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荷叶塘

理想的乌托邦 生活的埃瑞璜

 
 
 

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Comparison of Waiting for Godot Between …  

2010-04-24 18:49:00|  分类: 作业及论文 |  标签: |举报 |字号 订阅

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It is obvious that the Chinese version has changed a lot in the play, such as Didi and Gogo are changed into female characters, Lucky becomes Pozzo’s secretary and is changed into a plastic female model (till now I cannot understand why not real, or at least having all her extremities on); and the scene takes place in a bar, carrots are changed into bananas and chicken bones into beer, and the boy’s roller-skating, etc.

It is also obvious, however, that the Chinese version is trying to apply the play to the modern society and to the movie production, so it is natural to revise and add elements in the play to help the audience understand the themes better. And there are several places for the director to insert sentences and scenes in the play.

After saying “All I know is that…until they become a habit, (p.51)” Didi adds, “Breathing is a habit. Life is a habit. Life is a series of habit and individual is a series of individual…” Considering the theme of the whole play and his later statement “Habit is a great deadener. (p.58)”, we can conclude that the Chinese version tries to emphasize that people in the play and in the present time live largely on habits. There is no purpose, no meaning in life. And with its purposelessness, meaninglessness and futility people tend to rely on somebody—Godot, thought never appears—or something—waiting for Godot—to beguile the time, since it needs less effort and thinking to do so and since it can assert their existence. Therefore, the inserted words reveal the idea asserted in Beckett’s play.

When Pozzo is leaving, he speaks something more, compared with the English version. First he says (p.57), “One day he went dumb, one day I went blind,…the light gleams an instant, then it’s night once more.” Then it adds in him, “But we are searching for the existence of ourselves in this world of primal chaos. Then, what is the worth of our existence?” He marches on and insists that he is taking the right direction regardless of Didi’s reminding him of that being the wrong direction, which is one of the added scenes. It is very natural for a previously normal but later blind man to feel the agony, loss and failure to beware the pass of time, and to doubt literally the meaning of human existence since all the others feel the same. And his obstinately taking the wrong way, how very much alike Gogo and Didi’s obstinate waiting for Godot! So all of them are leading the same life style and holding the same attitude towards it.

And the boy’s repeating sentence “Godot’s not coming today, Godot’s coming tomorrow” at the end of his exit in the two acts is also an example of the insertion. He is just like a God’s messenger. But his message is never realized the following day. When God is untrustworthy, who can we put our faith in?

In a word, the change of those modern stage props and elements gives us traces of our modern life with the old themes in Waiting for Godot, and the insertions of sentences and scenes are somewhat connected to the revelation of them. They are somewhat proper and reasonable, if not necessary. And I like it in this sense.

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