英文電影茶花女

⑴ 茶花女英文版的創作背景

《茶花女》是法國作家亞歷山大·小仲馬 的著作，小仲馬是大仲馬與女裁縫卡特琳·拉貝（Marie-Catherine Labay）所生下的私生子。大仲馬一生風流，成名後混跡於上流社會，將他們母子拋棄掉，直到小仲馬七歲時，大仲馬終於良心發現，從法律上承認了這個兒子。雖然大仲馬負擔了拉貝的生活費用，但是他始終沒有承認拉貝是他的妻子，並且他也沒有盡到一個父親的責任，在當時貝拉希望可以由自己撫養小仲馬長大，可是卻被大仲馬以法律手段強行的帶到自己身邊，當時的大仲馬正和貝爾·克萊爾塞梅爾打得火熱，於是又把七歲的小仲馬送進了寄宿學校。
1842年小仲馬遇見瑪麗·杜普萊西，即後來《茶花女》中瑪格麗特的原型，對她一見鍾情，但是他對瑪麗不肯退出上流聲妓事業表示憤怒，寫了絕交書。
1847年瑪麗病逝於巴黎。小仲馬悲痛萬分，將這段故事寫成小說《茶花女》，使他一舉成名。
小仲馬的劇作是法國戲劇由浪漫主義向現實主義過渡時期的產物，被改變為話劇的《茶花女》也被視為法國現實主義戲劇開端的標志。他的劇作不以情節的曲折離奇取勝，而以真切自然的情理感人，結構謹嚴，語言流暢，富有抒情意味。

⑵ 《茶花女》主要內容概括，要英文的。

分類: 文化/藝術 >> 文學
解析:

La Dame aux camélias

[Francesco Maria Piave's libretto for La traviata is based upon the novel La Dame aux camélias by Alexandre Dumas, fils. The following article traces the creation of that work. - NMR]

Alexandre Dumas, fils (son), born in Paris in 1824, is considered one of the foremost French dramatists of the nieenth century. He was the illegitimate son of Alexandre Dumas, pére (father), the author of such novels as The Count of Monte Cristo and The Three Musketeers.

Dumas was raised by his seamstress mother, Catherine Labay, until his father legally recognized him and assumed responsibility for his care. He attended college but left before receiving a degree. His illegitimacy caused him much unhappiness, both in private school and in college where he had few friends. At age seventeen, he moved in with his father, soon adopted his extravagant lifestyle and fell into debt. At the theatre one evening he first saw Marie Duplessis, already famous in the demimonde for her beauty and ability to get men to spend money on her. In an episode reflected in the opera, he was at her home one day when a coughing episode resulted in her spitting up blood. He urged her to change her way of life, but she replied, "I should die. This life of excitement is what keeps me alive". He offered the kind of life she would need to get well, and she finally agreed upon the condition. "You are not to spy on me, you are not to ask questions; I shall live exactly as I please without giving you any account of what I do." Thus began liaison, as a result of which Dumas was soon deeply in debt. Finally, he decided he must break with her and sent her the following letter.

My dear Marie, I am neither rich enough to love you as I should like, nor poor enough to be loved by you as you would like. There is nothing for us to do but fet — you a name which must mean very little to you; I a happiness which is no longer possible for me. Needless to tell you how miserable I am, since you know how I love you. So, this is goodbye. You are too tenderhearted not to understand the reason for this letter, too intelligent not to five me. A thousand souvenirs, — A.D.

He was on a trip to Spain and North Africa when he learned that she was gravely ill. He wrote to her, telling her he would return and ask for her fiveness. But he waited too long. Duplessis died of tuberculosis in 1846. Her tragic death, along with bitterness over his illegitimacy, inspire Dumas to write the novel La Dame aux camélias (The Lady of the Camellias), portions of which are based on the Duplessis-Dumas affair. The name of the hero, Armand Duval, is a thin disguise for the author. Actually, Dumas tells the story in the third person as it was related to him by Armand Duval.

Dumas ends his novel with great admiration for his heroine: "I do not draw from this story the conclusion that all women like Marguerite are capable of doing all that she did...far from it; but I have discovered that one of them experienced a serious love in the course of her life, that she suffered for it, and that she died of it". In life, Dumas had tried to save her; in the novel he tried to redeem her memory by making her a much less self-centered and more sympathetic character. This is the Marie best known today in her manifestations as Violetta, Camille and Marguerite.

Dumas's greatest triumph came in 1852 with the proction of the stage adaptation of the play based on this novel. It faithfully portrayed the life of a Parisian courtesan and brought reali *** to the French stage. His father was at first skeptical of the proposal to convert the novel to a play but so moved by the result that he agreed to proce it. Censors feared audiences would recognize characters as admirers of Duplessis and create a scandal, delaying the opening for four years. A powerful member of the nobility, the Duc de Morny, half brother of Napoleón III, supported Dumas, and the play was a success. It enabled Duma to pay off his debts, many incurred with Marie. Henry James later observed, "Some tender young men and some coughing young women have only to speak the lines to give it a great place among the love stories of the world". Giuseppe Verdi apparently heartily agreed because he based his popular opera La traviata on Dumas's work.

The success of La traviata did not quiet the critics of Dumas's La Dame aux camélias. Some considered the story poor and clumsy and said it cast a very thin veil over the most immoral acts. The same critics said Marguerite Gautier (the name given to the Duplessis in the play) is totally corrupt and in real life would not have given up her lover until he had no money left to support her. One wrote, "We are bound to protest against the false halo which he has shed round Marquerite to render her attractive to the undiscriminating reader".

The critics and essayists have continued to evaluate Dumas's work. In a 1972 essay, Roger Clark wrote, "It is a society from which there can be no escape, in which the penalty for non-conformity is death". In 1874, Dumas was elected to the illustrious L'Academie Française, an act which also prompted severe critici *** . It was said, "In edies inherently vicious he pauses to preach virtue but with language shocking even to vice, yet he has been elected a member of the French Academy, constituted to be a tribunal of taste".

Clayton Hamilton attempted to explain why the play has held the stage for over a century. He believes that it is because every celebrated actress desires to play the role of Marguerite Gautier.

No woman has ever failed as Camille (the name later given the heroine in this country for no explicable reason). It is kept alive because it contains a very easy and celebrated part that every ambitious actress wants to play. La Dame aux camélias is brought back decade after decade, not by reason of the permanent importance of the suthor but by reason of recurrent aspirations of an ever-growing group of emotional actresses.

Among the famous actresses who have had successes as Camille were Eleanora Duse, Sarah Bernhardt and Greta Garbo, who starred in the 1937 film with Robert Taylor. Bernhardt first played the role in her thirties and continued it until a number of her 'farewell' tours when she was seventy and had only one leg.

Dumas had a relationship with a Russian princess in 1859. A daughter was born, but they did not acknowledge her as theirs until the princess was widowed. He continued to write material that shocked his contemporaries — eleven of his plays have illicit love as a theme — yet he was admitted to the Legion d'honneur. His wife died in 1895 and, after marrying his long-time mistress, he died that same year.

In 1929, the Chicago Civic Opera proced a new work, Camille by a young American poser, Hamilton Forrest, and missioned by the famous soprano, Mary Garden. It was to be sung in French with a contemporary setting. After many delays, it finally opened to mixed reviews. Mary Garden was acclaimed, the music less so. One critic called it a masterpiece, another saw no future for it. It had a few more performances, and parts were broadcast on the radio; then it disappeared. Despite some recent attempts to revive interest in it, Camille is probably doomed to obscurity, while Verdi's La traviata continues to be one of the most popular and frequently performed operas.

⑶ 茶花女 主要內容 英文版

"The Lady of the Camellias" is a French tragic play based on Alexandre Dumas (the younger) 1848 novel by the same name, (it is sometimes referred to as "Camille"). The play was adapted for the theater by Dumas in 1852 and then for the opera by the composer Verdi's 'La Traviata' in 1853. The play became a favorite of audiences in the late 19th century.

The story is set in Paris ring the mid 1800's.

The lead heroine is Marguerite Gautier, a young beautiful courtesan who is a "kept woman" by counts and kes -- men of "Fashionable Society". She meets a young middle class lover Armand Duval who does the unpardonable thing of falling jealously in love with her and breaking all convention of what's expected between a courtesan and her admirers. He, of course, has no way of sustaining the standard of living which she is accustom.

In her fragile physical state (Marguerite has tuberculosis which we learn later) she moves to the country. There in her new house, a confrontation between the jealous Armand and her rich admirers and "benefactors" takes place. For the first time she sticks up for her lover -- making a life choice -- and they are left indignantly and alone.

Armand becomes depressed, his career seems doomed by the intolerance of French society, and knowing he will never be able to support Marguerite to the level she deserves. Unbeknownst to Armand, his father comes to plead for her to leave Armand to save both his son's reputation and that of his younger innocent sister -- whom is also tainted by the scandal. To prove her love, she agrees and leaves Armand. She returns to Paris where she despairingly throws herself back into her old lifestyle. Armand can't believe she's left and searches for her -- finally finding her in Paris in the arms of a new lover.

Time passes.

The two accidentally meet again in public. Marguerite is now in the company of a another beautiful courtesan and Armand begins "paying court" not with her but with her friend trying to strike back at Marguerite out of his own sense of hurt. Deathly ill, Marguerite visits Armand one last time to plead that he stop humiliating her, and they make love again -- both unable to deny the passion for each other. But Marguerite is haunted by guilt that she can only harm Armand and remembering her promise to his father -- she abandons him yet again as he sleeps.

Armand is incensed when he wakes. Finding Marguerite at a grand ball with all society around, he approaches her and hands her an envelope stuffed full of money – "Here! Payment for your services.」 She collapses as he walks out.

Abandoned by all her friends from the humiliation of Armand act, exposed publicly for what she really is, she dies penniless, painfully and alone -- cast off by all the men that used her.

⑷ 找窈窕淑女又叫茶花女 英文電影

⑸ 求一部英文電影，只記得其中有一段是一個年輕紳士愛上一位夫人，她身體不太好許多人反對，但年輕人堅持

《茶花女》是法國亞歷山大·小仲馬 (Alexandre Dumasfils 1824年7月27日-1895年11月27日）的代表作，他為了與同為作家的父親作區別，多稱小仲馬（Dumas, fils）。他本身是法國劇作家、小說家。《茶花女》是小仲馬的代表作。 《茶花女》（La traviata）亦是朱塞佩·威爾第（Giuseppe Verdi）作曲的三幕歌劇。義大利文劇本由皮亞威（Francesco Maria Piave）編寫，改編自亞歷山大·仲馬於1848年出版的小說《茶花女》（The Lady of the Camellias，La dame aux Camélias）。歌劇於1853年3月6日在威尼斯鳳凰歌劇院（Teatro la Fenice）首演。作品名稱"La traviata"譯作「流浪的婦人」，或「失落的人」。 故事的原著小說，亦被改拍成電影《茶花女》（Camille）（1936）。《情陷紅磨坊》（Moulin Rouge!）（2001）亦是以茶花女作藍本改編。 《茶花女》最早由林紓（即林琴南）譯作漢語。