Parade's End
Sir Tom Stoppard's adaptation of Ford Maddox Ford's series of novels for BBC Two
《行進的目的》
湯姆·斯托帕德爵士為BBC2所作的福特·馬多克斯·福特系列小說的改編
Interview with Benedict Cumberbatch
本尼迪克特·康伯巴奇的採訪
Date: 01.08.2012
Last updated: 01.08.2012 at 13.56
Category: BBC Two; Drama
日期：2012年8月1日
最後更新：2012年8月1日13點56分
類別：BBC2；劇集
An interview with Benedict Cumberbatch, who plays Christopher Tietjens, in Sir Tom Stoppard's adaptation of Parade's End for BBC Two.
一則對在Tom Stoppard 爵士為BBC2改編的《行進的目的》中飾演Christopher Tietjens一角的BC進行的採訪
In Parade's End, Benedict Cumberbatch takes on the role of Christopher Tietjens; a blockheaded man, a man born out of his time but ultimately a hero.
在《行進的目的》中，BC出演Christopher Tietjens，一個沉悶的男人。他生不逢時，但最終卻成為了一名英雄。
Says Benedict: "Parade's End is an elegy to the death throes of the Edwardian upper classes seen through the paradigm of a love triangle between Christopher, Sylvia Satterthwaite, his wife, and a young suffragette, Valentine Wannop. It takes place over a 10 year span before, during and after the First World War. The action moves from Groby in Yorkshire, the Tietjens family seat, to the corridors of power in Whitehall, the drawing rooms of high society and then from Rye to Germany and the trenches of Belgium. It is about a rapidly changing world being overtaken by politics and a war that in its appalling leadership sent eight million to their deaths and precipitated the end of Empire.
BC說：“《行進的目的》是一首獻給愛德華七世時代上層階級臨死掙扎的痛楚的哀歌，這種痛楚可以自Christopher、他的妻子Sylvia Satterthwaite和年輕的女政客Valentine Wannop之間的三角愛情關係中被看破。故事跨越一戰前、一戰中和一戰後長達十多年的時光。故事地點從Tietjens家族所在的約克郡格魯比村（英國中部小村莊，如今已是萊斯特市市區的一部分）到作為上流社會會客室的白廳權力走廊，再從拉伊鎮（英國南部海邊小鎮）到德國乃至比利時的戰壕。這是一個風起雲湧迅猛變化的時代，政治主宰一切，可怕的戰爭將八百萬個生命交付於死神並迅速促成了帝國的終結。”
"Through the four books of Ford Maddox Ford's masterpiece there is a shift from romanticism to modernism. The novel is full of daring departures from linear timelines, streams of consciousness, sudden changes of points of view and other trademarks of the modernist novel. Despite some wonderful set pieces and dialogue it's a daunting task for a dramatist. Thankfully, Sir Tom Stoppard is our greatest living dramatist and as such has performed the miraculous task of preserving the best of Ford whilst folding in his own unmistakable flare and with extraordinary ingenuity has made a fluid linear narrative out of Ford's verbose prose style. It's a wonderful marriage of style, wit, heart and intelligence between the two writers and it was a privilege to try to do justice to the character of Christopher, aided by a fine cast and lead by the brilliant director Susanna White.
“福特·馬多克斯·福特的四部曲傑作有著從浪漫主義向現代主義的轉移。小說充滿了對線性時間序列的大膽脫離、意識流、觀點的突然轉變以及現代派小說的其它標誌。儘管（小說）有著一些精彩的場景和對話，但對於一個劇作家而言，這是一份令人畏懼的工作。慶倖的是，湯姆·斯托帕德爵士是我們這個時代最偉大的劇作家。他一方面完成了保持福特精華原汁原味的非凡工作，另一方面又展現了自己特有的耀眼光芒，以卓絕的獨創性從Ford冗長的散文風格中完成了流暢而線性的敘事。這是兩位作家之間風格、機智、情感和學識的美妙結合。有優秀的演員助陣，有才華橫溢的導演蘇珊娜·懷特執導，（在這樣的情況下）嘗試公正地詮釋Christopher這個角色是我的榮幸。”
"I have such a huge affection for Christopher, more so than almost any other character I've ever played. I sympathise with his care, sense of duty and virtue, his intelligence in the face of hypocritical, self serving mediocrity, his appreciation of quality and his love for his country. He mourns a way of life that is being eroded by money, schemers and politicians, ineffectual military boobies and the carelessness of man's industrialised progress. He is a noble if accidental hero fighting for relevance, a man out of time who is struggling with political and economic injustice. That's what makes him relevant in what could be dismissed as 'merely another Toff in a period drama'.
“我是如此喜歡Christopher這個角色，甚至超過了幾乎所有我飾演過的其它角色。我體會到他的小心翼翼，他的責任感和道德感，他面對偽善而自私的中庸之輩時的智慧，他對品質的肯定和他對祖國之愛。他哀痛被金錢、陰謀家和政客、毫無建樹的戰爭傻瓜和人類工業化進程的草率所腐蝕掉的生活。他是一個高貴又有些意外成分的英雄，只為爭取適應社會。一個與那個時代格格不入的人，抗爭著政治和經濟的不公正。這使他得以在本來被作為‘僅僅是一部歷史劇裡的另一個花花公子’而摒棄掉的地方顯得作用重大。”
"The extraordinary relationship he has with his damaged, bored, dangerously privileged wife, Sylvia, is a very familiar tale of two people who intentionally or otherwise destroy each other by loving each other in the wrong way; he with a kindness and propriety which infuriates and drives her to the opposite extreme. The sexual chemistry between them and the deep mutual respect and love leads them both to hope for the ability to change each other and it is this that results in the destruction of their marriage. Christopher then meets Valentine, an extraordinary young kindred spirit and intellect who provokes him into 'gathering his thoughts' and who fells him like a lightning bolt with her boyish beauty and pluck. He is unable to do anything about his attraction to her because of his adherence to the principle of what he calls 'Parade' - the principle he expects of a man in a family of standing. But his propriety backfires, as does his attempt to right any wrongs and in combination with the enemies he makes (some of whom are Sylvia's lovers) results in him facing the reality that he is living by 'an outmoded code of conduct'. The tragic results of which make him a fool. He's bankrupted, his disgraced name attached to rumours of affairs and illegitimate children with Valentine bring about his father's death. He's without the bed or company of Sylvia and facing certain death on the western front. His decision to fight in the trenches comes from a need to will his bulk into standing up honestly in front of the guns rather than massaging the books and figures to justify all the stupidities of war that his hypocritical yes men masters at Whitehall wish him to do. He's a superior brain but an inferior soldier and having already been severely concussed on his first outing by a shell he begins to lose his intellect. He really is a tragic figure but he does find redemption in becoming an accidental hero at the front and taking Valentine as his lover if not his wife and finally severing ties with Sylvia by letting her keep Groby and Michael, her son. The 'parade' he lives his life by ends at the same time as the parade to disband the surviving volunteers ends the First World War.
“他和他那受感情受創的到傷害的、百無聊賴的、驕縱過度的妻子Sylvia之間那有種的不尋常的關係，就像是個令人熟悉的故事，是那個大家都聽說過的故事，雙方有意而為，或者說是無意的因為用錯誤的方式去愛而毀滅了對方；他的善心和禮節激怒了她，驅使她到了另一極端。他們之間情欲的吸引和深藏的相敬相愛引得他們去期望能夠改變對方，而就是這點導致了他們的婚姻的破滅。接著Christopher遇見了Valentine，一個和他一樣他家族裡的，非凡氣質才智都很非凡的年輕人，她驅使他‘理清頭緒’，以她那少年般的美和勇氣俘獲了他。他被深深的吸引但是卻不能更進一步，因為他忠於自己的原則，他把它稱作‘佇列’-他在一家之主身上所期望的那種原則。但是當他嘗試糾正錯誤，還因此到處樹敵時（其中一些是Sylvia的情人），他的彬彬有禮卻引來了惡果。他不得不面對一個現實，他的行為準則‘過時了’。這個悲劇使他成了別人眼中的傻子。他破了產，同Valentine的緋聞和私生子的流言讓他名譽掃地，他父親也因此過世了。他失去了Sylvia的陪伴，連床都沒了。他在西部前線直面死亡。他去戰壕中戰鬥的決定是出於他寧可在槍炮面前樹立他的誠信，而不願像他那些掌控白廳的虛偽的好好先生們希望的那樣，偽造記錄和資料去替戰爭的愚蠢辯護。他智力超群，卻是一個低級士兵，而且他第一次出戰就被一枚炮彈碎片擊中導致嚴重的腦震盪，智力受損。他真的是一個悲劇性的人物，但是他也的確因為在前線偶然地成為了一個英雄，由此得到了補償。雖然不能成為他的妻子，Valentine終究也跟他在一起了，而且最終他也跟Sylvia兩不相欠了，代價是讓她撫養Groby和她的兒子，Michael。他賴以生存的‘佇列’結束了，同時第一次世界大戰隨著軍隊解散倖存志願者也結束了。
Benedict continues: "On a domestic drama level it's cosmetically about a failed relationship; two people who love each other but want utterly different things from each other and end up destroying each other in the process. Christopher is killing Sylvia through kindness and tolerance, she is killing him through extravagance, infidelity and bad behaviour. What makes him heroic is the idea that he stands for what he believes in with utter transparency and to hell with the consequences of living by what he believes.
BC繼續說道：“從家庭劇的層面看，它表面上講述的是一段失敗的感情。兩個互相深愛的人卻想從彼此身上得到完全不同的東西，最終以摧毀對方收場。Christopher用善良和忍耐謀殺著Sylvia。Sylvia則用揮霍無度、不忠和行為不端折磨著他。讓他成為英雄的是他的想法：他用全然通透之心為信仰而戰，並讓由按照信仰生活所產生的後果通通都見鬼去。”
"And yet it's such an ever changing world that he ends up being foolish in a lot of situations, reduced to being a comic butt of circumstance. He is buffeted in every single direction by a changing world, which he sometimes stubbornly refuses to adapt to but sometimes just can't understand. He doesn't want to understand because it's so divorced from the pragmatism of who he is and what he's about, which is honour, serving above and below, being loyal to the past and doing your duty."
“而在這個日新月異的世界中，他在很多情況下顯得愚鈍，淪為茶餘飯後的笑柄。他遭受了這個日新月異的世界來自四面八方的衝擊，而他有時頑固地不肯變通，但有時僅僅是不能理解。他不想去理解，因為這與他腳踏實地的本性和主張大相徑庭，那就是榮譽，左右逢源，忠於過去，恪盡職守。”
And Benedict is confident the drama has huge resonance for a modern audience:
而且BC對於這部劇在現代觀眾中有極大反響很有信心。
"We're living through a time where we are fighting wars fostered by politics, admittedly not on the same scale as the First World War, but with equally tragic realities for our soldiers and their families. We are living in a world where financial and political bonds in Europe are just falling apart, we're living in time of political hypocrisy and there aren't that many really good people and Christopher is just that: a good man.
“我們正經受著這樣一個時代，我們正在打一場由政治造就的戰爭，應當承認它沒有一戰那麼大的規模，但是對於我們的士兵和他們的家庭來說有著同樣殘酷的現實。我們生活在一個金融和政治與歐洲襟帶相連的正在分崩離析的世界，我們生活在政治虛偽的時代，在這兒沒有那麼多真正的好人，而Christopher就是那樣的：一個好人。”
"His care for his country, his past his family, Michael, Sylvia, Macmaster, Groby, the land and the great cedar tree, horses and his men on the front line all lead me to love this fat, baggy bolster of a blockhead with all my heart. It's what distinguishes him from being 'yet another toff' to being quietly but truly heroic. His virtue and diligence but also the fights and principles he stands for are in many ways modern and thoroughly relevant to today, which again salvage him and the drama from being a nostalgia piece. His concern for the environment, the structure of a family, the corrupting elements of money and politics and our move away from a sustainable society into a consumer society of short term interest are all contemporary issues. Maybe they have been since the industrial revolution but we are a century on since his time and we are still fighting wars, raping the planet, living fractured family lives and living with the consequences ever more potently.
“他對祖國的關懷，他的過去，他的家庭，Michael，Sylvia，Macmaster, Groby,那片土地和高大的雪松，馬匹和他在前線的手下，都引領著我發自內心地愛上這個肥胖臃腫的榆木腦袋。這就是他有別於‘又一個花花公子’的地方，他低調卻是真正的英雄。他的美德和勤勉，鬥志以及他所代表的原則從很多方面來說是現代化的，也與今時今日休戚相關，這又把他和這部劇集從變成一部懷舊之作中挽救出來。他對環境的憂慮，家庭的構造，金錢和政治中的腐敗因素，還有我們出於短期利益而從可持續發展的社會進入到了一個消費社會，這些都是當下的問題。或許自工業**以來它們就存在，但是我們是他的時代之後的又一個世紀，而我們依然在打仗，掠奪這個星球，四分五裂的家庭依然存在，與更加嚴峻的後果共存。”
"By accident this is the second project I did last his year which has a grand metaphor and is really saying we are now going to reap what we have sown. Frankenstein was all about the idea that through electricity and the destruction of night, man creating light and darkness, we took on god like powers and then abused them like gods and we are only men. That a story about man making a man in his own image. The inversion of natural order. And whether you have belief in religion or not it's more about the fact that we've taken our resources well beyond their capability to sustain the development that our excursions into technology have needed. I think both of them are warnings. If Parade's End is more in line with man destroying man in all out war.
“這碰巧是第二項我做的持續了一整年的事，這有了當中有一種宏大的隱喻，分明在說我們是時候去收穫播種下的果實了。《弗蘭克斯坦》圍繞著電光和夜晚的毀滅這一概念，人類創造了光明和黑暗，我們從上帝那接受能量，然後像諸神一樣肆意揮霍，而我們只不過是人類。那是一個關於人類創造了一個他臆想中的人的故事。對於自然法則的違逆。不論你是否有宗教信仰，這更關乎於一個事實，那就是我們攫取了遠超探索科技所需的資源，超過了它們保持發展的能力。我覺得這兩部片子都是警示。似乎《行進的目的》更符合人類在戰爭中毀滅人類這個主題。”
Benedict was deeply affected by the images of war on the frontline, both in the novel and during filming in Belgium.
無論是在小說中還是在比利時拍攝這部作品時，BC都深深地受到了戰爭前線景象的影響。
"We visited Ypres and that whole part of Western Front and I thought I'm seeing something universal. I can now imagine seeing, as a soldier in trenches, the vastness of the sky, because the land is so flat so unvaried. Then when I got into the trench that we created for Parade's End with one of those tin hats on, I realised you're standing basically in a grave, a six foot hole, you're that near to death anyway. Everything above you is exploding and anything over the edge is death. With the tin trench helmet on you hardly see any sky. It becomes as thin as a letterbox and what sky there is just exploding. It is quite extraordinary. Just the hardship of it all, the clutter of being a soldier; big woollen coats that kept you warm if it was dry and cold but boil you in any sun and just weighed you down if it was wet and cold. The practicality of just moving around was hard enough and you're supposed to be a fighting machine, keep charge of a company in a rat run. Let alone the daily routine of keeping order, making sure men's kit is clean, maintaining sanitation and a working order to people's lives in that ridiculous landscape but to actually have to fight… I can't tell you how it brought that home. Just getting up the side of the trenches is hard but going up a ladder knowing you are walking into gunfire goes against every instinct of what it is to be a human being or feel alive. I think they must have had a lot of rum."
“我們參觀了伊普爾（注：比利時的一所城市，一戰時這裡發生了著名的伊普爾戰役）以及整條西線（注：西線從荷蘭，比利時，盧森堡一直延伸到法國東南部邊境線，主要戰場是在比利時和法國東北部），而我覺得我看見了其中的共同點。我現在依然能夠想像自己是一個身處戰壕的士兵，能夠看見無垠的天空，因為土地是如此的單調沒有層次。之後當我帶著鋼盔走入那個《行進的目的》劇組所特別建造的戰壕時，我意識到，實際上你是站在一個墳墓裡，在一個六英尺高的洞裡，你是如此的靠近死亡。所有在你頭頂上的事物都在爆炸，而任何在戰壕邊界外的事物屬於死神。帶著鋼盔的時候你幾乎看不見天空，它變得像信箱的口子一樣窄小，而天空的所在之處正在爆炸。這實在是太不尋常了。僅僅是當一個士兵就有一大堆破事；厚實的羊毛外套能在乾燥寒冷的天氣裡為你保暖，但是只要有點陽光你就熱的好像要沸騰起來，或者在又濕又冷的天氣裡拖垮你。要動起來就已經夠難的了，而你還要成為一個戰鬥機器，要帶領一群人走小路繞道而行。還沒算上白天維持秩序的例行公事，保證大家的裝備是乾淨的，保持衛生，還要在那種荒謬的環境下，讓大家的生活正常運轉。並且還當真需要打仗……我沒法告訴你要如何把這些想明白。僅僅是從戰壕站起來就很困難，而且明知道要面對槍林彈雨，還得爬上梯子，這違背了人類的求生本能。我想他們一定喝了很多酒來壯膽。
And one series of events rippled with the emotional weight of the experience.
而一系列的事件又使這段經歷中的情感因素泛起漣漪
"There was one ghostly incident I encountered. I felt like I was carrying an awful lot of stuff around when I was in Flanders and I think that was partly due to tapping into it and trying to understand the fear, the loss and the horror of war, the sheer power of the disruption.
“我遇到了一件很靈異的事情。當我在佛蘭德的時候，我覺得像是背負著許多東西。我覺得有部分原因是由於深入了這個角色並且嘗試理解那種害怕，失落以及對戰爭的恐懼，理解破壞所擁有的絕然的力量。
"I was next to someone, they woke up and asked me a question and when I answered they screamed and said they had seen me sat up on edge of my bed but when I spoke they saw I was lying down next to them. They looked back and the figure turned round and half its face was missing and it was in a First World War uniform. It was a clear image then dissolved into light. I believe in energy and carrying things around but I'm not sure.
“當時我在另一個人的旁邊，他們醒來問了我一個問題，而當我回答時，他們開始尖叫。他們說看見我坐在床邊，但當我開始講話時，他們看見我是躺在他們身邊的。當他們再抬頭看時，那個影子轉過身來，一半的面容消失不見，而另一半卻穿著一戰的軍裝。這是個很清楚的畫面然後就在燈光下消散了。我相信能量能夠攜帶事物，但是我對此並不肯定。
"Then two days later, back in Belgium filming a scene where someone was being exploded over the top of me, bounced off me and fell to the ground – a German soldier with half his face missing. An odd correlation."
“然後在兩天之後，回到比利時拍攝一場有人在我頭上被炸飛的戲，他彈到了我身上然後就摔到了地上——一個少了半邊面容的德國士兵。一個莫名的巧合。”
