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第一段
1 .MAYA: So Finn, I’ve done as much as I can for our project on theatre programmes. How’s your research coming along?
玛雅：所以芬，我已经把我们关于剧院节目单的项目能做的都做了。你的研究进展得怎么样？
2 .FINN: OK, Maya. I didn’t know theatre programmes are called playbills in the USA till I started looking into the topic.
芬：还不错，玛雅。我一开始研究这个主题才发现，在美国剧院节目单叫“playbills”（演出单）。
3 .FINN: Even though I struggled to find many useful websites, I’m glad we picked this subject. No one else on the course is doing the same as us, although it is one of the research areas of the module convenor.
芬：虽然我找有用的网站时遇到了不少困难，但我还是很高兴我们选了这个题目。班上没有其他同学和我们做一样的课题，尽管这其实是课程负责人研究领域之一。
4 .MAYA: That might actually put some people off.
玛雅：这可能反而会让人却步。
5 .FINN: I suppose so. Anyway, I hadn’t realised there are actually companies specialising in creating theatre programmes.
芬：我想也是。不管怎样，我之前没意识到居然还有专门制作剧院节目单的公司。
6 .MAYA: Yes, they’re quite common nowadays. Contrary to what many people think, theatres don’t hire people to do the programmes, in fact companies buy the rights to publish programmes on the theatre’s behalf – and then make their money selling advertising space within the programme booklet.
玛雅：是的，现在这些公司很常见。很多人不知道的是，其实剧院不会雇人来制作节目单，而是由公司购买剧院授权，代表剧院出版节目单，再通过销售里面的广告位赚钱。
7 .FINN: It must be easier for theatres to do it that way.
芬：那样对剧院来说应该更方便。
8 .MAYA: Yes.
玛雅：没错。
9 .FINN: I remember reading something about programmes in early British theatre. It said that the cast was always very important.
芬：我记得读到过早期英国剧院节目单的内容。里面提到演员名单一直都很重要。
10 .MAYA: Yeah, audiences were very familiar with leading actors, and big names would draw huge crowds.
玛雅：是的，观众对主要演员都非常熟悉，有名气的演员往往会吸引大量观众。
11 .FINN: But I hadn’t realised that if the programme named a famous actor, that’s who the public expected to perform.
芬：但我没想到的是，如果节目单上写了某位著名演员的名字，公众就会期待他本人出演。
12 .FINN: And if that didn’t happen, people accused the theatre of breaking their agreement with the audience. They would demand refunds, and, if they didn’t get them, there were riots!
芬：而一旦他没出现，人们就会指责剧院违背了与观众的约定，要求退票，如果得不到退款，甚至会发生骚乱！
13 .MAYA: Outrageous. That’d never happen now.
玛雅：真是难以置信。现在可不会发生这种事了。
14 .FINN: No, people are too polite, even when they’re disappointed if the star of the show misses a performance.
芬：是啊，现在大家太有礼貌了，即使他们对主角缺席感到失望也不会怎么样。
15 .MAYA: We should definitely include that information about early audiences in our project. I also think it’s important to mention that lots of ordinary people at that time were illiterate, so theatre programmes were of limited value in advertising plays.
玛雅：我们应该在项目中加入这段关于早期观众反应的信息。我还觉得很重要的一点是，当时很多普通人并不识字，所以剧院节目单作为宣传工具的作用非常有限。
16 .MAYA: When a company of actors arrived in a town, they’d parade around the streets in their costumes, beating drums and announcing their upcoming performances.
玛雅：当一个剧团来到镇上时，他们会穿着戏服在街上巡游，敲着鼓，并宣布即将上演的剧目。
17 .FINN: Interesting. I couldn’t imagine that happening now either.
芬：挺有趣。我也无法想象现在还能看到这样的场景。
18 .MAYA: There’s also an interesting comparison to make between eighteenth and nineteenth-century programmes.
玛雅：还有一个有趣的对比是在十八世纪和十九世纪的节目单之间。
19 .FINN: Wasn’t it in the nineteenth century that theatre programmes started to resemble programmes today?
芬：是不是从十九世纪开始，节目单才变得像今天这样？
20 .MAYA: Yes. And, unlike programmes from the eighteenth century, they always used colour.
玛雅：对的。而且不像十八世纪的节目单，十九世纪的节目单几乎都会使用彩色印刷。
21 .FINN: And there was a greater variety of designs. But personally, I think eighteenth-century programmes were superior because they told the theatre-goers so many things, including about the actors.
芬：设计风格也更加多样。但就我个人而言，我觉得十八世纪的节目单更好，因为它们提供了很多信息，比如关于演员的内容。
22 .MAYA: And about the writer, the plot, and sometimes the history of the play.
玛雅：还有关于作者、剧情，有时候还包括这出戏的历史背景。
23 .FINN: That’s right. … What should we say about theatre programmes in the twentieth century?
芬：没错。……那我们该怎样描述二十世纪的剧院节目单呢？
24 .MAYA: I reckon the most important thing is the dramatic change they underwent during World War Two.
玛雅：我认为最重要的一点是第二次世界大战期间发生的巨大变化。
25 .FINN: When the government imposed restrictions on the use of paper.
芬：当时政府对纸张使用进行了限制。
26 .MAYA: Yeah, but that was only in the UK. In the USA, programmes – or rather, playbills – continued to be published in the same format …
玛雅：是的，不过那只是在英国。在美国，节目单——或者说是演出单——仍然以原来的格式继续出版。
27 .FINN: … while here in the UK, programmes became merely a single sheet of paper folded to create four pages for text.
芬：而在英国这里，节目单变成只是一张折成四页的纸。
28 .MAYA: What I don’t really get is that, after the war, they didn’t go back to being more than one sheet, or change in any way for over twenty-five years.
玛雅：我不太明白的是，战争结束后，节目单并没有恢复成多页的形式，也没有任何显著的变化，这种情况持续了超过二十五年。
29 .MAYA: I know there were paper shortages after the war, but only for five or ten years.
玛雅：我知道战后确实存在纸张短缺，但最多也只是五到十年而已。
30 .FINN: Strange.
芬：真奇怪。
31 .MAYA: I’ve got some pictures of programmes we could include on the slides for our presentation.
玛雅：我有一些节目单的照片，我们可以放在演示文稿的幻灯片里展示。
32 .FINN: I found a couple too, Maya. Let’s go through and see what we think.
芬：我也有几张，玛雅。我们一起看看哪些比较合适吧。
33 .MAYA: Erm …, this is an old one, for a play called Ruy Blas.
玛雅：嗯……这张是一个老节目单，演的是《鲁伊·布拉斯》。
34 .FINN: Never heard of that, but the programme looks very decorative.
芬：我没听说过这部剧，但这张节目单看起来装饰性很强。
35 .MAYA: Good enough to put in a frame on the wall. The images are just beautiful. Finn, what did you find?
玛雅：漂亮得可以装进画框挂在墙上。图片真的太美了。芬，你找到了什么？
36 .FINN: I’ve got some pages from a programme for Man of La Mancha. I thought this was a good programme to show, not because of the pictures, but because it contains articles written by members of the theatre company.
芬：我这里有《梦幻骑士》节目的几页内容。我觉得它值得展示，不是因为它的图片，而是因为它刊登了剧团成员撰写的文章。
37 .FINN: So we can learn how the production was created, and the thoughts and feelings of the cast.
芬：这样我们可以了解到整部剧是怎么创作出来的，以及演员们的想法和感受。
38 .MAYA: Good. I’ve got a copy of a programme that’s now in a museum. It’s for The Tragedy of Jane Shore and it’s said to be the earliest surviving document to have been printed on Australia’s first printing press.
玛雅：很好。我还有一份节目单的复印件，现在它保存在博物馆里。这是《简·肖尔的悲剧》，据说是在澳大利亚第一台印刷机上印制的最早文献之一。
39 .FINN: Fantastic.
芬：太棒了。
40 .MAYA: Another programme to talk about is for The Sailors’ Festival. It comes from the British Library’s digitised collection of programmes that was started a few years ago.
玛雅：另外一张要提的节目单是为《水手节》准备的。它来自几年前启动的英国图书馆数字化节目单收藏。
41 .MAYA: It already comprises over two hundred thousand programmes, which is amazing.
玛雅：目前这个收藏已经包含超过二十万份节目单，真是令人惊叹。
42 .FINN: Wish I’d known about it while I was doing my research!
芬：我希望做研究的时候就知道有这个资料库就好了！