（雙語(yǔ)新聞）《傲骨賢妻》劇終 一個(gè)美劇時(shí)代的完結(jié)

青島希尼爾翻譯公司（www.uxiaohua.cn）整理發(fā)布2016-05-24

希尼爾翻譯公司（www.uxiaohua.cn）2016年5月24日了解到：Whether you credit Mad Men (2007-2015) or Breaking Bad (2008-2013), TV’s recent renaissance began with a literal interpretation of moral relativism: Man is the measure of all things.

無(wú)論你是否對(duì)《廣告狂人》（2007-2015）或《絕命毒師》（2008-2013）贊譽(yù)有加，（你都不能否認(rèn)）近期電視熒屏的復(fù)興始于對(duì)道德相對(duì)論的文學(xué)解讀：男性是衡量萬(wàn)物的唯一準(zhǔn)則。

And then there was The Good Wife, a TV series revolving around a woman.

這時(shí)一部圍繞女人的電視劇——《傲骨賢妻》橫空出世。

Created by Michelle and Robert King in 2009, The Good Wife centers on betrayed political spouse Alicia Florrick, played by Julianna Margulies.

《傲骨賢妻》由米歇爾和羅伯特?金夫婦于2009年打造，該劇圍繞著遭遇政客丈夫背叛的妻子艾麗西亞?福洛瑞克（朱麗安娜?瑪格麗絲飾演）展開(kāi)。

It came to an end on May 8, and it may be the show with the largest and most lasting influence, having produced a new kind of heroine, one no longer hamstrung by the traditional expectations of easy emotion or instant “l(fā)ikability”.

5月8日，《傲骨賢妻》完結(jié)，這部劇最大和最深遠(yuǎn)的影響或許就在于創(chuàng)造了一種新式女主人公，她不再被感情簡(jiǎn)單的和一眼就能“招人喜歡”的傳統(tǒng)期望拖累。

Shows like House of Cards (2013-), How to Get Away With Murder (2013-), Jessica Jones (2015-) and even Penny Dreadful (2014-) owe as much, if not more, to The Good Wife than any of their cable peers or even the expanding digital universe. Their female leads continue to stretch boundaries that Alicia Florrick refused to acknowledge.

《傲骨賢妻》對(duì)很多劇集的影響遠(yuǎn)超其他同期劇，像《紙牌屋》（2013-）、《逍遙法外》（2013-）、《杰西卡?瓊斯》（2015-）、甚至《低俗怪談》（2014-），它們的流行也有《傲骨賢妻》的功勞。這些劇集中女性主人公也像艾麗西亞?福洛瑞克一樣突破傳統(tǒng)。

With her careful smile and watchful demeanor, Alicia kept her own counsel and refused to be categorized.

艾麗西亞謹(jǐn)慎的微笑和警惕的舉止讓人猜不透她的心思，她獨(dú)樹(shù)一幟，拒絕被劃歸為某一類人。

Her enigmatic mien was even more surprising given the familiarity of the character. The Good Wife was a fictionalized look at what happens to a political wife after she’s forced to “assume the position”, between podium and flag, as her erring spouse confesses his sins to the cameras.

在熟悉了這個(gè)人物之后，我們會(huì)被她的高深莫測(cè)驚呆?！栋凉琴t妻》虛構(gòu)了一個(gè)政客的妻子在丈夫出軌之后繼續(xù)扮演好一個(gè)妻子的角色的故事，當(dāng)她犯了錯(cuò)的丈夫在鏡頭前懺悔自己的惡行時(shí)，她被迫站在演講臺(tái)和國(guó)旗之間（接受這種屈辱）。

But miraculously, neither Margulies nor the Kings followed the usual script. Alicia wasn’t spunky, plucky or feisty, and she wasn’t visibly wounded, emotionally damaged, fatally self-effacing or popping Valium in the bathroom.

不過(guò)，出乎意料的是瑪格麗絲和金氏夫婦都沒(méi)有按常規(guī)劇本的套路走。艾麗西亞的表現(xiàn)既不怒氣沖沖也不勇敢、好強(qiáng)，你甚至在她身上看不到傷痕、情感創(chuàng)傷、謙卑，她更不會(huì)在浴室里放安眠藥。

With a restraint that bordered on the heroic yet never played as such, Margulies created a whole new type of character. Neither devoid of emotion nor hostage to it, Alicia was a woman who had learned to control what she could: this moment of her life. Then the next moment of her life. And so on.

受限于從未有人扮演過(guò)類似的女主人公，瑪格麗絲只能自己創(chuàng)造了一個(gè)全新的角色。艾麗西亞并非全無(wú)感情，但又不受制于感情，她懂得如何控制自己能夠掌控的一切：自己當(dāng)下的生活。之后再考慮以后的生活等。

She stood alone for many years, both as a character and a presence. Homeland’s (2011-) Carrie Mathison appeared, powerful but, with her grimacing tears and brilliant madness, Alicia’s polar opposite.

多年來(lái)她孤獨(dú)地獨(dú)自承擔(dān)著這個(gè)現(xiàn)象級(jí)的角色。然后《國(guó)土安全》（2011-）的女主凱莉?馬蒂松出現(xiàn)了，不過(guò)伴隨著她強(qiáng)悍外表的是痛苦的眼淚和絕頂?shù)寞偪?，而艾麗西亞恰恰相反?span id="cbtowuex7b5" class="style52">

Claire Underwood on House of Cards (2013-) shared Alicia’s use of silence and noncommittal stares, but Claire came from a place of near comic-book ruthlessness. She was no everywoman facing the rubble of betrayal, the demands of work and family, the treachery of office politics.

《紙牌屋》（2013-）中的克萊爾?安德伍德和艾麗西亞一樣擅用沉默和態(tài)度曖昧的眼神，但克萊爾卻有著近似漫畫書中人物般的冷酷無(wú)情。面對(duì)愛(ài)人出軌的狼藉、工作和家庭的重壓、辦公室政治的背叛時(shí)，她的表現(xiàn)根本不像普通女人。

Though the Kings chose to end The Good Wife, and end where it began– with Alicia’s husband facing jail and she once again asked to define the terms of the show’s title, it really doesn’t matter. The show has already left its mark: We will see Alicia’s deceptively tranquil gaze and enigmatic power reflected in the faces of increasingly diverse female characters for years to come.

盡管金氏夫婦選擇用開(kāi)篇一樣的情節(jié)完結(jié)《傲骨賢妻》——艾麗西亞的丈夫面臨牢獄之災(zāi)，而她又一次被要求當(dāng)一個(gè)和劇名一樣的“傲骨賢妻”，但這已無(wú)所謂。劇集早已(在整個(gè)行業(yè))留下了自己的印記：艾麗西亞帶有迷惑性的波瀾不驚的眼神和高深莫測(cè)的能量，我們將在未來(lái)在越來(lái)越多的各類女性角色身上看到。來(lái)源:可可英語(yǔ)