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引用西方最多的故事 Shiosai
潮騷- 維基百科，自由的百科全書
維基百科
https://zh.wikipedia.org › 潮骚
《潮騷》（しおさい）是日本作家三島由紀夫的代表作之一。作者於1953年3月與8月先後兩度前往神島旅行，9月開始執筆創作，在1954年發表，曾獲第一屆新潮社文學獎。
First edition (Japanese)- サド侯爵夫人（文藝 1965年11月） - 文部省芸術祭演劇部門芸術祭賞受賞。
三島由紀夫《薩德侯爵夫人》惡德與貞潔
2018-04-21 由 新世界日語 發表于資訊
作者：三島由紀夫
出版社：上海譯文出版社
譯者：陳德文
三島由紀夫在『 サド侯爵夫人』中指出，根據澀澤龍彥《薩德侯爵的一生》改編。對話者三位真人，三位創作 Play based on fact, about the women in the life of the Marquis de Sade.
(在《回憶〈薩德侯爵夫人〉》一文的開頭，澀澤龍彥直接寫出了自己和三島對於薩德理解的差異。"我心目中的薩德是徹頭徹尾立足於地中海式傳統的、十八世紀自由思想者。")
《薩德侯爵夫人》對外國貴族的描寫很出色，這部戲劇作品所描寫的不是日本人基於誤解的西洋，而是真正的西洋。——唐納德·金，他是本書的英譯Madame de Sade者。
- Mishima Yukio, Five Modern Noh Plays – Including: Madame de Sade (Tuttle, 1967)
稍微改寫過的簡介
《薩德侯爵夫人》分為三幕，描述了薩德多次被定罪、入獄後，薩德侯爵夫人勒內一生堅守貞節，為營救薩德出獄奔波，不惜與母親對立。但到了老年(第三幕)，薩德即將獲得自由之際，勒內卻突然與他分手。
《薩德侯爵夫人》以法國大革命前後，不安的巴黎為舞台。有時代所不容性癖的薩德侯爵被捕入獄，為了救夫的薩德侯爵夫人勒內與母親激烈地對立著。(由於薩德的作品中有大量性虐待情節，並且他本人也實踐著自己的想像，後來的學者把主動的虐待症，命名為薩德現象。然而他的夫人、家人的看法很不相同)
這部戲劇中六位與薩德相關的女性登場，作者在跋中明確的講述了她們所代表的理念：
薩德夫人代表貞淑；特勒伊夫人代表道德；西米阿納夫人代表神；聖豐夫人代表肉慾；薩德夫人的妹妹安娜代表女性的天真和放縱；夏洛特代表民眾。
"她們像行星一樣交錯運轉，幾乎只用對話支配著舞台，理念的衝突形成戲劇高潮。
劇中有許多經典的對話，表現出三島的想法——人性深處的秘密有很多，很難用一個清晰的概念來定義。
「對無法想像之物加以蔑視，這種力量在世間蔓延……
你們看見玫瑰，就說喜歡，看見蛇，就說噁心。
你們不知道，這個世界，玫瑰和蛇本是親密的朋友，到了夜晚，它們相互轉化，蛇面頰鮮紅，玫瑰鱗片閃閃。
你們看見兔子說可愛，看見獅子說可怕。你們不知道，暴風雨之夜，它們是如何流血，如何相愛。你們不知道，這是一個神聖與屈辱互相轉化的夜晚。」
激烈的思想衝突，像葛藤一般纏繞在一起的關係，通過惡德和欲望和美的對照，通過閱讀《薩德侯爵夫人》能夠充分享受三島由紀夫的戲劇。"
夜深了白天的自己總是漫無目的的在自己的世界裡亂撞可一到晚上自己的思想就異常的豐富夜晚就像一個情感的宣洩場你會把你一天積累的東西發泄出來你會更思念你所在乎喜歡的那個人如果你在晚上能想的到這樣的人那就不妨打個電話去聯繫他吧說不定她和你一樣也在想著你我相信一到晚上就胡思亂想的人不止我一
Common terms and phrases
Bibliographic information
Wikipedia
Madame de Sade is a 1965 play written by Yukio Mishima. It was first published in English, translated by Donald Keene by Grove Press and is currently out of print.
Madame de Sade is a historical fiction play written by Mishima Yukio and published in 1965. The play is based on the life of Renée de Sade (née Pelagie), the wife of the notorious Marquis de Sade. It details the struggles of Renée, her family, and acquaintances during the Marquis' various periods of incarceration. All the onstage characters are female. After reading about Marquis and Madame de Sade, Mishima questioned why Renée waited until the Marquis was finally let out of prison to leave him.
In March 2009 London's Donmar Warehouse staged a production at Wyndhams Theatre directed by Michael Grandage. It starred Rosamund Pike (in the title role) and Judi Dench as her mother, Madame De Montreuil. Frances Barber, Deborah Findlay, Jenny Galloway and Fiona Button co-starred.
Judi Dench was forced to miss several performances after she tripped over the stage-doors and severely sprained her ankle and thus her understudy, Marjorie Hayward, took over the role. When Dench did return four days after the injury, she performed with a walking stick.[1]
Characters[edit]
RENEE, the Marquise de Sade
MADAME DE MONTREUIL, Renée's Mother
ANNE, Renée's younger sister
BARONESSE DE SIMIANE
COMTESSE DE SAINT-FOND
CHARLOTTE, Madame de Montreuil's housekeeper
(Madame de Sade, p. iii)
Characters
According to Mishima, every character is symbolic of some form of human nature, thus the play functions as an allegory. He describes them as follows. Madame de Sade (Renée) represents wifely devotion; Madame de Montreuil is law, society, and morality, Anne (Renée's younger sister) shows feminine guilelessness and lack of principles; Madame de Simaine for religion; Madame de Saint-Fond for carnal desires, and Charlotte (the house keeper) for the common people.(pg. 107 Author's Postface Madame de Sade)
Plot[edit]
Act one[edit]
The first act takes place at the salon in Paris, France at Madame de Montreuil's house, in Autumn of 1772. In this act we are introduced to all the characters and are given a glimpse at their personalities. Act One is also the first and only act where all six characters appear on the stage, (Baronesse de Simiane is absent from Act Two, and Comtesse de Saint-Fond is absent from Act Three). The scene opens with Simiane and Saint-Fond waiting in the saloon after being summoned by Madame de Montreuil. We soon learn that Montreuil has asked them to her home for a favor. She asks them to use their influences to get her son-in-law, the Marquis de Sade, out of prison. Both ladies pledge their help, Simiane using her influential contacts in the church and Saint-Fond her web of lovers and bed fellows.
Soon Renee arrives and we learn that the Marquis has escaped from prison and been on the run for a few months. After a brief discussion the Comtesse and Baronesse excuse themselves, leaving Renee and her mother to discuss the matter of the Marquis. Renée begs her mother to save her husband from imprisonment and the pair get in an argument. Montreuil demands to know the location of the Marquis but Renee denies having any knowledge of his whereabouts. The argument ends when the stress takes its toll on Renee and she grows faint.
As Montreuil and Renee leave the stage, Anne the sister and Charlotte the house keeper enter the scene. Anne appears to be expressing an unwillingness to see her sister to Charlotte right before her mother walks back on stage. Anne reveals that she has just returned from a trip to Venice, Italy with a friend she does not immediately name. Upon further probing by her mother she reveals her travelling companion to be none other than her brother-in-law the Marquis de Sade. Anne then proceeds to tell her mother that she was having an affair with the Marquis and that Renee knew of both the affair and the Marquis' location.
After stumbling on the news of her son-in-law's infidelity with Anne Montreuil is outraged. After getting Anne to divulge the Marquis' location Montreuil immediately has Charlotte write three letters. The first two are to Comtesse de Saint-Fond and Baronesse de Simiane telling them to cease their endeavors on de Sade's behalf; the third letter is to the King of France. Montreuil prepares to have the letters delivered and Act One ends.
Act Two[edit]
The second act takes place six years later in September 1778. Anne and Renee meet onstage and Anne reveals she has a letter. After a light-hearted struggle between the sisters Renee wrestles the letter away from Anne. The letter announces that Marquis de Sade was retried, given a lesser sentence and is to be released from jail, Renee becomes ecstatic. The two women begin to discuss the rift which has developed over the past six years between Renée and their mother and how Renee now sees that her mother has begun helping de Sade once more.
The women then go to their mother and the three of them begin debating the true nature of the Marquis based on their understandings. When Renee begins expressing a desire to return home and prepare the Manor at La Coste for the arrival of her husband, Anne and Montreuil begin exchanging glances. Montreuil persuades Renee to stay with her awhile longer and Renee continues to praise her mother for helping free the Marquis. Montreuil tries to impress upon Renee the need behind behaving morally and in a socially acceptable manner. When Montreuil begins to denounce the Marquis de Sade, Renee and Anne jump to his defense and Anne recounts her trip to Venice. As the women continue to argue Charlotte enters the room and informs them that the Comtesse de Saint-Fond has come to pay a visit. Almost moments after her arrival is announced Saint-Fond enters the room.
The Comtesse Saint-Fond explains that she had a revelation and had to see Montreuil immediately to inform her. Saint-Fond begins to inform the ladies gathered onstage of her latest exploits into the world of the erotic and profane. She recently participated in a black mass and was used as the altar. During the mass she came to the conclusion that she was no different from the Marquis, "...I understood who Alfonse was." ... "Alfonse was myself." When Montreuil and Anne begin to ridicule Saint-Fond the Comtesse asks Renée about the date of written on the announcement of Alphonse's release. Renee realizes that the date was a month and a half before her mother had informed her of the announcement. An argument breaks out between Renee, her mother, and Anne with the Comtesse egging Renée on. As the argument progresses, Anne asks Saint-Fond if she'd like to continue her walk; the pair leave together, leaving Renee and Montreuil to continue fighting. Renée's mother desperately begs her to leave the Marquis and Renee refuses. Montreuil informs Renée that she had a private investigator spy on the Marquis and Renee. The investigator saw Renée taking part in some of the Marquis' erotic S&M activities and being abused. Renée denounces her mother; Montreuil tells her daughter that staying with the Marquis de Sade will make her a pariah. Renée tells her mother that when things were good and Alphonse's status gave her family influence she was perfectly content with the marriage, but when Alphonse was in trouble and his reputation was no longer helping her family she denounced him. The more Renée denounces her mother the more upset Montreuil becomes, until she is finally pushed over the edge.
Montreuil: "Renée, I'll slap your face!"
Renée: "Go ahead! But what would you do if I curled up with pleasure at being slapped?"
Montreuil: "Ohh...when you say that, your face..."
Renée (takes a step forward): "Yes what about my face?"
Montreuil (raises her voice): "...looks like Alphonse's. I'm afraid."
Renee (laughs): "Madame de Saint-Fond had a word for it --- 'Alphonse is myself'!"
And Act II ends.
Act Three[edit]
By the end of the play everyone has given up something or made some sort of sacrifice. Madame de Sade plans to join a convent; Anne leaves her home and family and moves to Italy with her husband; Madame de Simiane has also joined a convent; Madame de Saint-Fond is trampled in a crowd who parades her dead body reverently through the streets; and Madame Montreuil is losing both her daughters (though perhaps not permanently) who are moving away. Charlotte is the only one who gains by the end, in that she has lost her meek and submissive demeanor.
Performance history[edit]
Madame de Sade's first performance was on November 14, 1965 at Kinokuniya Hall, Tokyo. It was directed by Takeo Matsuura and produced by the New Literature Theatre. Yatsuko Tannami played Renée; Yoshi Minami played Madam de Montreuil; Anne was played by Hideko Muramatsu; Baronesse de Simiane was played by Natsuko Kahara; Comtesse de Saint-Fond was played by Miki Masaki; and Charlotte was played by Junko Miyauchi.
Ingmar Bergman staged the play at the Royal Dramatic Theatre in 1989 with Stina Ekblad as the main character Renée, Marie Richardson as her sister and Anita Björk as their mother. The director made a TV-version of the setting in 1992.
In 2008 Madame de Sade was performed in France and received glowing praise from critics.
In April 2009 Madame de Sade was performed at the Donmer West End in London and received mixed reviews from critics. Rosamund Pike played Renee; Judi Dench played Madame de Montreuil; and Frances Barber played Comtesse de Saint-Fond.《薩德侯爵夫人》就是他所寫的劇本中優秀作品之一，自從1965年首映開始引起了廣泛的討論，在日本和國外都曾以各種形式演出。2012年蒼井優飾演話劇《薩德侯爵夫人》中勒內一角
References[edit]
- ^ "Judi Dench returns after injury". 24 March 2009.
Abstract
三島在重新尋找古典戲劇傳統的方向中，有實驗性的嘗試，並取得了很大的成就。
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