演木偶戲的人的故事來自安徒生童話，講的是有一個年老的演木偶戲的人通過一個偶然的機會進入了木偶的世界，他沒想到木偶們卻是亂七八糟的，每個人都想成爲最重要的演員，誰也不聽他的安排。他覺得亂極了，他會怎麼做呢？小編還爲大家整理了易懂英文版，歡迎閱讀哦~
演木偶戲的人的故事
輪船上有一個年紀相當大的演木偶戲的人。他有一副愉快的面孔。如果他這個面孔的表情是代表實際情況的話，那麼他就要算是人世間一個最幸福的人了。他說他正是這樣的一個人，而且是我聽他親口這樣說的。他是我的同胞——一個丹麥人;他同時也是一個旅行劇團的導演。他的整個班子裝在一個大匣子裏，因爲他是一個演木偶戲的人。他說他有一種天生的愉快心情，而且這種心情還被一個工藝學校的學生“洗滌”過一次。這次實驗的結果使他成爲一個完全幸福的人。我起初並沒有馬上就聽懂其中的道理，不過他把整個的經過都解釋給我聽。下面是全部的經過：
“事情發生在斯拉格爾斯，”他說。“我正在一個郵局的院子裏演木偶戲。觀衆非常擁擠——除了兩個老太婆以外，全是小孩子。這時有一個學生模樣的人，穿着一身黑衣服，走了進來。他坐下來，在適當的時候發笑，在適當的時候鼓掌。他是一個很不平常的看客!我倒很想知道，他究竟是一個什麼人。我聽說他是工藝學校的一個學生。這次特別被派到鄉下來教育老百姓的。
我的演出在8點鐘就結束了，因爲孩子們須得早點上牀去睡覺——我不能不考慮觀衆的習慣。在9點鐘的時候，這個學生開始演講和實驗。這時我也成爲他的聽衆之一。又聽又看，這真是一樁痛苦的事情。像俗話所說的，大部分的東西在我的頭上滑過而鑽進牧師的腦袋裏去了。不過我還是不免起了一點感想：如果我們凡人能夠想出這麼多東西，我們一定是打算活得很久——比我們在人世間的這點生命總歸要久一點。他所實驗的這些東西可算是一些小小的奇蹟，都做得恰到好處，非常自然。像這樣的一個工藝學校學生，在摩西和預言家的時代，一定可以成爲國家的一個聖人①;但是假如在中世紀，他無疑地會被燒死②。
①摩西和預言家都是基督教《聖經·舊約》裏的人物，生活在大約紀元前1200年間。在這時代希伯來人因爲遷居不定，須得經常想出許多辦法來解決生活上的問題。因此有新思想的人都受到尊崇。
②在歐洲中世紀教會統治之下，凡是有新奇思想的人都被視爲異端，當做魔鬼的使者燒死。
我一整夜都沒有睡。第二天晚上，當我做第二次演出的時候，這位學生又來了;這時我的心情變得非常好。我曾經從一個演戲的人聽到一個故事：據說當他演一個情人的角色的時候，他頭腦中總是想看觀衆中的一個女客。他只是爲她而表演;其餘的人他都忘得乾乾淨淨。現在這位工藝學校的學生就是我的‘她’，我的唯一看客，我真是爲‘她’而演戲。等這場戲演完了、所有的木偶都出來謝了幕以後，這位工藝學校的學生就請我到他的房裏去喝一杯酒。他談起我的戲，我談起他的科學。我相信我們兩方面都感到非常滿意。不過我還得有些保留，因爲他雖然實驗了許多東西，但是卻說不出一個道理。比如說吧，有一片鐵一溜出螺旋形的器具就有了磁性。這是什麼道理呢?鐵忽然獲得了一種精氣，但這種精氣是從什麼地方來的呢?我想這和現實世界裏的人差不多：上帝讓人在時間的螺旋器具裏亂撞，於是精氣附在人身上，於是我們便有了一個拿破崙，一個路德，或者類似的人物。
“整個的世界是一系列的奇蹟。”學生說，“不過我們已經非常習慣於這些東西，所以我們只是把它們叫做日常事件。”
“於是他侃侃而談，作了許多解釋，直到後來我忽然覺得好像我的頭蓋骨一下子被揭開了。老實說，要不是現在我已經老了，我馬上就要到工藝學校去學習研究這個世界的辦法，雖然我現在已經是一個最幸福的人了。”
“一個最幸福的人！”他說；他似乎對我的這句話頗感興味。“你是幸福的嗎?”
“是！”我說，“我和我的班子無論到什麼城市裏去，都受到歡迎。當然，我也有一個希望。這個希望常常像一個妖精——一個惡夢——似的來到我心裏，把我的好心境打亂。這個希望是：我希望能成爲一個真正戲班子的老闆，一個真正男演員和女演員的導演。”
“你希望你的木偶都有生命;你希望它們都變成活生生的演員。”他說。“你真的相信，你一旦成了他們的導演，你就會變得絕對幸福嗎?”
他不相信有這個可能，但是我卻相信。我們把這個問題從各個方面暢談了一通，談來談去總得不到一致的意見。雖然如此，我們仍然碰了杯——酒真是好極了。酒裏一定有某種魔力，否則我就應該醉了。但事實不是這樣;我的腦筋非常清楚。房間裏好像有太陽光——而這太陽光是從這位工藝學校學生的臉上射出來的。這使我想起了古時候的一些神仙，他們永遠年輕，周遊世界。我把這個意思告訴他，他微笑了一下。我可以發誓，他一定是一個古代的神仙下凡，或者神仙一類的人物。他一定是這樣的一個人物：我最高的希望將會得到滿足，木偶們將會獲得生命，我將成爲真正演員的導演。
我們爲這事而乾杯。他把我的木偶都裝進一個木匣子，把這匣子綁在我的背上，然後讓我鑽進一個螺旋形的器具裏去。我現在還可以聽得見，我是怎樣滾出來、躺在地板上的。這是千真萬確的事情;全班的戲子從匣子裏跳出來。我們身上全有精氣附體了。所有的木偶現在都成了有名的藝術家——這是他們自己講的;而我自己則成了導演。現在一切都齊備，可以登臺表演了。整個的班子都想和我談談。觀衆也是一樣。
女舞蹈家說，如果她不用一隻腿立着表演，整個的劇院就會關門;她是整個班子的女主角，同時也希望大家用這個標準來對待她。表演皇后這個角色的女演員希望在下了舞臺以後大家仍然把她當做皇后看待，否則她的藝術就要生疏了。那位專門充當送信人的演員，也好像一個初次戀愛的人一樣，做出一副不可一世的樣子，因爲他說，從藝術的完整性講，小人物跟大人物是同樣重要。男主角要求只演退場的那些場面，因爲這些場面會叫觀衆鼓掌。女主角只願意在紅色燈光下表演，因爲只有這種燈光纔對她合適——她不願意在藍色的燈光下表演。
他們簡直像關在瓶子裏的一堆蒼蠅，而我卻不得不跟他們一起擠在這個瓶子裏，因爲我是他們的導演。我的呼吸停止了，我的頭腦暈了，世上再沒有什麼人像我這樣可憐。我現在是生活在一羣新的人種中間。我希望能把他們再裝進匣子裏，我希望我從來沒有當過他們的導演。我老老實實地告訴他們說，他們不過是木偶而已。於是他們就把我打得要死。
“我躺在我自己房間裏的牀上。我是怎樣離開那個工藝學校學生的，大概他知道;我自己是不知道的。月光照在地板上;木匣子躺在照着的地方，已經翻轉來了;大大小小的木偶躺在它的附近，滾做一團。但是我再也不能耽誤時間了。我馬上從牀上跳下來。把它們統統撈進去，有的頭朝下，有的用腿子站着。我趕快把蓋子蓋上，在匣子上坐下來。這副樣兒是值得畫下來的。你能想象出這副樣兒嗎?我是能的。
“現在要請你們待在裏面了。”我說，“我再也不能讓你們變得有血有肉了!”
我感到全身輕鬆了一截，心情又好起來。我是一個最幸福的人了。這個工藝學校學生算是把我的頭腦洗滌一番了。我幸福地坐着，當場就在匣子上睡去了。第二天早晨——事實上是中午，因爲這天早晨我意外地睡得久——我仍然坐在匣子上，非常快樂，同時也體會到我以前的那種希望真是太傻。我去打聽那個工藝學校的學生，但是他已經像希臘和羅馬的神仙一樣不見了。從那時起，我一直是一個最幸福的人。
我是一個幸福的導演，我的演員也不再發牢騷了，我的觀衆也很滿意——因爲他們盡情地欣賞我的演出。我可以隨便安排我的節目。我可以隨便把劇本中的最好的部分選出來演，誰也不會因此對我生氣。那些30年前許多人搶着要看，而且看得流出眼淚的劇本，我現在都演出來了，雖然現在的一些大戲院都瞧不起它們。我把它們演給小孩子們看，小孩子們流起眼淚來，跟爸爸和媽媽沒有什麼兩樣。我演出《約翰妮·蒙特法康》和《杜威克》，不過這都是節本，因爲小孩子不願意看拖得太長的戀愛故事。他們喜歡簡短和感傷的東西。
我在丹麥各地都旅行過。我認識所有的人，所有的人也認識我。現在我要到瑞典去了。如果我在那裏的運氣好，能夠賺很多的錢，我就做一個真正的北歐人——否則我就不做了。因爲你是我的同鄉，所以我才把這話告訴你。
而我呢，作爲他的同胞，自然要把這話馬上傳達出來——完全沒有其他的意思。
演木偶戲的人的故事英文版
On board the steamer was an elderly man with such a joyful face that if it didn't belie him he must have been the happiest person on earth. In fact, he said he was the happiest; I heard it from his own mouth. He was a Dane, a countryman of mine, and a traveling theatrical producer. His whole company was with him and lay in a large box, for he was the proprietor of a puppet show. He said that his natural cheerfulness had been enlightened by a Polytechnic student, and the experiment had left him completely happy. At first I didn't understand what he meant, but later he explained the whole thing to me, and here is the story.
"In the town of Slagelse," he said, "I gave a performance in the post-office courtyard before a brilliant audience, all juvenile except for two old matrons. Suddenly a person in black, looking like a student, entered the hall and sat down; he laughed at the right places and applauded appropriately. He was an unusual spectator. I was anxious to know who he was, and I learned that he was a student from the Polytechnic Institute of Copenhagen who had been sent out to teach the people in the provinces. My performance ended promptly at eight o'clock, for children must go to bed early, and a manager must consider the convenience of his public. At nine o'clock the student began his lecture and experiments, and now I was one of his spectators. It was all extraordinary to hear and see. Most of it went over my head and into the parson's, as one says, but it made me think that if we mortals can learn so much we must surely be intended to last longer than the little span we're here on earth. What he performed were miracles, and though only small ones, everything was done as easily as a foot fits into a stocking, as naturally as nature functions. In the days of Moses and the prophets such a man would have been counted among the wise men of the land; in the Middle Ages he would have been burned at the stake. I didn't sleep that whole night. And the next evening, when I gave another performance, and the student was again present, I was in an exuberantly good humor. I once heard from an actor that when he played the part of a lover he always thought of one particular lady in the audience; he played only to her and forgot the rest of the house. Now the Polytechnic student was my 'she,' my only spectator, for whom alone I performed.
"After the performance, when the puppets had taken their curtain calls, the Polytechnic student invited me into his room to have a glass of wine; he spoke of my plays, and I spoke of his science, and I think we were equally pleased. But I had the better of it, for there was much of what he did that he couldn't explain to me. For instance, a piece of iron that falls through a spiral becomes magnetic. Now why does that happen? The spirit enters it, but where does it come from? It is just as it is with the humans in our world, I think; our Lord lets them fall through the spiral line of time; the spirit enters them, and there then stands a Napoleon, a Luther, or some such person. 'The whole world is a series of miracles,' said the student, 'but we're so used to them that we call them everyday things.' And he continued talking and explaining until finally my skull seemed lifted from my brain, and I honestly confessed that if I weren't already an old fellow I would at once attend the Polytechnic Institute and learn to examine the world more closely, even though I was one of the happiest of men.
" 'One of the happiest!' said the student, and seemed to be quite thoughtful about it. 'Are you really happy?' he asked me.
" 'Yes,' I said, 'I am happy. All the towns welcome me whenever I come with my company. But I do, to be sure, have one wish, which sometimes haunts me like a goblin- a nightmare that rides on my good nature. I should like to be a real theatrical manager, director of a troupe of real men and women!'
" 'You wish your puppets would come to life; you wish they would become real actors,' he said, 'and you would be their director; and then would you be completely happy, you think?' He didn't believe it, but I believed it, and we talked back and forth about it, without coming any nearer a solution; still we clinked glasses together, and the wine was excellent. There must have been some magic in it, for otherwise the story would have been that I got drunk. That didn't happen, though; I kept my clear viewpoint. Somehow there was sunlight in the room, and it shone from the face of the Polytechnic student. It made me think of the old tales of the gods in their eternal youth, when they wandered on earth. I told him that, and he smiled. I could have sworn that he was one of the old gods in disguise, or at least that he belonged to their family! And he certainly must have been something of that sort, for my greatest wish was to be fulfilled; the puppets would come to life, and I would be the director of real people. We drank to that.
"He packed all my puppets into a wooden box, strapped it on my back, and then let me fall through a spiral. I can still hear how I tumbled; and then I was lying on the floor-this is positively true-and the whole company sprang from the box! The spirit had come upon all of them; all the puppets had become great artists-at least, so they said-and I was their director. Everything was ready for the first performance. But the whole company wanted to speak to me, and the public, too.
"The prima ballerina said that the 'house' was going to 'fall' if she didn't stand on one leg in the show; she was mistress of the whole company, and insisted on being treated as such. The lady who played the empress wanted to be treated as an empress off stage, or else she would get out of practice. The man who had only to deliver a letter made himself as important as the leading man, for the little parts were just as important as the big ones, and all were of equal consequence in making up an artistic whole, he said. The hero would play only parts composed of nothing but exit lines, because those brought him the applause. The prima donna would only play act in a red light, for that suited her best; she refused to appear in a blue one. They were like a troupe of flies in a bottle, and I was in the middle of the bottle with them, for I was the director. My breath stopped, and my head was dizzy; I was as miserable as a man can be. It was quite a new kind of people among whom I found myself now. I only wished I had them all back in their box and that I had never been a director at all. I told them straight out that they were all nothing but puppets-and so they killed me!
"I found myself lying on my bed in my room; how I got there, or how I got away from the Polytechnic student, he may know-I don't. The moon shone in on the floor where the box lay overturned, and all the dolls, great and small, were scattered about in confusion; but I wasn't idle. I jumped out of bed and popped them all back into the box, some on their heads and some on their feet; then I slammed down the lid, and seated myself on the box. It was a picture worth painting! Can't you just see it? I can! 'Now you'll just have to stay in there,' I said. 'And I'll never again wish that you have flesh and blood!' I was in such a relieved frame of mind, I was the happiest of men. The Polytechnic student had entirely purified me. I sat there in a state of utter contentment and fell asleep on the box.
"The next morning-it was really noon, for I slept wonderfully late that day-I was still sitting there, lighthearted, and conscious that my one former wish had been foolish. I asked for the Polytechnic student, but he was gone, like the gods of Greece and Rome; and since that time I have been the happiest of men. I am a happy director; my company never grumbles, or my public either-they're amused to their hearts' content. I can put my plays together just as I like, taking out of other plays anything that pleases me, and no one is annoyed at it. Plays that nowadays are disdained in the big theaters, but that the public ran to see, and wept over, thirty years ago-those plays I now put on. I perform them for the little ones, and the little ones weep just as Papa and Mamma did. I give them Johanne Montsaucon and Dyveke, but in abbreviated versions, for the youngsters don't want long-winded love stories; what they want is something sad but short.
"I have traveled through Denmark from one end to the other; I know everyone there, and everyone knows me. Now I'm on my way to Sweden, and if I'm successful there and make good money, I'll be a man of Scandinavia; otherwise I won't. I tell you this because you are my countryman."
And I, as his countryman, in turn naturally tell it - just for the sake of telling it.
演木偶戲的人讀後感
這個故事告訴我們，每個人都有自己的生活，我們要盡情的享受生活中的快樂，努力去追求屬於自己的幸福。不必去羨慕別人過的好，因爲我們無法駕馭別人的生活。所以知足常樂，只要我們自己覺得幸福就好，開心最重要。
