Ακούτε Θέατρο; Δευτέρων Ρόλων συνέχεια (04)

Stanley Holloway (1890-1982)






Ακούστε τον Stanley Holloway, στον ρόλο του Στημόνη (Bottom the Weaver), να βρυχάται και να βρυχάται .

A Midsummer Night's Dream, Act I, Sc. II.

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BOTTOM
What is Pyramus? a lover, or a tyrant?
QUINCE
A lover, that kills himself most gallant for love.
BOTTOM
That will ask some tears in the true performing of
it: if I do it, let the audience look to their
eyes; I will move stones, I will condole in some
measure. To the rest: yet my chief humour is for a
tyrant: I could play Ercles rarely, or a part to
tear a cat in, to make all split.
The raging rocks
And shivering shocks
Shall break the locks
Of prison gates;
And Phibbus' car
Shall shine from far
And make and mar
The foolish Fates.
This was lofty! Now name the rest of the players.
This is Ercles' vein, a tyrant's vein; a lover is
more condoling.
QUINCE
Francis Flute, the bellows-mender.
FLUTE
Here, Peter Quince.
QUINCE
Flute, you must take Thisby on you.
FLUTE
What is Thisby? a wandering knight?
QUINCE
It is the lady that Pyramus must love.
FLUTE
Nay, faith, let me not play a woman; I have a beard coming.
QUINCE
That's all one: you shall play it in a mask, and
you may speak as small as you will.
BOTTOM
An' I may hide my face, let me play Thisby too, I'll
speak in a monstrous little voice. 'Thisne,
Thisne;' 'Ah, Pyramus, my lover dear! thy Thisby dear,
and lady dear!'
QUINCE
No, no; you must play Pyramus: and, Flute, you Thisby.
BOTTOM
Well, proceed.
QUINCE
Robin Starveling, the tailor.
STARVELING
Here, Peter Quince.
QUINCE
Robin Starveling, you must play Thisby's mother.
Tom Snout, the tinker.
SNOUT
Here, Peter Quince.
QUINCE
You, Pyramus' father: myself, Thisby's father:
Snug, the joiner; you, the lion's part: and, I
hope, here is a play fitted.
SNUG
Have you the lion's part written? pray you, if it
be, give it me, for I am slow of study.
QUINCE
You may do it extempore, for it is nothing but roaring.
BOTTOM
Let me play the lion too: I will roar, that I will
do any man's heart good to hear me; I will roar,
that I will make the duke say 'Let him roar again,
let him roar again.'
QUINCE
An you should do it too terribly, you would fright
the duchess and the ladies, that they would shriek;
and that were enough to hang us all.
ALL
That would hang us, every mother's son.
BOTTOM
I grant you, friends, if that you should fright the
ladies out of their wits, they would have no more
discretion but to hang us: but I will aggravate my
voice so that I will roar you as gently as any
sucking dove; I will roar you an 'twere any
nightingale.
QUINCE
You can play no part but Pyramus; for Pyramus is a
sweet-faced man; a proper man, as one shall see in a
summer's day; a most lovely gentleman-like man:
therefore you must needs play Pyramus.

Ακούγονται και οι:
Eliot Makeham, Quince (Κυδώνης)
Philip Locke, Flute the Bellows-mender (Φυσούνης)
John Warner, Starveling the Tailor (Βελόνης)
Norman Rossington, Snout the Tinker (Καζάνης)
Michael Redington, Snug the Joiner (Ροκάνης)
[The Old Vic Company, 1955]

Η Μάχη του Μαραθώνος: ας ακουσθεί η άποψη και της άλλης πλευράς!

The Persian Version
του Robert Graves (1895-1985)

Διαβάζει ο ίδιος. Ακούστε τον:

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Truth-loving Persians do not dwell upon
The trivial skirmish fought near Marathon.
As for the Greek theatrical tradition
Which represents that summer's expedition
Not as a mere reconnaissance in force
By three brigades of foot and one of horse
(Their left flank covered by some obsolete
Light craft detached from the main Persian fleet)
But as a grandiose, ill-starred attempt
To conquer Greece--they treat it with contempt;
And only incidentally refute
Major Greek claims, by stressing what repute
The Persian monarch and the Persian nation
Won by this salutary demonstration:
Despite a strong defence and adverse weather
All arms combined magnificently together.

hit, trip, and tumble, yelp, groan, and worry-worry-worry!

Ο Ian Richardson διαβάζει -και πώς διαβάζει!!!-, σε ηχογράφηση του 1976, την περιγραφή της μάχης μεταξύ των λύκων και των κόκκινων σκύλων στην όχθη του ποταμού Waingunga.
[Απόσπασμα απο το διήγημα «Κόκκινοι Σκύλοι» από το Δεύτερο Βιβλίο της Ζούγκλας τού Ράντγιαρντ Κίπλινγκ.]

Ακούστε τον:



Nearer and nearer came the bay of the Seeonee wolves. "For the Pack, for the Full Pack it is met!" and a bend in the river drove the dholes forward among the sands and shoals opposite the Lairs.
Then they saw their mistake. They should have landed half a mile higher up, and rushed the wolves on dry ground. Now it was too late. The bank was lined with burning eyes, and except for the horrible pheeal that had never stopped since sundown, there was no sound in the Jungle. It seemed as though Won-tolla were fawning on them to come ashore; and "Turn and take hold!" said the leader of the dholes. The entire Pack flung themselves at the shore, threshing and squattering through the shoal water, till the face of the Waingunga was all white and torn, and the great ripples went from side to side, like bow-waves from a boat. Mowgli followed the rush, stabbing and slicing as the dholes, huddled together, rushed up the river-beach in one wave.
Then the long fight began, heaving and straining and splitting and scattering and narrowing and broadening along the red, wet sands, and over and between the tangled tree-roots, and through and among the bushes, and in and out of the grass clumps; for even now the dholes were two to one. But they met wolves fighting for all that made the Pack.
A wolf, you must know, flies at the throat or snaps at the flank, while a dhole, by preference, bites at the belly; so when the dholes were struggling out of the water and had to raise their heads, the odds were with the wolves. On dry land the wolves suffered; but in the water or ashore, Mowgli's knife came and went without ceasing. The Four had worried their way to his side. Gray Brother, crouched between the boy's knees, was protecting his stomach, while the others guarded his back and either side, or stood over him when the shock of a leaping, yelling dhole who had thrown himself full on the steady blade bore him down. For the rest, it was one tangled confusion--a locked and swaying mob that moved from right to left and from left to right along the bank; and also ground round and round slowly on its centre.
Once Mowgli passed Akela, a dhole on either flank, and his all but toothless jaws closed over the loins of a third; and once he saw Phao, his teeth set in the throat of a dhole, tugging the unwilling beast forward till the yearlings could finish him.
But the bulk of the fight was blind flurry and smother in the dark; hit, trip, and tumble, yelp, groan, and worry-worry-worry, round him and behind him and above him. As the night wore on, the quick, giddy-go-round motion increased. The dholes were cowed and afraid to attack the stronger wolves, but did not yet dare to run away. Mowgli felt that the end was coming soon, and contented himself with striking merely to cripple. The yearlings were growing bolder; there was time now and again to breathe, and pass a word to a friend, and the mere flicker of the knife would sometimes turn a dog aside.
"The meat is very near the bone," Gray Brother yelled. He was bleeding from a score of flesh-wounds.
"But the bone is yet to be cracked," said Mowgli. "Eowawa! Thus do we in the Jungle!" The red blade ran like a flame along the side of a dhole whose hind-quarters were hidden by the weight of a clinging wolf.
"My kill!" snorted the wolf through his wrinkled nostrils. "Leave him to me."
"Is thy stomach still empty, Outlier?" said Mowgli. Won-tolla was fearfully punished, but his grip had paralysed the dhole, who could not turn round and reach him.
"By the Bull that bought me," said Mowgli, with a bitter laugh, "it is the tailless one!" And indeed it was the big bay-coloured leader.

Ακούτε Θέατρο; Δευτέρων Ρόλων συνέχεια (03)

"The bawdy hand of the dial is now upon the prick of noon."
Ο John McEnery ως Μερκούτιος στο φιλμ Romeo & Juliet του Franco Zeffirelli (1968)

ROMEO AND JULIET, Act II, Scene IV.

Enter Nurse and her Man [Peter].
NURSE Peter, Peter!
MERCUTIO A sail, a sail, a sail!
BENVOLIO Two, two! a shirt and a smock.
NURSE Peter!
PETER Anon.
NURSE My fan, Peter.
MERCUTIO Good Peter, to hide her face; for her fan's the fairer of the two.
NURSE God ye good morrow, gentlemen.
MERCUTIO God ye good-den, fair gentlewoman.
NURSE Is it good-den?
MERCUTIO 'Tis no less, I assure ye; for the bawdy hand of the dial is now upon the prick of noon.
NURSE Out upon you! What a man are you!
ROMEO One, gentlewoman, that God hath made for himself to mar.
NURSE By my troth, well said. 'For himself to mar,' quoth 'a? Gentlemen, can any of you tell me where one may find young Romeo?
ROMEO I can tell you; but young Romeo will be older when you have found him than he was when you sought him. I am the youngest of that name, for fault of a worse.
NURSE You say well.
MERCUTIO Yea, is the worst well? Oh, well noted! wisely, wisely.
NURSE If you be he, sir, I desire some conference with you.
BENVOLIO She will endite him to some supper.
MERCUTIO A bawd, a bawd, a bawd!
ROMEO What hast thou found?
MERCUTIO No hare, sir; unless a hare, sir, in a lenten pie, that is something stale and hoar ere it be eaten.
(He walks by them and sings.)
An old hare hoar,
And an old hare hoar,
Is very good meat in Lent;
But a hare that is hoar
Is too much by a score
If it hoar ere it be spent.
Romeo, will you come to your father's? We'll to dinner thither.
ROMEO I will follow you.
MERCUTIO Farewell, ancient lady. Farewell, lady, lady, lady.
Exeunt Mercutio, Benvolio.

Ακούστε τον Peter Finch ως Mercutio.
Ακούγονται και οι:
Athene Seyler as the Nurse, William Squire as Benvolio, Newton Blick as Peter, Alan Badel as Romeo.




The Old Vic Company (1953). Ιουλιέτα, η Claire Bloom.

Οδυσσείας Α, 1-24

Ακούστε τον Ian McKellen να διαβάζει Οδύσσεια.
Μετάφραση: Robert Fagles (1990)

Sing to me of the man, Muse, the man of twists and turns
driven time and again off course, once he had plundered
the hallowed heights of Troy.
Many cities of men he saw and learned their minds,
many pains he suffered, heartsick on the open sea,
fighting to save his life and bring his comrades home.
But he could not save them from disaster, hard as he strove-
the recklessness of their own ways destroyed them all,
the blind fools, they devoured the cattle of the Sun
and the Sungod blotted out the day of their return. 10
Launch out on his story, Muse, daughter of Zeus,
start from where you will- sing for our time too.
By now
all the survivors, all who avoided headlong death
were safe at home, escaped the wars and waves.
But one man alone…
his heart set on his wife and his return- Calypso,
the bewitching nymph, the lustrous goddess, held him back,
deep in her arching caverns, craving him for a husband.
But then, when the wheeling seasons brought the year around,
that year spun out by the gods when he should reach his home, 20
Ithaca- though not even there would he be free of trials,
even among his loved ones- then every god took pity,
all except Poseidon. He raged on, seething against
the great Odysseus till he reached his native land.

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Σημειώνεται ότι ο Ian McKellen διαβάζει ολόκληρη την Οδύσσεια (12 κασσέττες ή 4 CD).
Αποσπάσματα του αρχαίου κειμένου διαβάζει ο Werner Krauss (1884-1959) -of Dr. Caligari fame-, με Ερασμιακή προφορά, σε ηχογράφηση του 1950 (;;).
Εξ όσων γνωρίζω, δεν υπάρχει, δυστυχώς, αντίστοιχη ελληνική παραγωγή.
Μήπως κάποιος συν-blogger έχει στοιχεία για άλλες ηχογραφήσεις;

Ακούτε Θέατρο; Υπάρχει και η Comédie Française!

Ακούστε την Claude Winter και τον Jacques Toja στην τελευταία σκηνή του μονόπρακτου του Jules Renard, «Le Pain de Ménage».

MARTHE: Vous seriez aussi gêné que moi? Je vous connais, votre imagination a une envergure d’aigle et un appétit de moineau. Il vous suffit de déplacer un meuble pour croire que vous démenagez, et d’ouvrir la fenêtre pour croire que vous êtes libre. La liberté dehors fait trop de poussière.
PIERRE: Faut-il s’en entendre dire? Vous devenez bien mauvaise.
MARTHE: Et il vous suffit de baiser la main d’une femme pour croire que vous trompez la vôtre. (Elle lui tend la main.) Tenez, mon ami, voilà!
PIERRE: C’est une petite, toute petite, toute mignonne compensation.
MARTHE: Dire que vous vous faites sermonner encore!
PIERRE: Un grand garçon comme moi, je ne le ferai plus.
MARTHE: Vous devriez m’être reconnaissant!
PIERRE: Croyez à ma sincère gratitude.
MARTHE: Ne craigniez pas que je vous en veuille, au moins.
PIERRE: Ah! je savais bien que vous étiez bonne!
MARTHE: Vous m’avez dit des mots qui ne blessent pas une femme mortellement.
PIERRE: Je ne retire rien.
MARTHE: Vous m’avez gâtée.
PIERRE: J’ai improvisé de mon mieux.
MARTHE: Vous m’avez traitée comme une déesse. Vous m’avez émue.
PIERRE: Pas trop.
MARTHE: Vous m’avez presque troublée et si mon amitié…
PIERRE: Ah! vous mêlez les genres.
MARTHE: Vous ne voulez pas de mon amitié?
PIERRE: Non, pas ce soir.
MARTHE: D’une amitié cordiale!
PIERRE: Oh! cordiale: une amitié de jour de l’an! Non, sans cérémonies. A demain; à demain les affaires sympathiques.
MARTHE: Adieu. Rentrons dans nos cages dorées. Vous là, près de Berthe, moi ici…
PIERRE: Près d’Alfred?
MARTHE: Près d’Alfred.
PIERRE: Et je ne suis pas jaloux... Tout de même, dites, ce vilain Alfred qui dort comme un égoïste, qui ronfle…
MARTHE: Oh! à peine, il ronronne.
PIERRE: Accordez-moi la faveur délicate de le laisser tranquille ce soir. Ne le réveillez pas.
MARTHE: C’est promis.
PIERRE: Merci.
MARTHE: En échange?...
PIERRE: Je vous le jure…
MARTHE: Votre femme ne doit pas dormir. Je suis sûre qu’elle veille toujours, pres de la lampe, sa fillette calmée. Elle vous attend. Approchez-vous d’elle, sans bruit, et, de tout votre cœur, embrassez-la bien.

RIDEAU

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Υ.Γ. Η Ροδιά ζήτησε Γαλλικό Θέατρο. Εσπευσα!
Δεκτές και άλλες παραγγελιές!

Ακούτε Θέατρο; Δευτέρων Ρόλων συνέχεια (02)

Donald Pleasence (1919-1995)








Ο Donald Pleasence, ως Alfred Doolittle, περί της Ηθικής της Μεσαίας Τάξης.

George Bernard Shaw: Pygmalion, Act II

PICKERING. Well, I know the feeling; but really it seems hardly
right--
DOOLITTLE. Don't say that, Governor. Don't look at it that way.
What am I, Governors both? I ask you, what am I? I'm one of the
undeserving poor: that's what I am. Think of what that means to a
man. It means that he's up agen middle class morality all the
time. If there's anything going, and I put in for a bit of it,
it's always the same story: "You're undeserving; so you can't
have it." But my needs is as great as the most deserving widow's
that ever got money out of six different charities in one week
for the death of the same husband. I don't need less than a
deserving man: I need more. I don't eat less hearty than him; and
I drink a lot more. I want a bit of amusement, cause I'm a
thinking man. I want cheerfulness and a song and a band when I
feel low. Well, they charge me just the same for everything as
they charge the deserving. What is middle class morality? Just an
excuse for never giving me anything. Therefore, I ask you, as two
gentlemen, not to play that game on me. I'm playing straight with
you. I ain't pretending to be deserving. I'm undeserving; and I
mean to go on being undeserving. I like it; and that's the truth.
Will you take advantage of a man's nature to do him out of the
price of his own daughter what he's brought up and fed and
clothed by the sweat of his brow until she's growed big enough to
be interesting to you two gentlemen? Is five pounds unreasonable?
I put it to you; and I leave it to you.
HIGGINS. Pickering: if we were to take this man in hand for three months, he could choose between a seat in the Cabinet and a popular pulpit in Wales.

Ακούστε τον:



Ακούγονται και οι:
Michael Hordern, Συν/χης Pickering, Michael Redgrave, Καθηγητής Higgins. Στον ρόλο της Eliza Doolittle, η Lynn Redgrave.