Ned Kynaston: A woman playing a woman? Where's the trick in that?
出自電影《舞台麗人》 的經典對白。
更多舞台麗人的經典對白
Ned Kynaston: A part doesn't belong to an actor; an actor belongs to a part.
King Charles II: My astronomers tell me that a star's light shines on long after it has died, even though it doesn't know it.
King Charles II: Exile is a dreadful thing for one who knows his rightful place.
Ned Kynaston: A woman playing a woman? Where's the trick in that?
Ned Kynaston: I'm not teaching you how to be a woman. I'm teaching you how to be Desdemona.
Maria: I am an actress, not a beauty.
Nell Gwynn: Charlie boy, where's his toy? Oh, your Majesty, let me see the crown!
King Charles II: Balance the scales, Kynaston. Give the girls a chance.
Samuel Pepys: Forgive me. I have spoken loudly.
Ned Kynaston: See what comes out of rehearsal?
Nell Gwynn: A man isn't how he walks or how he speaks. It's what he does.
Ned Kynaston: Found a guardian at the gate, did you?
Sir Charles Sedley: Obviously, I'm behind in my drinking.
Ned Kynaston: A part doesn't belong to an actor; an actor belongs to a part.
King Charles II: My astronomers tell me that a star's light shines on long after it has died, even though it doesn't know it.
King Charles II: Exile is a dreadful thing for one who knows his rightful place.
Ned Kynaston: A woman playing a woman? Where's the trick in that?
Ned Kynaston: I'm not teaching you how to be a woman. I'm teaching you how to be Desdemona.
Maria: I am an actress, not a beauty.
Nell Gwynn: Charlie boy, where's his toy? Oh, your Majesty, let me see the crown!
King Charles II: Balance the scales, Kynaston. Give the girls a chance.
Samuel Pepys: Forgive me. I have spoken loudly.
Ned Kynaston: See what comes out of rehearsal?
Nell Gwynn: A man isn't how he walks or how he speaks. It's what he does.
Ned Kynaston: Right... In the saddle.
Sir Charles Sedley: Obviously, I'm behind in my drinking.
Ned Kynaston: Found a guardian at the gate, did you?
King Charles II: Why shouldn't we have women on stage? After all, the French have been doing it for years. Sir Edward Hyde: Whenever we're about to do something truly horrible, we always say that the French have been doing it for years.
Ned Kynaston: Do you know the Five Positions of Feminine Subjugation? Maria: What? Ned Kynaston: The Five Positions of Feminine Subjugation. No? Perhaps you're more acquainted with the Pose of Tragic Acceptance. Or the Demeanor of Awe and Terror. Maria: Mr. Kynaston. Ned Kynaston: How about the Supplicant's Clasp or the Attitude of Prostrate Grief? Maria: Mr. Kynaston. Ned Kynaston: Funny, you've seen be perform them a thousand times. I'd have thought they'd taken hold. Maria: Mr. Kynaston! Ned Kynaston: Ah, well now, there's a feminine gesture. You seem to have managed the Stamp of Girlish Petulance. Maria: I just wanted to act. I just wanted to do what you do. Ned Kynaston: I have worked half my life to do what I do. Fourteen boys crammed in a cellar... Do you know when I was in training for this profession, I was not permitted to wear a woman's dress for three long years, I was not permitted to wear a wig for four - not until I had proved that I had eliminated every masculine gesture, every masculine intonation from my very being. What teacher did you learn from? What cellar was your home? Maria: I had no teacher, nor such a classroom. But then, I had less need of training.
Maria: You almost killed me! Ned Kynaston: I did kill you, you just didn't die.
Ned Kynaston: Right, I'll need boot black. Sir Charles Sedley: I have boot black. Ned Kynaston: With you? Sir Charles Sedley: A scuff, sir, is a dreadful thing.
Ned Kynaston: Did you go round after? George Villiars, Duke of Buckingham: Oh, too crowded. Pepys went. If two mice were fucking in a nutshell, he'd find room to squeeze in and write it down.
Sir Charles Sedley: Kynaston... It feels I've had the honour already. Ned Kynaston: Or you've already had the honour of feeling it. Sir Charles Sedley: Obviously I'm behind on my drinking.
Samuel Pepys: Tell me about your parentage, Miss Gwynn. Nell Gwynn: My mum was a whore, my father was in the navy. Samuel Pepys: I see. Nell Gwynn: That's why I don't never do sailors.
Samuel Pepys: You know, Mr. K, the performance of yours I always liked best? As much as I adored your Desdemona and your Juliet, I've always loved best your 'britches' parts. Rosalind, for instance. And not just because of the woman stuff but also because of the man sections. Your performance of the man stuff seemed so right, so true. I suppose I felt it was the most real in the play. Ned Kynaston: You know why the man stuff seemed so real? Because I'm pretending. You see a man through the mirror of a woman through the mirror of a man. You take one of those reflecting glasses away it doesn't work. The man only works because you see him in contrast to the woman he is. If you saw him without the her he lives inside, he wouldn't seem a man at all. Samuel Pepys: Yes. You've obviously thought longer on this question than I.
Maria: Why won't you play men? Ned Kynaston: Men aren't beautiful. What they do isn't beautiful either. Women do everything beautifully, especially when they die. Men feel far too much. *Feeling* ruins the effect. Feeling makes it ugly. Ned Kynaston: Perhaps that's why I could never pull off the death scene. I- could never feel it in a way that wouldn't mar the- Ned Kynaston: I couldn't let the beauty die. Without beauty there's nothing. Who could love that?
George Villiars, Duke of Buckingham: Yes. I never tire of Othello. Ned Kynaston: Truth be told, sir, he never tires of Desdemona.
King Charles II: Kynaston? How in hell did you get in here? Ned Kynaston: A former fellow actor is your undercook and has long been a dear friend to me. King Charles II: Then we'll have to execute him. Sir Edward Hyde: Ohhhh. King Charles II: A joke. A joke. Calm down, Kynaston.
Female Emilia: What cry is that? Sweet mistress, speak. Who hath done this deed? Maria: Nobody. I myself. Farewell. Commend me to my kind lord. Farewell. Ned Kynaston: Why? How should she be murdered?
Maria: Mr. Pepys - who do you write all those little notes for? Samuel Pepys: For myself, alone. Maria: Do you enjoy it? Samuel Pepys: I love it. Don't you love acting? Maria: Yes... But unfortunately, I cannot do it for myself alone, for I fear in truth I am terrible at it.
Ned Kynaston: Tommy, is s... is she good? The Hughes? As an actress? Thomas Betterton: She's a star. She did what she did first. You did what you did last.
Ned Kynaston: A critic is born. Sir Charles Sedley: And all because I thought you were a whore and grabbed your cock.
