(单词翻译:单击)
Thought Bubble, Take the stage. This ceremony occurs at sunset in a temple.
思想泡泡，登场！这个仪式于日落时分在一个寺庙里举行，
Some priests attend to a statue of Ares, but most of the people involved are doing something very different: "The majority of them hold clubs made of wood and stand at the temple's entrance while others make vows, more than a thousand men, all holding clubs…And those few left behind with the statue pull a four-wheeled wagon carrying the shrine and the statue which is in the shrine, and the others standing at the front gates do not let them enter."
一些牧师会侍奉阿瑞斯的雕像，但大多数参与的人都做了一些非常不同的事情：“他们中的大多数人手持木棍站在寺庙的入口处，而其他人则求神许愿，一千多人全部手持木棍，剩下的几个人拉着一辆四轮马车，载着神龛和神龛里的神像，站在前门的几个人不让他们进去。
If things seem tense to you… very perceptive! Probably the clubs that tipped you off, right?
如果你觉得事态严重……很有洞察力！给你通风报信的可能是那些拿着木棍的人，对吧？
Herodotus says “Those who vowed to defend the god strike those resisting. As I understand, many even die from their wounds…"
希罗多德说：“那些发誓保卫上帝的人打击了那些反抗的人。”据我所知，很多人都是被打死的……”
The ritual continues all through the night. And, as you might if you were Herodotus, he asks some locals why the poundings?
仪式持续了一整夜，如果你是希罗多德你可能也会这样做。希罗多德问一些当地人：为什么打人？
They tell him: "There lived in this temple Ares' mother, and Ares who was raised elsewhere came—after having become a man, wishing to lay with his mother, and the servants of his mother, for not having seen him before, did not look the other way when he entered, rather they fended him off, and he fetching men from another city handled the servants roughly and went inside to his mother.
他们告诉他：“阿瑞斯的母亲住在这座庙里，阿瑞斯在别处长大成人后来到这里，想和他的母亲一起住，而他母亲的仆人，因为以前没有见过他，所以他进来的时候二话不说直接就把他拦住了，之后他便从别的城弄来一群人把仆人暴打一顿后才进去见到了自己的母亲。
For this reason this fight in behalf of Ares at the festival has become a tradition, they say." Thanks Thoughtbubble.
也因此节日上为阿瑞斯而战成为了一种传统。谢谢思想泡泡。
So - the Ritualists look to stories like this to illustrate their idea that worship becomes ritual. Ritual becomes myth. Myth becomes performance.
仪式主义者通过这样的故事来说明他们的观点，即仪式由拜神演变而来，仪式变成了神话，神话变成了表演。
Someone writes a few songs to go along with the skull-splitting, someone else turns the battle into a dance, let it all simmer for a millennia or two, and voila "West Side Story"!
有人写了几首歌来配合头骨炸裂，有人把战斗变成了一场舞蹈，让它火个一两千年什么的，看，这就是“西区故事(美国剧情片)”
This ritualism theory is useful in some ways and as we'll see in the next episode, it fits very nicely with Greek drama, mostly because the whole theory was pretty much based on Greek drama.
这个仪式主义理论某些时候是有用的，我们会在下一集看到，它非常适合希腊戏剧，主要因为这个理论完全是基于希腊戏剧提出的。
That's a welcome fix to how previous generations of scholars viewed Greek drama—as something very pure and stately, not as something that might have evolved from passion and magic–but this theory causes problems when you try to apply the history of Greek Drama to OTHER dramatic traditions.
前几代学者认为希腊戏剧非常地纯粹和庄严，不可能是激情和魔法演变而来，这个说法很受欢迎，但当你试着将希腊戏剧的历史应用于其他戏剧传统上时，这一理论就会出现问题。
Turns out, Frazer and his colleagues didn't actually know all that much about the so-called "primitive" societies whose theater they wanted to study; the rich and sophisticated cultures the Ritualists encountered throughout Africa and Asia were lost on the Cambridge types…because Euro-centrism.
事实证明，弗雷泽和他的同事实际上并不太了解那些他们想研究其戏剧的所谓的“原始”社会，仪式主义者接触到的整个非洲和亚洲的丰富而复杂的文化在剑桥体系中消失了……因为欧洲中心主义。
So they did a lot of pretty non-scientific guessing, working backward from what they knew about classical theater and hypothesizing about what kind of rituals may have produced it.
所以他们做了很多相当不科学的猜测，从他们对古典戏剧的了解开始，然后推测是什么样的仪式衍生了戏剧。
Frazer also operates with the underlying belief that all societies basically evolve in the same way and that even though, in his view, so-called primitive societies are inherently inferior, given enough time and care they'll get more and more sophisticated until they too can produce "Cats."
弗雷泽还认为，所有的社会体系基本都是以同样的方式演化的，即使在他看来，所谓的原始社会在本质上是低劣的，只要有足够的时间和足够的培育，它们会变得越来越复杂，直到它们也能繁殖出“猫”。
Okay, Frazer didn't talk a lot about Broadway musicals, but maybe you're starting to understand a couple of the major problems with this theory and the assumption that all societies are on a trajectory toward Western civilization, which in this view is getting better and better all the time. (This view, by the way, is known as "positivism").
好吧，弗雷泽没怎么讲过百老汇音乐剧，但或许你已经慢慢开始理解这个理论的几个主要问题以及所有社会都在朝着西方文明发展的假设，按照这个观点，西方文明正变得越来越好(顺便说一下，这种观点被称为“实证主义”)。
Another theory that gets going after Frazer is the idea that people create myths out of a desire to explain and rationalize the world around them.
另一个紧跟弗雷泽的理论是：人们创造神话是因为人们渴望了解周围的世界，想弄明白这个世界。
In ritualism, myths and theater emerge as a response to pre-existing rituals.
在仪式主义的观点里，神话和戏剧是对既存仪式的回应。
But in this other theory, known as functionalism, myths serve an etiological function, a way of explaining how and why things came to be the way they are.
但在另一种理论，即功能主义中，认为神话具有病因学功能，即一种解释事物如何以及为什么会是其本身的方法。
According to one of the leading functionalist theorists, Bronislaw Malinowski, myth "is a statement of primeval reality which lives in the institutions and pursuits of a community.
根据一位重要的功能主义理论家布朗尼斯拉夫·马林诺夫斯基(Bronislaw Malinowski)的观点，神话“是对生活在制度和社会追求中的原始现实的陈述。”
It justifies by precedent the existing order."
它通过先例为现存秩序辩护。”
Unlike the ritualists, the functionalists didn't assume that all societies operate and evolve in the same way or will create the same kinds of myths.
与仪式主义者不同，功能主义者并不认为所有的社会都以同样的方式运作和发展，也不会创造出同样的神话。
Malinowski didn't really discuss theater, but some of his followers did, and they locked on to the idea that many early Greek dramas have their origins in myth and some of those myths are etiological.
马林诺夫斯基并没有真正讨论过戏剧，但他的一些追随者讨论过，他们坚信许多早期的希腊戏剧起源于神话，而其中一些神话是病因学上的。
The "Oresteia," explains the legal system, "Prometheus Bound," explains that liver is tasty. JK.
奥瑞斯泰亚(Oresteia)解释了法律体系；普罗米修斯·邦德解释了肝脏的美味。只是开玩笑。
It explains how we get fire…and technology.
它解释了我们如何得到火……和技术。
So, if myths explain the world, and theatre is based in myth, we can think about theater as a way of explaining the world to ourselves.
所以，如果是神话解释了世界，而戏剧是基于神话的，那么我们可以把戏剧看作是向我们自己解释世界的一种方式。
But such a view has some drawbacks. Take one of the very earliest recorded plays, Aeschylus's "The Persians.
但是这种观点有一些缺陷，以最早有记载的戏剧之一埃斯库罗斯的《波斯人》为例，
That was based in contemporaneous historical events, not in myth.
这是基于同时代的历史事件，而不是神话。
Besides the ritualists and the functionalists, there are a few other theories, too.
除了仪式主义者和功能主义者之外，还有一些其他理论。
One is that theater derives at least in part from the clown figure – who is sort of the secular equivalent of the shaman in early societies.
其中一个理论认为，戏剧至少在某种程度上源于小丑的形象，在早期社会，小丑是萨满的一种世俗形象。
Their job was to make fun of the headman and other establishment figures and practices.
他们的工作是取笑酋长、其他的当权派人物、和一些活动。
We can maybe see this influence in satyr plays, which we'll visit in the next episode.
我们应该会在“羊人剧”中看到这种影响，下一集我们会讲到。
And it's linked, at least a little, to the idea that theater may originate from games and the playful instincts of humankind, a phenomenon called the ludic impulse.
它至少与，戏剧可能起源于娱乐和人类爱玩的天性这一观点有一点联系，这一现象被称为“戏谑精神”
Another related theory, which really gets going with Aristotle, is that human beings have a "mimetic impulse": humans have an in-built desire to imitate, to act, to pretend--and that's how we learn.
另一个真的和亚里士多德有关的理论是，人类有一种“模仿冲动”：人类有一种内在的模仿、行动、假装的欲望——这就是我们学习的方式。
According to Aristotle, this desire eventually gets refined and codified into theater.
根据亚里士多德的观点，这种欲望最终被精化并编入戏剧。
To sum up: Ritual, myth, clowning, playing games, playing pretend.
总结：仪式，神话，小丑，娱乐，假装。
Somehow out of all of this or maybe out of none of it we get "Hamilton."
不管怎么说，从这一切当中或者没有从这一切中，我们都会得到“汉密尔顿(音乐剧)”
And now let's turn to our last question for today: Why should we care? In other words, why does theater matter?
现在我们来讨论今天的最后一个问题：我们为什么要关心这个问题？换句话说，戏剧为什么重要？
Well, that's a question we'll be coming back to throughout the series as we see how and why people make theatre, and the impact it has throughout history.
好吧，这个问题我们会在整个系列中讨论，当我们探讨到人们如何创造戏剧、为何创造戏剧、以及戏剧在历史上的影响时会讨论。
But let me leave you with one idea borrowed from Percy from Percy Bysshe Shelley: "The highest moral purpose aimed at in the highest species of the drama, is the teaching the human heart, through its sympathies and antipathies, the knowledge of itself."
但是，我来借用珀西·比希·雪莱的一句话来结束本集课程：“最高等级的戏剧中最高水平的道德目的，就是教导人类内心，通过它所展现的同情和厌恶使人类了解自己。”
Thanks for watching and…curtain!
谢谢观看，还有……谢幕！
