【翻译】【抖森40岁生贺】All That You Can't Leave Behind

All That You Can't Leave Behind

无法遗忘

Diary Entry by Tom Hiddleston

汤姆·希德勒斯顿

HMP Pentonville, 20th December 2001 [注1]

本顿维尔监狱，2001年12月20日

You thought you’d found a friend

To take you out of this place…

It’s a beautiful day….’

——U2, All That You Can’t Leave Behind.

你以为你能找到朋友

只要他能带你离开这个地方……

这美好的一天啊……

——U2，《无法遗忘》

It’s not exactly Shakespeare, but it’s a good place to start. These were the words I heard (in Bono’s [see photo above] euphoric cry) as I sipped the froth off a late morning coffee in a cafe up the Caledonian Road, just opposite HMP Pentonville. And a beautiful day it was. I had walked all the way from Oxford Circus. It was the 20th of December – but the sun, in a rare moment of compassion for its earthly progeny, had its hat on, and the sky was a deep, mediterranean blue. Walking in the sunshine it wasn’t all that cold. In fact, it was lovely. When I saw the bars on the windows of the prison I realised what a privileged position I was in. Just being able to walk in the sun. It’s a cliché, but it brings one’s perspective sharply into focus.

这不是莎士比亚的文字，但还算是不错的文章开篇。这些文字伴随着波诺亢奋的嘶吼声，响在我耳边。时至傍午，我坐在Caledonian 路的一家咖啡馆里啜饮咖啡，对面就是本顿维尔监狱。如歌中所唱，这确是美好的一天。在12月20日，冬日的太阳却难得地“端正”现身，垂幸了它地球的子民，天空是一片深邃的地中海蓝。我从牛津广场一路走来。在阳光之下，寒意都少了许多。实际上，这一切都相当可爱。当我的目光落在监狱窗户的铁栅栏上时，我意识到自己能够在阳光下自由行走，是多么幸运的一件事。我知道，这说法有点老生常谈，但它的确一语中的。

I sincerely believe that the LSW Prison Project brings a little bit of that outside light into the inside. To go back to U2, for one afternoon we were some ‘friendly’ faces ‘to take them out of that place’, not with sunshine, but with Shakespeare.

我真心相信，LSW监狱计划[注2]能把外面的少许阳光引入铁窗。就像U2歌里唱的那样，在这个下午，我们算是些“友好”的面孔“"带他们离开那个地方”——不是借助阳光，而是仰赖莎士比亚。

Bruce[注2] had come up to Cambridge to do a student workshop, so I was familiar with some of routine, but I confess to underestimating the overwhelming impact that it has on the inmates. It is truly inspiring. People in Cambridge complain that Shakespeare’s plays are over-performed within the university (there are probably about twenty a year). My day in Pentonville brought home a stark reality: we don’t know how lucky we are.

布鲁斯曾来剑桥组织过学生工作坊，所以我已熟悉了活动的一些流程，但我承认，我低估了它对犯人们的巨大影响。莎士比亚着实能启迪人心。剑桥人总爱抱怨大学里莎士比亚戏剧演出过多（一年大概有二十来场）。但在本顿维尔监狱度过的这一天，让我认清了一个严峻现实：我们根本不知道自己有多幸运。

Once inside, after a quick rehearsal of the afternoon’s routine, the inmates shuffled in. Introductions were enthusiastic and friendly on both sides. No ‘us’ and ‘them’ – the groups merged immediately. For an afternoon, in that little room, with a blackboard on which was scrawled ‘Prisoners Have Rights’, we were just a group of people playing around with words. Bruce got the ball rolling with a round of ‘Eyes Up’, and by the time we got to ‘Bunny’ – in which it is impossible not to look ridiculous – there were smiles all round.

进入监狱后，我们快速演练了下午的常规项目，接着就迎来了囚犯们拖着地的脚步声。我们双方热情友好地打了招呼。所有人很快就融为一体——没有了“我们”和“他们”的区隔。在这个下午，在这个小房间里，墙上的黑板上写着“囚犯也有权利”，而我们只是一群一起玩文字游戏的凡人。布鲁斯用一轮“向上看”游戏来暖场，当我们玩到“兔子跳”时（这让所有人都看起来很可笑），大家都乐开了花。

Bruce’s three-tonal ‘dance’ got everybody warmed up. I think that has to be one of my personal favourites. It’s so completely unifying. There’s something visceral and primal in its simplicity of communication – through sound and action. Each group of sounds is so instinctive and expressive and everyone does it together. And after all that’s what theatre is about to some extent: the collective representation and communication of universal emotions.

布鲁斯的三声调“配乐舞”让大家都活跃起来。这部分活动是我个人最喜欢的一段。它如此具有统摄力。通过声音和动作的简单交流，有一些发自肺腑和本质性的东西传达出来。每一组声音都充斥着本能和表现力，每个人都参与其中。在某种程度上，这也正是戏剧的意义所在：对普世情感的统合体现和交流。

A hearty chorus of “Chastity Belt” followed, superbly acted out by some of the LSW team in fittingly pantomimic fashion – and warmly received by all. After a good round of insult-flinging (myself completely ‘out-insulted’ by my opposite man), my co-actors (inmates included) and I had fun dramatising some famous quotations on the primary importance of the concept of ‘play’. [Note to Bruce: I’ve since found another one by the way! “The secret to perpetual youth is to keep making time to play” (Voltaire)]. Next, we moved on to the “Dream” exercise. Various Lysanders, Demetriuses and Helenas were given a few lines and their metaphorical ‘love-juice’ (raising many a snigger from the audience) and asked to play out a whole scene, with only those lines. The inmates capitalised beautifully on the comic potential, one of whom chased his Helena endlessly around the circle, entranced and repeating only ‘goddess’ in all manner of intonations, while his opposite Lysander stood centre-stage in disbelieving awe, chastising his Helena with a simple ‘Why?’.

随后是来自LSW团队部分成员的生动活泼的团体表演——《贞操带》，他们默契的哑剧表演受到了大家的热烈欢迎。再后面是一轮很有趣的“相互羞辱”游戏（我真是彻底被跟我对战的老兄“辱败”了），我和合作演员们（包括囚犯）围绕一些关于 “游戏”重要性的名言，进行了有趣的戏剧呈现。[致布鲁斯：对了，我后来又找到了一句! “永葆青春的秘诀就是坚持抽出时间玩耍”（伏尔泰）]。接下来，我们开始“仲夏夜之梦”这部分的练习。各位拉山德、狄米特律斯和海伦娜都拿到了几句台词还有模拟道具“爱情汁液”（道具引发了许多观众的窃笑），他们需要靠着这点台词来演出一整场戏。囚犯们绝妙地抓住了片段中的喜剧潜力，其中一个狄米特律斯追着他的海伦娜不停地绕着表演场地转圈圈，一脸痴迷地用各种语调重复喊“女神”，而他的情敌拉山德则站在表演场地中央，目瞪口呆、一脸的难以置信，只用一声简单的“为什么”责难问他的海伦娜。

Lastly, we came to what must always be the highlight: ‘WitSlings’. Some of the mini-sonnets that the inmates come up with (in perfect iambic) merit judgement in their own right. They are written with such a truthful simplicity and (often) lyricism that is astonishing. But what was I expecting? I have since told myself off for being so ‘astonished’ – a.k.a blindly prejudiced. The lines that my partner Graham wrote, framed by two Shakespearean openings from different sonnets, deserve quotation. He envisaged a mother and a son, kneeling in a church, whispering to each other:

最后一项活动是“即兴小剧本”（我想它一定总是最精彩的环节）。囚犯们即兴创作的一些小诗（用完美的回文写就）本身就很值得赞扬。它们如此真实简洁又满含令人讶异的抒情意境。不过，我在想什么呢？我后来为自己的“惊讶”而自责——那惊讶本身就是盲目的预设偏见。我想引用我的搭档格雷厄姆的即兴创作，他以来自莎士比亚两首十四行诗的开头搭建了剧本框架。格雷厄姆设想这样的场景：母亲和儿子跪在教堂里，对彼此低语。

Mother: No longer mourn for me when I am dead,

For always shall my memory live with you.

Care for your sisters – you are household-head.

Son: Without your guide I know not what to do.

Mother: Fear not, my soul, I will be standing by.

Son: I thank you, and your words do reassure.

Mother: Tir’d with all these for restful death I cry.

母亲： 如果我死去,别再为我悲哀。

因为我的记忆将永与你同在

照顾你的姐妹--你将成一家之主。

儿子： 没有您的指引，我无所适从。

母亲：别害怕，我的灵魂，我会在你身旁。

儿子：谢谢您母亲，您的话让我安心。

母亲：对这些都倦了，我召唤安息的死亡。

This was then beautifully transposed into song by Sarah-Louise Young. Watching Graham’s face as his words were sung back to him was very moving – for him, no doubt, ‘such stuff as dreams are made on’.

然后，这段词被莎拉-路易斯-杨巧妙地改编为歌曲。当格雷厄姆的歌词被唱出来时，他的表情非常动人——毫无疑问，对他来说，"人生如梦幻"[注3]。

When the session came to an end, I looked at my watch and realised that four hours had flown by, and that it was now dark outside. We had all forgotten ourselves – all of us, actors and inmates. Marcus, one of the most enthusiastic of the group, came up to shake my hand. ‘Happy Christmas’, he said. ‘You too’, I replied, and then realised what I’d said. But maybe that’s not so bad. There is no doubt in my mind that Bruce and all involved with LSW that afternoon went some way to making all their Christmases just that little bit brighter.

活动临近结束，我看了看表，惊觉四个小时已经飞逝而去，外面天色已暗。我们所有人，演员和囚犯都陷入忘我之境。马库斯——囚犯们当中最热情参与的一个——走过来和我握手：“圣诞快乐”。我回答：“你也是呀”，然后才意识到自己说了什么。但或许，那不是句不合时宜的话。在我看来，毫无疑问，布鲁斯和那天下午所有参与LSW监狱计划的人都在某种程度上让自己的圣诞节变得光明了一点。

作者介绍

Tom is in his final year of study for his Classics degree at Cambridge University. In his spare time, Tom somehow manages to fit in a theatrical career. Scrawled upon Tom's (ubiquitous) LSW Prison Project form, one filled out during a Cambridge University session within the depths of St. John's College, Tom noted that he 'desperately wants to be a professional actor'. Tom needn't worry. He already is.

汤姆正在剑桥大学攻读古典文学学位，这是他学业的最后一年。在业余时间，他还设法参与了戏剧表演。在剑桥大学圣约翰学院的一次活动上，汤姆填写了LSW监狱项目的表格，他写道，他“非常想成为一名职业演员"。汤姆不用焦心，他已经是了。

汤姆的戏剧表演简历

2001, Television, Toby Sherriffmuir, ARMADILLO, BBC Television, Howard Davies 2000, Stage, Mitch, A STREETCAR NAMED DESIRE, A.D.C. 2000, Stage, Ishmael, MOBY DICK REHEARSED, Cambridge Arts 2000, Television, CONSPIRACY, HBO Television, Frank Pearson 2000, Television, NICHOLAS NICKLEBY, ITV, Stephen Whittaker 1999, Stage, Stanhope, JOURNEY'S END, Double Edge Drama 1999, Stage, Herod/Christ, MEDIEVAL MYSTERY PLAYS, A.D.C. 1999, Stage, Yolland, TRANSLATIONS, A.D.C.

注释：

注1：HMP 是Her Majesty's Prison 的缩写，本顿维尔监狱位于伦敦北部，是男子监狱，主要关押年轻的囚犯。

注2：LSW 是The London Shakespeare Workout 的简写，LSW Prison Project这个慈善项目会在世界各地监狱里举办戏剧工作坊。项目创始人是布鲁斯·沃尔（Bruce Wall）博士（也就是抖森文中说到的Bruce）。

布鲁斯·沃尔的父亲是位大法官，他从小就听父亲讲了很多关于正义、犯罪的故事。9岁时，布鲁斯·沃尔喜欢上了戏剧，开始时常在伦敦西区流连。他后来投身戏剧表演，曾在美国百老汇演出。回到英国后，他和朋友多洛特·图丁女爵（Dame Dorothy Tutin）决定一起创建一个戏剧组织，他/她们将之戏称为“游吟诗人的健身房”——它就是LSW。后来，布鲁斯·沃尔在皮卡迪利广场遇到了他母亲的一个朋友——总督察斯蒂芬·图米姆爵士（Sir Stephen Tumim），两人协商沟通之下，将莎士比亚带入监狱的想法得以开始施行。布鲁斯·沃尔已经为世界各地监狱的囚犯们开展了许多莎士比亚讲座和工作坊，英国有不少戏剧演员都以亲身参与或者捐款的形式支持了他的这项慈善事业，除了抖森以外，我还在名单上看到了很多熟悉的名字，比如肯爹、马克里朗斯大叔、拉叔、大提提等等（网站上列出的名单：Sir Jonathan Miller, Claire Bloom, Ruthie Henshall, Lynn Farleigh, Samuel West, Richard Dreyfus, Shelia Reid, Dame Harriet Walter, Peter Polycarpou, Fiona Shaw, Giles Terera, Phoebe Waller-Bridge, Clare Holman, Nichola McAuliffe, Dame Janet Suzman, Sara Kestelman, Lisa Dillon, Edie Falco, Anna Maxwell Martin, Sir Mark Rylance, Cicely Berry,Philip Voss, Rebecca Caine, Tyrone Huntley, Estelle Kohler, Frank Wood, Juliet Stevenson, Dianne Pilkington,David Tennant, Joseph Fiennes, Tom Hiddleston, Greg Hicks, Tom Burke, Barry Morse and Sir Kenneth Branagh）。

注3：格雷厄姆写的那段对话，开头一句出自Sonnet 71，最后一句出自Sonnet 66，抖森这句“人生如梦幻”出自莎翁的《暴风雨》。

原文链接：https://www.londonshakespeare.org.uk/prisondiaries/allthat.htm

LSW官方网站：http://www.lswproductions.co.uk/

译后记：

和小伙伴讨论这篇文章，我们都觉得它附带着浓浓的抖森气质——真挚、热心、才华横溢，但同时流露着不自觉的“高人一等”气息（精英、容易被骂成“white saviour”）。或许，这在某种程度上会让一些人不适，但我想，喜欢抖森，没有必要把他想象塑造为一个不真实的人物。他良好的教育背景和他口中笔端流露的才华都是一致的，那么文中会出现知识精英的自省和不自觉的“优越感”也非常真实。

最让我受触动的是，在这篇20岁时写就的文字里，我可以看到20岁的他和40岁的他流露出了一种恒定的气质，当时的优点和当时的一些缺点，在之后的人生中都有印记闪现。说起来，抖森20岁日记里写的这句“All That You Can't Leave Behind”还真是跨越时空的一语双关——那些他放不下的东西，那些他改不了的初心。

我不觉得抖森是个完美的人，但他确实让我敬佩。真诚、努力、聪慧、敢于热爱，这些“对”的品质在当今社会并没有得到足够的认可，而且它们不一定会给人带来好的回报。我想，真正的勇气正在于此——接受这个残酷的现实，正视自己选择的路，然后走下去。

正如抖老师所说，“世界上有太多的不确定，所以要相信什么变得更加困难了。”但我们总可以“与自我中非常单纯平常的那部分赤诚相守”。

40岁生日快乐，抖森老师！