閱讀解析及譯文

戲劇的Inseekingtodescribetheoriginsoftheater,onemustrelyprimarilyonspeculation,sincethereislittleconcreteevidenceonwhichtodraw.Themostwidelyacceptedtheory,championedbyanthropologistsinthelatenineteenthandearlytwentiethcenturies,envisionstheaterasemergingoutofmythandritual.Theprocessperceivedbytheseanthropologistsmaybesummarizedbriefly.Duringtheearlystagesofitsdevelopment,asociety esawareofforcesthatappeartoinfluenceorcontrolitsfoodsupplyandwell-being.Havinglittleunderstandingofnaturalcauses,itattributesbothdesirableandundesirableoccurrencestosupernaturalormagicalforces,anditsearchesformeanstowinthefavoroftheseforces.Perceivinganapparentconnectionbetweencertainactionsperformedbythegroupandtheresultitdesires,thegrouprepeats,refinesandformalizesthoseactionsintofixedceremonies,or由于幾乎沒有具體材料可供研究，探尋戲劇的只能憑推測。19世紀末20完善這些行為，最終形成固定的典禮或儀式。Stories(myths)maythengrowuparoundaritual.Frequentlythemythsincluderepresentativesofthosesupernaturalforcesthattheritescelebrateorhopetoinfluence.Performersmaywearcostumesandmaskstorepresentthemythicalcharactersorsupernaturalforcesintheritualsorin panyingcelebrations.Asople esmoresophisticated,itsconceptionsofsupernaturalforcesandcausalrelationshipsmaychange.Asaresult,itmayabandonormodifysomerites.Butthemythsthathavegrownuparoundtheritesmaycontinueaspartofthegroup’soraltraditionandmayevencometobeactedoutunderconditionsdivorcedfromtheserites.Whenthisoccurs,thestephasbeentakentowardtheaterasanautonomousactivity,andthereafterentertainmentandaestheticvaluesmaygraduallyreplacetheformermysticalandsociallyefficacious他們對超自然力量以及與其的事件間因果關(guān)系的認識就發(fā)生了改變；于是，█Althoughorigininritualhaslongbeenthemostpopular,itisbynomeanstheonlytheoryabouthowthetheatercameintobeing.█Storylinghasbeenproposedasonealternative.█Underthistheory,relatingandlisteningtostoriesareseenasfundamentalhumanpleasures.█Thus,therecallingofanevent(ahunt,battle,orotherfeat)iselaboratedthroughthenarrator’spantomimeandim ationandeventuallythrougheachrolebeingassumedbyadifferent 盡管戲劇于儀式的說法是目前最被大眾認可的但無論如何這都不是戲Acloselyrelatedtheoryseestheaterasevolvingoutofdancesthatareprimarilypantomimic,rhythmicalorgymnastic,orfromimitationsofanimalnoisesandsounds.Admirationfortheperformer’sskill,virtuosity,andgraceareseenasmotivationforelaboratingtheactivitiesintofullyrealizedtheatricalInadditiontoexploringthepossibleantecedentsoftheater,scholarshavealsotheorizedaboutthemotivesthatledpeopletodeveloptheater.Whydidtheaterdevelop,andwhywasitvaluedafteritceasedtofulfillthefunctionofritual?Mostanswersfallbackonthetheoriesaboutthehumanmindandbasichumanneeds.One,setforthbyAristotleinthefourthcenturyB.C.,seeshumansasnaturallyimitative—astakingpleasureinimitating s,things,andactionsandinseeingsuchimitations.Another,advancedinthetwentiethcentury,suggeststhathumanshaveagiftforfantasy,throughwhichtheyseektoreshrealityintomoresatisfyingformsthanthoseencounteredindailylife.Thus,fantasyorfiction(ofwhichdramaisoneform)permitspeopletoobjectifytheiranxietiesandfears,confrontthem,andfulfilltheirhopesinfictionifnotfact.Thetheater,then,isonetoolwherebypeopledefineandunderstandtheirworldor fromunpleasantrealities.，為了進一步探尋戲劇的，一些學(xué)派開始從人類發(fā)展戲劇的上建立理論。為什么戲劇會發(fā)展為什么在戲劇完全脫離儀式以后還有這么大的價值？大部分答案都回到那些關(guān)于人類心智和人類基本需求的理論中。首先在公元前4世紀提出，人們天生好模仿，并從模仿他人、事物和動作以及模仿中獲得樂趣。另外，20世紀先進理論認為人類擅長幻想，通過幻想識和理解，或是幫助人們逃避不滿現(xiàn)實的工具。，Butneitherthehumanimitativeinstinctnornchantforfantasybyitselfleadstoanautonomoustheater.Therefore,additionalexplanationsareneeded.Onenecessaryconditionseemstobeasomewhatdetachedviewofhumanproblems.Forexample,onesignofthisconditionistheappearanceofthecomicvision,sincecomedyrequiressufficientdetaenttoviewsomedeviationsfromsocialnormsasridiculousratherthanasseriousthreatstothewelfareoftheentiregroup.Anotherconditionthatcontributestothedevelopmentofautonomoustheateristheemergenceoftheaestheticsense.Forexample,someearlysocietiesceasedtoconsidercertainritesessentialtotheirwell-beingandabandonedthem,nevertheless,theyretainedaspartsoftheiroraltraditionthemythsthathadgrownuparoundtheritesandadmiredthemfortheirartisticqualitiesratherthanfortheirreligioususefulness.但是論是人