2016年7月3日 星期日

Charlie Chaplin《卓別林自傳》My Autobiography... Footlights,by Charlie Chaplin


Overview of His Life

http://www.charliechaplin.com/en/biography/articles/21-Overview-of-His-Life


 Comedy calls for rhythm, and yet there is nothing of rhythm in life itself.


My Autobiography
Book by Charlie Chaplin
My Autobiography is a book by Charlie Chaplin, first published by Simon & Schuster in 1964. Along with Chaplin: His Life and Art, it provided the source material for the 1992 feature film Chaplin.Wikipedia


《卓別林自傳》鍾玉澄譯,台北:志文,1982
這本書,待在我書架數十年,近日才翻讀。知道卓別林寫過4本書。他的檔案錄影量驚人。
近日有三段姻緣:譯者鍾玉澄老師跟我說,當初看了【原序】記作者母子相依生活,很感動,決定翻譯。 (我被第一段的英國19世紀末的輪倫敦史地迷住。)
曹永洋老師說,書的結尾處,卓別林自述晚年生活幸福部分,選入某本書之中。他又說,此書唯一刪節的圖文,是卓別林在中共建國時受邀,登天安門之部分。


卓別林自傳

二十世紀最偉大的批判現實主義電影藝術家、世界喜劇電影之王卓別林暢銷自傳作品。《卓別林自傳》中不僅講述了他無人能及的藝術成就,更提及了他毀譽參半的人生經歷,具有極強的可讀性。書中講述了卓別林與當時世界各領域重要人物的交往經歷,其中不僅有明星大腕,還有達官顯貴,各路高人。如周恩來、愛因斯坦、丘吉爾等。

目錄

譯者序
序幕
第一章 我的童年歲月
第二章 蘭貝斯貧民學藝所
第三章 八童伶木屐舞蹈班
第四章 與貧困作斗爭
第五章 第一次登上舞台
第六章 在卡諾劇團
第七章 首次出國
第八章 來到美國
第九章 與電影開始結緣
第十章 奇斯頓影片公司
......
第二十九章 在好萊塢的最後時日
第三十章 別了,美國
第三十一章 定居瑞士

卓別林,世界電影史上一個繞不過的名字,當之無愧的“喜劇之王”。就像他的電影一樣,卓別林的一生也是跌宕起伏,充滿戲劇性的。

他塑造的那個流浪漢形象,穿著一條鼓囊囊的褲子和一雙大皮鞋,頭戴圓禮帽,嘴上長著一撮翹胡子,拿著手杖,像鴨子一樣走路……這個可愛又可笑的小丑形象,受到全世界人民的喜愛。而這個天真、幽默、樂觀、隨遇而安的形象的出現,與卓別林早年的悲苦經歷不無關系。
****
Charlie Chaplin's only novel published for the first time
Footlights, the screen legend's unseen prequel in prose to the film Limelight, reflects his sadness at declining stardom

Read an extract from Footlights by Charlie Chaplin
Alison Flood
The Guardian, Tuesday 4 February 2014 14.21 GMT
Jump to comments (46)


Out of Limelight … Chaplin in a still from the eponymous film. Photograph: W Eugene Smith/Time & Life Pictures
The only work of fiction ever written by Charlie Chaplin, a dark, nostalgic novella which was the root of his great film Limelight and which has lain unpublished for over 60 years, is being made public for the first time.
Footlights, which runs to 34,000 words, traces the same story as Chaplin's valedictory film Limelight – that of an ageing, alcoholic clown Calvero and the ballerina he saves from suicide.
The film, in which Chaplin played Calvero and Claire Bloom the ballerina, was the final American movie Chaplin made before he was banned from the country for alleged communist sympathies. The novella, which Chaplin wrote in 1948, before the film script, widens and deepens the story, giving an insight into the author's state of mind at the time.
It has lain in Chaplin's archive for decades, but has now been pieced together from a mix of handwritten and typed scripts by Chaplin's biographer David Robinson. It is published by the Cineteca di Bologna, an Italian film restoration institute which has been digitising the Chaplin archive for his family.
Cecilia Cenciarelli, co-director of the Cineteca's Chaplin project, said the novella "has shadows. It's the story of a comedian who has lost his public, by a comedian who at that time had lost his public, who was referred to in the press of the time as a 'former comedian', a 'former successful film maker'".
It is a prequel of sorts to the film, in that it fleshes out "why Calvero has nightmares, why he is so disenchanted with his career, with the public", she said. "The book deals a little more with the relationship of the artist to his audience, with the meaning of art."
"I know I'm funny," says Calvero in the novella, "but the managers think I'm through … a has-been. God! It would be wonderful to make them eat their words. That's what I hate about getting old – the contempt and indifference they show you. They think I'm useless … That's why it would be wonderful to make a comeback! … I mean sensational! To rock them with laughter like I used to … to hear that roar go up … waves of laughter coming at you, lifting you off your feet … what a tonic! You want to laugh with them, but you hold back and laugh inside … God, there's nothing like it! As much as I hate those lousy – I love to hear them laugh!"
Chaplin was going through a bad time in America when he wrote the novella, said Robinson. "He was a big target for J Edgar Hoover … which was effective to the extent that a great deal of middle America turned against him. This was a shock to him, who had been the best loved man in the world for 30 years." These feelings, said Robinson, "work themselves out in the story of Calvero".
Footlights, complete with Robinson's commentary and description of the story's evolution, is being launched by the Cineteca this week, with an event at the British Film Institute Southbank, London, featuring Robinson and Bloom, to whom the book is dedicated. The book will be available from the publisher's website and Amazon, although it does not yet have a British or American publisher – something Cenciarelli is hoping will change.
"It is astonishing that this man who went to school for six months in his life managed to become a writer," she said. "The reason it has never been published before is because the family has been a little protective … but eventually they were convinced this would be a good thing to do."
"He never meant it for publication," said Robinson. "It was something absolutely private … he wrote it for himself."
In his commentary, Robinson writes that Chaplin "can move without warning from the baldly colloquial to dazzling yet apparently effortless imagery, as when the crushed Calvero gazes 'wearily into the secretive river, gliding phantom-like in a life of its own … smiling satanically at him as it flecked myriad lights from the moon and from the lamps along the embankment'".
Chaplin's childhood in south London can be seen, he writes, in a child character's "aversion to parks – 'the dreary, forlorn patches of green, and the people who sat about them, were the living graveyards of the hopeless and the destitute'". The novella also shows "the delight in fine or strange words of the self-confessed autodidact, who kept a dictionary beside him and set out to learn a new word every day: brattled, selenic, efflorescing, fanfaronading and – to the end of his life his all-purpose favourite – ineffable."
"Once he'd got a word he liked to use it, even if it was not quite right for the situation," Robinson said. "Nevertheless he does write amazingly. With his films he worked and worked until it came right, and it is the same with this book. It's a good read. Strange, but good."
Pamela Hutchinson, who blogs about silent film at www.silentlondon.co.uk, called the publication "very exciting".
"There is always tremendous interest in Chaplin – and when so much has been written about him over the years the chance to read his own words, especially ones we haven't heard before, is refreshing," she said. "One of the things that is really wonderful about Limelight is that it shows Chaplin returning to the London of his youth: the tenements and music halls that he knew.
"To read what he was writing about this world in the 40s confirms our fondly-held belief that Chaplin never forgot his British roots throughout his successes in the States.
"The subject matter of Limelight – poverty, mental health and the variety stage – as well as its London setting, could have been plucked straight from his childhood. The drafts of this novella confirm that these things were still playing on his mind late in his life."


默片喜劇大師卓別林(Charlie Chaplin)曾寫下個人唯一一部小說,這件事幾乎沒有人知道,現在這部小說「舞臺生涯(Footlights,暫譯)」即將首度公開。

  卓別林1948年寫下小說「舞臺生涯」,內容描述1名小丑成功說服1名舞者不要自殺。這部小說之後改編成卓別林電影「舞台春秋」(Limelight),小說4日在英國倫敦亮相。

  義大利電影修復機構「波隆那電影資料館」(Cineteca di Bologna)將以英文出版這本小說。這個機構一直與卓別林傳記作家羅賓遜(David Robinson)重建卓別林檔案中發現的草稿。

  卓別林1889年在倫敦出生,父母生活拮据,在戲院擔任藝人維生。卓別林少年時期在蘇活區(Soho)的戲院工作,最後終於成為劇團演員。

  根據羅賓遜,卓別林在小說中描述酒醉小丑與絕望芭蕾女伶之間的關係,可能是他1916年遇到俄羅斯傳奇舞者尼金斯基(Vaslav Nijinsky)時所得到的靈感。


「這位畫家的表現,好像這晚會不是為他而辦的。這令人想起查理‧卓別林在聚會中尋找誰是慶祝會的真正主角,卻獨獨想不到主角是他自己。」《盧奧》(Georges Rouault) ,台北:文庫出版社,1994

 1977.12.25 Chaplin 過世時. 我在英國South End 某家度聖誕節  不記得主人說此惡耗.......
 2013.10.7 電視報導Chaplin瑞士的故居將改為博物館。 其孫女說: 他晚年最怕名沒他世........
 我的日本朋友Kawase先生說  , 世界上唯一看完Chaplin生前自己拍攝的生活影片檔案的,是某日本人,似乎花了一年多.......
改天跟他要詳細資料

 Chaplin's final home, Manoir de Ban in Switzerland, is in the process of being converted into a museum exploring his life and career, to be opened in 2015.[435] The Swiss town of Vevey, where he spent the last 25 years of his life, named a park in his honour in 1980 and erected a replica of the Doubleday statue there in 1982.[433] In 2011, two murals depicting Chaplin on two 14-storey buildings were unveiled in Vevey.[436] Chaplin has also been honoured by the Irish town of Waterville, where he spent several summers with his family in the 1960s. A statue was erected in 1998,[437] and since 2011 the town has been host to the annual Charlie Chaplin Comedy Film Festival, which was founded to celebrate Chaplin's legacy and to showcase new comic talent.[438]




查爾斯·斯賓賽·「查理」·卓別林爵士,KBE英語Sir Charles Spencer "Charlie" Chaplin,1889年4月16日-1977年12月25日)是一位英國喜劇演員反戰人士,後來也成為一名非常出色的導演[2],尤其在好萊塢電影的早期和中期他非常成功和活躍。他奠定了現代喜劇電影的基礎,與巴斯特·基頓哈羅德·勞埃德並稱為「世界三大喜劇演員」,卓別林戴著圓頂硬禮帽和禮服的模樣幾乎成了喜劇電影的重要代表,往後不少藝人都以他的方式表演。
卓別林最出色的角色是一個外貌流浪漢,內心則一幅紳士氣度、穿著一件窄小的禮服、特大的褲子和鞋、戴著一頂圓頂硬禮帽、手持一根竹拐杖、留著一撇小鬍子的形象。在無聲電影時期卓別林是最有才能和影響最大的人物之一。他自己編寫、導演、表演和發行他自己的電影。從在英國的大劇院作為孩童演員登台演出,到他88歲高齡逝世為止,他在娛樂業從事了70多年的生涯。從狄更斯式的倫敦童年一直達到了電影工業的世界頂端,卓別林已成為了一個文化偶像。


  ★波隆那國際兒童書插畫展入選
  ★新聞局中小學生優良課外讀物推介


  卓別林是當代戲劇史上難得的天才,
  他能編能導,又會演,從戲劇跨足電影,
  也走過無聲和有聲電影的關鍵時期。
  在電影發展的卓越成就與深刻影響力,
  使他獲頒奧斯卡金像獎的首座終身成就獎,
  更獲得女王伊莉莎白二世冊封爵士爵位。

  本書以第一人稱和第三人稱交叉敘事,
  帶你看見卓別林最真實、最動人的生命故事,
  學習卓別林不畏窮苦、勤奮努力的堅持。

  在最深的夜裡,才能看見最亮的星,在無聲的宇宙,才能聽見最鏗鏘的感動。
  人稱喜劇之王的卓別林,自小父母離異,母親又深受精神疾病所苦,家境相當困難。
  使得卓別林年紀輕輕,就已經做過許多工作,對他而言,街頭就是學校,讓他看盡世間百態;生活就是戲劇,讓他嚐遍人情冷暖。
  看卓別林如何走過苦澀的童年歲月,在戲劇中找到生命,在好萊塢成就自我,最終得到奧斯卡終身成就獎的肯定,被公認為能演、能導、能編的戲劇天才。
  對卓別林而言,生命的開始或許像是悲劇,但最後,他藉著努力,將結局演成了喜劇。
  ※有注音

作者、繪者簡介

伊莎貝拉 (Isabella Labate)


  畢業於熱那亞工藝設計學院。她的畫風細密簡潔,輕快流暢,畫風具有地中海晴空下特有的韻味。不僅人物造形刻畫生動,她對於各種技法所能達到的效果,有著驚人的掌控力。對於插畫創作,伊莎貝拉如此詮釋自己的畫風:「藝術是個人經驗的表現,快樂的人畫快樂的畫。孩子尤其能直接感受到這種能量,因此當我為他們創作的時候,總是帶著愉快的心情和一股感動去創作。」

  得獎紀錄:
  ★入選「義大利波隆那國際兒童書插畫展」
  ★入選「布拉迪斯國際插畫雙年展」
  ★《寶貝罈子》獲《聯合報》讀書人最佳童書
黑白默劇後的彩色人生

  說到「喜劇之王」卓別林,腦海裡就出現那個頭戴黑色紳士帽、嘴上留著小鬍子,螢幕上做出各式逗趣動作的人物。其實,卓別林除了不只會演戲,在電影的不同領域,像是導演、配樂和製片,都有很好的成績。

  卓別林從劇團崛起,在電影發光發熱,他的作品都具有重要的時代意義。例如流浪漢夏爾洛,是所有小人物的寫照,雖然窮,但一定窮得有尊嚴。在《淘金熱》、《摩登時代》、《大獨裁者》等電影中,都能看出卓別林敏銳的社會觀察。卓別林在電影史上的成就以及深遠的影響力,不僅使他獲得奧斯卡終身成就獎,更使他成為永恆的文化偶像。

  本書採用第一人稱和第三人稱交叉敘事,除了呈現一般世人印象中的卓別林,更從卓別林的角度出發,帶領我們見證他一生的奮鬥歷程。

  畫家伊莎貝拉運用簡潔的黑白色調,也為卓別林的戲劇人生做了最強而有力的詮釋。


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