Camille - Alexander Duma, fils
این داستانی بود که موقع‌های بچگی خونده بودم (اون موقع فارسی و به اسم مادام کامیلیا خونده بودمش) و حالا که نمایشنامه‌‌ش رو با این اجرای زیبا شنیدم دیدم که همون اثری رو که اون موقع روم گذاشته بود خیلی بیشتر گذاشت. سخت بود که بشه خودم رو نگه دارم. روایت درد بود، روایت عشق، روایت جنایت، روایت عشق، روایت عشق، روایت عشق.
[Marguerite & Armand flirt by way of long glances]
Marguerite: His eyes have made love to me all evening.
Marguerite: His eyes have made love to me all evening.
Olympe:
If you don't stop being so easy-going with your money, you'll land in
the gutter before you're through or back on that farm where you came
from, milking cows and cleaning out hen houses.
Marguerite: Cows and chickens make better friends than I've ever met in Paris.
Marguerite: Cows and chickens make better friends than I've ever met in Paris.
Armand:
Yes, you, well you did smile at me a moment ago, didn't you?
Marguerite: Well, you tell me first whether you smiled at me or my friend.
Armand: What friend?
Marguerite: You didn't even see her?
Armand: No.
Marguerite: Well, you tell me first whether you smiled at me or my friend.
Armand: What friend?
Marguerite: You didn't even see her?
Armand: No.
Olympe:
She's not easy to get along with, I can tell you, ask anybody... and she
has the reputation of being one of the most extravagant girls in Paris
as well as one of the most insincere... She's the kind who says one
thing and thinks another.
Marguerite:
Now what shall I give you to remember me by?
Baron de Varville: You can't give me anything I'd like.
Marguerite: What's that?
Baron de Varville: A tear. You're not sorry enough I'm going.
Marguerite: Oh, but I *am* sorry.
Baron de Varville: You can't give me anything I'd like.
Marguerite: What's that?
Baron de Varville: A tear. You're not sorry enough I'm going.
Marguerite: Oh, but I *am* sorry.
Nichette:
Marguerite, it's ideal to love, and to marry the one you love.
Marguerite: I have no faith in ideals.
Marguerite: I have no faith in ideals.
Armand:
I know I don't mean anything to you. I don't count. But someone ought to look after you. And I could if you'd let me.
Marguerite: Too much wine has made you sentimental.
Marguerite: Too much wine has made you sentimental.
Marguerite:
The sort of company you're in tonight doesn't suit you at all.
Armand: Nor you.
Marguerite: No. These are the only friends I have and I'm no better than they are.
Armand: Nor you.
Marguerite: No. These are the only friends I have and I'm no better than they are.
Armand:
Don't you believe in love, Marguerite?
Marguerite: I don't think I know what it is.
Armand: Oh, thank you.
Marguerite: For what?
Armand: For never having been in love.
Marguerite: I don't think I know what it is.
Armand: Oh, thank you.
Marguerite: For what?
Armand: For never having been in love.
Marguerite:
It's hard to believe that there's such happiness in this world.
Armand: Marguerite. Now you've put tears on my hand. Why?
Marguerite: You will never love me thirty years. No one will.
Armand: I'll love you all my life. I know that now. All my life.
[They kiss]
Armand: Marguerite. Now you've put tears on my hand. Why?
Marguerite: You will never love me thirty years. No one will.
Armand: I'll love you all my life. I know that now. All my life.
[They kiss]
Baron de Varville:
Here's the forty thousand francs you need. And this is my last act of
consideration. If ever we meet again, it will be on a different basis. I
never make the same mistake twice.
Marguerite):
Let me love you. Let me live for you. But don't let me ask any more from Heaven than that - God might get angry.
Monsieur Duval:
Please, give him up.
Marguerite: What should I do?
Monsieur Duval: Talk to him. Tell him he must leave you.
Marguerite: I have talked.
Monsieur Duval: Leave him.
Marguerite: He'd follow me.
Monsieur Duval: Tell him you don't love him.
Marguerite: He wouldn't believe me.
Marguerite: What should I do?
Monsieur Duval: Talk to him. Tell him he must leave you.
Marguerite: I have talked.
Monsieur Duval: Leave him.
Marguerite: He'd follow me.
Monsieur Duval: Tell him you don't love him.
Marguerite: He wouldn't believe me.
Armand:
...I warn you, lucky in love, unlucky at cards.
Baron de Varville: That also means lucky at cards, unlucky in love.
Armand: We shall see.
Baron de Varville: That also means lucky at cards, unlucky in love.
Armand: We shall see.
Armand:
Then you do love him. Dare to tell me that you love him. You're free of me forever.
Marguerite: [Armand grabs her] I love him.
Marguerite: [Armand grabs her] I love him.
Armand:
I accepted her favors because I thought she loved me. I had her make
sacrifices for me when there were others who had more to give. But bear
witness, I owe her nothing. Take it, come on, take it! Buy camellias,
buy diamonds, horses and carriages, buy moonlight, buy a grave!
Marguerite:
It's you. It's not a dream.
Armand: No, it's not a dream. I'm here with you in my arms, at last.
Marguerite: At last.
Armand: You're weak.
Marguerite: No, no. Strong. It's my heart. It's not used to being happy.
Armand: No, it's not a dream. I'm here with you in my arms, at last.
Marguerite: At last.
Armand: You're weak.
Marguerite: No, no. Strong. It's my heart. It's not used to being happy.
Marguerite:
I always look well when I'm near death.
Arms and the Man - George Bernard Shaw
نمایشنامه‌ی کمیک باحالی بود که ایده‌آلیسم و قهرمان‌‌پروری و جنگ رو به زیبایی به تمسخر گرفته بود.
Louka - maid:
You have the soul of a servant, Nicola.
Nicola: Yes. That's the secret of success in service.
Nicola: Yes. That's the secret of success in service.
Sergius:
Louka, do you know what the higher love is?
Louka - maid: No, sir.
Sergius: Very fatiguing thing to keep up for any length of time, Louka. One feels the need of some relief after it.
Louka - maid: No, sir.
Sergius: Very fatiguing thing to keep up for any length of time, Louka. One feels the need of some relief after it.
Raina:
[after Bluntschli has confessed to her that he had had to pawn her father's coat] You have a low, shopkeeping mind! You think of things that would never come into a gentleman's head!
Bluntschli: That's the Swiss national character, dear lady.
Bluntschli: That's the Swiss national character, dear lady.
Sergius:
Captain Bluntschli!
Bluntschli: Eh?
Sergius: You have deceived me. You are my rival. I brook no rivals. At six o'clock I shall be in the drilling-ground on the Klissoura road, alone, on horseback, with my sabre. Do you understand?
Bluntschli: Oh, thank you, that's a cavalry man's proposal. I'm in the artillery, and I have the choice of weapons. If I go, I shall take a machine gun. And there shall be no mistake about the cartridges this time.
Bluntschli: Eh?
Sergius: You have deceived me. You are my rival. I brook no rivals. At six o'clock I shall be in the drilling-ground on the Klissoura road, alone, on horseback, with my sabre. Do you understand?
Bluntschli: Oh, thank you, that's a cavalry man's proposal. I'm in the artillery, and I have the choice of weapons. If I go, I shall take a machine gun. And there shall be no mistake about the cartridges this time.
Bluntschli:
You never saw a cavalry charge, did you?
Raina: How could I?
Bluntschli: Ah, perhaps not - of course not. Well, it's a funny sight. It's like slinging a handful of peas against a window pane: first one comes, then two or three close behind him and then all the rest in a lump.
Raina: [in rapture] Yes, the first one! - the bravest of the brave!
Bluntschli: Hm! you should see the poor devil pulling at his horse.
Raina: Why should he pull at his horse?
Bluntschli: [impatient of such a silly question] It's running away with him, of course! Do you suppose the fellow wants to get there before the others and be killed?
Raina: How could I?
Bluntschli: Ah, perhaps not - of course not. Well, it's a funny sight. It's like slinging a handful of peas against a window pane: first one comes, then two or three close behind him and then all the rest in a lump.
Raina: [in rapture] Yes, the first one! - the bravest of the brave!
Bluntschli: Hm! you should see the poor devil pulling at his horse.
Raina: Why should he pull at his horse?
Bluntschli: [impatient of such a silly question] It's running away with him, of course! Do you suppose the fellow wants to get there before the others and be killed?
Sergius:
Bluntschli, I have allowed you to call me a blockhead. You may now call
me a coward as well. I refuse to fight you. Do you know why?
Bluntschli: No, but it doesn't matter. I didn't ask the reason when you cried on and I don't ask the reason now that you cry off. I'm a professional soldier. I fight when I have to and am very glad to get out of it when I haven't to. You're only an amateur; you think fighting's an amusement.
Sergius: You shall hear the reason all the same, my professional. The reason is that it takes two men - real men - men of heart, blood and honor - to make a genuine combat. I could no more fight with you than I could make love to an ugly woman. You've no magnetism: you're not a man, you're a machine.
Bluntschli: [apologetically] Quite true, quite true. I always was that sort of chap. I'm very sorry.
Bluntschli: No, but it doesn't matter. I didn't ask the reason when you cried on and I don't ask the reason now that you cry off. I'm a professional soldier. I fight when I have to and am very glad to get out of it when I haven't to. You're only an amateur; you think fighting's an amusement.
Sergius: You shall hear the reason all the same, my professional. The reason is that it takes two men - real men - men of heart, blood and honor - to make a genuine combat. I could no more fight with you than I could make love to an ugly woman. You've no magnetism: you're not a man, you're a machine.
Bluntschli: [apologetically] Quite true, quite true. I always was that sort of chap. I'm very sorry.
Sergius:
[to Raina] Tiger cat!
Raina: [to Bluntschli] You hear this man calling me names, Captain Bluntschli?
Bluntschli: What else can he do, dear lady? He must defend himself somehow.
Raina: [to Bluntschli] You hear this man calling me names, Captain Bluntschli?
Bluntschli: What else can he do, dear lady? He must defend himself somehow.
The Enemy of the People - Henric Ibsen
این اوّلین نمایشی بود که از ایبسن گوش می‌دادم. اجرا بسیار زیبا بود. باید بشینم و فیلمش رو هم ببینم.
تحصین کردنی و زیبا بود. به ظرافت همراه با قهرمان قصّه ما رو با فساد و زوالی که سرتاپای جامعه‌ی اطرافمون رو گرفته آشنا می‌کرد. حمله‌ای بزرگ به دموکراسی.
| A community is like a ship; everyone ought to be prepared
to take the helm. An Enemy of the People Billing, Act 1. |
| The most dangerous enemy of truth and freedom is our society
is the compact majority. Yes, the damned, compact, liberal majority. An Enemy of the People Dr. Stockmann, Act 4. |
| The majority is never right. Never, I tell you! That's one
of these lies in society that no free and intelligent man can
help rebelling against. Who are the people that make up the
biggest proportion of the population - the intelligent ones
or the fools? I think we can agree it's the fools, no matter
where you go in this world, it's the fools that form the overwhelming
majority. An Enemy of the People Dr. Stockmann, Act 4. |
| The minority is always right. An Enemy of the People Dr. Stockmann, Act 4. |
| You should never wear your best trousers when you go out to
fight for freedom and truth. An Enemy of the People Dr. Stockmann, Act 5. |
| The strongest man in the world is he who stands most alone. An Enemy of the People Dr. Stockmann, Act 5. |
.
The Winter's Tale - Shakespiere - GreyStone Thatre
علیرغم اینکه همیشه اجراهای بچه های دانشگاه بسیار عالی بود این یکی به دلم ننشست. دستکاری لباس ها و آوردنشون به دهه‌ی شصت. تغییر نقشای مردونه به زنونه بدون در نظر گرفتن تغییرات کافی، بعضی بازی های نسبتا ضعیف از مشکلاتش بودن. ولی به هر حال شکسپیر بود و شنیدنی و دیدنی.
نمی دونم شاید هم تمام این عیب و ایرادا به حال خراب من برگرده.
Shining City by Conor Mcpherson - Persephone Theatre
بازی در نقش جان توسط Robert Benz یکی از زیباترین بازی هایی بود که تو عمرم دیدم. تو لحظه های آخر سکانس دوم صحبت‌هاش با روانپزشک درباره‌ی‌اینکه چه طور با زنش رفتار کرده بود دیگه طاقت نیاوردم. اشکام سرازیر شدن و تمام وجودم تو خودش پیچید.