【書摘】蓋爾芒特家那邊—拉貝瑪 (About la Berma) 6 - Notes of a Proustian

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【書摘】蓋爾芒特家那邊—拉貝瑪 (About la Berma) 6

2016/12/18 06:45:03瀏覽477｜回應1｜推薦9

【書摘】蓋爾芒特家那邊—拉貝瑪 (About la Berma) 6
Je n’aurais plus souhaité comme autrefois de pouvoir immobiliser les attitudes de la Berma, le bel effet de couleur qu’elle donnait un instant seulement dans un éclairage aussitôt évanoui et qui ne se reproduisait pas, ni lui faire redire cent fois un vers. Je comprenais que mon désir d’autrefois était plus exigeant que la volonté du poète, de la tragédienne, du grand artiste décorateur qu’était son metteur en scène, et que ce charme répandu au vol sur un vers, ces gestes instables perpétuellement transformés, ces tableaux successifs, c’était le résultat fugitif, le but momentané, le mobile chef-d’oeuvre que l’art théâtral se proposait et que détruirait en voulant le fixer l’attention d’un auditeur trop épris. Même je ne tenais pas à venir un autre jour réentendre la Berma ; j’étais satisfait d’elle...
(l’édition Gallimard, Paris, 1946-47)

我不再像從前那樣，希望拉貝瑪的姿勢能靜止不動，希望她在倏忽即逝的照明中產生的優美而短暫的、不再復現的色彩效果能永不消逝，我也不再希望她把一句詩重複一百遍。我終於懂得我從前的期望太高，要求太嚴，超過了詩人、女演員和她的導演兼布景師的意願；那種在一句詩上飛快傳播的魅力，那些變化莫測的姿勢和一個接一個的場景，是戲劇藝術力求達到的瞬間的效果，短暫的目的，變幻無定的傑作，而一個對作品過於入迷的觀眾總想使這種瞬間的效果靜止不動，這樣也就破壞了這一效果。我甚至不想再來看拉貝瑪演出了，我對她已經心滿意足。
(p.51 追憶似水年華 III蓋爾芒特家那邊聯經版 1992)

I had no longer any desire, as on the former occasion, to be able to arrest and perpetuate Berma’s attitudes, the fine colour effect which she gave for a moment only in a beam of limelight which at once faded never to reappear, nor to make her repeat a single line a hundred times over. I realised that my original desire had been more exacting than the intentions of the poet, the actress, the great decorative artist who supervised her productions, and that that charm which floated over a line as it was spoken, those unstable poses perpetually transformed into others, those successive pictures were the transient result, the momentary object, the changing masterpiece which the art of the theatre undertook to create and which would perish were an attempt made to fix it for all time by a too much enraptured listener. I did not even make a resolution to come back another day and hear Berma again. I was satisfied with her…
(Translated by C. K. Scott Moncrieff)

I would not have wanted, as I once did, to be able to retain a fixed image of the poses adopted by La Berma, or of the fine sense of color she presented for a mere second in a lighting effect that immediately faded, never to reappear, or to have her repeat the same line over and over again. I realized that my former desire had been more exacting than the requirements of the poet, the actress, and the great decorative artist who had staged the production, and that the magic surrounding a line as it was delivered, the shifting gestures perpetually transformed into others, the successive tableaux were the fleeting result, the momentary objective, the mobile masterpiece which the art of the theater meant itself to be, and which the attentiveness of an overcaptivated spectator would destroy by trying to hold it in a fixed image.
(Translated by Mark Treharne)

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