颖而出。
‘There is a fragility about Ben that is inspiring,' says the Oscar-winning director Jane Campion, for whom Whishaw is currently playing John Keats in Bright Star, her drama based on the three-year romance between the doomed 19th-century poet and Fanny Brawne. 'It's like he's in touch with some other ether（时空）.'
“小本身上有种令人着迷的脆弱气质，”奥斯卡最佳导演简.坎皮恩谈到：“他就像是和另一个时空有所联系。”——韦肖正在她执导的《明亮的星》中扮演约翰.济慈，影片根据这位命途多舛的19世纪诗人和范妮.伯劳恩之间长达三年的罗曼史改编而成。
In many ways, Whishaw's decision to take on the role of Ben Coulter in Criminal Justice, the forthcoming five-part BBC thriller written by the ex-barrister Peter Moffat (Hawking, Cambridge Spies) seems an unusual one. Criminal Justice is the story of a nice middle-class boy who, after a drug-fuelled （刺激、加燃料）night in which a girl ends up dead, is taken on a very dark journey through prison and the law courts. It is much grittier（更坚韧的，更阴暗的）, more contemporary （现代的）territory（范围、领土） than Whishaw's usual remit（提交的事项）.
韦肖在《司法正义》（前辩护律师彼得.莫法特编剧，即将由BBC第五频道播出）中扮演本.库尔特，从各方边看都是不大寻常的选择。《司法正义》讲述的是一个中产家庭的乖巧男孩，在度过了以一个女孩的离奇死亡为句点的嗑药之夜后，被拽进了监狱和法庭的黑暗旅程之中。这部作品比本韦肖往常拍摄的都更阴暗，更现代化。
'It was an incredibly powerful read,' Whishaw says. 'And such an interesting combination of elements（原理、基础）; it's a brilliant, page-turner of a story but it's also very serious about exploring the fatal （攸关的、重大的）flaws（缺陷、裂痕） at the heart of the criminal justice system.'
“这部剧本极具震撼力，”韦肖说：“它集合了许多有趣的法律原理，整个故事精彩绝伦、一气呵成，同时着力于挖掘司法体系的致命缺陷。”
For him, the part of Coulter was a particularly challenging one to get to grips(紧握、理解、胜任) with. 'It was really very odd not having a character that I could research,' he says. 'Otto [Bathurst, the director] told me to be myself, which was not something I had ever really done before.' With no character to hide behind, he felt very raw. 'For the 12 weeks of filming, there was very little distance between the script and me, which really touched a nerve.' Whishaw consciously did no preparation at all, choosing not even to visit a prison so that his character's first experience of being incarcerated（监禁） was also his own.
对他而言，库尔特这个角色颇难拿捏。“演绎一个完全没有原型的人物对我来说实在很古怪。”他说：“奥托（即导演巴瑟斯特）让我本色出演，我以前从未那样做过。”没有任何角色供他伪装自己，这令他颇不自在。“拍摄的12周里，我和剧本中的角色几乎是零距离——这无疑相当触动我的神经。”韦肖显然没有作任何准备，甚至都没去监狱“体验生活”，所以他的角色在监狱的第一场戏也同样是本色出演（所以说监狱里那个抽抽嗒嗒受惊小鹿般的少年就是小本的真面目么……）。
'There were one or two days when I actually felt really, um, really shredded （撕碎）by it,' Whishaw says. 'It could be quite unrelenting（冷酷无情）, quite hard, being covered in tar （焦油、沥青）and grass one minute, thrown into a prison wing with lots of people leering （斜眼、暗送秋波）at me the next, being injected with heroin, that sort of thing. What Ben [Coulter] goes through is essentially （实际上的）a living nightmare and that is very much how I felt about it sometimes.'
“有那么一两天我觉得简直要抓狂了，”韦肖说道：“这种体验可能很残酷，非常难熬，前一刻我的身上黏满沥青和乱草，被扔进监狱，犯人们都对我虎视眈眈（我靠( ‵o′)啊这就是一帮欲求不满的怪蜀黍啊！），下一秒我又被人强行注射海洛因（编剧下得狠手！！！），坏事层出不穷。本（指剧中角色）的经历在我看来实在是一场噩梦。”
For Bathurst, Whishaw was the perfect person to take on the role. 'You can just get lost in him,' he says. ‘His is no small task（差事）; he has to carry five hours of drama and make the audience want to stay with him, and he does that effortlessly（轻而易举地）.'
在巴瑟斯特导演看来，韦肖是饰演这个角色的不二人选。“他简直令人无法自拔，”他说：“他干的可不是什么简单差事，他得在时长五小时的剧里俘获观众的心，让他们心甘情愿地守在屏幕前，而他轻而易举地做到了这一点。”
One filming day in particular stands out in Bathurst's memory. 'We were filming meaty（内容丰富的） courtroom scenes with actors such as Lindsay Duncan and Con O'Neill pulling out all the stops. All Ben had to do was sit in the dock（被告席）, watching his life being carved up in front of his eyes. For most of the day, I had to resist the urge to point my camera at him and only him. The expression on his face was just mesmerising.'
有一个拍摄日令巴瑟斯特记忆犹新，“我们在拍摄一场内容庞杂的法庭戏，有琳赛.邓肯和康.奥尼尔这些演员倾力出演，小本要做的只是坐在被告席上，眼睁睁地看着自己的生活被毁得支离破碎。很多时候我都得努力抑制把镜头对准他一人的冲动（导演你醒一醒啊！），他脸上的神情实在令人着迷。”
Certainly, a visit to the set is proof of Whishaw's ability to engage his audience. Filming scenes in the cell that his character shares with his mentor（指导）-figure, Hooch (played by Pete Postlethwaite), he draws you in even when he is brushing his teeth. As usual, his stillness seems to set him apart. While Postlethwaite and David Harewood (who plays Freddie Graham, a lifer（无期犯） who offers Coulter protection in return for drug-smuggling （偷运）favours) joke between takes, Whishaw remains resolutely silent.
当然，去剧组造访一趟最能验证韦肖对观众的吸引力，在拍摄他和他的狱中导师——胡奇（由皮特.波斯尔思韦特饰演）共同生活的场景时，他就算刷个牙都能牢牢吸引你的注意力。他的沉静令他显得与众不同，每当波斯尔思韦特和大卫.哈伍德(饰演无期犯弗雷迪.格拉汉姆，在狱中以偷运毒品为交换条件为库尔特提供保护)在拍摄间隙一起开玩笑时，韦肖都一如既往地保持沉默。
Dressed in the pale-grey tracksuit of an inmate（囚犯）, his bird-like frame（骨架） looks particularly fragile as he trundles（移动）the prison corridors（走廊） between scenes, head down, in a world of his own. 'Ben's pretty hard to get to know,' Bathurst says over lunch. 'Some actors step in and out of character but, with him, he's in it for the entire day and you don't feel he wants to be interrupted.'
当他在监狱走廊里辗转徘徊，低眉颔首，沉浸在自己的世界里时，那身肥大的灰白色囚服令他那小鸟般的细小骨架（“bird-like”？！哪位仁兄想出这种形容词的？ ）显得格外弱不禁风。“小本相当令人捉摸不透，”巴瑟斯特在午饭后说：“有些演员随时都能进入和脱离角色，但是他却整日沉浸在角色里，并且看起来不想受打扰。”
Although he finds this aspect of himself difficult to articulate, Whishaw concedes(承认) that, from a very early age, he was happiest when he was pretending to be a different person. 'I just spent Easter with my mum and we were going through old photographs,' he says. 'In every single one, from about the age of two, I was dressed up. I don't think there is a single photograph of me without a costume on. Even at such a young age, my instinct was to be someone else.'
尽管很难解释自己性格中的这一面，韦肖还是承认他打小时起最快乐的事就是假扮成一个和自己截然不同的人。“我刚刚和我妈妈一起度过复活节，翻看以前的照片，”他说：“从我大约两岁开始的每一张独照，我都是化了装的。我没有哪张独照不是穿着戏装拍的。即使是在那样小的年纪，我都本能地去扮演别人。”
Quite where this instinct came from is mystifying to him. Both his parents and his twin brother, James, are, he admits, totally different to him, thus ruling out a genetic propensity（倾向、习性）. His childhood in Hitchin, Hertfordshire - with an IT consultant father and cosmetics（化妆品） saleswoman mother - was not remotely geared towards the arts.
他自己也想不明白这种本能是从哪儿来的。他承认，无论是自己的父母还是他的双胞胎兄弟詹姆斯都和他完全不同，这简直背离了基因遗传规律。他的童年是在赫特福德郡的希治度过的——父亲是一名IT顾问，母亲是化妆品推销员，一切都和艺术毫不搭调。。
Aside from the childhood play-acting, it was not until Whishaw went to secondary school at Samuel Whitbread Community College that he became enamoured with the idea of acting. 'I was pretty middle-of-the-road academically and I didn't really enjoy learning,' he concedes. 'Drama was my way of staying in touch with part of myself that was playful.' Thus, the teenage Whishaw became involved in a local youth drama group called Big Spirit.
除去小时候的过家家经历，韦肖直到在塞缪尔.惠特布雷德社区学院附属中学上学时才立志走演艺道路。“我的学业成绩一直平平（小本应该也是纯文科生吧o(╯□╰)o），而我也不觉得学习有多少乐趣，”他承认：“戏剧是我保持自己活泼戏谑的那一面的方式。”就这样，年少的韦肖加入了一个名为“Big Spirit”的青年戏剧团。
By the time he was doing his A-levels, Whishaw - who had won his first brilliant notices playing Primo Levi in an adaptation of his Holocaust （大屠杀）memoir（回忆录） If This is a Man at the Edinburgh International Festival - was on the books of a London agent. Aged 17, he landed a small role as a young soldier in William Boyd's directorial debut, The Trench. 'He was astonishingly good,' Boyd remembers. 'He seemed to know - as all really good actors do - that less is always more. I clearly remember asking him what he was going to do after the film was over and being very taken aback when he said, "My A-levels".'
当韦肖正在为自己的A-level考试备战时，他已经因为在普里莫.莱维的大屠杀回忆录改编剧作——《如果这是一个人》中扮演作者本人而在爱丁堡国际电影节上获得了首次关注，并由此和伦敦一家经纪公司签了约。17岁时，他得到了威廉.博伊德的导演处女作《战壕》中的一个小角色，扮演一名年轻士兵。“他异常优秀，”博伊德回忆道：“他似乎和所有真正优秀的演员一样——都明白‘少即是多’这个道理。我记得很清楚，当我问他电影拍完后他打算做什么时，他的回答让我颇为惊讶——‘我的A-level考试。’”
Once he finished school, Whishaw assumed he would get more work as an actor but nothing came. A keen painter, he began an art course, but dropped it after a month. 'There was a Samuel Beckett season at the Barbican and I kept going to see the plays instead of doing my homework,' he recalls with a smile. His career decided, Whishaw applied to Rada and was accepted.
完成学业后，韦肖本以为他会接到更多的戏，结果却一无所获。凭着对绘画的热爱，他参加了一个美术课程，但一个月后他就放弃了。 “巴比肯艺术中心那时在举办塞缪尔.贝克特戏剧季，我老是把功课撂到一边跑去看戏。”他微笑着回忆道。于是韦肖确定了自己的职业道路，他申报了皇家戏剧学院并被录取。
Since graduating in 2003, Whishaw has barely stopped working. His first role was as Brother Jasper in the National Theatre's sell-out adaptation of Philip Pullman's His Dark Materials. It was while he was playing Jasper that Whishaw auditioned for Trevor Nunn, who was scouring the country for a young, vulnerable（脆弱的） Hamlet. The director was struck by Whishaw's face, 'a face of great sensitivity and astonishing youthfulness'. He asked him to perform Hamlet's opening soliloquy. Then he asked him to do it again, as if he were five years old. 'I became rather upset and he became rather interested,' Whishaw remembers.
自2003年从学院毕业后，韦肖就开始马不停蹄地工作。他的第一个角色是改编自菲利普.普尔曼的同名小说《黑暗物质》里的加斯帕，戏票在国家大剧院被抢购一空。扮演加斯帕的同时他也为特拉维.拿恩试了镜，后者当时正在全国范围内寻找扮演稚嫩脆弱版哈姆雷特的合适人选。韦肖那张敏感脆弱、年轻得出奇的小脸立刻打动了导演。他要求他表演哈姆雷特的开场独白，接着要求他再做一遍，仿佛他是个五岁的孩子。“当时我越来越紧张，而他对我愈发地感兴趣。”韦肖回忆道。
Even though only a year out of drama school, in many ways Whishaw found playing Hamlet one of the easiest moments in his career. 'Nobody knew who I was, so there was no pressure. I have never felt as exhilarated as when I was playing him,' he recalls. The hard part came when it was all over. 'I just felt desolate,' he says.
尽管才从戏剧学院毕业一年，韦肖仍发现扮演哈姆雷特是他的演艺生涯中最轻松的一段时光。“没人知道我是谁，所以我毫无压力，扮演哈姆雷特时我前所未有地兴奋，”他回想到。戏演完后，难熬的日子就来了。“我觉得异常孤独。”他说。
When he tries to explain the attachment（依恋、附属物） he comes to feel for characters that he is playing, Whishaw becomes uncharacteristically talkative. 'Characters like Hamlet - and I suspect John Keats will be like that too - just amaze me, they take me over, make me fall in love with them, make me stretch myself and want to be a better, more interesting person than I am. That's why it feels like such a loss when I lose them, as if I've had to let go of their hand.'
每当他试着阐述由他诠释的角色感受到的爱慕之情，韦肖就一反常态地变得非常健谈。“像哈姆雷特这样的角色——或许约翰济慈也是如此——他们都令我惊叹不已，他们取代了真正的我，让我和他们一同坠入爱河，让我放松自己，渴望把自己塑造成一个比我本人有趣得多的人。这就是我脱离角色后会无比失落的原因所在，那种感觉仿佛是我迫不得已地放开了他们的手。”
Almost without exception, Whishaw has found it hard to shed（摆脱，蜕皮） the characters he has played. 'I sort of fell in love with Dylan,' he remembers of filming I'm Not There. 'I became obsessed. But I've moved on now. I always do.' Once a character is gone from Whishaw's consciousness, it is truly gone, almost totally extinct from his memory. 'I was asked to do a talk about Hamlet at Rada about a year ago,' he recalls. 'And I couldn't remember one single thing. Not even a line of it. I think I get so involved in whatever I'm doing at the time that everything else kind of disappears.'
不出所料，韦肖发现他很难从自己饰演的角色中走出来。“我像是有点爱上迪伦了，”他回忆起拍摄《我不在那儿》时的情形，“我那时已经走火入魔了，但现在我已经回到正轨，着眼前路了。我一向如此。”当一个角色不再为韦肖所思所想，那这个角色就真的消失了，几乎从他的记忆中被彻底抹去。“曾经有人让我谈谈一年前在皇家戏剧学院表演《哈姆雷特》的经历，”他回想到：“我却一点都想不起来了，甚至一丝最细微的印象都没有。我想我总是全副身心投入到当前的事务里，其余的一切对我来说都是过眼云烟。”
It is only a matter of months since he finished filming Brideshead Revisited but already Sebastian has been obliterated（抹除，毁灭） from his memory, replaced first by Ben Coulter and subsequently（其后的） Keats. What Whishaw does remember is that it was very difficult pulling a character out of a novel, especially a novel that, before he was sent the script, he had not read. 'I was very intrigued （被吸引的，被迷住）by Sebastian and how tortured he is,' he says of the role.
拍完《故园风雨后》仅仅是几个月以前的事，但塞巴斯蒂安这个角色早被从他的记忆中抹去，由本.库尔特和紧接其后的济慈取而代之。不过韦肖倒记得演绎一个小说中的人物着实不易——尤其在拿到剧本之前他并未读过小说。“塞巴斯蒂安本人及其遭受的痛苦都深深地吸引了我。”谈论角色时他说道。
'Ben has exactly the right kind of vulnerability that I was looking for in Sebastian,' says Julian Jarrold, whose decision to cast a haunted（忧愁的）-looking, dark-haired actor in a role made famous by an angelically beautiful Anthony Andrews in the 1981 Granada television series, caused some raised eyebrows. 'I'm pretty sure he is described as having dark hair in the novel,' Whishaw says, so quietly you can hardly hear.
“小本正是我要找的能演绎出塞巴斯蒂安的脆弱感的不二人选，”朱里安.杰拉德说，他选择一个外表忧郁，一头乌发的演员来扮演这个因1981年格林纳达电视剧版里的，有着天使般美貌的安东尼.安德鲁斯（真心不觉得安德鲁斯有多美……AA叔的粉丝表拍我）而闻名的角色，由此招致不少非议。“我相当肯定小说里他是黑发。”韦肖说道，声音轻柔得几乎无法听见。
'When Ben's working, he's very focused,' Jarrold adds. 'But he can chill out （冷静、放松）too. Most nights after filming, he could be found in the hotel bar with Emma [Thompson, who plays Lady Marchmain] and Matthew [Goode, who plays Charles Ryder] having a real laugh.'
“小本工作时一向非常专注，”杰拉德补充道：“不过他也会给自己放松一下。许多晚上完成拍摄后，你都能在饭店的酒吧里看见他和艾玛（汤普森）还有马修（古迪）凑在一块笑得很开心。”
For Whishaw himself, work is where he is at his most serious. That said, he is （紧急、坚决的、显眼的）that he doesn't have a game plan. 'Whatever blows in（吹进、突然造访）,' he shrugs（耸肩、漠不关心）. 'I don't have any ambition to make lots of money or win an Oscar or anything like that. It's not about that for me. I'm very lucky to have found the thing that makes me tick.
对韦肖而言，工作本身才是重中之重。据说他坚决不为自己的职业生涯作刻意规划。无论发生了什么，他从来都是宠辱不惊。“我从来没有挣大钱或者赢奥斯卡这方面的野心，那些东西对我无甚意义。我很庆幸能找到一件让自己发光发热的事。”
'There are certainly other things I'd like to have a go at one day,' he continues. 'I'd like to have a go at directing. Or maybe I'll go back to painting. Or maybe thinking about those things is just my way of protecting myself if it all goes wrong.'
“日后我当然也乐意做一些演戏以外的事，”他接着说：“我想当导演，或者回到绘画的老行当上去。抑或考虑那些能让我在身处逆境时保护自己的事。”（Of course,you do what you want!但是求你别再任性心情一不好就撂下“不想再演电影”这种话了，你的粉丝受不了这种惊吓啊！）
For the time being, though, he is not looking forward or back, focusing instead on the man of the moment, Keats. 'It's such a gift being able to step into the mind of someone like him,' he says. 'There's something incredibly satisfying about wanting to be someone else so badly and having to get myself there as best I can.'
不过就目前而言，他并没有瞻前顾后，而是把精力集中在他正在扮演的济慈一角上。“有机会一窥像这样一位人物的内心世界简直是上天的恩赐，”他说：“这种急切地想成为另一个人的热望，还有竭力让自己做到最好的感觉，在某些方面会让人感到别样的满足。”
According to Jane Campion, Whishaw was almost there before he even got the part. 'He had sent me an email about the script before we met that really touched me,' she remembers. 'And then, when he came to do a reading, I opened the door and there was this beautiful, fragile boy; he had that magical quality that people who have written about Keats say he had. He read from the script and instantly made me believe that he was capable of writing that poetry and loving that much.'
按照简.坎皮恩的说法，韦肖甚至在正式得到角色之前就被选中了。“他给我发过一封邮件，探讨剧本的问题，这让我深受感动。”她回忆道：“然后当我们约在一起诵读剧本时，我打开门，门外就是这个美丽纤巧的男孩（"beautiful'这个词合适么⊙﹏⊙b），他有着一种魔力，就是为济慈立传的那些人声称济慈所拥有的那种魔力。他读着剧本，让我瞬间感觉他是能够写出那样的诗，并且爱得那样深沉的人。”（简导演明显深深地陶醉了吖……原来小本是lady killer~）
The story of Keats and Fanny Brawne is ultimately a tragic one; they were parted by Keats's untimely death from TB at the age of 25. 'I can bear to die,' he wrote to a friend, 'but I cannot bear to leave her.' Despite going on to marry and have children, Brawne never forgot her first love, whose ring she wore around her neck for the rest of her life.
济慈和范妮.伯劳恩的爱情故事以悲剧告终，济慈因为肺结核在25岁便早早离世，两人从此幽冥永隔。“我能忍受死亡，”他在信中对朋友说：“但离开她却让我无法忍受。”尽管伯劳恩最终嫁作人妇，生儿育女，她始终没有忘记她的初恋，终其一生，她的脖子上都戴着当年的订婚戒指。
'Keats himself spoke about how Shakespeare was capable of erasing himself completely from the characters he had created,' Whishaw says. 'As an actor, that is what I'm trying to do. The idea is that, at some point, Ben will go completely and Keats will be there in his place.'
“济慈曾谈到过莎士比亚能够如何忘我地投入到自己创作的角色中去，”韦肖说：“这正是我作为一个演员试图做到的。”可以说，在某些时候，本韦肖彻底消失了，取而代之的是济慈的灵魂。
With flu symptoms setting in, Whishaw politely takes his leave. Aptly （适当的、巧妙的）enough, there is something intangible （触不到的、难以确定的）about his parting. One minute he is there, the next, he is gone.
在流感症状的困扰下，韦肖礼貌地离开了。他离开的方式就和他本人一样令人难以捉摸。一分钟前他还在这儿，转眼间他就已离开。（多么想译成“挥一挥衣袖，不带走一片云彩”啊！
这篇译文在某种程度上是本人欲看《007：Skyfall》而不得的抓狂状态下的产物，看过某些海外党在影评里大赞小本如何傲娇如何萌我就更煎熬了……
手贱这习惯真是要不得……
译者英文只有高中水平，译文无国家安全认证，无质量合格证，若有看官不幸将其当做标准译文……只能算汝倒霉。
同时，欢迎英文好的同志前来拍砖。
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……没错，我传小本和马修这张略感微妙的合照就是为了捣乱。
Ben Whishaw's performances on stage and screen are mesmerising (令人着迷)colleagues, critics and audiences alike. He has conquered Hamlet and got inside the skin of a serial killer, yet it seems the role he struggles most with is being himself. By Chloe Fox
本.韦肖在舞台和银幕上的表演令他的同行、评论家以及观众都深深入迷。他成功地驾驭了哈姆雷特这个角色，抽丝剥茧地展现出了一个连环杀手的内心世界——不过看起来最令他纠结困惑的角色，似乎是他自己。
He is only 27 years old and yet Ben Whishaw has already earned himself a reputation as one of Britain's finest actors. In his relatively short career, he has taken on two of classical theatre's most coveted （令人垂涎，梦寐以求的）roles - Hamlet at the Old Vic in 2004 (aged just 23) and Konstantin in Chekhov's The Seagull at the National Theatre in 2006 - and made them his own, garnering （收集，争取）some astonishing notices along the way.
虽然年仅27，本.韦肖已经被誉为不列颠最优秀的演员。在他到目前为止的短暂演艺生涯中，他已经演绎过两个经典剧目中最抢手的角色——2004年（年仅23）在老维克剧团饰演哈姆雷特，2006年他在国家大剧院上演的契诃夫的《海鸥》中饰康斯坦丁一角——他正逐步引起人们的强烈关注。
Great Hamlets blaze （闪耀，发光）across the theatrical firmament （苍穹、穹顶）about as often as Halley's Comet,' Charles Spencer declared on the front page of The Daily Telegraph, before going on to describe the wiry（金属丝般，瘦长结实的） Rada graduate as one such great. 'A Shakespearean star was born last night,' Nicholas de Jongh concurred (意见一致)in The Evening Standard. Two years later, the critics were at it again. 'He did not play the part of Chekhov's doomed, demented（癫狂的） anti-hero,' Tim Walker wrote in The Sunday Telegraph of his sulky （郁郁不乐）portrayal （肖像、描述）of Konstantin. 'He was him.'
“伟大的哈姆雷特的光芒如同哈雷彗星一般划过戏剧界的天空。”在对这位瘦削的皇家戏剧学院毕业生大加誉美之前，查尔斯.斯宾塞在《每日电讯报》的头版中这样说。“一颗莎剧新星在昨晚冉冉升起。”尼古拉斯.德.容在《标准晚报》上表达了一致观点。两年后，评论家们再次对他赞誉有加，“他不是在扮演契诃夫笔下的那个疯癫的另类英雄，”蒂姆.沃克在周日电讯报上这样描述他饰演的抑郁的康斯坦丁：“他就是康斯坦丁。”
Whishaw makes a point of never reading his reviews. In fact, he tries not to read anything about himself if he can help it. He is notoriously（出名地） private; a blank canvas （帆布，画布）in the truest sense. He seems genuinely baffled（使迷惑、使困扰） by strangers' attempts to make a connection between the person he is and the actor who is of interest.
韦肖从不看关于他的报导 。事实上，他尽可能避免去看任何与他有关的读物。他出了名地注重隐私（要不然我们咋可能到现在还不确定你的取向啊是不是~），如同一块画布一般空白而本真。当陌生人试图把真实的他和他们所感兴趣的那名演员联系起来时，他看起来困惑不已。
'That's not the reason I got into doing this,' he said in a recent interview.
“我干这一行并不是为了博取关注。”他在最近的一则采访中强调道。
Talking about himself and his work is not something that comes easily to Whishaw - who is fighting flu on the day I meet him. Twiddling（玩弄） strands （缕）of thick, dark hair with long, elegant fingers, sitting back mid-sentence and sighing in frustrated defeat, he apologises over and over again. 'I'm really sorry, I'm not very good at this.'
让韦肖谈谈他自己以及他的工作对他而言并不轻松——我和他见面当天他正与流感作斗争。他坐在房间中央，优雅的手指抚弄着几股浓密的黑色鬈发，（记者君的修辞真是……elegant这种形容词用在这里怎么感觉gay兮兮地……），发出沮丧的叹气声，他不停地向我道歉：“实在抱歉，我不太擅长干这个（接受采访）。”
'It is Ben's unknowability that makes him such an exciting actor to watch,' says Julian Jarrold, who recently directed him as Sebastian Flyte in Brideshead Revisited. 'And, I would imagine, such a hard person to interview.'
“正是小本的神秘莫测使他成为这样一名令人着迷的演员，”朱里安.杰拉德（小本在他的新作《故园风雨后》中饰演塞巴斯蒂安.弗莱特）评论道：“而且，我想象得出他有多难采访。”
Almost without exception, Whishaw's performances, both on stage and screen, have been defined by a certain mercurial brilliance. In Tom Tykwer's 2006 film adaptation of Patrick Süskind's novel Perfume: The Story of a Murderer he plays Jean-Baptiste Grenouille, a social outsider whose heightened sense of smell sends him on a murderous quest to procure （取得）the perfect scent（气味）. Whishaw does not utter a single word for the first half-hour of the film and yet you cannot take your eyes off him.
不出所料，韦肖的表演——无论是在舞台还是银幕上，都被贴上了“多变的天才”的标签。2006年，他在汤姆.提克威执导、改编自帕特里克.聚斯金德同名小说的《香水：一个杀手的故事》中饰演让.巴蒂斯特.格雷诺耶——有着超凡的灵敏嗅觉的社会边缘人，这种天赋促使他不顾一切地寻求最完美的香气。韦肖在影片的前半个小时没有一句台词，可你却无法将目光从他身上移开。
In this year's I'm Not There, Todd Haynes's critically acclaimed rumination（反刍，沉思） on the life of Bob Dylan, Whishaw embodies（表现、象征） the poetic aspect of the singer's life and work. His quiet other-worldliness stands out among the more starry performances of several better-known actors, including Cate Blanchett and Richard Gere.
而今年，在托德.海因斯批判性地探讨鲍勃.迪伦的一生的《我不在那儿》中，韦肖象征了这名歌手在生活和工作中诗化的一面。他仿佛来自异世，从包括凯特.布兰切特和理查.基尔在内的领衔众星中脱颖而出。
‘There is a fragility about Ben that is inspiring,' says the Oscar-winning director Jane Campion, for whom Whishaw is currently playing John Keats in Bright Star, her drama based on the three-year romance between the doomed 19th-century poet and Fanny Brawne. 'It's like he's in touch with some other ether（时空）.'
“小本身上有种令人着迷的脆弱气质，”奥斯卡最佳导演简.坎皮恩谈到：“他就像是和另一个时空有所联系。”——韦肖正在她执导的《明亮的星》中扮演约翰.济慈，影片根据这位命途多舛的19世纪诗人和范妮.伯劳恩之间长达三年的罗曼史改编而成。
In many ways, Whishaw's decision to take on the role of Ben Coulter in Criminal Justice, the forthcoming five-part BBC thriller written by the ex-barrister Peter Moffat (Hawking, Cambridge Spies) seems an unusual one. Criminal Justice is the story of a nice middle-class boy who, after a drug-fuelled （刺激、加燃料）night in which a girl ends up dead, is taken on a very dark journey through prison and the law courts. It is much grittier（更坚韧的，更阴暗的）, more contemporary （现代的）territory（范围、领土） than Whishaw's usual remit（提交的事项）.
韦肖在《司法正义》（前辩护律师彼得.莫法特编剧，即将由BBC第五频道播出）中扮演本.库尔特，从各方边看都是不大寻常的选择。《司法正义》讲述的是一个中产家庭的乖巧男孩，在度过了以一个女孩的离奇死亡为句点的嗑药之夜后，被拽进了监狱和法庭的黑暗旅程之中。这部作品比本韦肖往常拍摄的都更阴暗，更现代化。
'It was an incredibly powerful read,' Whishaw says. 'And such an interesting combination of elements（原理、基础）; it's a brilliant, page-turner of a story but it's also very serious about exploring the fatal （攸关的、重大的）flaws（缺陷、裂痕） at the heart of the criminal justice system.'
“这部剧本极具震撼力，”韦肖说：“它集合了许多有趣的法律原理，整个故事精彩绝伦、一气呵成，同时着力于挖掘司法体系的致命缺陷。”
For him, the part of Coulter was a particularly challenging one to get to grips(紧握、理解、胜任) with. 'It was really very odd not having a character that I could research,' he says. 'Otto [Bathurst, the director] told me to be myself, which was not something I had ever really done before.' With no character to hide behind, he felt very raw. 'For the 12 weeks of filming, there was very little distance between the script and me, which really touched a nerve.' Whishaw consciously did no preparation at all, choosing not even to visit a prison so that his character's first experience of being incarcerated（监禁） was also his own.
对他而言，库尔特这个角色颇难拿捏。“演绎一个完全没有原型的人物对我来说实在很古怪。”他说：“奥托（即导演巴瑟斯特）让我本色出演，我以前从未那样做过。”没有任何角色供他伪装自己，这令他颇不自在。“拍摄的12周里，我和剧本中的角色几乎是零距离——这无疑相当触动我的神经。”韦肖显然没有作任何准备，甚至都没去监狱“体验生活”，所以他的角色在监狱的第一场戏也同样是本色出演（所以说监狱里那个抽抽嗒嗒受惊小鹿般的少年就是小本的真面目么……）。
'There were one or two days when I actually felt really, um, really shredded （撕碎）by it,' Whishaw says. 'It could be quite unrelenting（冷酷无情）, quite hard, being covered in tar （焦油、沥青）and grass one minute, thrown into a prison wing with lots of people leering （斜眼、暗送秋波）at me the next, being injected with heroin, that sort of thing. What Ben [Coulter] goes through is essentially （实际上的）a living nightmare and that is very much how I felt about it sometimes.'
“有那么一两天我觉得简直要抓狂了，”韦肖说道：“这种体验可能很残酷，非常难熬，前一刻我的身上黏满沥青和乱草，被扔进监狱，犯人们都对我虎视眈眈（我靠( ‵o′)啊这就是一帮欲求不满的怪蜀黍啊！），下一秒我又被人强行注射海洛因（编剧下得狠手！！！），坏事层出不穷。本（指剧中角色）的经历在我看来实在是一场噩梦。”
For Bathurst, Whishaw was the perfect person to take on the role. 'You can just get lost in him,' he says. ‘His is no small task（差事）; he has to carry five hours of drama and make the audience want to stay with him, and he does that effortlessly（轻而易举地）.'
在巴瑟斯特导演看来，韦肖是饰演这个角色的不二人选。“他简直令人无法自拔，”他说：“他干的可不是什么简单差事，他得在时长五小时的剧里俘获观众的心，让他们心甘情愿地守在屏幕前，而他轻而易举地做到了这一点。”
One filming day in particular stands out in Bathurst's memory. 'We were filming meaty（内容丰富的） courtroom scenes with actors such as Lindsay Duncan and Con O'Neill pulling out all the stops. All Ben had to do was sit in the dock（被告席）, watching his life being carved up in front of his eyes. For most of the day, I had to resist the urge to point my camera at him and only him. The expression on his face was just mesmerising.'
有一个拍摄日令巴瑟斯特记忆犹新，“我们在拍摄一场内容庞杂的法庭戏，有琳赛.邓肯和康.奥尼尔这些演员倾力出演，小本要做的只是坐在被告席上，眼睁睁地看着自己的生活被毁得支离破碎。很多时候我都得努力抑制把镜头对准他一人的冲动（导演你醒一醒啊！），他脸上的神情实在令人着迷。”
Certainly, a visit to the set is proof of Whishaw's ability to engage his audience. Filming scenes in the cell that his character shares with his mentor（指导）-figure, Hooch (played by Pete Postlethwaite), he draws you in even when he is brushing his teeth. As usual, his stillness seems to set him apart. While Postlethwaite and David Harewood (who plays Freddie Graham, a lifer（无期犯） who offers Coulter protection in return for drug-smuggling （偷运）favours) joke between takes, Whishaw remains resolutely silent.
当然，去剧组造访一趟最能验证韦肖对观众的吸引力，在拍摄他和他的狱中导师——胡奇（由皮特.波斯尔思韦特饰演）共同生活的场景时，他就算刷个牙都能牢牢吸引你的注意力。他的沉静令他显得与众不同，每当波斯尔思韦特和大卫.哈伍德(饰演无期犯弗雷迪.格拉汉姆，在狱中以偷运毒品为交换条件为库尔特提供保护)在拍摄间隙一起开玩笑时，韦肖都一如既往地保持沉默。
Dressed in the pale-grey tracksuit of an inmate（囚犯）, his bird-like frame（骨架） looks particularly fragile as he trundles（移动）the prison corridors（走廊） between scenes, head down, in a world of his own. 'Ben's pretty hard to get to know,' Bathurst says over lunch. 'Some actors step in and out of character but, with him, he's in it for the entire day and you don't feel he wants to be interrupted.'
当他在监狱走廊里辗转徘徊，低眉颔首，沉浸在自己的世界里时，那身肥大的灰白色囚服令他那小鸟般的细小骨架（“bird-like”？！哪位仁兄想出这种形容词的？ ）显得格外弱不禁风。“小本相当令人捉摸不透，”巴瑟斯特在午饭后说：“有些演员随时都能进入和脱离角色，但是他却整日沉浸在角色里，并且看起来不想受打扰。”
Although he finds this aspect of himself difficult to articulate, Whishaw concedes(承认) that, from a very early age, he was happiest when he was pretending to be a different person. 'I just spent Easter with my mum and we were going through old photographs,' he says. 'In every single one, from about the age of two, I was dressed up. I don't think there is a single photograph of me without a costume on. Even at such a young age, my instinct was to be someone else.'
尽管很难解释自己性格中的这一面，韦肖还是承认他打小时起最快乐的事就是假扮成一个和自己截然不同的人。“我刚刚和我妈妈一起度过复活节，翻看以前的照片，”他说：“从我大约两岁开始的每一张独照，我都是化了装的。我没有哪张独照不是穿着戏装拍的。即使是在那样小的年纪，我都本能地去扮演别人。”
Quite where this instinct came from is mystifying to him. Both his parents and his twin brother, James, are, he admits, totally different to him, thus ruling out a genetic propensity（倾向、习性）. His childhood in Hitchin, Hertfordshire - with an IT consultant father and cosmetics（化妆品） saleswoman mother - was not remotely geared towards the arts.
他自己也想不明白这种本能是从哪儿来的。他承认，无论是自己的父母还是他的双胞胎兄弟詹姆斯都和他完全不同，这简直背离了基因遗传规律。他的童年是在赫特福德郡的希治度过的——父亲是一名IT顾问，母亲是化妆品推销员，一切都和艺术毫不搭调。。
Aside from the childhood play-acting, it was not until Whishaw went to secondary school at Samuel Whitbread Community College that he became enamoured with the idea of acting. 'I was pretty middle-of-the-road academically and I didn't really enjoy learning,' he concedes. 'Drama was my way of staying in touch with part of myself that was playful.' Thus, the teenage Whishaw became involved in a local youth drama group called Big Spirit.
除去小时候的过家家经历，韦肖直到在塞缪尔.惠特布雷德社区学院附属中学上学时才立志走演艺道路。“我的学业成绩一直平平（小本应该也是纯文科生吧o(╯□╰)o），而我也不觉得学习有多少乐趣，”他承认：“戏剧是我保持自己活泼戏谑的那一面的方式。”就这样，年少的韦肖加入了一个名为“Big Spirit”的青年戏剧团。
By the time he was doing his A-levels, Whishaw - who had won his first brilliant notices playing Primo Levi in an adaptation of his Holocaust （大屠杀）memoir（回忆录） If This is a Man at the Edinburgh International Festival - was on the books of a London agent. Aged 17, he landed a small role as a young soldier in William Boyd's directorial debut, The Trench. 'He was astonishingly good,' Boyd remembers. 'He seemed to know - as all really good actors do - that less is always more. I clearly remember asking him what he was going to do after the film was over and being very taken aback when he said, "My A-levels".'
当韦肖正在为自己的A-level考试备战时，他已经因为在普里莫.莱维的大屠杀回忆录改编剧作——《如果这是一个人》中扮演作者本人而在爱丁堡国际电影节上获得了首次关注，并由此和伦敦一家经纪公司签了约。17岁时，他得到了威廉.博伊德的导演处女作《战壕》中的一个小角色，扮演一名年轻士兵。“他异常优秀，”博伊德回忆道：“他似乎和所有真正优秀的演员一样——都明白‘少即是多’这个道理。我记得很清楚，当我问他电影拍完后他打算做什么时，他的回答让我颇为惊讶——‘我的A-level考试。’”
Once he finished school, Whishaw assumed he would get more work as an actor but nothing came. A keen painter, he began an art course, but dropped it after a month. 'There was a Samuel Beckett season at the Barbican and I kept going to see the plays instead of doing my homework,' he recalls with a smile. His career decided, Whishaw applied to Rada and was accepted.
完成学业后，韦肖本以为他会接到更多的戏，结果却一无所获。凭着对绘画的热爱，他参加了一个美术课程，但一个月后他就放弃了。 “巴比肯艺术中心那时在举办塞缪尔.贝克特戏剧季，我老是把功课撂到一边跑去看戏。”他微笑着回忆道。于是韦肖确定了自己的职业道路，他申报了皇家戏剧学院并被录取。
Since graduating in 2003, Whishaw has barely stopped working. His first role was as Brother Jasper in the National Theatre's sell-out adaptation of Philip Pullman's His Dark Materials. It was while he was playing Jasper that Whishaw auditioned for Trevor Nunn, who was scouring the country for a young, vulnerable（脆弱的） Hamlet. The director was struck by Whishaw's face, 'a face of great sensitivity and astonishing youthfulness'. He asked him to perform Hamlet's opening soliloquy. Then he asked him to do it again, as if he were five years old. 'I became rather upset and he became rather interested,' Whishaw remembers.
自2003年从学院毕业后，韦肖就开始马不停蹄地工作。他的第一个角色是改编自菲利普.普尔曼的同名小说《黑暗物质》里的加斯帕，戏票在国家大剧院被抢购一空。扮演加斯帕的同时他也为特拉维.拿恩试了镜，后者当时正在全国范围内寻找扮演稚嫩脆弱版哈姆雷特的合适人选。韦肖那张敏感脆弱、年轻得出奇的小脸立刻打动了导演。他要求他表演哈姆雷特的开场独白，接着要求他再做一遍，仿佛他是个五岁的孩子。“当时我越来越紧张，而他对我愈发地感兴趣。”韦肖回忆道。
Even though only a year out of drama school, in many ways Whishaw found playing Hamlet one of the easiest moments in his career. 'Nobody knew who I was, so there was no pressure. I have never felt as exhilarated as when I was playing him,' he recalls. The hard part came when it was all over. 'I just felt desolate,' he says.
尽管才从戏剧学院毕业一年，韦肖仍发现扮演哈姆雷特是他的演艺生涯中最轻松的一段时光。“没人知道我是谁，所以我毫无压力，扮演哈姆雷特时我前所未有地兴奋，”他回想到。戏演完后，难熬的日子就来了。“我觉得异常孤独。”他说。
When he tries to explain the attachment（依恋、附属物） he comes to feel for characters that he is playing, Whishaw becomes uncharacteristically talkative. 'Characters like Hamlet - and I suspect John Keats will be like that too - just amaze me, they take me over, make me fall in love with them, make me stretch myself and want to be a better, more interesting person than I am. That's why it feels like such a loss when I lose them, as if I've had to let go of their hand.'
每当他试着阐述由他诠释的角色感受到的爱慕之情，韦肖就一反常态地变得非常健谈。“像哈姆雷特这样的角色——或许约翰济慈也是如此——他们都令我惊叹不已，他们取代了真正的我，让我和他们一同坠入爱河，让我放松自己，渴望把自己塑造成一个比我本人有趣得多的人。这就是我脱离角色后会无比失落的原因所在，那种感觉仿佛是我迫不得已地放开了他们的手。”
Almost without exception, Whishaw has found it hard to shed（摆脱，蜕皮） the characters he has played. 'I sort of fell in love with Dylan,' he remembers of filming I'm Not There. 'I became obsessed. But I've moved on now. I always do.' Once a character is gone from Whishaw's consciousness, it is truly gone, almost totally extinct from his memory. 'I was asked to do a talk about Hamlet at Rada about a year ago,' he recalls. 'And I couldn't remember one single thing. Not even a line of it. I think I get so involved in whatever I'm doing at the time that everything else kind of disappears.'
不出所料，韦肖发现他很难从自己饰演的角色中走出来。“我像是有点爱上迪伦了，”他回忆起拍摄《我不在那儿》时的情形，“我那时已经走火入魔了，但现在我已经回到正轨，着眼前路了。我一向如此。”当一个角色不再为韦肖所思所想，那这个角色就真的消失了，几乎从他的记忆中被彻底抹去。“曾经有人让我谈谈一年前在皇家戏剧学院表演《哈姆雷特》的经历，”他回想到：“我却一点都想不起来了，甚至一丝最细微的印象都没有。我想我总是全副身心投入到当前的事务里，其余的一切对我来说都是过眼云烟。”
It is only a matter of months since he finished filming Brideshead Revisited but already Sebastian has been obliterated（抹除，毁灭） from his memory, replaced first by Ben Coulter and subsequently（其后的） Keats. What Whishaw does remember is that it was very difficult pulling a character out of a novel, especially a novel that, before he was sent the script, he had not read. 'I was very intrigued （被吸引的，被迷住）by Sebastian and how tortured he is,' he says of the role.
拍完《故园风雨后》仅仅是几个月以前的事，但塞巴斯蒂安这个角色早被从他的记忆中抹去，由本.库尔特和紧接其后的济慈取而代之。不过韦肖倒记得演绎一个小说中的人物着实不易——尤其在拿到剧本之前他并未读过小说。“塞巴斯蒂安本人及其遭受的痛苦都深深地吸引了我。”谈论角色时他说道。
'Ben has exactly the right kind of vulnerability that I was looking for in Sebastian,' says Julian Jarrold, whose decision to cast a haunted（忧愁的）-looking, dark-haired actor in a role made famous by an angelically beautiful Anthony Andrews in the 1981 Granada television series, caused some raised eyebrows. 'I'm pretty sure he is described as having dark hair in the novel,' Whishaw says, so quietly you can hardly hear.
“小本正是我要找的能演绎出塞巴斯蒂安的脆弱感的不二人选，”朱里安.杰拉德说，他选择一个外表忧郁，一头乌发的演员来扮演这个因1981年格林纳达电视剧版里的，有着天使般美貌的安东尼.安德鲁斯（真心不觉得安德鲁斯有多美……AA叔的粉丝表拍我）而闻名的角色，由此招致不少非议。“我相当肯定小说里他是黑发。”韦肖说道，声音轻柔得几乎无法听见。
'When Ben's working, he's very focused,' Jarrold adds. 'But he can chill out （冷静、放松）too. Most nights after filming, he could be found in the hotel bar with Emma [Thompson, who plays Lady Marchmain] and Matthew [Goode, who plays Charles Ryder] having a real laugh.'
“小本工作时一向非常专注，”杰拉德补充道：“不过他也会给自己放松一下。许多晚上完成拍摄后，你都能在饭店的酒吧里看见他和艾玛（汤普森）还有马修（古迪）凑在一块笑得很开心。”
For Whishaw himself, work is where he is at his most serious. That said, he is （紧急、坚决的、显眼的）that he doesn't have a game plan. 'Whatever blows in（吹进、突然造访）,' he shrugs（耸肩、漠不关心）. 'I don't have any ambition to make lots of money or win an Oscar or anything like that. It's not about that for me. I'm very lucky to have found the thing that makes me tick.
对韦肖而言，工作本身才是重中之重。据说他坚决不为自己的职业生涯作刻意规划。无论发生了什么，他从来都是宠辱不惊。“我从来没有挣大钱或者赢奥斯卡这方面的野心，那些东西对我无甚意义。我很庆幸能找到一件让自己发光发热的事。”
'There are certainly other things I'd like to have a go at one day,' he continues. 'I'd like to have a go at directing. Or maybe I'll go back to painting. Or maybe thinking about those things is just my way of protecting myself if it all goes wrong.'
“日后我当然也乐意做一些演戏以外的事，”他接着说：“我想当导演，或者回到绘画的老行当上去。抑或考虑那些能让我在身处逆境时保护自己的事。”（Of course,you do what you want!但是求你别再任性心情一不好就撂下“不想再演电影”这种话了，你的粉丝受不了这种惊吓啊！）
For the time being, though, he is not looking forward or back, focusing instead on the man of the moment, Keats. 'It's such a gift being able to step into the mind of someone like him,' he says. 'There's something incredibly satisfying about wanting to be someone else so badly and having to get myself there as best I can.'
不过就目前而言，他并没有瞻前顾后，而是把精力集中在他正在扮演的济慈一角上。“有机会一窥像这样一位人物的内心世界简直是上天的恩赐，”他说：“这种急切地想成为另一个人的热望，还有竭力让自己做到最好的感觉，在某些方面会让人感到别样的满足。”
According to Jane Campion, Whishaw was almost there before he even got the part. 'He had sent me an email about the script before we met that really touched me,' she remembers. 'And then, when he came to do a reading, I opened the door and there was this beautiful, fragile boy; he had that magical quality that people who have written about Keats say he had. He read from the script and instantly made me believe that he was capable of writing that poetry and loving that much.'
按照简.坎皮恩的说法，韦肖甚至在正式得到角色之前就被选中了。“他给我发过一封邮件，探讨剧本的问题，这让我深受感动。”她回忆道：“然后当我们约在一起诵读剧本时，我打开门，门外就是这个美丽纤巧的男孩（"beautiful'这个词合适么⊙﹏⊙b），他有着一种魔力，就是为济慈立传的那些人声称济慈所拥有的那种魔力。他读着剧本，让我瞬间感觉他是能够写出那样的诗，并且爱得那样深沉的人。”（简导演明显深深地陶醉了吖……原来小本是lady killer~）
The story of Keats and Fanny Brawne is ultimately a tragic one; they were parted by Keats's untimely death from TB at the age of 25. 'I can bear to die,' he wrote to a friend, 'but I cannot bear to leave her.' Despite going on to marry and have children, Brawne never forgot her first love, whose ring she wore around her neck for the rest of her life.
济慈和范妮.伯劳恩的爱情故事以悲剧告终，济慈因为肺结核在25岁便早早离世，两人从此幽冥永隔。“我能忍受死亡，”他在信中对朋友说：“但离开她却让我无法忍受。”尽管伯劳恩最终嫁作人妇，生儿育女，她始终没有忘记她的初恋，终其一生，她的脖子上都戴着当年的订婚戒指。
'Keats himself spoke about how Shakespeare was capable of erasing himself completely from the characters he had created,' Whishaw says. 'As an actor, that is what I'm trying to do. The idea is that, at some point, Ben will go completely and Keats will be there in his place.'
“济慈曾谈到过莎士比亚能够如何忘我地投入到自己创作的角色中去，”韦肖说：“这正是我作为一个演员试图做到的。”可以说，在某些时候，本韦肖彻底消失了，取而代之的是济慈的灵魂。
With flu symptoms setting in, Whishaw politely takes his leave. Aptly （适当的、巧妙的）enough, there is something intangible （触不到的、难以确定的）about his parting. One minute he is there, the next, he is gone.
在流感症状的困扰下，韦肖礼貌地离开了。他离开的方式就和他本人一样令人难以捉摸。一分钟前他还在这儿，转眼间他就已离开。（多么想译成“挥一挥衣袖，不带走一片云彩”啊！
这篇译文在某种程度上是本人欲看《007：Skyfall》而不得的抓狂状态下的产物，看过某些海外党在影评里大赞小本如何傲娇如何萌我就更煎熬了……
手贱这习惯真是要不得……
