The Black Adder (1983)
'The Foretelling' '預言'
'Born To Be King' '天生的國王'
'The Archbishop' '大主教'
'The Queen of Spain's Beard' '西班牙女王的胡子'
'Witchsmeller Pursuivant' '女巫搜尋者的隨從'
'The Black Seal' '黑色封印' Blackadder II(1985)
'Bell' '婚禮的鈴鐺'
'Head' '頭顱'
'Potato' '土豆'
'Money' '錢'
'Beer' '啤酒'
'Chains' '鐐銬' Blackadder III(1987)
'Dish & Dishonesty' '盤子&欺騙'
'Ink & Incapability' '墨水&無能'
'Nob & Nobility' '有錢人&高貴'
'Sense & Senility' '理性&老邁'
'Amy & Amiability' '艾米&友善'
'Duel & Duality' '決鬥&二元性'
Blackadder: The Cavalier Years(1988) 黑爵士之騎士時代 Blackadder Goes Forth(1989)
'Captain Cook' ' 上尉'
'Corporal Punishment' '體罰'
'Major Star' '明星'
'Private Plane' '私人飛機'
'General Hospital' '醫院''Goodbyeee' '再見'
A Blackadder Christmas Carol(1989) 黑爵士之聖誕頌歌 Blackadder Back and Forth(1999)
黑爵士之穿梭時空
The first series was set in a medieval English court, with Edmund Blackadder as a hapless prince in waiting; subsequent series
travelled forwards in time to portray successive generations of Blackadders, in which Edmund became courtier in Elizabethan
England, then courtier during the Regency period, and finally Captain Blackadder in the trenches of World War I. With a regular core
cast, who constantly refined their performances as the writers honed their scripts, the series combined, with increasing success, a
sharpening satirical thrust with an escapist, schoolboyish sense of the absurd. The format served Atkinson extremely well in allowing
him to play out variations on a character-theme, balancing consistency with change. While all the incarnations of Edmund Blackadder
pitted the rational, frustrated, and much put-upon--though intellectually superior--individual against environments in which the insane, tyrannical, and psycopathic vied for dominance, the youthful, gawky Prince of the first series evolved through the wishful, self-
aggrandising courtier of the 1800s, to the older, moustachioed, world-weary soldier attempting merely to stay alive amid the mayhem
of war. While the Blackadder series undoubtedly took time to find its feet, the attention to detail in all matters, from script to opening
credits and period pastiche music, produced in the World War I series a highly successful blend of brilliantly conceived and executed
characterisations, a situation combining historical absurdity and tragedy, and a poignant narrative trajectory towards final disaster: in
the last episode, Blackadder and his entourage finally did go over the top into no man's land and to their deaths, as in one last trick
of time the trenches dissolved into the eerily silent fields that they are today. In his portrayal of the cynical yet basically decent
Captain Blackadder, Atkinson created a kind of English middle-class version of Hasek's Schweik, whose attempts to evade pointless
self-sacrifice turn him unwittingly into a little-man hero in a world of pathological generals and power brokers. Atkinson's own career
write-up describes Blackadder as a situation tragedy, and though the comment may be meant humorously, the phrase neatly summarises the series' genre-transgressing qualities.
--Mark Hawkins-Dady
所有時代的愛德蒙都是個理性,失落,而智力出眾的犧牲品.在為統治和權利而瘋狂殘暴鬥爭的時代,笨拙的年輕王子進化成為1800年代有希望的朝臣,以及後來更成熟,有著小胡子的厭世的只想從戰爭的傷害中保存性命的士兵.黑爵士長期以來的摸索,從對細節的重視到所有的事情,從手稿到混音,絕妙的構思與完成,使得壹戰系列取得高度的成功.歷史的可笑與悲劇在情景中再現,以刺激的描述曲折地導出最終的災難.在最後壹段情節, 黑爵士和他的隨從'穿過'了無人區,並死在那裏.於是前線變成了壹片怪誕的安靜,如同它現在的樣子,把黑爵士上尉演繹為壹個憤世嫉俗但基本正派的人,阿特金森從而創造了英國式中產版本的 Hasek, 因想逃避無意義的自我犧牲而在病態的將軍和權利的掮客之中無意中成為小人物的英雄阿特金森的職業歷程介紹說Blackadder是 '情景悲劇',盡管這個評價也許是幽默,這個詞語依舊優美的詮釋著本系列劇集對戲劇類型流派的超越.