賣花女 (戲劇)
《賣花女》，原名《皮革馬利翁》(Pygmalion) 是愛爾蘭劇作家蕭伯納的戏剧。皮革馬利翁原是羅馬神話中的一位雕刻家的名字，一生不愛女，卻愛上了自己刻的雕像。這尊雕像令他魂牽夢縈，最後他去請求維納斯女神成全。維納斯讓皮革馬利翁用手碰觸雕像，雕像變成了一位活生生的美貌女子。皮革馬利翁相當高興，給她取名伽拉忒婭 (Galatea)，並帶她去感謝維納斯。蕭伯納以這個故事為藍本，以賣花女一劇表現出皮格馬利翁和伽拉忒婭可能會發生的問題。本劇曾於1938年翻拍成黑白電影，由 Wendy Hiller 飾演賣花女伊莎·杜立德 (Eliza Doolittle)，莱斯利·霍华德飾演語音學教授亨利·希金斯 (Henry Higgins)。1956年，此劇改編為音樂劇《窈窕淑女》 (My Fair Lady)，由朱莉·安德鲁斯 (Julie Andrews)飾演伊莎，Rex Harrison 飾演希金斯教授。1964年，音樂劇拍成同名電影，改由奧黛麗·赫本飾演伊莎。
[编辑] 故事大綱
[编辑] 第一幕
安斯佛西爾太太 (Mrs Eynsford-Hill) 和女兒克拉拉 (Clara) 正在聖保羅教堂外等待兒子弗雷迪 (Freddy)，豈料弗雷迪冒冒失失的撞到了賣花女伊莎。像伊莎那樣中下階級的市井小民，說起英语來有一種特殊的考克尼腔。語音學家亨利希金斯偷偷記下伊莎說話的腔調，並宣稱自己能在六個月內矯正伊莎的發音，將她訓練成一位淑女。弗雷迪在計程車裡等家人，但是安斯佛西爾太太和克拉拉卻搭上了公車。伊莎於是和弗雷迪坐同一班計程車回家。
[编辑] 第二幕
希金斯在前幕認識的上校平克林 (Colonel Pickering) 在位於溫普街 (Womple Street) 的家裡。伊莎到希金斯府上，希望他能矯正自己的發音，以開花店自力更生，不用再到街上賣花。
[编辑] 第三幕
[编辑] 第四幕
[编辑] 第五幕
伊莎和弗雷迪偷偷逃走，希金斯和平克林報警人。伊莎與弗雷迪來到希金斯太太的住處，希金斯和平克林也到了這裡。希金斯太太命令僕人暫時把伊莎和弗雷迪藏起來。希金斯氣得暴跳如雷，向母親說明伊莎不知去向。這時，已變成中產階級的杜立德先生來向他訴說自己不快樂的生活，還有他又要再婚的事。不久希金斯太太終於讓伊莎出來，和父親交談幾句後，所有人都離開，只剩下伊莎和希金斯兩人。此時的伊莎和過去已大大不同，反而不知將來該何去何從 (一口標準英語和同行之間好似沒落的貴族，但是在某些貴族的眼裡，她還是賣花女出身。)。她頻頻問希金斯該怎麼做，希金斯只是認為她可以再回去賣花。這時伊莎終於把她對希金斯的不滿說了出來，並宣布自己將與弗雷迪結婚，教授語音學，希金斯氣得七竅生煙。希金斯太太備好馬車，要參加杜立德先生的婚禮，問伊莎準備好沒有。希金斯又要求伊莎幫他跑腿，伊莎丟下一句「你自己去買！(Buy them yourself.)」[1]隨即出去。
[编辑] 電影版結局
由於原版《賣花女》結局裡伊莎並未和希金斯在一起，不符合觀眾期望，蕭伯納又在劇本後補述安排這種結局的原因，說明伊莎這個決定是經過深思熟慮的，以及伊莎和弗
雷迪可能發生的問題。電影版《賣花女》讓伊來莎再度回到希金斯身邊，但是希金斯只說了一句：「伊莎，我的拖鞋死到哪去了？」後來音樂劇《窈窕淑女》，甚至其音樂劇電影版本，都沿用這個結局。
[编辑] 註釋
1. ^ 另一版本為伊莎說了一段話，告訴希金斯「如果沒有我，你會變得怎樣，我很難想像！(What you can do without me I cannot imagine.)」
英文版 卖花女 简介（比上面的全）
Pygmalion (play)
Pygmalion: A Romance in Five Acts (1913) is a play by George Bernard Shaw. Professor of phonetics Henry Higgins makes a bet that he can train a bedraggled Cockney flower girl, Eliza Doolittle, to pass for a duchess at an ambassador's garden party by teaching her to assume a veneer of gentility, the most important element of which, he believes, is impeccable speech. The play is a sharp lampoon of the rigid British
class system of the day and a comment on women's independence, packaged as a romantic comedy.
The Pygmalion myth was a popular subject for Victorian era English playwrights, including one of Shaw's influences, W. S. Gilbert, who wrote a successful play based on the story in 1871, called Pygmalion and Galatea. Shaw also would have been familiar with the burlesque version, Galatea, or Pygmalion Reversed.
Inspirations
Shaw created Eliza Doolittle specifically for Mrs Patrick Campbell, partly as a flirtatious challenge and partly to tease her for her social pretensions, which he felt hampered her growth as an artist.[1] Her affected diction onstage (even in Shakespeare), which both he and Oscar Wilde instantly recognized as that of a suburban social climber,[2] was at odds with her considerable abilities, and likely provoked the Higgins in Shaw to a great degree. The idea came to him in 1897, when "Mrs. Pat" was under contract to glamourJohnston Forbes-R
obertson and at the height of her youthful fascination and glamour. Writing to Ellen Terry in September of that year, he mentions Forbes's "rapscallionly flower girl"; the next sentence is, "Caesar and Cleopatra has been driven clean out of my head by a play I want to write for them in which he shall be a west end gentleman and she an east end dona in an apron and three orange and red ostrich feathers."[3]
"The reformer England needs today is an energetic phonetic enthusiast: that is why I have made such a one the hero of a popular play."[4] The success of Pygmalion drew attention to the science of phonetics and speculation arose over whether a model for Henry Higgins existed. Shaw never named an inspiration for the man or the professor. However, in the Preface to the 1916 edition he writes at length about the respected philologist and phonetician Henry Sweet, with whom he communicated for years regarding phonetics and shorthand. Dr. Sweet would stand before a group of speakers, taking furious notes on their phonetic conversation; he categorized voice sounds and accents, sent postcards to friends written in a unique shorthand or in the symbols of his "
Broad Romic" system of phonetic notation,[5] could pronounce seventy-two vowel sounds,[6][7] and "unfortunately was of a rather difficult disposition."[8] Nevertheless, "Higgins is not a portrait still, as will be seen, there are touches of Sweet in the play."[4]
Shaw also knew and may have consulted with Daniel Jones, the leading phonetician of the time. In a few years Jones would codify a standard of English speech, Received Pronunciation, "the accent most commonly associated with the British 'upper crust'...based on a sixteenth-century, upper-class London accent";[9] the steps to learning and teaching such an accent would have been of paramount importance to the playwright. It's also possible that Dr. Jones's laboratory equipment inspired Higgins's,[10] but Jones's biographer concludes that "the would appear to have taken on a vivid life of its own during the writing of the play."[10]
First productions
Shaw wrote the play in the spring of 1912 and read it to Mrs. Campbell in June. She came on board almost immediately, but her mild nervous breakdown (and its doctor-enforced leisure, which led to a quasi-romantic intrigue with Shaw[11]) contributed to the delay of a London production. Pygmalion premiered at the Hofburg Theatre in Vienna on October 16, 1913, in a German translation by Shaw's Viennese literary agent and acolyte, Siegfried Trebitsch.[12][13] Its first New York production opened March 24, 1914 at the German-language Irving Place Theatre.[14] It opened in London April 11, 1914 at Sir Herbert Beerbohm Tree's His Majesty's Theatre and starred Mrs. Campbell as Eliza and Tree as Higgins. Shaw directed the actors through stormy rehearsals often punctuated by at least one of the three flinging out of the theater in a rage.[15]

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