狼厅

1X02It's December 1529. Cardinal Wolsey has taken refuge at Esher. Anne Boleyn and her uncle, the Duke of Norfolk, want him gone - on the road north, away from the king.Thomas Cromwell, Wolsey's staunch defender, remains in london, seeking the reinstatement of his master.1X03It's 1531. Having failed with the Pope, Henry seeks the power to annul his marriage to Katherine by asking Parliament to declare him Supreme Head of the Church in England.Those loyal to Rome batle against the advancing tide of heresy - chief amongst them the Lord Chancellor, Sir Thomas More.1X05It's 1535. The Act of Supremacy has declared Henry Supreme Head of the Church in England. But the Holy Roman Emperor, and his ambassador Eustache Chapuys, have refused to recognise either his new title or his marriage to Anne Boleyn.Recovering from illness, Cromwell plans the King's Royal Progress to include a visit to Jane Seymour's family home - Wolf Hall.

狼厅 Wolf Hall2015年播出的经典英剧 古装剧甜饼字幕组.中英双语特效字幕.倾情奉献！

新浪微博 http://weibo.com/cookiesub#狼厅#改编自英国女作家希拉里·曼特尔的长篇历史小说《狼厅》讲述了亨利八世统治下的都铎王朝宫廷权斗的故事。

该小说获得2009年度布克奖。

http://www.theguardian.com/commentisfree/2015/jan/22/thomas-cromwell-fixer-wolf-hall?CMP=share_btn_fbCromwell, the fixers’ fixer: a role model for our timesMartin KettleThomas Cromwell is the politician of the moment. We seem entranced by him. How cunning and deep he is. How clever and calculating. With what skill he acquires, husbands and uses his power. How precise he is in his judgment of when to speak and when to stay silent, when to watch and when to act, absolutely ruthlessly if need be.We are a nation hooked on Cromwell, as a result of Hilary Mantel’s novels. And now perhaps in even greater numbers than before, thanks to the BBC’s dramatisation of Wolf Hall that began this week, whose centrepiece is Mark Rylance’s Cromwell: the outsider who mesmerisingly watches, plots and thinks his way into the heart of the English Tudor state.On one level, the current national embrace of Cromwell is easy to explain. The Tudors are box office. And Cromwell was a big Tudor figure. Mantel’s books expertly draw the reader into Cromwell’s reflective world, where his words are the tip of an iceberg of unspoken feelings and thoughts. After just one episode, Rylance’s portrayal is already a masterpiece of suggestion, tempting us to overlook Shakespeare’s advice that there’s “no art to find the mind’s construction in the face”It is sometimes implied that Mantel’s reimagining of Cromwell has overturned the way we see the reign of Henry VIII. But this shows what short memories we all have. This is not the first time in English history that Cromwell’s stock has been so high. After his death, many Elizabethans saw him as a heroic martyr to the English protestant cause. And after the second world war Professor GR Elton – uncle of Ben – placed him on a very different pedestal at the heart of what he called the Tudor revolution in government.Elton’s Cromwell was the man who blew away the medieval system of government based on the king’s household. He replaced it with a departmental bureaucracy that was the forerunner of the modern constitutional state. In Elton’s judgment, Cromwell was “the most remarkable revolutionary in English history”, and his intellect “the most successfully radical instrument at any man’s disposal in the 16th century”. Mantel’s Cromwell owes much to Elton’s heroic reinvention.Yet Cromwell, even in the Elton-Mantel version, is a very improbable hero for our times. Cromwell’s essential attraction is his mastery of statecraft, his ability to identify a political goal and achieve it unerringly but pragmatically. He is unsentimental, cold-blooded, secular, and ruthless. He is a master of detail and of small moves in the service of larger ones. It is not clear whether Cromwell ever read Machiavelli, but there have been few leaders in English or British political history who better embodied Machiavellian ideas. In short, he is the sum of much that the modern era dislikes, or affects to dislike, in its politicians.What is even more unlikely about Cromwell’s place in the sun, as Mantel’s readers and viewers will know, is that he was an enemy of a man who in so many ways is the sum of everything that the modern era admires, or affects to admire. Thomas More remains the incarnation of individual conscience, of rising above the quotidian, and doing the morally right thing in difficult and dangerous times. It is no surprise that in postwar Britain, it was More, especially as embodied by Paul Scofield in A Man for All Seasons, who ruled the Tudor roost.By rights, More ought to be the man for our season too. He is pre-emenintly the Tudor politician who embodies sticking to firm principles, upholding moral authority and obeying the dictates of conscience. He refuses to do the politically convenient thing because he believes it is wrong – and pays with his life. Not for him Cromwell’s cynical survive-the-day relativism. If anyone is the man for an age that feels tarnished by illegal wars, mistreated by the power of corporations and banks, betrayed by MPs’ expenses, demeaned by the banality of modern politics, it is surely More.And yet our age has embraced not pious, high-minded More, but aspirational, crafty Cromwell, who stands for everything we say we dislike about modern politics and statecraft. It is a very odd disjunction. It could simply be that we all love a costume drama with great actors. But it could also suggest there is some hope for politics yet.Politicians could hardly suffer from lower esteem than they do at the moment. A survey published this week by the Edelman PR company confirms the overwhelmingly negative picture of the past few years, with trust in the doldrums, and with the reputations of government, business and media all flatlining. “People are desperate for honesty and fair play,” the report concludes. This is one reason why support for the established political parties is so low and why a proportion of the electorate is now embracing parties that offer easy answers to complex and difficult real problems.Cromwell stands against all that. He stands for the art of politics, not for fantasy politics. It has often been said, including by RA Butler, who chose the phrase for the title of his memoirs, that politics is the art of the possible. I prefer Robin Cook’s characterisation that politics is also the art of the impossible. Cromwell was the vindication of that view – and his distant and later relative Oliver wasn’t bad at the game either. Cromwell knew precisely where he was trying to get, and he was pretty effective about getting there.There is no point requiring every politician to have Cromwell’s gifts. It would be a scary political scene if they did. But there is a great deal of point in valuing and celebrating the statecraft and the political calculation that Cromwell mastered so well. Honesty and fair play are all very well, but effectiveness and continued support count for more in the end.I read somewhere that the late Caroline Benn, wife of Tony, thought that political leaders fell into three categories: , which she called pedestrians, fixers or madmen. Allocating British prime ministers to the three categories is an entertaining exercise, especially if you remember that no category has all the virtues or all the vices. Tony Benn, apparently, was confident that if he had become prime minister he would have been one of the madmen.I like fixers. The pedestrians frustrate me. The madmen frighten me. True, fixers aren’t always the best politicians. But the best politicians are almost always good fixers. Think Lloyd George or Franklin Roosevelt. And Cromwell, a fixers’ fixer, is right up there too. As long as we understand that knowing what you want is utterly useless unless you also know how to get it, then politics will have a storied future as well as a storied past.

很多年前看过都铎王朝，印象很深得是亨利八世为了一个男性继承人多么执着可笑，对于其他情节印象不深。

此次看狼厅，觉得主角的表演自然中规中矩，但是印象最深的镜头却与主角无关：一是托马斯.莫尔在自知必死无疑时的那段陈词，在那一刻，我深深体会到英国当时的宗教改革面临的巨大阻力，心中受到巨大的震动。

精神信仰领域的改变是如此困难，且以如此惨烈的方式体现出来，让人心中恻然。

二是安妮.博林之死，我记得都铎王朝时我也见过安妮.博林被斩首，并无太大的感受，但是在狼厅中那一幕让我尤其不忍，几乎无法直视。

鲜活的生命瞬间香消玉殒，心中感受难以言喻。

　I am no history buff and haven't read the book(yet) and I basically know nothing about the history of Tudor England except that the king had many wives......however I was hooked after watching the first episode Three Card Trick and the second episode Entirely Beloved was even better but I think I need to re-watch them with subtitles to fully understand the plots...so here's my spoiler-free review. 　　 　　Though I knew people might dislike the dark visual effect. I for one absolutely love director Peter Kosminsky's shooting style with hand-held cameras and using only natural (candle/fire) light for night scenes. It's rare to do a television series(especially historical period drama) like that but the gloom does make the show feel more authenticity. 　　 　　Both Mark Rylance and Damian Lewis gave brilliant, nomination-deserving performance. Mark Rylance will surely be a serious Emmy (& Bafta)contender for best actor in a leading role this year and probably win. I'm biased obviously but I have to say it’s Damian Lewis who really steals the show every single time he appears. 　　 　　Wolf Hall seems likely to be one of the best historical drama ever so hopefully the upcoming episodes will live up to the hype.

亨利八世的王后常常难以善终，凯瑟琳王后在孤寂愤懑中死亡，安妮·博林王后在战栗胆怯中被斩首……但她们的死亡又有着不同常人之处：一个死后回避了男性的凝视；一个死后禁止男性的触碰。

所以，如果说摩尼教是全体无身体，天主教是部分无身体（教士阶层无身体），清教徒是好像没（as if not）身体，那么，国教运动前后的王后有几个身体？

肯定不是2个，她们并不拥有不朽的政治身体，但也不是1个，她们的身体总被赋予特殊的政治与宗教意义。

也许有1.5个，多出的0.5个显示出其不充分的政治权力，但也许只有0.5个，缺少的0.5个源自肉身的意义总是被无限的政治化。

但也许只有1个。

王后死了，不可挽回，不会复活，没有不朽的天国，没有身穿白衣的圣体，身体彻彻底底地灭亡了。

甚至是0个！

王后从未拥有自己的身体，甚至死亡这一本该证明身体实存的事件也被用于证明身体的匮乏。

王后之死均与无法诞下子嗣有关，国王承认了王后缺乏身体，缺乏可以生殖的身体。

凯瑟琳死后，唯一可能的吊唁者是教宗的大使，一个同样被拒绝拥有身体的神父，然而他并未成行，为什么？

这既是因为国王的阻拦，另一具身体的阻拦，更是因为王后从来不曾有过身体。

博林临刑前后，侍女充当隔绝男性亵渎与污染身体的作用，不是为了保护身体的神圣与纯洁，而是为了强化身体空无的白色神话，空无的身体在常人的目光中消失，或者说从未存在。

死刑真的发生了吗？

王后真的尸首分离了吗？

也许王后的身体从不存在，唯有通过禁忌的设定，才能塑造不可触碰者的存在。

那么，国王为什么需要王后？

为什么需要既可交媾寻欢又可诞下子嗣的王后？

王后的身体是怎样的身体？

王后真的有身体吗？

153X年，大明嘉靖年间，皇帝一言九鼎，辅佐他的是史上著名奸臣严嵩，就是用处女给他暖被暖脚的那个。

此时在弹丸小国英格兰，国王亨利8世正为无继承人而烦恼，他与凯瑟琳结婚20年，生产5次，只养活一个玛丽公主（未来的英格兰女王，拥有血腥玛丽之称号），其余均夭折，凯瑟琳已失去生育能力。

玛丽公主和凯瑟琳王后凯瑟琳是西班牙阿拉贡王国的公主，3岁时就许配给英格兰王位继承人亚瑟，1501年结婚，但是5个月后 亚瑟 去世了，他的弟弟成为王位继承人，11岁时，亨利和 17岁的凯瑟琳 订婚，并在 亨利 年满18岁时成婚。

西方国家，男人只能娶一个，但可以有N个情妇，只是她们的后代没有继承权。

亨利想废王后另娶年轻貌美的 诺福克公爵之侄女 安妮-博林，而教廷不同意，此时教皇是 尤利乌斯二世，凯瑟琳的外甥——神圣罗马帝国皇帝查理五世 。

在离婚法庭上，有人污蔑王后非完璧， 凯瑟琳 当众辩称，自己虽然与 亚瑟 结婚5个月，但仍然是处女，并声称 亨利 行房时已经判定，随后羞愤离去。

亨利权力真的不大，莫尔这个赤裸裸的卖国贼，都无法立即揪出午门斩首，或者金瓜击脑。

非得开法庭，让这家伙在众多看客面前发布反动言论，最离谱的是，竟然有刁民在法庭上念出国王器小活差的故事，引发观众哄堂大笑。

最终 亨利 通过强行修宪的方法，与教廷决裂， 1534年，亨利和议会通过了《至尊法案》、《继承法》、《叛国法》等法案，建立英国国教 ，任命自己为英格兰宗教领袖，随后流放凯瑟琳，娶了安妮-博林。

Anne这角色演得好，人长得漂亮白净就不多提了，这强大气场，这快捷语速，这坚毅目光，将急于上位的心情体现得淋漓尽致，可惜她也多次流产，应该是穿着不当，贵族男人们都是穿厚皮草，而妇女们都是露出上半身，让半球，明显受凉了。

贵族妇女的日常：组团绣花这帮贵族妇女，每天就是围坐一起绣花，没有麻将的生活真枯燥。

Anne也太不检点了，竟然主动给国王带了无数个绿帽子，失败在所难免，你唯一的依靠和成功之路，就是不断和国王交配，密切注意保胎。

克伦威尔则全程苦大仇深脸，谈不上什么演技。

亨利8世 一共娶了6位王后，第一部娶了2位。

后来他娶了 珍·西摩 ， 诞下一子，是为爱德华（未来的爱德华六世） 。

狼厅，应该就是指 西摩 家族的住宅。

珍·西摩 生下 爱德华 后2周去世，在克伦威尔的牵线下，亨利娶了 德意志克里维斯公国的安妮 ，但是2人关系不好，新婚之夜没有圆房，然后离婚娶了 安妮的侍女凯瑟琳-霍华德 ，为此砍了克伦威尔的头。

但是有人举报 凯瑟琳-霍华德 不是处女，于是奸夫和 凯瑟琳 均被砍头。

（是时候引入太监这个伟大的制度了）最后亨利又娶了一位凯瑟琳，31岁的 凯瑟琳·帕尔 ，曾经结婚2次。

这个女子一直陪伴亨利到他死去。

亨利 留下的著名文学作品：《Green sleeves》 ，绿袖子 Alas my love,you do me wrongTo cast me offdiscourteouslyFor I have lovedyou all so longDelighting inyour companyGreensleeves wasall my joyGreensleeves wasmy delightGreensleeves wasmy heart of goldAnd who but myLady GreensleevesI have beenready at your handTo grantwhatever you would craveI have bothwaged life and landYour love andgood will for to haveThou couldstdesire no earthly thingBut still thouhadst it readilyThy music stillto play and singAnd yet thouwouldst not love meGreensleeves nowfarewell adieuGod I pray to prospertheeFor I am stillthy lover trueCome once againand love me。

他给很多女子写了很多情书，流传下来的不少。

从上大学以来，很少看这种历史纪实类电视剧，因为觉得历史无关对错，只有选择，记得一句话，以史为鉴，可以知兴替，但是生在现在这个时代，这个太平盛世，仿佛知道兴替也没有太大的意义，因为社会不需要改变了吧，或者说不需要我们改变了，我们做的就是享受生活就好但因为她在追这个剧，很想要和她多一些话题讲，所以认认真真的看完了整体评价来说，整部剧的节奏很紧密，也许因为太紧密了，需要静下心来慢慢的理解，有的时候还需要倒回去重新看一遍才能看明白一些细节，虽然只有六集，但是蕴含的信息量真的很多，看完第一集以后，我又去恶补了一下这部剧的历史背景，才在心里大致明白了主要在讲什么，看历史剧就是这样，不了解这段历史就很容易忽略一些东西，了解以后又没有了未知的乐趣，需所以还是需要仔细斟酌整体拍摄很好，至少很有看下去的欲望，克伦威尔的成长背景并没有大篇幅展开介绍，而是零散分布在几个细节里，还有他回忆的片段中，让他始终充满了神秘感，大家都不知道他经历了什么，也不知道他的过往，他是绝情的，冷血的，能隐忍，有能力，又有野心，又恰逢乱世，崛起是必然，感触最深的就是他和主教的感情，真的感情有那么深吗，可能未必，但是可能是失去了才知道珍惜，也可能是兔死狐悲怕步上切尔西的后尘，在切尔西离开后，在他心里，才真的撤销了对切尔西的算计，留下了真实的情感，开心难过兼而有之，但至少在他心里留下了很深很深的印记之前的我很向往成为克伦威尔这样的人，孤家寡人，永远是理中客，虽然偶尔会孤独，但其实孤独的时候内心也是骄傲的可是后来遇到了她，让我可以把理智抛之脑后，我就知道，我这辈子都做不成这种人了，因为我渴望和她一起生活，一起开心，一起难过，一起过平凡但又幸福的生活，纵使世间纷扰再多，又与我何干，我只要能和她在一起就好，之前觉得这话有些矫情，现在发现说的确实很对，她是我的软肋，也是我面对这个世界的铠甲人生就这么长，开心和幸福最重要啦

其实看完这个片子，在英剧中，我认为他的总体水准比较一般，比雀起乡到竹镇这样的BBC class要差。

调子还在，但是没有那种由内而外的从容感，没有那种将矛盾和人性搅和在一起却是一团平静的和谐的那种英剧特有的柔和和光辉感，总的来说就是骨子里缺乏高级感。

第一段贬低的多了，其实也不完全，我觉得这种片子是英剧的现代化，也不能完全是古典，总要带一点不和谐音，要带点现代性，关于这一点，这个片子非常漂亮，看做政治恐怖片也不为过，看片子从头到尾就是一种心惊肉跳之感。

这点我觉得我们最顶级的正剧都要学习（说的是大明王朝和走向共和这个级别的）我们太喜欢表现高位权谋的怡然自得感，问题是，这东西是个虚伪的，底层看高层的视角，你以为高层是像剧里严嵩高拱张居正那样老奸巨猾忙里偷笑不断调情游戏政治之间吗？

你以为像李中堂一样料事如神，洞察所有，周边环境尽在掌握吗？

错了。

高层是像狼厅里这位克伦威尔一样，胆战心惊、如履薄冰、牢牢抓住一个个救命稻草、不断的在即兴表演、运气性的出色发挥、到处留情、随处留后路、和长期性的黯淡、绝望之间做着调换。

这个片子无数个细节，从主教被抓时那种自欺欺人的话、主教感谢克伦威尔却自身做不出什么时候那种无奈，到克伦威尔自己放起戒指，到主教确认死了才拿出来戴上，到他在皇帝面前被骂双手交叉，回到家中手不断的发抖，传闻皇帝死时带着匕首出门，下属建议他在港口封锁前准备逃跑，皇帝杀安妮时抓着儿子的膀子，莫尔当年没看他，但他一直仰望莫尔时的那种敬仰。

这些在刻画什么？

这些在刻画一个人身处高位的恐惧，赤裸裸的恐惧。

出生低贱，知道自己要活着，所以感恩于主教，却无法去陪他，还要离开旧主顾、对每个敌人卑躬屈膝，而皇帝让他去解梦那次，是他真正的绝杀，片子中的那种一个隐忍的人发自内心的溢于言表的喜悦描写，他让大家回家轻一些，说没事了，说皇帝曾经以为那是个噩梦，但其实不是噩梦，他知道自己已经绝地翻盘了，那种压抑的内心克制不住的狂喜，影片所传递出来的实在是太到位了。

总的来说，片子中的一切，用细节堆砌起来的，不是以前古典英剧的厅堂感，而是切实的官场恐怖。

包括他自己的衣服一点点的华丽、包括所有主要他一手操办的事情他都在一旁小心的观察一切，几乎是蜷缩的站在一个幕后的角落。

只有最后一次，审安通奸，那是他的复仇，他站在前台。

其实在此片中的克伦威尔几乎是个神，他从未失败，对所有的女性都有天然的吸引力，以至于安把他作为自己人、主教作为自己人、安的舅舅也把他作为自己人，皇帝不必说，莫尔也对他欣赏有加，这种左右逢源的本事放到现实中是不可能的，但是他在剧中做到了，但就算如此，依旧危机四伏。

大致上这个片子在告诉你，在剧中的世界里，克伦威尔拿上了全天下最好的牌，打出了最精明的套路，即使如此，这赢的也太险了，赢的太惨了，而且你看的明明白白，他只要出错半步，立刻崩盘，而最后大家也都知道，他还是个彻彻底底的输家，就在片子结束几年之后。

那么观众们，一个手牌没有他十分之一，水平不到他十分之一的普通人，再这样的局中，你有任何赢的可能吗？

你能坚持到底几个回合？

我自己在看这个片子的时候，基本上就更看恐怖片差不多。

而这，才是这片子最值得看的地方，告诉你，什么是高处不胜寒。

像我日记中写的，很多时候，我们幻想着我们在凯旋式上如何摆出一个漂亮的姿态，但往往最后，我们能做的只是在投降仪式上，选择一个更有尊严的死法。

根据两届布克奖得主，希拉里·曼特尔(Hilary Mantel)的热销历史小说《狼厅》Wolf Hall和《提堂》Bring Up the Bodies改编，讲述了亨利八世统治下的都铎王朝宫廷权力斗争的故事。

根据两届布克奖得主，希拉里·曼特尔(Hilary Mantel)的热销历史小说《狼厅》Wolf Hall和《提堂》Bring Up the Bodies改编，讲述了亨利八世统治下的都铎王朝宫廷权力斗争的故事。