Наталья Поваляева: Образ мюзик-холла в неовикторианском романе

Дословно – угольная дыра, яма. Так назывался люк доставлялся в угольный подвал жилого дома. на Стрэнде. Это заведение существует и сегодня – паб предлагает блюда английской кухни, эль, а также музыкальные представления по вечерам.

«Imagined real».

Подробнее об этом см. в статье: Sebastian D. G. Knowles, „Then You Wink the Other Eye": T. S. Eliot and the Music Hall [38].

Ситком – ситуационная комедия (sitcom, situation comedy), разновидность комедийной радио– или телепрограммы. Как правило, представляет собой цикл эпизодов, связанных постоянным кругом основных персонажей и местом действия.

Слова из популярной в конце XIX века песни (о которой, в частности, П. Акройд упоминает в книге «Лондон. Биография») «Бах-трах – вот мы и снова тут как тут!» («Slap Bang, Here We Are Again»). Исполнял ее актер мюзик-холла Альфред Вэнс (1838–1888) – один из известнейших lions comiques своего времени.

«I had only one wish in my life, and that was to see the music-hall» [13, c. 15].

«It had an odour all of its own, too, with its mixture of spices and oranges and beer; it was a little like the smell of the wharves down Southwark way, but so much richer and more potent» [13, c. 15].

«The customers sat at several old wooden tables with their food and drink in front of them, while three waiters in black-and-white check aprons were being harassed by continual calls for more pickled salmon, or cheese, or beer» [13, c. 17].

«…much more glorious and iridescent» [13, c. 19].

«A boy came out from the wings, and at once the spectators began to whistle and stamp their feet in anticipation. He had the strangest face she had ever seen; it was so slim that his mouth seemed to stretch from one side to the other, and she was sure that it must have continued around his neck; he was so pale that his large dark eyes seemed to shine out, and to be gazing at something beyond the world itself» [13, c. 19].

«…it was as if she had been banished from some world of light» [13, c. 20].

«…it was like being expelled from some wonderful garden or palace» [13, c. 52].

Подробнее об этом см. в статье: Sebastian D. G. Knowles, „Then You Wink the Other Eye": T. S. Eliot and the Music Hall [38].

Джозеф Гримальди (1778–1837) – английский комический актер, разработавший в своем творчестве основные составляющие жанра клоунады. Среди многих нововведений Гримальди – привлечение публики к участию в представлении. Есть версия, что именно Гримальди является прототипом «грустного клоуна», явившегося на прием к врачу – персонажа широко распространенного в англоязычном мире анекдота.

«In my old life I had seen things darkly, but now they were most clear and brilliant» [13, c. 52].

«Its walls were painted with life-size figures of actors and acrobats, and I imagined myself as one of the pictured here, sauntering along the fresco with my blue gown and yellow umbrella, singing my own especial song for which the world loved me. But what song could it be?» [13, c. 72].

«As I danced upon the stage, I had the most pleasurable sensation that I was stamping upon her grave. How I exulted!» [13, c. 105].

«My old self was dead and new Lizzie, Little Victor" s daughter with the rotten cotton gloves, had been born at last» [13, c. 106].

Комик-слэнгстер – амплуа, близкое к образу кокни; комический актер, говорящий исключительно на сленге.

«But what a picture I made in the mirror – I had become a man, from tip to toe, and there might have been a slangster comedian standing there; it was a perfect piece of business» [13, c. 150].

«I could be girl and boy, man and woman, without any shame. I felt somehow that I was above them all, and could change myself at will» [13, c. 153].

«I was still in my own particular private theater, this garish spot beneath the gas lamps, and here I must perform. But, at first, let it be behind the curtain…» [13, c. 27].

«“Большие надежды” впечатляют меня все больше и больше с каждым новым прочтением; в романе есть такие моменты, от которых просто невозможно устать»

«…a slender, white-faced, unremarkable-looking girl, with the sleeves of her dress rolled up to her elbows, and a lock of lank and colourless hair forever falling into her eye, and her lips continually moving to the words of some street-singer" s or music-hall song» [61, c. 4].

«Whitstable was all the world to me, Astley" s Parlour my own particular country, oyster– juice my medium» [61, c. 4].

«…for eighteen years I never doubted my own oyster-ish sympathies, never looked far beyond my father "s kitchen for occupation, or for love» [61, c. 4].

«The Palace was a small and, I suspect, a rather shabby theatre; but when I see it in my memories I see it still with my oyster-girl" s eyes – I see the mirror-glass which lined the walls, the crimson plush upon the seats, the plaster cupids, painted gold, which swooped above the curtain. Like our oyster-house, it had its own particular scent – the scent, I know now, of music halls everywhere – the scent of wood and grease-paint and spilling beer, of gas and of tobacco and of hair-oil, all combined. It was a scent which as a girl I loved uncritically; later I heard it described, by theatre managers and artistes, as the smell of laughter, the very odour of applause» [61, c. 6].

«The Palace was an old-fashioned music hall and, like many such places in the 1880s, still employed a chairman. This, of course, was Tricky himself: he sat at a table between the stalls and the orchestra and introduced the acts, and called for order if the crowd became too rowdy, and led us in toasts to the Queen. He had a top-hat and a gavel – I have never seen a chairman without a gavel – and a mug of porter. On his table stood a candle: this was kept lit for as long as there were artistes upon the stage, but it was extinguished for the interval, and at the show's close» [61, c. 12].