The See-saw跷跷板
When I began teaching at the Royal Court Theatre Studio (1963), I noticed that the actors couldn't reproduce 'ordinary' conversation. They said 'Talky scenes are dull', but the conversations they acted out were nothing like those I overheard in life. For some weeks I experimented with scenes in which two 'strangers' met and interacted, and I tried saying 'No jokes', and 'Don't try to be clever',but the work remained unconvincing. They had no way to mark time and allow situations to develop, they were forever striving to latch on to 'interesting' ideas. If casual conversations really were motiveless,and operated by chance, why was it impossible to reproduce them at the studio?
当我开始在皇家宫廷剧院教书的时候《工作室》(1963)，我注意到演员们无法再现《平凡》。谈话。他们说‘对谈的场面很无聊’，但是对话他们的表现和我在生活中听到的完全不同。对于一些几周以来，我不断尝试两个“陌生人”相遇的场景我试着说“不要开玩笑”和“不要耍小聪明”，但这项工作仍然缺乏说服力。他们没有办法计时允许情况发展，他们永远都在努力抓住“有趣”的想法。如果随意的谈话真的没有动力，偶然的机会，为什么不可能复制他们在工作室吗?
I was preoccupied with this problem when I saw the Moscow Art's production of The Cherry Orchard. Everyone on stage seemed to have chosen the strongest possible motives for each action-no doubt the production had been 'Improved' in the decades since Stanislavsky directed it. The effect was 'theatrical' but not like life as I knew it. I asked myself for the first time what were the weakest possible motives,the motives that the characters I was watching might really have had.When I returned to the studio I set the first of my status exercises.'Try to get your status just a little above or below your partner's,' I said, and I insisted that the gap should be minimal. The actors seemed to know exactly what I meant and the work was transformed. The scenes became 'authentic', and actors seemed marvellously observant.
Suddenly we understood that every inflection and movement implies a status, and that no action is due to chance, or really 'motiveless'. It was hysterically funny, but at the same time very alarming. All our secret manoeuvrings were exposed. If someone asked a question we didn't bother to answer it, we concentrated on why it had been asked. No one could make an 'innocuous' remark without everyone instantly grasping what lay behind it. Normally we are 'forbidden' to see status transactions except when there's a conflict. In reality status transactions continue all the time. In the park we'll notice the ducks squabbling, but not how carefully they keep their distances when they are not.
当我看到莫斯科的艺术作品时，我全神贯注于这个问题生产的樱桃园。舞台上的每个人似乎都有为每一个行动选择最强烈的动机斯坦尼斯拉夫斯基之后的几十年里，生产一直在“改进”导演。这种效果很“戏剧化”，但不像我所知道的生活。我我第一次问自己，最薄弱的动机是什么，我所看到的这些角色的动机可能是真的。当我回到工作室，我设置了我的第一个状态练习。“试着让你的地位比你的伴侣高一点或低一点，”我说，我坚持认为差距应该是最小的。演员们似乎我想知道我的意思，于是我的作品被改变了。的场景变得“真实”，演员们的观察力似乎好得惊人。突然，我们明白了，每一个变化和动作都意味着什么一种地位，没有任何行动是偶然的，或真正“无动力的”。它是歇斯底里的滑稽，但同时也非常令人担忧。我们所有的秘密操纵被揭露了。如果有人问我们问题我们没有费心去回答这个问题，而是专注于为什么要问这个问题。没有人能在没有人在场的情况下说出一句“无伤大雅”的话抓住它背后的东西。通常我们被“禁止”查看状态事务，除非有冲突。在现实中行动一直在继续。在公园里我们会看到鸭子争吵，而不是他们如何小心地保持距离他们不是。
Here's a conversation quoted by W. R. Bion (Experience in Groups, Tavistock Publications, 1968) which he gives as an example of a group not getting anywhere while apparently being friendly. The remarks on the status interactions are mine.
MRS x: I had a nasty turn last week. I was standing in a queue waiting for my turn to go into the cinema when I felt ever so queer. Really, I thought I should faint or something.
[Mrs X is attempting to raise her status by having an interesting medical problem. Mrs Y immediately outdoes her.]
下面是W. R. Bion引用的一段对话(《群体中的经验》，塔维斯托克出版公司，1968年)，他举了一个群体在表面友好的情况下却一事无成的例子。关于状态交互的备注是我的。
x夫人:上星期我的脾气很坏。我在排队等着轮到我去看电影时，感到非常奇怪。真的，我想我应该晕过去。
X夫人正试图通过一个有趣的医学问题来提高她的地位。Y夫人立刻超过了她。
MRS Y: You're lucky to have been going to a cinema. If I thought I could go to a cinema I should think I had nothing to complain of at all.
[Mrs Z now blocks Mrs Y.]
MRS z: I know what Mrs X means. I feel just like that myself, only I should have had to leave the queue.
[Mrs Z is very talented in that she supports Mrs X against Mrs Y while at the same time claiming to be more worthy of interest, her condition more severe. Mr A now intervenes to lower them all by making their condition seem very ordinary.]
Y夫人:你去看电影真幸运。如果我认为我可以去看电影，我认为我没有什么可抱怨的。
(Z夫人挡住了y夫人)
z夫人:我知道X夫人是什么意思。我自己也有这种感觉，只是我应该离开队伍。
Z夫人很有才华，她支持X夫人反对Y夫人，同时声称自己更值得关注，她的情况更严重。现在A先生介入，通过使他们的状况看起来非常普通来降低他们的工资。
MR A: Have you tried stooping down? That makes the blood come back to your head. I expect you were feeling faint.
[Mrs X defends herself.]
MRS X: It's not really faint.
MRS Y: I always find it does a lot of good to try exercises. I don't know if that's what Mr A means.
MR A:你试过弯下腰吗?让血液回到你的头上。我想你是晕过去了。
(X夫人为自己辩护。)
X夫人:并不是很暗。
Y夫人:我总是发现做运动有很多好处。我不知道这是不是A先生的意思。
[She seems to be joining forces with Mr A, but implies that he was unable to say what he meant. She doesn't say 'Is that what you mean?' but protects herself by her typically high-status circumlocution. Mrs Z now lowers everybody, and immediately lowers herself to avoid counterattack.]
MRS z: I think you have to use your will-power. That's what worries me-I haven't got any.
[Mr B then intervenes, I suspect in a low-status way, or rather trying to be high-status but failing. It's impossible to be sure from just the words.]
MR B: I had something similar happen to me last week,only I wasn't standing in a queue. I was just sitting at home quietly when ...
[Mr C demolishes him.]
她似乎与A先生联手，但暗示他说不出自己的意思。她不会说“你是这个意思吗?”但她会用自己典型的高身份套话来保护自己。Z夫人现在放低所有人的姿态，并立即放低自己以避免反击。
我认为你必须运用你的意志力。这就是我担心的——我没有。
(然后B先生介入了，我怀疑是以一种低地位的方式，或者更确切地说，试图成为高地位的人，但失败了。)仅仅从字面上是不可能确定的。
MR B:上周我也遇到了类似的事情，只是我没有排队。我正静静地坐在家里，突然……
(C先生击败了他。)
MR c: You were lucky to be sitting at home quietly. If I was able to do that I shouldn't think I had anything to grumble about. If you can't sit at home why don't you go to the cinema or something?
MR c:你能安静地坐在家里真是幸运。如果我能做到这一点，我想我就没有什么可抱怨的了。如果你不能坐在家里，为什么不去看电影或别的什么呢?
Bion says that the prevailing atmosphere was of good temper and helpfulness. He adds that 'A suspicion grows in my mind, that there is no hope whatever of expecting co-operation from this group.' Fair enough. What he has is a group where everyone attacks the status of everyone else while pretending to be friendly. If he taught them to play status transactions as games then the feeling within the group would improve. A lot of laughter would have been released, and the group might have flipped over from acting as a competitive group into acting as a co-operative one. It's worth noting how much talent is locked away inside these apparently banal people.
比昂说，当时的气氛是良好的脾气和乐于助人。他还说，我越来越怀疑，指望这个组织合作是毫无希望的。“很好。他所拥有的是一群人，每个人在假装友好的同时攻击其他人的地位。如果他教他们像玩游戏一样玩状态交易，那么小组内部的感觉就会改善。很多笑声会被释放出来，整个团队可能会从一个竞争的团队转变为一个合作的团队。值得注意的是，在这些看似平庸的人身上隐藏了多少才能。
We've all observed different kinds of teachers, so if I describe three types of status players commonly found in the teaching profession you may find that you already know exactly what I mean.I remember one teacher, whom we liked but who couldn't keep discipline. The Headmaster made it obvious that he wanted to fire him, and we decided we'd better behave. Next lesson we sat in a spooky silence for about five minutes, and then one by one we began to fool about-boys jumping from table to table, acetylene-gas exploding in the sink, and so on. Finally, our teacher was given an excellent reference just to get rid of him, and he landed a headmastership at the other end of the county. We were left with the paradox that our behaviour had nothing to do with our conscious intention.
我们都观察过不同类型的教师，所以如果我描述三种教师职业中常见的地位玩家，你可能会发现你已经很清楚我的意思了。我记得有一位老师，我们很喜欢他，但他不能遵守纪律。校长明摆着要开除他，我们决定还是检点点儿。下一节课，我们在令人毛骨悚然的寂静中坐了大约五分钟，然后一个接一个地开始糊弄——男孩子们从一张桌子跳到另一张桌子，乙炔气体在水槽里爆炸，等等。最后，我们的老师得到了一个很好的推荐信，只是为了摆脱他，他在县的另一端得到了一个校长职位。我们的行为与我们的意识意图毫无关系，这是一个悖论。
Another teacher, who was generally disliked, never punished and yet exerted a ruthless discipline. In the street he walked with fixity of purpose, striding along and stabbing people with his eyes. Without punishing, or making threats, he filled us with terror. We discussed with awe how terrible life must be for his own children.
另一位老师，大家都不喜欢他，但他从不受罚，而且纪律严明。他在街上坚定地走着，大步走着，用眼睛刺人。他既不惩罚我们，也不威胁我们，却使我们充满恐惧。我们怀着敬畏的心情讨论了他自己的孩子的生活该有多糟糕。
A third teacher, who was much loved, never punished but kept excellent discipline, while remaining very human. He would joke with us, and then impose a mysterious stillness. In the street he looked upright, but relaxed, and he smiled easily.
第三位老师倍受爱戴，他从不受到惩罚，但纪律严明，同时又非常人道。他会和我们开玩笑，然后施加一种神秘的寂静。在街上，他看上去挺直，但放松了，他轻松地笑了。
I thought about these teachers a lot, but I couldn't understand the forces operating on us. I would now say that the incompetent teacher was a low-status player: he twitched, he made many unnecessary movements, he went red at the slightest annoyance, and he always seemed like an intruder in the classroom. The one who filled us with terror was a compulsive high-status player. The third was a status expert, raising and lowering his status with great skill. The pleasure attached to misbehaving comes partly from the status changes you make in your teacher. All those jokes on teacher are to make him drop in status. The third teacher could cope easily with any situation by changing his status first.
我想了很多关于这些老师的事情，但是我不能理解这些力量是如何作用在我们身上的。我现在要说的是，这位不称职的老师是个地位低下的人:他会抽搐，做许多不必要的动作，一遇到一点点烦恼就会脸红，而且他似乎总像是教室里的闯入者。那个让我们充满恐惧的人是一个强迫性的高地位玩家。第三个是地位专家，以高超的技巧提高和降低他的地位。行为不端带来的快乐部分来自于你对老师地位的改变。所有那些对老师开的玩笑都是为了贬低他的地位。第三位老师可以很容易地处理任何情况，改变他的地位第一。
Status is a confusing term unless it's understood as something one does. You may be low in social status, but play high, and vice versa.
地位是一个令人困惑的术语，除非它被理解为一个人所做的事情。你可能社会地位低，但玩得高，反之亦然。
For example:
TRAMP: 'Ere! Where are you going?
DUCHESS: I'm sorry, I didn't quite catch ...
TRAMP: Are you deaf as well as blind?
例如:
流浪汉:“之前!你要去哪里?
公爵夫人:对不起，我没听清楚……
流浪汉:你又聋又瞎吗?
Audiences enjoy a contrast between the status played and the social status. We always like it when a tramp is mistaken for the boss, or the boss for a tramp. Hence plays like The Inspector General. Chaplin liked to play the person at the bottom of the hierarchy and then lower everyone.
观众享受到的是一种地位与社会地位的对比。我们总是喜欢把流浪汉错当成老板，或者把老板错当成流浪汉。因此，他扮演的是监察长。卓别林喜欢扮演处于社会底层的人，然后把每个人都放低。
I should really talk about dominance and submission, but I'd create a resistance. Students who will agree readily to raising or lowering their status may object if asked to 'dominate' or 'submit'.
我真的应该谈论支配和服从，但我会制造一种反抗。如果被要求“支配”或“服从”，那些愿意提高或降低自己地位的学生可能会反对。
Status seems to me to be a useful term, providing the difference between the status you are and the status you play is understood.
在我看来，地位是一个有用的名词，前提是要了解您所处的地位与您所扮演的地位之间的区别。
As soon as I introduced the status work at the Studio, we found that people will play one status while convinced that they are playing the opposite. This obviously makes for very bad social 'meshing'-as in Bion's therapy group-and many of us had to revise our whole idea of ourselves. In my own case I was astounded to find that when I thought I was being friendly, I was actually being hostile! If someone had said 'I like your play', I would have said 'Oh, it's not up to much', perceiving myself as 'charmingly modest'. In reality I would have been implying that my admirer had bad taste. I experience the opposite situation when people come up, looking friendly and supportive, and say, 'We did enjoy the end of Act One', leaving me to wonder what was wrong with the rest.
当我在工作室中介绍了状态工作时，我们发现人们会扮演一个状态，而确信他们在扮演相反的状态。这显然导致了非常糟糕的社交“网络”——就像Bion的治疗小组一样——我们中的许多人不得不修正我们对自己的整个想法。就我自己而言，我惊讶地发现，当我以为自己是友好的时候，实际上我是敌对的!如果有人说“我喜欢你的戏剧”，我会说“哦，这不是很好”，认为自己“非常谦虚”。事实上，我会暗示我的仰慕者品味很差。我经历过相反的情况，当人们出现，看起来友好和支持，并说，“我们确实享受第一幕的结尾”，让我想知道剩下的出了什么问题。
I ask a student to lower his status during a scene, and he enters and says:
我要求一个学生在一个场景中降低自己的身份，然后他进入并说：
A: What are you reading?
B: War and Peace.
A: Ah! That's my favourite book!
A:你在读什么?
B:《战争与和平》。
A:啊!那是我最喜欢的书!
The class laugh and A stops in amazement. I had told him to lower his status during the scene, and he doesn't see what's gone wrong.I ask him to try it again and suggest a different line of dialogue.
全班大笑，A惊讶地停止了。我曾告诉他在现场降低他的身份，他看不出出了什么问题，我要求他再试一次并提出不同的对话方式。
A: What are you reading?
B: War and Peace.
A: I've always wanted to read that.
A:你在读什么?
B:《战争与和平》。
A:我一直想读一读。
A now experiences the diffrence, and realises that he was originally claiming 'cultural superiority' by implying that he had read this immense work many times. If he'd understood this he could have corrected the error.
现在，A经历了种种差异，并意识到他最初声称自己具有“文化优势”，因为他暗示他已经读过很多本巨著。如果他理解了这一点，则可以更正该错误。
A: Ah! That's my favourite book.
B: Really?
A: Oh yes. Of course I only look at the pictures ...
A:啊!那是我最喜欢的书。
B:真的吗?
答:噢,是的。当然我只看照片…
A further early discovery was that there was no way to be neutral. The .'Good morning' that might be experienced as lowering by the Manager, might be experienced as raising by the bank clerk. The messages are modified by the receivers.You can see people trying to be neutral in group photographs.
另一个早期发现是没有中立的方法。经理可能会下调“早上好”，银行职员可能会下调“早上好”。消息由接收者修改。您可以在集体照中看到有人试图保持中立。
They pose with arms folded or close to their sides as if to say'Look! I'm not claiming any more space than I'm entitled to', and they hold themselves very straight as if saying'But I'm not submissive either!' If someone points a camera at you you're in danger of having your status exposed, so you either clown about, or become deliberately unexpressive. In formal group photographs it's normal to see people guarding their status. You get quite different effects when people don't know they're being photographed.
他们双臂交叉或靠近两侧摆姿势，好像在说“看！我没有要求比我有权获得的空间更多，而且他们很直截了当，好像在说“但是我也不顺从！”如果有人将相机对准您，则有可能暴露您的身份，因此您要么扮小丑，要么故意变得毫无表情。在正式的集体照中，看到人们捍卫自己的身份是正常的。当人们不知道自己被拍照时，您会得到完全不同的效果。
If status can't even be got rid of, then what happens between friends? Many people will maintain that we don't play status transactions with our friends, and yet every movement, every inflection of the voice implies a status. My answer is that acquaintances become friends when they agree to play status games together. If I take an acquaintance an early morning cup of tea I might say'Did you have a good nigh? or something equally'neutral', the status being established by voice and posture and eye contact and so on.
如果连地位都无法摆脱，那么朋友之间会发生什么呢?许多人会坚持认为，我们不会和朋友玩身份交易，然而，每个动作、每个声调都暗示着身份。我的回答是，当相识的人同意一起玩身份游戏时，他们就成了朋友。如果我在清晨和一个熟人喝杯茶，我可能会说:“你昨晚过得好吗?”或者一些同样“中性”的东西，通过声音、姿势和眼神等建立起来的地位。
If I take a cup of tea to a friend then I may say'Get up, you old cow', or'Your Highness's tea',pretending to raise or lower status. Once students understand that they already play status games with their friends, then they realise that they already know most of the status games I'm trying to teach them.
如果我给朋友倒杯茶，我可能会说“起来，老牛”，或“殿下的茶”，假装提高或降低身份。一旦学生们意识到他们已经在和朋友们玩地位游戏，那么他们就会意识到，他们已经知道了我试图教给他们的大多数地位游戏。
We soon discovered the 'see-saw' principle:'I go up and you go down'. Walk into a dressing-room and say'I got the part' and everyone will congratulate you, but will feel lowered. Say'They said I was too old' and people commiserate, but cheer up perceptibly. Kings and great lords used to surround themselves with dwarfs and cripples so that they could rise by the contrast. Some modern celebrities do the same. The exception to this see-saw principle comes when you identify with the person being raised or lowered, when you sit on his end of the see-saw, so to speak.
我们很快发现了“跷跷板”原理:“我上去，你下去”。走进化妆室，说‘我得到了那个角色’，每个人都会恭喜你，但会觉得低人一等。说“他们说我太老了”，人们会表示同情，但也会明显地振作起来。国王和伟大的君主过去常常被小矮人和跛子包围，这样他们就能在对比中崛起。一些现代名人也这么做。这个跷跷板原理的例外出现在当你认同被抬高或降低的那个人的时候，也就是当你坐在跷跷板的另一端的时候
If you claim status because you know some famous person, then you'll feel raised when they are: similarly,an ardent royalist won't want to see the Queen fall off her horse. When we tell people nice things about ourselves this is usually a little like kicking them. People really want to be told things to our discredit in such a way that they don't have to feel sympathy. Low-status players save up little tit-bits involving their own discomfiture with which to amuse and placate other people.
如果你因为认识某个名人而获得了社会地位，那么当他们是名人的时候，你也会感到被提升了:同样，一个狂热的保皇主义者也不希望看到女王从马上摔下来。当我们告诉别人关于我们自己的好事情时，这通常有点像踢他们。人们真的希望别人以一种不需要同情的方式告诉他们我们的耻辱。地位低的玩家会为自己的尴尬积攒一些小礼物，用来娱乐和安抚他人。
If I'm trying to lower my end of the see-saw, and my mind blocks, I can always switch to raising the other end. That is, I can achieve a similar effect by saying'I smell beautiful' as'You stink'. I therefore teach actors to switch between raising themselves and lowering their partners in alternate sentences; and vice versa. Good playwrights also add variety in this way. For example, look at the opening of Moliere's A Doctor in Spite of Himself. The remarks on status are mine.
如果我试图降低跷跷板的一端，我的思维障碍，我总是可以转换到提高另一端。也就是说，我可以通过说“我闻起来很美”来达到类似的效果，就像“你很臭”一样。因此，我教演员们在两句话之间转换，在抬高自己和降低同伴之间转换;反之亦然。优秀的剧作家也会以这种方式增加多样性。例如，看看莫里哀的《不由自主的医生》的开头。关于地位的评论是我的。
SGANARELLE: [Raises himself.] No, I tell you I'll have nothing to do with it and it's for me to say, I'm the master.
MARTINE: [Lowers Sganarelle, raises herself.] And I'm telling you that I'll have you do as I want. I didn't marry you to put up with your nonsensical goings-on.
SGANARELLE: [Lowers Martine.] Oh! The misery of married life!How right Aristotle was when he said wives were the very devil !
MARTINE: [Lowers Sganarelle and Aristotle.] Just listen to the clever fellow—him and his blockhead of an Aristotle!
SGANARELLE: [Raises himself.] Yes, I'm a clever fellow all right! Produce me a woodcutter who can argue and hold forth like me, a man who has served six years with a famous physician and had his Latin grammar off by heart since infancy!
MARTINE: [Lowers Sganarelle.] A plague 0n the idiot!
SGANARELLE:(提高自己。]不，我告诉你，我与此事无关，我得说，我是主人。
MARTINE:[放下Sganarelle，提升自己。]我告诉你，我会让你做我想做的事。我嫁给你不是为了让你忍受这些荒谬的事情。
SGANARELLE:(降低马丁尼。)哦!婚姻生活的不幸!亚里士多德说妻子是魔鬼是多么正确啊!
MARTINE:[放低Sganarelle]和亚里士多德。[英语背诵文选听听这聪明的家伙——他和他那亚里士多德式的笨蛋!
SGANARELLE:(提高自己]是的，我是个聪明人。给我找一个能像我一样能说会道、滔滔不绝的樵夫，一个跟一位著名的医生一起工作了六年的人，从小就熟记拉丁文语法!
玛蒂娜:[降低Sganarelle]白痴的瘟疫!
SGANARELLE: [Lowers Martine.] A plague on you, you worthless hussy!
SGANARELLE:(降低马丁尼。你这没用的贱货，真够你受的!
MARTINE: [Lowers her wedding day.] A curse on the day and hour when I took it into my head to go and say 'I will'!
马丁尼：（放低了她的婚礼日。）这是一个诅咒，当我把它带到我的脑袋里去说“我会的”！
SGANARELLE: [Lowers notary.] And a curse on the cuckold of a notary who made me sign my name to my own ruin.
SGANARELLE：[降低公证人。]还有一个公证人戴绿帽的诅咒，使我在自己的废墟上签名了我的名字。
MARTINE: [Raises herself.] A lot of reason you have to complain, I must say! You ought to thank Heaven every minute of your life that you have me for your wife. Do you think you deserved to marry a woman like me? [And so on.](The Misanthrope and other plays, translated by John Wood, Penguin, 1959.)
玛蒂娜:[提高自己。我得说，你有很多抱怨的理由!你一生中每一分钟都应该感谢上天，让我做你的妻子。你认为你应该娶我这样的女人吗?[等等。](《厌世者与其他戏剧》，约翰·伍德译，企鹅出版社，1959年)
Most comedy works on the see-saw principle. A comedian is someone paid to lower his own or other people's status. I remember some of Ken Dodd's patter which went something like this: 'I got up this morning and had my bath ... standing up in the sink .. .' (Laugh from audience.) ' ... and then I lay down to dry off-on the drainingboard ...
大多数喜剧都是根据拉锯战的原则来运作的。喜剧演员是拿钱来降低自己或他人地位的人。我记得肯·多德说过这样的话:“我今天早上起床洗澡……(观众大笑)“…然后我躺下来晒干——在滴水板上……
' (Laughter.) ' ... and then my father came in and said "Who skinned this rabbit?".' (Laughter.) While he describes himself in this pathetic way he leaps about, and expresses manic happiness,thus absolving the audience of the need to pity him. We want people to be very low-status, but we don't want to feel sympathy for themslaves are always supposed to sing at their work.
”(笑声)“…然后我父亲进来问:“谁剥了这只兔子的皮?””(笑声)当他以这种可怜的方式描述自己的时候，他跳来跳去，表现出狂躁的快乐，从而免除了观众怜悯他的需要。我们希望人们的地位很低，但我们不想同情他们，奴隶们总是应该在工作时唱歌。
One way to understand status transactions is to examine the comic strips, the 'funnies'. Most are based on very simple status transactions,and it's interesting to observe the postures of the characters, and the changes in status between the first and last frames.
理解状态事务的一种方法是查看连环画，即“连环画”。大多数都是基于非常简单的状态事务，观察角色的姿势以及第一个和最后一个帧之间的状态变化是很有趣的。
Another way is to examine jokes, and analyse their status transactions. For example:
CUSTOMER: 'Ere, there's a cockroach in the loo!
BARMAID: Well you'll have to wait till he's finished, won't you?
另一种方法是检查笑话，并分析它们的状态交易。例如:
顾客:呃，厕所里有只蟑螂!
酒吧女招待:那你得等他喝完，好吗?
Or again:
A: Who's that fat noisy old bag?
A：那个胖吵杂的旧袋子是谁？
B: That's my wife.
B: Oh, I'm sorry ...
A: You're sorry! How do you think I feel?
A：对不起！您觉得我如何？
2 Comedy and Tragedy
In his essay on laughter Bergson maintained that the man-falling-on-a-banana-skin joke was funny because the victim had suddenly been forced into acting like an automaton. He wrote: 'Through lack of elasticity, through absent-mindedness, and a kind of physical obstinacy: as a result, in fact, of rigidity or of momentum,the muscles continued to perform the same movement when the circumstances of the case called for something else. This is the reason for the man's fall, and also of the people's laughter.' Later in the same essay he says: 'What is essentially laughable is what is done automatically.'
在他的一篇关于笑声的文章中，柏格森坚持认为这个“香蕉皮上的人掉下来”的笑话很有趣，因为受害者突然被强迫像机器人一样行动。他写道:“由于缺乏弹性，由于心不在焉，还有一种身体上的固执。事实上，由于肌肉僵硬或缺乏动力，当情况需要别的东西时，肌肉就会继续做同样的动作。”这就是男人堕落的原因，也是人们大笑的原因。在同一篇文章的后半部分，他说:“本质上可笑的是那些自动完成的事情。
In my view the man who falls on the banana skin is funny only if he loses status, and if we don't have sympathy with him. If my poor old blind grandfather falls over I'll rush up and help him to his feet.If he's really hurt I may be appalled. If Nixon had slipped up on the White House steps many people would have found it hysterical. If Bergson had been right then we would laugh at a drowning man, and grand military parades would have the crowds rocking with merriment. A Japanese regiment is said to have masturbated by numbers in a football stadium as an insult to the population of Nanking, but I don't suppose it was funny at the time. Chaplin being sucked into the machine is funny because his style absolves us of the need for sympathy.
在我看来，跌倒在香蕉皮上的人只有在他失去地位，以及我们不同情他的情况下才有趣。如果我可怜的又老又瞎的爷爷摔倒了，我就跑过去扶他站起来。如果他真的受伤了，我可能会大吃一惊。如果尼克松在白宫台阶上失足，许多人会觉得这是歇斯底里的。如果柏格森是对的，那么我们会嘲笑一个溺水的人，盛大的军事游行会让人们欢呼雀跃。据说一个日本团在一个足球馆里用数字自慰，侮辱南京的人民，但我想当时这并不好笑。卓别林被吸进了机器里，这很有趣，因为他的风格使我们免除了对同情的需要
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