今天早起睡不着无聊自己着手来简单翻译看看~ 大略的意思应该没问题...不过没有做更精致的文辞修饰^^" 如果有人跟我一样看到长篇英文就想跳过的可以参考看看XD" P.S. Hort Town不知道是哪里所以没翻出来@@手上没书... 原文发於自己网志 http://www.wretch.cc/blog/amymt16&article_id=8593690 --------------------以下正文------------------ Gedo Senki 格得战记 A First Response to "Gedo Senki," the Earthsea film made by Goro Miyazaki for Studio Ghibli. Written for my fans in Japan who are writing me about the movie, and for fans elsewhere who may be curious about it. 对於由吉卜力工作室的宫崎吾朗所制作之地海电影「格得战记」之第一回应。 写给正写信告诉我关於这部电影的日本书迷，以及其他地区可能对此感到好奇的书迷。 Preliminary Note: 开头注明 Very few authors have any control over the use made of their books by a film studio. The general rule is that once the contract is signed, the author of the books is nonexistent. Such labels as "creative consultant" are meaningless. Please do not hold any writer except the script-writer responsible for anything in a film. Don't ask the book's author "Why did they . . . ?" She is wondering too. 非常少作者在制片工作室如何使用他们的书上拥有任何控制权。一般的规则是，一旦合约 签订，书的作者就形同不存在。而如「创作顾问」等标记是没有意义的。除了电影的脚本 作者，请不要认为有任何作者可以对电影中的任何东西负责。不要问这本书的作者「为什 麽他们…？」因为她也同样正困惑着。 Brief history: 简史 Twenty or so years ago, Mr Hayao Miyazaki wrote me expressing interest in making an animated film based on the (then only three) books of Earthsea. I did not know his work. I knew only Disney-type animation, and disliked it. I said no. 大约二十几年前，宫崎骏写信告诉我他有兴趣以地海(当时只有三本)为基础来制作一部动 画片。当时我并不清楚他的作品，只知道迪士尼式的动画而且并不喜欢，所以我拒绝了。 Six or seven years ago, my friend Vonda N. McIntyre told me about My Neighbor Totoro and we watched it together. I became a Miyazaki fan at once and forever. I consider him a genius of the same caliber as Kurosawa or Fellini. 六、七年前，我的朋友Vonda N. McIntyre告诉我有关龙猫的事，并一起观赏它。 我在那时成为了永远的宫崎骏迷。我认为他的才干是等同於黑泽明和费里尼的天才之流。 Some years later, when I found that the delightful Japanese translator of the later Earthsea books, Ms Masako Shimizu, knew Mr Hayao Miyazaki, I asked her to tell him that, if he was still interested in Earthsea, I would welcome talking with him about a film. 几年以後，当我发现地海後期书籍的可爱日本翻译者清水真砂子小姐认识宫崎骏先生，我 请她帮我告诉宫崎骏，如果他仍就对地海有兴趣，我很乐意和他谈谈关於这部电影。 I had a pleasant correspondence with Mr Toshio Suzuki of Studio Ghibli. In our correspondence, I urged the unwisdom of radical changes to the story or the characters, since the books are so well known to so many readers, in Japan as elsewhere. In order to have the freedom of imagination he ought to have in making his film, I suggested that Mr Miyazaki might use the period of ten or fifteen years between the first two books: we don't know what Ged was doing in those years, aside from becoming Archmage,and Mr Miyazaki could have him doing anything he liked. (There is no other film maker to whom I would make such a proposition.) 我和吉卜力工作室的铃木敏夫先生有段愉快的通信。在我们的信件联络中，我强力主张 大幅改变故事中角色的不明智，因为这些书已经充分被许多日本以及世界各地的读者所 熟悉。为了能拥有他应当在制片中所有的想像自由，我建议宫崎骏先生可以采用前两本 书中间隔的十到十五年这段时期：我们不知道格得除了成为大法师以外在这些年里做了 些什麽，而且宫崎骏先生可以创作任何他喜欢的事物。(除了他以外我不会对任何制片ꨊ者提出这样的提案。) In August 2005, Mr Toshio Suzuki of Studio Ghibli came with Mr Hayao Miyazaki to talk with me and my son (who controls the trust which owns the Earthsea copyrights). We had a pleasant visit in my house. 在2005年的8月，吉卜力工作室的铃木敏夫先生和宫崎吾朗先生一起前来拜访我和我儿子 (掌管地海的版权的信用)。我们在我家拥有一次愉快的参访。 It was explained to us that Mr Hayao wished to retire from film making, and that the family and the studio wanted Mr Hayao's son Goro, who had never made a film at all, to make this one. We were very disappointed, and also anxious, but we were given the impression, indeed assured, that the project would be always subject to Mr Hayao's approval. With this understanding, we made the agreement. 我们得知宫崎骏先生想自制片工作中退休，而他的家庭以及工作室希望宫崎骏尚未制作过 任何影片的儿子吾朗能够制作此作。我们非常失望并焦虑，但我们被给予了这个案子会随 时在宫崎骏先生的批准下执行的确实印象。在这层了解下，我们达成了协议。 At that time, work had already started on the film: a copy of the poster of the child and the dragon was given us as a gift, and also a sketch of Hort Town by Mr Hayao and the finished version of it from the studio artists. 当时，电影已经开工了：一张绘着孩子和龙的复制海报送给我们作为礼物，除此之外还有 一张宫崎骏先生绘制的霍特镇草图以及工作室画家所绘的完成图。 Work on the film went on extremely rapidly after that. We realised soon that Mr Hayao was taking no part in making the film at all. 在那之後电影的制作进度极迅速的进行着。我们很快的了解到，宫崎骏先生在这部电影的 制作中并没有参与任何部分。 I had a very moving letter from him, and later one from Mr Goro. I answered them as well as I could. 我收到一封来自他非常动人的信，稍後又收到一封来自吾朗先生的。我尽可能的回覆 他们。 I am sorry that anger and disappointment attended the making of this film on both sides of the Pacific Ocean. 对於在大西洋两岸，愤怒和失望参与了这部片的制作过程感到非常遗憾。 I am told that Mr Hayao has not retired after all, but is now making another movie. This has increased my disappointment. I hope to put it behind me. 我被告知宫崎骏先生并没有真的退休，而且现在正在制作另一部电影。这增加了我的失望 。我希望能将之放至脑後。 The Film. 关於影片 As my son and I could not go to Tokyo for the premiere of the film, Studio Ghibli very kindly brought us a copy, and gave us a private screening at a downtown theater on Sunday August 6, 2006. It was a joyful occasion. Many friends with children came. It was entertaining to get the kids' response. Some younger ones were rather frightened or confused, but the older kids were cool with it. 由於我和我儿子无法至东京参加电影的首映会，吉卜力工作室非常体贴的带给我们一份拷 贝，并在2006年的８月６日给我们在市内戏院举办一场私人的放映会。那是个喜悦的时刻 。许多朋友和孩童前来参加。观察孩子们的反应非常有趣。有些比较年轻的孩子有点受惊 吓或感到困惑，但比较年长的孩子对此则很冷静。 After the screening we went to have dinner at my son's house. Elinor the corgi behaved with great propriety, while Mr Toshio Suzuki did headstands on the lawn. 在放映会後我们到我儿子的家共进晚餐。威尔斯产的小狗Elinor表现的非常适当，而铃木 敏夫先生则在草坪上倒立。 Mr Goro Miyazaki asked me just as I was leaving, "Did you like the movie?" It was not an easy question to answer, under the circumstances. I said: "Yes. It is not my book. It is your movie. It is a good movie." 宫崎吾朗先生在我正要离席时问我：「你喜欢这部电影吗？」在那个情况下这不是个容易 回答的问题。我说：「是的。这不是我的书。这是你的电影。这是部好电影。」 I did not realise that I was speaking to anyone but him and the few people around us. I would have preferred that a private reply to a private question not be made public. I mention it here only because Mr Goro has mentioned it in his blog. 我不知道当时我在对他和围绕我们的少数人以外的人说话。我比较喜欢私下回覆给一个私 下的问题，而不是将之公开。我在这里提到此事单纯只是因为宫崎吾朗先生曾在他的blog 里提到这件事。 So, in the spirit of everything being public all the time for fifteen minutes, I will give a fuller report of my first response to the film: 因此，在这所有事都被公开的十五分钟的精神下，对我之於这部电影的第一回应我会做一 份更完整的记述。 Much of it was beautiful. Many corners were cut, however, in the animation of this quickly made film. It does not have the delicate accuracy of "Totoro" or the powerful and splendid richness of detail of "Spirited Away." The imagery is effective but often conventional. 片中很多地方是美丽的。尽管在这部快速制作完成的动画片中许多段落被剪掉。它没有龙 猫那样细腻的准确性，或是神隐少女的张力以及壮丽丰富的细节。片中的意像有效但常显 得普通。 Much of it was exciting. The excitement was maintained by violence, to a degree that I find deeply untrue to the spirit of the books. 片中有许多令人兴奋处。这些令人兴奋的因素是由暴力所维持，而且不真实的程度远超过 书中的精神。 Much of it was, I thought, incoherent. This may be because I kept trying to find and follow the story of my books while watching an entirely different story, confusingly enacted by people with the same names as in my story, but with entirely different temperaments, histories, and destinies. 片中有许多我认为无条理之处。这也许是因为我在观赏一部完全不同的故事时，尝试去寻 找并遵循我书本中的故事，而历史和命运由和我的故事中拥有相同名字，却拥有迥异性格 的人物令人困惑地扮演着。 Of course a movie shouldn't try to follow a novel exactly — they're different arts, very different forms of narrative. There may have to be massive changes. But it is reasonable to expect some fidelity to the characters and general story in a film named for and said to be based on books that have been in print for 40 years. 当然一部电影不需要试着完全遵照原作小说─他们是不同的艺术，是非常不同的叙述方式 。其中必有巨大的改变。但在命名且号称根据一部已出版超过40年的书籍来改编的电影上 ，期待角色和大体上故事些许的符合原作是合理的。 Both the American and the Japanese film-makers treated these books as mines for names and a few concepts, taking bits and pieces out of context, and replacing the story/ies with an entirely different plot, lacking in coherence and consistency. I wonder at the disrespect shown not only to the books but to their readers. 美国和日本的制片者都将这些书的名字和某些观念视为我的，将某些片段抽离背景，再以 一个缺乏连贯性和一致性的迥异情节来取代这个故事。我对这不只是对书也对读者失礼的 表现十分纳闷。 I think the film's "messages" seem a bit heavyhanded because, although often quoted quite closely from the books, the statements about life and death, the balance, etc., don't follow from character and action as they do in the books. However well meant, they aren't implicit in the story and the characters. They have not been "earned." So they come out as preachy. There are some sententious bits in the first three Earthsea books, but I don't think they stand out quite this baldly. 我认为这部片的「主旨」似乎有些拙劣，因为尽管经常引用接近书中的用语，关於生与死 、平衡等等的句子，却不遵照角色和情节在书中的表现。尽管很出色，在故事中以及对於 角色它们却不是绝对的。它们并没有被「赢得」。所以它们变得好像爱讲道理。那里有些 出现在前三本地海丛书的警世格言，但我不认为它们是如此露骨地引人注目。 The moral sense of the books becomes confused in the film. For example: Arren's murder of his father in the film is unmotivated, arbitrary: the explanation of it as committed by a dark shadow or alter-ego comes late, and is not convincing. Why is the boy split in two? We have no clue. The idea is taken from A Wizard of Earthsea, but in that book we know how Ged came to have a shadow following him, and we know why, and in the end, we know who that shadow is. The darkness within us can't be done away with by swinging a magic sword. 书中的道德观念在这部电影中显得令人困惑。例如：亚刃在片中谋害他的父亲是没有动机 且武断的：这件事的解释是这是由某个黑影所犯下的或心腹朋友来的太晚，但没有说服力 。为什麽这个男孩会一分为二？我们没有线索。这个构想是取自地海巫师，但在此书中我 们了解格得如何使一个影子苏醒过来跟随着他，我们也知道为什麽，而且在结尾时，我们 知道这个影子是谁。在我们之中的黑暗无法以挥舞一把魔法剑来驱除。 But in the film, evil has been comfortably externalized in a villain, the wizard Kumo/Cob, who can simply be killed, thus solving all problems. 但在影片中，邪恶称心如意地在反派角色上被赋予形体，巫师喀布只要被杀掉就可以解决 所有的问题。 In modern fantasy (literary or governmental), killing people is the usual solution to the so-called war between good and evil. My books are not conceived in terms of such a war, and offer no simple answers to simplistic questions. 在现代奇幻中(文学或政治上)，杀人是在所谓善与恶的战争中最常见的解决之道。我的书 并没有构想这方面上的战争，也没有给过分单纯化的问题提供简单的答案。 Though I think the dragons of my Earthsea are more beautiful, I admire the noble way Goro's dragons fold their wings. The animals of his imagination are seen with much tenderness — I liked the horse-llama's expressive ears. I very much liked the scenes of plowing, drawing water, stabling the animals, and so on, which give the film an earthy and practical calmness — a wise change of pace from constant conflict and "action". In them, at least, I recognised my Earthsea. 虽然我认为在我的第海中的龙更加美丽，我仍欣赏吾朗的龙摺叠牠们翅膀时的高贵方式。 在他想像中的这些动物看起来比较温和─我喜欢骆马富表情的耳朵等等，给予这部片大地 和实际的宁静－在不断的冲突和「动作」中一种智慧的步调改变。至少在其中，我认出了 我的地海。 The issue of color: 肤色的争议 My purpose in making most of the people of Earthsea colored, and the whites a marginal and rather backward people, was of course a moral one, aimed at young American and European readers. Fantasy heroes of the European tradition were conventionally white — just about universally so in 1968 — and darkness of skin was often associated with evil. By simply subverting an expectation, a novelist can undermine a prejudice. 我的目的是让大部分在地海中的种族是有色人种，而白种人是较边缘且落後的民族，这当 然是针对欧美年轻读者的道德问题。欧洲传统中的奇幻英雄照惯例总是白人－在1968年极 为普遍－而深色皮肤总和邪恶连结在一起。藉由完全推翻期待，一个小说家可以逐渐破坏 一种歧视。 The makers of the American TV version, while boasting that they were "color blind," reduced the colored population of Earthsea to one and a half. I have blasted them for whitewashing Earthsea, and do not forgive them for it. 当美国电视影集的制作者，以他们是「无肤色偏见的」而自豪时，将地海中的有色有色人 口减少至一又二分之一。我强力谴责他们漂白地海，且在这件事上永远不原谅他们。 The issue is different in Japan. I cannot address the issue of race in Japan because I know too little about it. But I know that an anime film runs smack into the almost immutable conventions of its genre. Most of the people in anime films look — to the American/European eye — white. I am told that the Japanese audience perceives them differently. I am told that they may perceive this Ged as darker than my eye does. I hope so. Most of the characters look white to me, but there is at least a nicevariation of tans and beiges. And Tenar's fair hair and blue eyes are right, since she's a minority type from the Kargish islands. 在日本这个问题是不同的。在日本我无法在这个种族议题上发表意见，因为我对此了解的 太少。但我知道这动画影片在类型上不偏不倚地跑入一个几乎不变的惯例。大部分的人在 动画片中看起来－以欧美的眼光来看－是白的。我被告知日本的观众以不同的方式理解他 们。我得知他们可能察觉格得比我的眼中看来还要黑。我希望如此。对我来说大部分的角 色都是白人，但至少在棕褐色和灰棕色有不错的变化。而恬娜的金发和蓝眼睛是正确的， 因为它是来自卡耳格岛群的少数民族。 When can we see "Gedo Senki" or "Tales of Earthsea" in America? 我们什麽时候能在美国看到「格得战记」或「地海传说」？ When the contract with the TV people for their film and rights runs out: not before 2009. Alas! There are dogs in the manger. 在与电视公司的影片和权力合约到期前：不会在2009年前。噫！那些占着茅坑不拉屎的 人。 Note: The version shown us was subtitled, not dubbed. Studio Ghibli does excellent dubbing, but I was delighted to hear the Japanese voices for once. Ged's warm, dark tone was particularly fine. And I hope the lovely song Therru sings is kept in its original form when the film is dubbed. 附注： 给我们看的影片版本是有字幕的，不是配音的版本。吉卜力工作室在配音上作的 很好，但我还是很高兴这一次能听到日文的声音。格得温暖、深沉的音调恰好适当。而ꔊB我希望瑟鲁唱的美好的歌在这部片配音时能保留在它原始的版本里。 -- 同人社团:+Firenze+ 翡冷翠 http://98.to/lnl 在那片蔚蓝中寻找一个方向...... --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 61.229.176.26 ※ 编辑: amymt16 来自: 61.229.171.229 (08/24 17:22) ※ 编辑: amymt16 来自: 61.229.171.229 (08/24 17:24)