《音乐之声》电影英语教案.doc

Unit 6 The Sound of Music （音乐之声）
I. Understanding the Movie
1． Backgoung Information
(1). In 1930's Austria a young nun is finding it hard to adjust to her new life in the abbey. The Abbess decides that the best thing to do is to send the nun (called Maria) into the world to discover life. She is sent to the von Trapp family to work as a nanny for Captain v Trapp's 7 children. V Trapp is a widowed ex-naval capt who lost his job when Austria lost its coast after the Treaty of Versailles. He is a proud nationalist and is worried about the rise of the far right in neighbouring Germany and talk of a union. V Trapp runs his household like a ship because he knows no other way and is in deep grieving for his wife. When Maria arrives on the scene she is met with opposition from the children and is put-off by the captain's attitudes. In time however, she builds bonds with the entire family, especially Liesl, the eldest child, whom she guides into womanhood, filling the void of Liesl's absent mother.
The captain is engaged to the Baroness, a woman whom the children dislike and with reason - she loves their father not them! Gradually, however, over time Maria and the Captain fall in love, the Baroness realises this and fabricates a story to make Maria want to return to the abbey, but Maria has helped the v Trapps rediscover music, and through that, happiness. She returns to them and the Baroness finally accepts that Maria and the Captain are meant to be together. They marry, but on returning from their honeymoon are confronted with the awful new of the occupation of Austria. Capt v Trapp is summonned immediately to fight for the Nazi High Seas fleet, but he opposes the Nazis and will not conform, thus putting his beloved family in danger. The v Trapps decide to escape over the border to neutral Switzerland, but their plan is discovered and they are forced to escape in a very unconventional style.
(2). 电影《音乐之声》取材于玛利亚·奥古斯都·特拉普的同名自传体小说，根据美国百老汇的同名音乐剧改编而成，是美国音乐片巨匠罗伯特·怀斯新风格音乐片的又一力作。在编、导、演的天衣无缝的配合下，这部影片成为电影史上最经典的音乐片之一。
天性自由、善良的美丽修女玛利亚，奥地利美丽的阿尔卑斯山的山坡、清澈的湖泊、雅致的别墅，一群活泼可爱的孩子，以及反纳粹、追求自由的勇气，这一切都深深地打动着世界各地人们的心。
《音乐之声》清新有致，雅俗共赏。既有幽默的情趣，又有深沉凝重的感情，在各国的民意测验中经常被评为“最受欢迎的影片”，是全世界票房最高的电影之一。其中流传最广的几首经典音乐，如表达玛利亚对大自然热爱的主题曲《音乐之声》；轻松愉快的《孤独的牧羊人》；特拉普上校演唱的深情无限的《雪绒花》；欢乐大方的《哆口来咪》；以及可爱的孩子们演唱的《晚安，再见！》等等，都成为人们记忆中最值得珍惜和细细回味的艺术佳作，被视做人类最珍贵的永恒佳品。
许多人都曾问过我最喜欢的电影是什么，可能他们认为我作为功夫名星，应该喜欢那种带有暴力色彩的影片可是说出来或许会很让人奇怪，我最喜爱的电影既不是史泰龙的枪炮，也不是施瓦辛格的特技，而是充满温馨的《音乐之声》。因为在这部影片中，我所感到的是人世间那种最淳朴、最简单的友爱和挚爱之情，这部影片让我的全身心都感到放松。
——国际巨星　成　龙
(3). 从来没有一部电影如此深入人心，不但里面的角色、情节、人物经历家喻户晓，主题歌曲也被广为传唱，由它带来的影响面之广、覆盖面之大、被感染的人之多可谓空前绝后、独一无二，它就是来自著名的阿尔卑斯山脉的《音乐之声》。
《音乐之声》来自生活，高于生活，它以乐抒情，以乐动人，到处充满阳光气息与温馨浪漫，它把抽象的音符、大自然的和谐美景和人文景观完美结合，体现出人与自然和谐融洽、相互依托的关系，鼓励人们乐观向上，追求纯洁美好，争取自由和享受生活，消除*杂念，达到真善美的理想境界。虽然里面的主要角色都被刻意美化，但丝毫无损主题和形式上的出类拔萃，幽默的对白和情节，更把观众逗得前俯后仰，乐不可支。《音乐之声》称得上是电影史上绝妙的神来之笔，是一部影响深远的作品，它甚至超出了艺术作品的范畴，从艺术史、社会学、心理学、教育学、哲学等角度来衡量都值得研究和借鉴。——影评人 Waddle
(4). 永远带来欢乐的《音乐之声》
《音乐之声》是一部影响了几代人的电影，无论从哪个标准来评，它都是美国音乐片的经典之作。有趣的爱情故事、悦耳的歌曲、活泼的孩子、温馨的人情、天真无邪的笑料，构成了一幅美好的生活画卷；动人的音乐、优美的风光、积极的生活态度，引发着人们对生活无限美好的瑕思。
歌曲《音乐之声》是影片中的点题之曲，影片开始时由玛利亚在山顶独唱。上校赴维也纳期间，玛利亚把这首抒发自己对故乡、对大自然、对音乐的无比热爱的歌教给了7个孩子，让他们在男爵夫人到来时为她演唱。上校长久禁锢的心被这家中久违了的美妙、纯真、动人的歌声融化了，他从原来那位不苟言笑的上校变成了一位和蔼可亲的父亲，和7个孩子拥抱在一起……
影片里以电影音乐的原貌参与了故事叙事的当首推那首脍炙人口的小歌《雪绒花》（《EDELWEISS》）。 上校在玛利亚和孩子们的盛情邀请之下，接过吉他自弹自唱了这首自己最喜爱的、已多年不唱的奥地利民谣：
Edelweiss edelweiss（雪绒花，雪绒花，）
Every morning you greet me． 清晨迎着我开放。
Edelweiss edelweiss 雪绒花，雪绒花，
Bless my homeland forever． 永远祝福我家乡。（注：采用薛范译词）
上校沉醉在对故土、对祖国的一片深情之中，忘我地唱着。玛利亚的镜头数次切入，她站在门口凝视着上校。歌声使他完全变成了另外一个人，在那饱含真情的歌声里，玛利亚发现了一个男人丰富、博大、敏锐的内心世界。音乐悄悄地把两颗高尚的心灵连结了起来，爱情的火花开始燃烧。当两人在家庭晚会上和谐地共舞之后，掩饰内心已经变得非常困难了。
而要说这首小小的歌曲作为一件重要的音乐道具在整个故事结构中发挥了巨大作用，那还是在音乐节上。拒绝为纳粹服务、决不背叛自己的祖国和人民的上校准备冒险带全家离去。临别之际，他为家乡的父老乡亲献上的还是那首他最喜爱的歌。但一曲未了便已哽咽，玛利亚默契地接唱下去，并带动全场观众加入大合唱。这是全片最令人心潮澎湃的感人高潮。看似最简单、最不起眼的一首小小民歌，在影片所用的全部歌曲中凸显了出来，促使观众开始正视故事所属的阴云密布的时代--片头字幕所说的"30年代萨尔茨堡最后的黄金岁月"。它使一部洋溢着欢声笑语的喜剧片在此刻展现出了严肃、深刻、崇高的人道主义内涵。音乐节上全体观众高亢、洪亮地合唱着《雪绒花》，表达了奥地利人民反对侵略的正义心声和不畏强暴的必胜信念。30多年过去了《音乐之声》永远带给你欢乐，带给你思考。（佚 名）
(5).《音乐之声》以后的故事
电影《音乐之声》讲述的是一个真实的故事，影片结尾处是上校一家最终勇敢地逃出了纳粹控制的奥地利，也许许多人认为这个故事就结束了，正像所有的童话故事结尾时所说的那样，"从此过上了幸福的生活"。
可是，真实的冯·特拉普一家人在此之后到底去了哪里呢？他们的生活到底怎样呢？
1938年，当这家人出走奥地利的时候，玛利亚正怀着冯·特拉普上校的又一个孩子约翰尼斯。没有了花团锦簇的家园，他们成了一文不名的逃亡者，一家人的生活立刻就是个大问题。但是冯·特拉普一家人并不气馁，也不在意一切都要从零做起。 这个家庭组成了合唱团，浪迹天涯，卖艺为生。从生日婚嫁的宴会到皇家乐馆的演出，无所不为。1939年，当他们来到美国进行演唱旅行时，发现了佛蒙特州小镇斯托附近的一片农庄。小小的农庄让他们想起了奥地利的家园，他们立刻爱上了这片土地。于是就用积攒下来的钱买下了这片土地，并建成了自己远离故乡的家。在此之后的几十年间，冯·特拉普一家每年都要到世界各地去演出，足迹遍布30多个国家，但是，他们一直把斯托的这处农庄当成自己永久的家。
1947年，玛利亚在斯托成立了特拉普家庭音乐营。随着音乐营的扩展，她家提供过夜的客房渐渐不敷使用，于是她就建起了特拉普山庄。他们也曾因为不谙社会环境而大吃苦头。1949年，玛利亚将一家人的经历写成了传记，立刻引起了强烈的社会反响，但是当首次有人出价收购她的故事改编电影时，玛利亚却被欺骗，没有得到自己应有的权利和报酬。
不尽如人意的际遇并没有使他们生出怨天尤人的哀叹，挫折和教训也不能使这个移民家庭倒下去。
1965年，电影《音乐之声》在全世界发行，演出了"真善美"的一幕，玛利亚成了家喻户晓的人物。但在1980年，一把大火把辛辛苦苦建造起来的特拉普山庄化为灰烬。然而，1年半之后，在原来的房基上又是一幢崭新的特拉普山庄，并且在山麓和湖边还建造了星罗棋布的客舍接待游人。如今特拉普山庄已经远近闻名，每年接纳成千上万对特拉普家的经历和他们的歌声情有独钟的游客
2. Synopsis of the movie
《音乐之声》取材于1938年发生在奥地利的一个真实故事。见习修女玛利亚是个性格开朗、热情奔放的姑娘。她爱唱歌、爱跳舞，还十分喜爱大自然的清新、宁静和美丽。修道院院长觉得玛利亚不适合过与尘寰隔绝的生活，于是介绍她去萨尔茨堡当上了前奥地利帝国海军退役军官冯·特拉普上校家7个孩子的家庭教师。
冯·特拉普是个善良勇敢的爱国者，他的妻子早逝。家里没有歌声，也没有笑声。玛利亚来到上校家中，发现上校管理孩子的方法简单而粗暴。只要他的哨声一响，孩子们就从各自房间里以最快的速度奔跑出来，排好队，按水兵操练的要求通报自己的姓名。一开始，孩子们对玛利亚带有排斥情绪，总是想法设法捉弄她，但是玛利亚理解孩子们在成长过程中的所作所为，她引导他们，关心他们，帮助他们，赢得了他们的信任，很快就成了他们的知心朋友，同他们建立了深厚的感情。上校准备离家去维也纳，在这期间，玛利亚和孩子们排练歌曲、做游戏、去大自然中游玩，整个家庭平添了许多笑语、欢乐和生气，充满了音乐之声。
当上校带着准备与他结婚的男爵夫人回来时，发现家中呆板、冰冷的空气完全变了，他的"水兵们"已被训练成一支很有素养的家庭合唱队。

看到男爵夫人的到来，玛利亚知道她将成为孩子们的新妈妈，于是她留下了一封信就离开了上校家，回到了修道院。然而由于男爵夫人太一本正经，孩子们不能和她融洽相处。同时，由于玛利亚给这个家带来的变化激起了上校对生活的热爱，唤回了逝去的幸福，也唤起了他对玛利亚的爱情。于是上校最终拒绝了男爵夫人，他来到修道院找玛利亚，他们终于结成了美满的伴侣。
这时正是30年代希特勒吞并奥地利的前夕。在萨尔茨堡举行奥地利民谣音乐节的当天，上校和玛利亚接到了柏林的来电，命令上校参加纳粹的海军，并把他和全家置于严密监视之下。借着参加民谣音乐节的机会，特拉普家庭合唱队在奥地利同胞面前奉献出他们心底里的歌，并在朋友和修女们的协助下，全家跨过阿尔卑斯山，逃出了多难的祖国，来到了自由之地。
3. Overview
导演: 罗伯特. 怀斯  
演员: 茱莉·安德鲁斯；克里斯托弗·普拉莫；理查·海恩；Peggy Wood…
编剧: Ernest Lehman 摄影/像: Ted D. McCord
音乐: Richard Rodgers 剪辑: William Reynolds
制片人: 罗伯特·怀斯 所属地域: 美国　
出品时间: 1965年 彩色/黑白: 彩色
作品原创语言: 英语　 出品公司: 二十世纪福克斯公司　
所属分类: 电影 → 近代　生活　儿童　喜剧　传奇　老片　典藏
II. Excerpts from the Movie
Excerpt 1
(The story starts in an abbey of Salzburg, Austria, in the last Golden Days of the Thirties.)
Halleluyah!
Bernice: Reverend Mother...
Reverend Mother: Sister Bernice.
Bernice: I simply cannot find her.
Reverend Mother: Marisa?
Bernice: She's missing from the abbey again.
Sister A: Perhaps we should have put a cowbell around her neck.
Sister B: Have you tried the barn? You know how much she adores the animals.
Bernice: I have looked everywhere, in all of the usual places.
Revernd Mother: Sister Bernice, considering that is Maria, I suggest you look in some place unusual.
(Later, Maria gets back and comes to see Reverend Mother.)
Reverend Mother: I'm here, my child. Now sit down.
Maria (short for M): Oh, Reverend Mother, I'm so sorry. I just couldn't help myself. The gates were open and the hills were beckoning and before...
Reverend Mother: I know! I have not summoned you here for apologies.
MARIA: Oh, please Mother, do let me ask for forgiveness.
Reverend Mother: If it will make you feel better.
MARIA: Yes. Well you see, the sky was so blue today and everything was so green and fragrant. I just had to be a part of it! And you know those birds kept meeting me higher and higher as though it wanted me to go right through the clouds with it.
Reverend Mother: Child, suppose darkness had come and you were lost?
MARIA: Oh, Mother, I could never be lost up there. That's my mountain, I was brought up on it. It was the mountain that led me to you.
Reverend Mother: Oh?
MARIA: When I was a child, I would come down the mountain and climb a tree and look over into your garden. I'd see the sisters at work and I would hear them sing on their way to Vespers, which brings me to another transgression, Reverend Mother. I was singing out there today without permission.
Reverend other: Maria, it is only here in the abbey that we have rules about postulant singing.
MARIA: I can't seem to stop singing wherever I am. And what's worse, I can't seem to stop saying things. Everything and anything I think and feel.
Reverend Mother: Some people would call that honesty.
MARIA: No, but it's terrible, Reverend Mother. You know how Sister Beth always makes me kiss the floor after we had a disagreement? Well lately I've taken to kissing the floor when I see her coming just to save time.
Reverend Mother: Maria, when you saw us over the abbey wall and longed to be one of us, that didn't necessarily mean that you were prepared for the way we live here, did it?
MARIA: No, Mother. But I pray and I try and I am learning. I really am.
Reverend Mother: What is the most important lesson you have learned here, my child?
MARIA: To find out what is the will of God and to do it whole-heartedly.
Reverend Mother: Maria, it seems to be the will of God that you leave us.
MARIA: Leave you?
Reverend Mother: Only for a while, Maria.
MARIA: Oh, please, Mother, don't do that. Please don't send me away! This is where I belong. It's my home. My family. It's my life.
Reverend Mother: Are you truly ready for it?
MARIA: Yes, I am.
Reverend Mother: Perhaps if you go out into the world for a time, knowing what we expect of you. You will have a chance to find out that you could expect it from yourself.
MARIA: I know what you expect, Mother, and I can do it. I promise I can!
Reverend Mother: Maria...
MARIA: Yes, mother. It is God's will.
Reverend Mother: There is a family near Salzburg that needs a governess until until September.
MARIA: September?!
Reverend Mother: To take care of seven children.
MARIA: Seven children?!
Reverend Mother: Do you like children Maria?
MARIA: Oh yes, but seven....
Reverend Mother: I will tell Captain Von Trapp to expect you tomorrow.
Excerpt 2
（In front of the von trapps‘ house, maria wonders at its grandeur. she knocks at the door. a man appears.)
maria: hello, here I am! I ‘m from the convent. I ‘m the new governess, captain.
franz: and I ‘m your butler, fraulein.
maria: oh, well, how do you do? hmm.
franz: wait here, please.
(while waiting, maria enters a hall. I t is such a magnificent hall, that she can‘t help dancing. the captain appears.)
captain: why do you stare at me that way?
Maria: well, you don‘t look at all like a sea captain, sir.
captain: I ‘m afraid you don‘t look much like a governess. turn around, please.
Maria: what?
captain: turn. hat off. it‘s the dress. you have to put on another one before you meet the children.
Maria: but I don‘t have another one. when we enter the abbey, our worldly clothes are given to the poor.
captain: what about this one?
Maria: the poor didn‘t want this one.
captain: hmm.
。。。
captain: you‘re the twelfth in a long line of governesses, who have come to look after my children since their mother died. I trust that you will be an improvement on the last one. she stayed only two hours.
Maria: what‘s wrong with the children, sir?
captain: there was nothing wrong with the children, only the governesses. they were completely unable to maintain discipline. without it, the house cannot be properly run. please remember that, fraulein.
Maria: yes, sir.
captain: every morning you will drill the children in their studies. I will not permit them to dream away their summer holidays. each afternoon they will march about the ground, breathing deeply. bedtime is to be strictly observed. no exceptions.
Maria: excuse me, sir. when do they play?
captain: you‘ll see to that they conduct themselves at all time with the utmost orderliness and decorum, I ‘m placing you in command.
Maria: yes, sir.
(Captain blows his whistle. After slamming of doors, the children appear on the terrace in a line, and then walk down one by one.)
CAPTAIN: Now, this is your new governess, Fraulein Maria. As I sound your signals, you will step forward and give your name. You, Fraulein, will listen carefully. Learn their signal so you can call them when you want them.
Liesl: Liesl.
Frederick: Frederick.
Louisa: Louisa.
Kurt: Kurt.
Bargitta: Bargitta.
Marta: Marta.
(The youngest girl steps forward.)
CAPTAIN: And Gretl. Now, let's see how well you listened.
MARIA: Oh, I won't need to whistle for them, Reverend Captain. I mean, I'll use their names. And such lovely names.
CAPTAIN: Fraulein, this is a large house. The grounds are very extensive. I will not have anyone shouting. You will take this, please. Learn to use it. The children will help you. Now, when I want you, this is what you will hear.
MARIA: No, sir. I'm sorry, sir. I could never answer to a whistle. Whistles are for dogs and cats and other animals but not for children and definitely not for me. It would be too humiliating.
CAPTAIN: Fraulein, were you this much trouble at the abbey?
MARIA: Oh, much more, sir.
CAPTAIN: Hmm.
Excerpt3
Liesl: Rolfe! Oh, Rolfe!
Rolfe: No, Liesl. We mustn't.
Liesl: Why not, silly?
Rolfe: I don't know. It's just...
Liesl: Isn't this why you're here waiting for me?
Rolfe: Yes, of course. I've missed you, Liesl.
Liesl: You have? How much?
Rolfe: So much that I even thought of sending you a telegram, just so that I'd be able to deliver it here
Liesl: Oh, that's a lovely thought. Why don't you? Right now.
Rolfe: But I'm here.
Liesl: Please Rolfe. Send me a telegram. I'll start it for you. Dear Liesl.
Rolfe: Dear Liesl, I'd like to be able to tell you how I feel about you. Stop. Unfortunately this wire is already too expensive. Sincerely, Rolfe.
Liesl: Sincerely?
Rolfe: Cordially.
Liesl: Cordially?
Rolfe: Affectionately.
Liesl: Hmmm...
Rolfe: Will there be any reply?
Liesl: Dear Rolfe, Stop. Don't stop. Your Liesl. If only we didn't always have to wait for someone to send father a telegram. How do I know when I'll see you again?
Rolfe: Well, let's see. I could come here by mistake. With a telegram for Colonel Schneider. He's here from Berlin staying with the... No one is supposed to know he's here. Don't tell your father, now.
Liesl: Why not?
Rolfe: Well, your father is so... so Austrian.
Liesl: We're all Austrian.
Rolfe: Well, some people think we ought to be German. And they're very mad at those who don't think so. They're getting ready to.... Well, let's hope your father doesn't get into trouble.
Liesl: Don't worry about father. He's a big naval hero. He was even decorated by the Emperor.
Rolfe: I know. I don't worry about him. But I do worry about his daughter.
Liesl: Me? Why?
Rolfe: Well, you're so...
Liesl: What?
Rolfe: Well, you're such a baby!
Liesl: I'm sixteen, what's such a baby about that?
Rolfe (singing): You wait, little girl, on an empty stage, for fate to turn the light on.Your life. Little girl, is an empty page, That men will want to write on.
Liesl (singing): To write on?
Rolfe (singing): You are sixteen, going on seventeen. Baby, it's time to think, Better beware, be canny and careful. Baby, you're on the brink. You are sixteen, going on seventeen. Fellows w