歌剧魅影 英语剧本

欢迎每个喜欢此巨著的朋友提问。我也喜欢sarah演的版本
到我的空间去，你可以找到全部原文歌词及原文剧本：
http://adeline-gmj.spaces.live.com/?_c11_BlogPart_BlogPart=summary&_c=BlogPart

包括：
1.Think of me
2.Mirror ( Angel Of Music ）
3.Phantom of the Opera
4.Music of the Night
5.Prima Donna
6.All I Ask of You
7.Masquerade
8.Wishing You Were Somehow Here Again
9.The Point of No Return
等

希望你喜欢！先贴第一幕给你看哦！
随便你选，爱那个选哪个！这是我的博客哦，我上传的很辛苦呢！希望能得到你的支持！
我设了权限，你要我授权给你就发E给我。
申明哦不选我为最佳答案我不给授权的，你可以看下我被采纳的回答，就知道我没骗人哦！你也可以加我为好友，MSN上。

A C T O N E
SCENE 1
REHEARSSALS FOR 'HANNIBAL' BY CHALUMEAU

(We have reached the great choral scene in which HANNIBAL and his army return to save
Carthage from the Roman incasion under Scipio. HANNIBAL is UBALDO PIANGI; ELISSA, Queen
of Carthage (his mistress) is CARLOTTA GIUDICELLI. The two leading SLAVE GIRLS are played
by MEG GIRY and CHRISTINE DAAE. MME GIRY is the ballet mistress. M. REYER, the repetiteur,
is in charge, We join the opera towards the end of ELISSA's (CARLOTTA's) great aria. She
is alone, holding a present from the approaching HANNIBAL, a bleeding severed head)

CARLOTTA (at the climax of an extravagant cadenza)
This trophy from our saviours,
from the enslaving force
of Rome!

(A STAGE HAND carries a ladder across the stage. OTHERS are seen still constructing partsof the scenery)

GIRLS' CHORUS
With feasting and dancing and song,
tonight in celebration,
we greet the victorious throng,
returned to bring salvation!

MEN'S CHORUS
The trumpets of Carthage resound!
Hear, Romans, now and tremble!
Hark to our step on the ground!

ALL
Hear the drums -
Hannibal comes!

(PIANGI enters, as HANNIBAL)

PIANGI (HANNIBAL)
sad to return to find the land we love threatened once more by Roma's far-reaching grasp.

REYER (interrupting him)
Signor ... If you please; 'Rome'. We say 'Rome', not 'Roma'.

PIANGI
Si, si, Rome, not Roma. Is very hard for me. (practicing) Rome... Rome ...)

(Enter LEFEVRE, the retiring manager of the Opera, with M.FIRMIN and M. ANDRE to whom he
has just sold it)

REYER (to PIANGI)
Once again, then if you please, Signor: 'Sad to return ...'

LEFEVRE (to ANFRE and FIRMIN)
This way, gentlemen, this way. Rehearsals, as you see, are under way, for a new production
of Chalumeau's 'Hannibal'.

(Sensing a hiatus in the rehearsal, LEFEVRE attempts to attract attention)

LEFEVRE
Ladies and geltlemen, some of you may already, perhaps, have met M. Andre and M. FIRMIN ...

(The new managers are plitely bowing, when REYER interrupts)

REYER
I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't mind waiting for a moment?

LEFEVRE
My apologies. M. REYER, Proceed, proceed ...

REYER
Thank you, monsieur. (turning back to PIANGI). 'Sad to return ...', Signor ...

LEFEVRE (sotto voce to ANDRE and FIRMIN)
M. Reyer, our chief repetiteur, Rather a ttyrant, I'm afraid.

(The rehearsal continues)

PIANGI (HANNIBAL)
Sad to return to find the land we love threatened once more by Rome's far-reaching grasp.
Tomorrow we shall break the chains of Rome.
Tonight, rejoice - your army has come home.

(The BALLET GIRLS begin their dance. LEFEVRE, ANDRE and FIRMIN stand centre-stage watching
the ballet. The are in the way. The ballet continues under the following dialogue)

LEFEVRE (indicating PIANGI)
Signor Piangi, our pricipal tenor. He does play so well opposite La Carlotta.

GIRY (exasperated by their presence, bangs her cane angrily on the stage)
Gentlemen, please! If you would kindly move to one side?

LEFEVRE
My apologies, Mme. Giry.
(leading ANDRE and FIRMIN aside)
Madame Giry, our ballet mistress. I don't mind confessing, M. FIRMIN, I shan't be sorry to
be rid of the whole blessed business.

FIRMIN
I keep asking you, monsieur, why exactly are you retiring?

LEFEVRE (ignoring this, calls his attention to the continuing ballet)
We take a particular pride here in the excellence of our ballets.

(MEG becomes prominent among the dancers)

ANDRE
Who's that girl, Lefevre?

LEFEVRE
Her? Meg Giry, Madame Giry's daughter. Promising dancer. M. Andre, most promising.

(CHRISTINE becomes prominent. She has absentmindedly fallen out-of-step)

GIRY (spotting her, bangs her cane again)
You! Christine Daae! Concentrate, girl!

MEG (quietly, to CHRISTINE)
Christine ... What's the matter?

FIRMIN (to LEFEVRE)
Daae? Curious name.
LEFEVRE
Swedish.

ANDRE
Any relation to the violinist?

LEFEVRE
His daughter, I believe. Always has her head in the clouds, I'm afraid.

(The ballet continues to its climax and ends. The CHORUS resumes)

CHORUS
Bid welcome to Hannibal's guests -
the elephants of Carthage!
As guides on our conquering quests,
Dido sends
Hannibals friends!

(The ELEPHANT, a life-size mechanical replica, enters. PIANGI is lifted, in
triumph, onto its back)

CARLOTTA (ELISSA)
Once more to my
welcoming arms
my love returns
in splendour!
PIANGI (HANNIBAL)
Once more to those
sweetest of charms
my heart and soul
surrender!

CHORUS
The trumpeting elephants sound -
hear, Romans, now and tremble!
Hark to their step on the ground -
hear the drums!
Hannibal comes!

(At the end of the chorus LEFEVRE claps his hands for silence. The elephant is
led off. Two stage-hands are revealed operating it from within)

LEFEVRE
Ladies and gentlemen - Madame Giry, thank you - may I have your attention please?
As you know, for some weeks there have been rumours of my imminent retirement.
I can now tell you that these were all true, and it is my pleasure to introduce
to you the two gentlemen who now own the Opera Populaire, M. Richard Firmin and
M. Gilles Andre.
(Polite applause. Some bowing. CARLOTTA makes her presence felt)
Gentlemen, Signora Carlitta Guidicelli, our leading soprano for five seasons now.
ANDRE
Of course, of course. I have experienced all your greatest roles, Signora.

LEFEVRE
And Signor Ubaldo Piangi.

FIRMIN
An honour, Signor.

ANDRE
If I remember rightly, Elissa has a rather fine aria in Act Three of 'Hannibal'.
I wonder, Signora, if, as a personal favour, you would oblige us with a private
rendition? (Somewhat acerbic). Unless, of course, M. Reyer objects ...

CARLOTTA
My manager commands ... M. Reyer?

REYER
My diva commands. Will two bars be sufficient introduction?

FIRMIN
Two bars will be quite sufficient.

REYER (ensuring that CARLOTTA is ready)
Signora?

CARLOTTA
Maestro.

(The introduction is played on the piano)

CARLOTTA
Think of me,
think of me fondly,
when we've said
goodbye.
Remember me
once in a while -
please promise me
you'll try.

When you find
that, once
again, you long
to take your heart ...

(As CARLOTTA is singing, a backdrop crashes to the floor, cutting her off from half
the cast)

MEG/BALLET GIRLS/CHORUS
He's here:
the Phantom of the Opera ...
He is with us ...
It's the ghost ...

PIANGI (looking up, furiously)
You idiots!
(He rushes over to CARLOTTA)
Cara! Cara! Are you hurt?

LEFEVRE
Signora! Are you all right? Buquet! Where is Buquet?

PIANGI
Is no one concerned for our prima donna?

LEFEVRE
Get that man down here! (to ANDRE and FIRMIN)
Chief of the flies. He's responsible for this.

(The drop is raised high enough to reveal upstage an old stagehand, JOSEPH BUQUET,
holding a lenth of rope, which looks almost like a noose)

LEFEVRE
Buquet! For God's sake, man, what's going on up there?

BUQUET
Please, monsieur,
don't look at me:
as God's my witness,
I was not at my post.

Please, monsieur,
there's no one there:
and if there is, well
then, it must be a ghost ...

MEG (looking up)
He's there: the Phantom of the
Opera ...

ANDRE
Good heavens!
Will you show a little courtesy?

FIRMIN (to MEG and the OTHERS)
Mademoiselle, please!

ANDRE (to CARLOTTA)
These things do happen.

CARLOTTA
Si! These thing do happen! Well, until you stop these things happening, this
thing does not happen!
Ubaldo! Andiamo!
(PIANGI dutifully fetches her furs from the wings)

PIANGI
Amateurs!

LEFEVRE
I don't think these's much more to assist you, gentlemen. Good luck. If you
need me, I shall be in Frankfurt.

(He leaves. The COMPANY looks anxiously at the NEW MANAGERS)

ANDRE
La Carlotta will be back.

GIRY
You think so, messieurs? I have a message, sir, from the Opera Ghost.

(The GIRLS twitter and twirl in fear)

FIRMIN
God in heaven, you're all obsessed!

GIRY
He merely welcomes you to his opera house and commands you to continue to leave
Box Five empty for his use and reminds you that his salary is due.

FIRMIN
His salary?

GIRY
Monsieur Lefevre paid him twenty thousand francs a month. Perhaps you can afford more,
with the Vicomte de Chagny as your patron.

(Reaction to this from the BALLET GIRLS. CHRISTINE takes hold of MEG nervously)

ANDRE (to GIRY)
Madame, I had hoped to have made that announcement myself.

GIRY (to FIRMIN)
Will the Vicomte be at the performance tonight, monsieur?

FIRMIN
In our box.

ANDRE
Madame, who is the understudy for this role?

REYER
There is no understudy, monsieur - the production is new.

MEG
Christine Daae could sing it, sir.

FIRMIN
The chorus girl?

MEG (to FIRMIN)
She's been taking lessons from a great teacher.
ANDRE
From whom?

CHRISTINE (uneasily)
I don't know, sir ...

FIRMIN
Oh, not you as well!
(turning to ANDRE)
Can you believe it? A full house - and we have to cancel!

GIRY
Let her sing for you, monsieur. She has been well taught.

REYER (after a pause)
From the beginning of the aria then, mamselle.

CHRISTINE
Think of me,
think of me fondly,
when we've said
goodbye.
Remember me
once in a while -
please promise me
you'll try.

FIRMIN
Andre, this is doing nothing gor my nerves.

ANDRE
Don't fret, Firmin.

CHRISTINE
When you find
that, once
again, you long
to take your heart back
and be free -
if you
ever find
a moment
spare a thought
for me ...

(Transformation to the Gala. CHRISTINE is revealed in full costume)

We never said
our love
was evergreen,
or as unchanging
as the sea -
but if
you can still
remember,
stop and think
of me ...

Think of all the things
we've shared and seen -
don't think about the things
which might have been ...

Think of me,
think of me waking,
silent and
resigned.

Imagine me,
trying too hard
to put you
from my mind.

Recall those days,
look back
on all those times,
think of the things
we'll never do -
there will
never be
a day, when
I won't think
of you ...

(Applause, bravos. Prominent among the bravos, those of the young RAOUL in
the MANAGERS' box)

RAOUL
Can it be?
Can it be Christine?

Bravo!

(He raises his opera-glasses)
What a change!
You're really
not a bit
the gawkish girl
that once you were ...

(lowering his opera-glasses)
She may
not remember
me, but
I remember
her ...

CHRISTINE
We never said
our love
was evergreen,
or as unchanging
as the sea -
but please
promise me,
that sometimes,
you will think
of me!

歌剧魅影剧本
AUCTIONEER:
Sold. Your number, sir? Thank you.
Lot 663, then, ladies and gentlemen:
a poster for this house's production of "Hannibal" by Chalumeau.
PORTER:
Showing here.
AUCTIONEER:
Do I have ten francs? Five then. Five I am bid.
Six, seven. Against you, sir, seven.
Eight. Eight once. Selling twice.
Sold, to Raoul, Vicomte de Chagny.
Lot 664: a wooden pistol and three human skulls
from the 1831 production of "Robert le Diable" by Meyerbeer.
T en francs for this. Ten, thank you.
Ten francs still. Fifteen, thank you, sir Fifteen I am bid.
Going at fifteen. Your number, sir?
665, ladies and gentlemen:
a papier-mache musical box, in the shape of a barrel-organ.
Attached, the figure of a monkey in Persian robes playing the cymbals.
This item, discovered in the vaults of the theatre, still in working order.
PORTER:
Showing here.
AUCTIONEER:
May I start at twenty francs? Fifteen, then?
Fifteen I am bid. Sold, for thirty francs to the Vicomte de Chagny.
Thank you, sir.
RAOUL:
A collector's piece indeed . . . every detail exactly as she said . . .
She often spoke of you, my friend ....Your velvet lining, and your figurine of lead...
Will you still play, when all the rest of us are dead?
AUCTIONEER:
Lot 666, then: a chandelier in pieces.
Some of you may recall the strange affair of the Phantom of the Opera:
a mystery never fully explained.
We are told, ladies and gentlemen,
that this is the very chandelier which figures in the famous disaster.
Our workshops have repaired it and wired parts of it for the new electric light,
so that we may get a hint of how it may look when reassembled.
Perhaps we may frighten away the ghost of so many years ago
with a little illumination, gentlemen?
Hannibal
CARLOTTA:
This trophy from our saviours, from our saviours!
From the enslaving force of Rome!
GIRL'S CHORUS:
With feasting and dancing and song, tonight in celebration, we greet the victorious throng, returned to bring salvation!
MEN'S CHORUS:
The trumpets of Carthage resound! Hear, Romans, now and tremble! Hark to our step on the ground!
ALL:
Hear the drums -- Hannibal comes!
PIANGI:
Sad to return to find the land
we love threatened once more by Roma's far-reaching grasp,
REYER:
Signor . . . if you please: "Rome".
We say "Rome' not "Roma"
PIANGI:
Si, si, Rome, not Roma. Is very hard for me.
LEFEVRE:
This way, gentlemen, this way.
Rehearsals, as you see, are under way, for a new production of Chalumeau's "Hannibal".
Ladies and gentlemen, some of you may already, perhaps, have met M. Andre and M. Firmin ...
REYER:
I'm sorry, M. Lefevre, we are rehearsing.
If you wouldn't mind waiting a moment?
LEFEVRE:
My apologies, M. Reyer. Proceed, proceed ...
REYER:
Thank you, monsieur.
"Sad to return..." Signor ...
LEFEVRE:
M. Reyer, our chief repetiteur. Rather a tyrant, I'm afraid.
PIANGI:
Sad to return to find the land we love
threatened once more by Rome's far-reaching grasp.
Tomorrow, we shall break the chains of Rome.

哈？？？500词？？？LZ你没搞错么？？？一说稍微长一点的两三首歌就差不多快500词了。。。。还要对话。。。。一说LS的已经给出了序幕的剧本。。。。光序幕差不多已经小700了吧。。。。。而且唱词也就那么几句。。。。