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Théâtrophone with PROUST
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le14nov
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■♀醫楊曉萍

Théâtrophone with PROUST



Soon after this he found a new way to relieve the monotony of spending so much time in bed. Today television is a constant source of distraction to bedridden invalids; the closest approximation available in 1911 was the Théâtrophone. By paying the telephone company a monthly subscription of sixty francs, you could listen in to performances at the Opéra, the Opéra-Comique, the Comédie Francaise, the Concerts Colonne, the Variétés, the Nouveantés, the Châtelet or the Scala.
(p.343, PROUST / Ronald Hayman)

1994年在誠品書店買下英國作家 Ronald Hayman 所寫的一本傳記《PROUST》,遲至去年底開始認真重頭讀起所幸現在我已經進入到六分之五(V 1910-14 Reclusion)這個章節。

1911
年的普魯斯特已經深居簡出,不再耽溺於名媛貴婦的社交場所,而在閉門努力創作的當下,他其實並沒有與世隔絕,就在這一年年初他裝設了一個設備叫做” théâtrophone” ,這是1890年的巴黎引進的一種新玩意兒。

http://en.wikipedia.org/wiki/Th%C3%A9%C3%A2trophone
Théâtrophone ("the theatre phone") was a telephonic distribution system that allowed the subscribers to listen to opera and theatre performances over the telephone lines. The théâtrophone evolved from a Clément Ader invention, which was first demonstrated in 1881, in Paris. Subsequently, in 1890, the invention was commercialized by Compagnie du Théâtrophone, which continued to operate till 1932.

The famous French literary figure, Marcel Proust, was a keen follower of théâtrophone, as evident by his correspondence. He had subscribed to the service in 1911



普魯斯特難掩興奮地寫信給他的友人 Georges de Lauris,說道:
I no longer sleep, no longer eat, no longer work, there are still many other things I no longer do, but those have long been missing from my life.

透過這個機器設備,雖然音質不好、對耳朵不甚舒服,普魯斯特卻陸續欣賞到華格納、德布西的作品,尤其是後者的《Pelléas et Mélisande》讓他萬分著迷

On evenings when another opera was being staged, he rehearsed it mentally, often singing the part of Pelléas aloud.

MÉLISANDE : C’est le navire qui m’a menée ici. Il a de grandes voiles… Je le reconnais à ses voiles…
PELLÉAS : Il aura mauvaise mer cette nuit…
MÉLISANDE : Pourquoi s’en va-t-il ?… On ne le voit presque plus… Il fera peut-être naufrage…
PELLÉAS : La nuit tombe très vite…

夜幕如此迅速落下在這個夜晚我彷彿已經聽見普魯斯特低聲地吟唱
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Proust 改編自Pelléas et Mélisande的改編文...算是冷笑話吧
    回應給: le14nov(le14nov) 推薦1


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他朋友應該很恨自己的頭

變成歌劇中的指頭

找戒指的劇情, 變成找帽子

Pelléas et Mélisande 1

http://www.yorktaylors.free-online.co.uk/pelleas.htm    ÉCHO

   Our friend Marcel Proust, who readers of Le Figaro will know from his pastiches, has a deep admiration for Debussy's Pelléas et Mélisande. The other day he went out to meet one of his friends who could not find his hat. Marcel Proust improvised the following duet. The reader may imagine behind the questions the urgent, rapid declamation, and behind the answers the grave melancholy, the mysterious cantilena of Debussy, and he will appreciate the extreme accuracy of this little pastiche, not of Maeterlinck's play but of Debussy's libretto (there is a subtle difference).

MARKEL: It was wrong of you to lose that hat! You will never find it again!
PELLÉAS: Why will I never find it again?
MARKEL: One never finds anything again... here... It is lost for ever.
PELLÉAS: If we carry on we could lay our hands on another one - that is similar!
MARKEL: There is no other that is similar!
PELLÉAS: What was it like?
MARKEL: very softly:
      It was a poor little hat
      The kind that everyone wears!
One could not have said where it came from... it seemed to come from the end of the world... !
Now we must search for it no longer, because we will not find it again.
PELLÉAS: I feel that my head is beginning to feel cold for ever. It is very cold outside. It's winter! If the sun has not yet set. Why have they left the window open. The atmosphere in there was stifling and poisonous, I thought several times that I was going to feel ill. And now all the air of all the earth...
MARKEL: You have the grave and tearful face, Pelléas, of those who have caught cold for a long time. Let's leave. We will never find it. Someone who is not here would have carried it off and God alone knows where it is now. It is too late. All the other hats are gone. We will not find another one now. It is a terrible thing, Pelléas.
But it is not our fault.
PELLÉAS: What is that noise?
MARKEL: It's the carriages leaving.
PELLÉAS: Why are they leaving?
MARKEL: We must have frightened them. They must have known that we were going very far away, and they have left. They will never come back.

   In this way Marcel Proust diverted his melancholy, before returning to work at a considerable labour which we will not see before next year.

 

1. Pelléas et Mélisande, opera by Debussy based on a play by Maeterlinck. Part of this pastiche was quoted from memory in a letter to Reynaldo Hahn, March 1911. See Selected Letters vol 3 p.33.

From Contre Sainte-Beuve, Pléiade, 1971.

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