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International Baccalaureate · IB Diploma · Literature and Performance · SL หัวข้อ 2 3:06 การบรรยายภาษาอังกฤษ · คำบรรยายภาษาอังกฤษ + 中文 ลอยตัวบนภาพ
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Transcript
In Lu Xun's story, a man remembers the year he was twelve, working behind the counter of a wine shop.
在鲁迅的小说里，一个人回忆他十二岁那年在酒店柜台后做伙计。
Kong Yiji is the only customer who drinks standing up but wears a scholar's long gown.
孔乙己是唯一站着喝酒却穿长衫的人。
The customers laugh at him.
酒客们都笑他。
At the end he crawls in on his hands, still owing nineteen coins, and is never seen again.
最后他用手爬进来，还欠着十九个钱，从此再没出现。
In the transformative performance you turn an extract from a non-dramatic work into ten minutes of live theatre.
在转化表演中，你把一部非戏剧作品的节选改编成十分钟的现场戏剧。
In the individual oral, fifteen minutes, you explain how you transformed it.
在十五分钟的个人口头陈述中，你解释自己如何改编。
Together: thirty-two marks, forty per cent of the grade.
两部分合计 32 分，占成绩 40%。
A narrator can become one actor speaking to the audience, be split between actors, or be replaced by action.
叙述者可以变成一位对观众说话的演员，可以分给几位演员，也可以由动作取代。
A described place becomes a few objects, light or bodies.
描写的地点变成几件道具、灯光或身体。
Thoughts become direct address or a gesture.
内心想法变成直接对观众说话或一个手势。
A crowd becomes a chorus.
人群变成歌队。
Time passing becomes light, sound or costume.
时间流逝变成灯光、声音或服装的变化。
Space: a real counter across the stage.
空间：舞台上横着一道真正的柜台。
The audience sits on the customers' side, so they watch Kong Yiji as the laughing customers do.
观众坐在酒客一侧，于是像那些发笑的酒客一样看着孔乙己。
The boy of twelve stays behind the counter; the grown man speaks from the edge of the stage; a chorus laughs; and the shop's board hangs above.
十二岁的男孩留在柜台后；成年的他在舞台边上说话；歌队在笑；酒店的粉板挂在上方。
Voice: the narrator is played twice.
声音：叙述者由两人扮演。
The grown man speaks to the audience from the edge of the stage; the boy of twelve stays behind the counter.
成年的他在舞台边上对观众说话；十二岁的男孩留在柜台后。
The gap between them shows the story's double view: the boy laughed, the man remembers.
两者之间的距离呈现了小说的双重视角：男孩笑过，成年人在回忆。
Chorus: three actors play the customers, laughing on cue.
歌队：三位演员扮演酒客，按提示发笑。
As Kong Yiji's story gets worse, the laughter stays the same, which makes it more and more painful to hear.
孔乙己的境况越来越糟，笑声却始终不变，于是越来越刺耳。
Object: the shop's board, with Kong Yiji, nineteen coins written on it, stays visible.
道具：酒店的粉板上写着“孔乙己，欠十九个钱”，一直留在台上。
At the end it is the only thing left of him.
到最后，这是他留下的唯一痕迹。
Movement: he enters standing in his long gown; he exits crawling on his hands.
动作：他穿着长衫站着进场；用手爬着离场。
The difference in height says what the narrator does not say.
高度的差别说出了叙述者没有说出的话。
Keep a rehearsal log: what you tried, what failed, what you changed, and why.
坚持写排练日志：尝试了什么、什么失败了、改了什么、为什么改。
The oral has four parts: the extract and why you chose it; the key features of the text; two or three major choices, each linked to the text; and what the performance taught you that reading alone did not.
口头陈述分四部分：节选及选择理由；文本的关键特征；两三个主要选择，每个都与文本相联系；以及表演教会了你哪些仅靠阅读学不到的东西。
Link every choice to the text.
每个选择都要与文本联系。
For example: I used a chorus because the story's cruelty belongs to a whole society, not one person.
例如：我用了歌队，因为小说中的冷酷属于整个社会，而不是某一个人。
Common mistakes: retelling the plot instead of transforming it; choices made only to look good, with no link to the text; reading the narration aloud in full; and not explaining what the audience was meant to feel.
常见错误：复述情节而不是改编；只为好看、与文本无关的选择；把叙述全部照读；不解释想让观众感受到什么。
To finish: transform the narrator, place, thoughts, crowd and time; remember the Kong Yiji choices, from the counter to the crawl; keep a rehearsal log; and plan the four parts of the oral.
总结：改编叙述者、地点、内心想法、人群和时间；记住《孔乙己》的各项选择，从柜台到爬行；写排练日志；规划口头陈述的四个部分。