随你译
中国十佳翻译企业
客服热线:010-85806513
您当前的位置:随你译 > 翻译资讯 > 译文欣赏 > 伊莎多拉.邓肯,1877-1927: 现代舞之母

伊莎多拉.邓肯,1877-1927: 现代舞之母

时间:2011-01-15 09:44 点击:
TAGS: 翻译
翻译包月

作为一家新型的大型专业翻译公司随你译拥有中国首屈一指的翻译资源。通过3年的积累,已经拥有多达6万名专业注册译者,可以翻译56种语言,42个行业。大量的高素质译者保证我们可以给您提供最熟悉您行并业的专才译者队伍,通过我们卓有成效的管理体系,从而提供一个比同类公司在便捷、高质、价优、可信方面更为出色的翻译服务
客服热线:010-85806513

安吉拉.伊莎多拉.邓肯于1877年生于美国加利福尼亚州的旧金山。 她是家里四个兄弟姐妹中最小的一个。 她三岁大时,父母就离异了。 伊莎多拉和她的两个哥哥、一个姐姐由母亲玛丽一个人抚养。
当时家里很穷,伊莎多拉给当地的孩子们教授舞蹈课补贴家用,她开始教课的时候只有五岁。
她的母亲玛丽.邓肯自己教他们几个孩子音乐、舞蹈、戏剧以及文学。 小伊莎多拉认为母亲教的这些就是她需要的所有的教育。 她很长时间都没去上学。她说去学校上学妨碍了她跳舞以及对艺术的理解。
伊莎多拉想将跳舞作为自己的终生职业。 她希望按照自己的方式生活,而不是按照别人认为什么是对的、什么是不对的标准来生活。 伊莎多拉想跳的舞在当时是属于新的舞蹈类型,与其他的舞蹈完全不同。 她认为跳舞应是一种艺术,而不仅仅只是一种娱乐。

伊莎多拉.邓肯并不喜欢芭蕾舞。 她认为芭蕾舞蹈演员需要遵守太多的规则,怎么站、怎么弯腰、怎么移动都要一板一眼。 她说芭蕾舞“既难看又矫揉造作。” 她希望自己的“现代”舞蹈风格洒脱、自然。 伊莎多拉喜欢用非常流畅的动作摆动手臂和腿脚。 她说这就像大海里的波涛,或是在风中摇摆的树。
伊莎多拉的青少年时期大多是在旧金山渡过的。 她继续教舞蹈课,大多数学生都是年青的女孩。
她还去当地的图书馆读莎士比亚的作品、研习有关古希腊人的书。
在她18岁时,她强烈要求母亲搬到芝加哥,后来又搬到纽约。 她认为在这两个大城市跳舞有助于她的职业生涯发展。 她在好几家舞蹈公司及舞蹈组织找到过工作。 但她不得不依照指令去跳舞,她不是一个人在舞台上跳,也无法成为表演中的“明星”。
有时,有人付钱请伊莎多拉到有钱人的家里或是花园里(他们在那里举行宴会)跳舞。 但是,很快就很难再找到哪怕是仅仅维持生计的工作了。 有一段时间,她待业在家,再次陷入贫困。 1899年,她用最后一点积蓄买了一张装运牲口的船票,去了欧洲。
她来到了伦敦。 有好几个月,她每天都去参观英国博物馆。 她研究希腊花瓶和雕塑上古希腊妇女的舞蹈动作。 1900年,她在伦敦的莱森戏院里,为一大群观众跳舞,大家都很喜欢她的舞。 很快,这所城市里的那些艺术爱好者们,就常常谈论这个从美国来的新的舞蹈演员。人们开始认为她是个舞蹈天才。

伊莎多拉.邓肯开始在她的舞蹈演出中使用肖邦、施特劳斯、柴可夫斯基以及瓦格纳的音乐伴奏。 她的知名度开始大增,财富也源源不断。
跳舞的时候,伊莎多拉.邓肯总是穿着非常薄的衣服。 有时,她穿着古希腊人穿的那种长长的白色外衣。 她希望在她蹦、跳或是赤脚跑过舞台时,人们能够看见她的形体。 有些人谴责她的这种行为。 他们认为这样的穿着有伤风化。 那时,大部分的妇女穿着尽可能遮体的衣服,尤其要盖住胳膊和腿。
伊莎多拉.邓肯又陆续去了巴黎、柏林、维也纳和欧洲的其他大城市。 她跳舞,还开办了舞蹈学校。 报纸杂志开始评论她。 艺术家们用她来做雕塑、珠宝、照片和画像。 到1910年,伊莎多拉.邓肯已经成为世界上最著名的舞蹈家。
人们常让伊莎多拉.邓肯谈谈她的舞蹈风格,以及舞蹈作为一种艺术如何才能随着时代的更新而不断有所变化。 1903年,她26岁时,在柏林作了一次著名的演讲。 她说:

“自然是舞蹈的来源。 海浪、风及地球的运动从来都是处于相同的、亘古不变的和谐之中。 我们不会站在海滩上问大海,它以前是怎么运动的、以后又会怎么运动。 每个生物都是根据其特性运动的…也就是根据感觉和身体结构。 野蛮人的动作都是很自然、很美的。 穿着简单的长袍和凉鞋的古希腊人的动作就是这样。
“在我的学校,我不会教孩子们模仿我的动作…而是让他们用自己的动作跳舞。 学校的首要和基本的舞蹈动作一定要蕴含着能够不断发扬光大的种子,每种舞蹈动作又会依次产生其他的舞蹈动作,永无止境,不断向着更高、更好的表达、思想和意境发展。
“未来的舞蹈家会是那些能够让形体和灵魂合二为一的人,他们的灵魂语言会自然地通过身体的动作表达出来。 这也是未来舞蹈家的使命。 未来的舞蹈家正姗姗而来: 她有着新时代女性体内的自由灵魂;她比现在的所有女性都更光彩夺目;她比过去的所有女性都更优雅迷人。 因为在她自由的体内有着最高的智慧。”
伊莎多拉.邓肯有着在当时非常开放的观念。 她相信女性有与男性平等的权利。 她认为男女双方不必非要结婚才能生子。 她有两个孩子,一个叫迪尔德丽,一个叫帕特里克,是与两个不同的男人生的。 她没有与他们结婚。 她甚至没有避讳她是个双性恋这一事实。 她有许多情人,有男人,也有女人。 她认为布尔什维克革命和共产主义很适合俄罗斯。 她说:#p#分页标题#e#
“我的座右铭是: 没有限制。 善良的人只是那些没有受到足够引诱的人。 我们可能不会都去打破十诫,但我们每个人确实都有能力去打破它。 在我们的体内潜伏着打破一切规则的破坏者,他随时准备着在首个真正的机会到来时爆发出来。 你曾经是野性的,不要被你的野性制服。”
伊莎多拉.邓肯作为现代舞之母而被铭记,同时,人们还记住了她的苦难人生。 1913年,伊莎多拉的两个孩子--迪尔德丽和帕特里克--与他们的保姆在巴黎的塞纳河被淹死了。 他们乘坐的车当时抛了锚,司机下车去修理发动机引擎,但他并没有刹车。 车突然重新启动时,直接冲过河岸掉进了河里。 伊莎多拉悲痛欲绝,很长一段时期,她觉得自己不会再跳舞了。
1922年,她嫁给了俄罗斯的诗人谢尔盖.叶赛宁. 他比她小近20岁。 他变成了一个粗暴的酒徒,后来精神崩溃。 三年后,他自杀了。
19世纪20年代的后期,伊莎多拉.邓肯的舞蹈生涯结束了。 人们开始认为她是个风光不再的不幸的女人,人们很多次在公共场合看见她醉酒后的样子。 她花光了所有的钱,却仍然住在最豪华的宾馆里,她欠了许多的债无法偿还。 报纸上刊登文章揭露她那“毫无节制的”、“可耻的”生活方式。
1927年,她的生命突然间结束了。 当时,伊莎多拉.邓肯在法国的尼斯。 她驾驶着一辆车顶掀开的汽车, 脖子上围了一条长长的围巾, 围巾的一端突然被车后轮缠住了, 厚厚的丝绸围巾勒断了她的脖子。 她就这样当场死亡,时年50岁。

著名的美国诗人卡尔.桑博格这样写到伊莎多拉.邓肯:

“风?我就是风。大海和月亮?我就是大海和月亮。眼泪、痛苦、爱和飞鸟?那就是我。我为自己而舞。罪恶、祷告、奔放和轻浮,陆地或是海洋,从未有过么?我只为自己而舞。”

译文:Isadora Duncan, 1877-1927: The Mother of Modern Dance

Angela Isadora Duncan was born in San Francisco, California in eighteen seventy-seven. She was the youngest of four children. Her parents’ marriage ended in divorce when Isadora was three years old. Isadora and her brothers and sister were raised by their mother, Mary.

The family was very poor. Isadora taught dance lessons to local children to earn extra money. She began teaching when she was only five years old.
The family was very poor. Isadora taught dance lessons to local children to earn extra money. She began teaching when she was only five years old.
Mary Duncan taught her children about music, dancing, the theater and literature. Young Isadora believed this was all the education she needed. She did not attend school for very long. She said it restricted her from dancing and thinking about the arts.
Isadora wanted to make dancing her life’s work. And she wanted to live by her own rules, not by what other people thought was right or wrong. The kind of dancing Isadora wanted to do was new and different from other dances at the time. She thought dancing should be an art, not just entertainment.

Isadora Duncan did not like ballet. She said that ballet dancers had too many rules to follow about how they should stand and bend and move. She said ballet was “ugly and against nature.” She wanted her “modern” dance style to be free and natural. Isadora liked to move her arms and legs in very smooth motions. She said this was like waves in the ocean, or trees swaying in the wind.
Isadora spent most of her teen-aged years in the San Francisco area. She continued to teach dancing classes, mostly to young girls.
She also visited local libraries to read the works of Shakespeare and to study about the ancient Greeks.
When she was eighteen years old, Isadora urged her mother to move to Chicago and then to New York. She thought dancing in these two large cities would help her career. She found work in several dance companies or groups of dancers. But she had to dance as she was directed to do. She did not dance alone on the stage and could not become the “star” of the show.
Sometimes Isadora Duncan was paid to dance in the homes of wealthy people or at parties they gave in their gardens. But soon it was hard to find jobs that paid her enough money just to survive. In a short time, she was out of work and poor once again. Using her last dollars, she bought a ticket on a cattle boat and sailed to Europe in eighteen ninety-nine.

Isadora Duncan arrived in London. She visited the British Museum every day for several months. She studied Greek vases and sculpture with their images of ancient Greek women dancing. In nineteen hundred, she danced for a large audience at London’s Lyceum Theater. The people liked what they saw. Soon art lovers in the city were talking about this new dancer from the United States.
People began to think of her as a great talent. Isadora Duncan began using the music of Chopin, Strauss, Tchaikovsky, and Wagner in her performances. Her fame, and wealth, began to grow.
When she danced, Isadora Duncan wore very thin clothing. Sometimes she dressed in long white tunics, the kind of clothing worn by ancient Greek women. She wanted people to see her body as she skipped, jumped and ran barefoot across the stage. Some people criticized her for doing this. They thought it was not moral to dress this way. At the time, most women wore dresses that covered as much of the body as possible, especially the arms and legs.
Isadora Duncan moved on to Paris, Berlin, Vienna and the other great cities of Europe. She danced and opened dancing schools. Newspapers wrote about her. Artists created sculpture, jewelry, photographs and paintings of her. And by nineteen ten, Isadora Duncan had become the most famous dancer in the world.
Isadora Duncan was often asked to explain her style of dancing and to say how dance as an art might change over time. In nineteen-oh-three, when she was twenty-six, she made a famous speech in Berlin. She said:

“Nature is the source of the dance. The movement of the waves, of winds, of the earth is ever in the same lasting harmony. We do not stand on the beach and inquire of the ocean what was its movement of the past and what will be its movement in the future. Every creature moves according to its nature … that is according to its feelings and physical structure. The movements of the savage were natural and beautiful. So too were the movements of the classical Greeks wearing simple tunics and sandals.
“In my school, I shall not teach the children to imitate my movements …but to make their own. The primary or fundamental movements of the new school of the dance must have within them the seeds from which will evolve all other movements, each in turn to give birth to others in an unending sequence of still higher and greater expression, thoughts, and ideas.
“The dancer of the future will be one whose body and soul have grown so harmoniously together that the natural language of that soul will have become the movement of the body. This is the mission of the dancer of the future. She is coming, the dancer of the future: the free spirit, who will inhabit the body of new women; more glorious than any woman that has yet been; more beautiful than all women in past centuries: The highest intelligence in the freest body.”
Isadora Duncan had very liberal ideas for the time. She believed in equal rights for women. She did not think a couple had to be married to have children. She had two children, Deirdre and Patrick, by two different men. She was not married to either of them. She also did not hide the fact that she was bisexual. She had a number of lovers, both men and women. She thought the Bolshevik Revolution and Communism were good for Russia. She said:
“My motto is: no limits. Virtuous people are simply those who have not been tempted sufficiently. We may not all break the Ten Commandments, but we are all certainly capable of it. Within us lurks the breaker of all laws, ready to spring out at the first real opportunity. You were once wild. Don’t let them tame you.”
Isadora Duncan is remembered as the mother of modern dance. But she is also remembered for the tragedy in her life. In nineteen thirteen, Isadora’s two children, Deirdre and Patrick, along with their nurse, were drowned in the Seine River in Paris. The car they were riding in had stopped running.
The driver got out to fix the engine, but he did not set the brakes. When the car suddenly started again, it ran down a bank into the river. Isadora was greatly saddened by this. For a while she thought she would never dance again.
In nineteen twenty-two, she married a Russian poet named Sergei Yesenin. He was almost twenty years younger than she was. He became a violent alcoholic and then had a mental breakdown. Three years later, he killed himself.
In the late nineteen twenties, Isadora Duncan’s dancing career was over. People began to think of her as a sad person whose best days were gone. She was seen in public many times after she had too many alcoholic drinks. She ran out of money, but continued to stay at the finest hotels. She had many debts that she could not pay. Newspapers carried stories of her “reckless” and “scandalous” life style.
In nineteen twenty-seven, her life ended suddenly. Isadora Duncan was in Nice, France. She was riding in a car that had the roof down. She wore a long scarf around her neck. One end of the scarf got caught in the rear wheel of the car. The heavy silk tightened around her neck and broke it. She died instantly at the age of fifty.

The famous American poet Carl Sandburg wrote this about Isadora Duncan:
“The wind? I am the wind. The sea and the moon? I am the sea and the moon. Tears, pain, love, bird flights? I am all of them. I dance what I am. Sin, prayer, flight, the light that never was on land or sea? I dance what I am.”

本文章由随你译专题人工在线翻译网为您提供

看过篇文章的网友还在看:

新东方作为中国英语教育行业中的佼佼者,给无数对英语痴迷的学子音教益,年夜宁波新东方火爆的讲座中就能看出。

  11月30日、12月1日,宁波新东方黉舍国内外考试部和新东方前途出国咨询有限公司宁波分公司重磅出击,持续两日分袂为浙江年夜学宁波理工学院、宁波工程学院南北高教园区的莘莘学子们倾情带去了详尽、周密的英语四六级考前指导和处事,使同窗们颇受启发。

  无论是在浙年夜宁波理工学院,仍是在宁波工程学院,讲座还未起头,同窗们的丰满热情老是提前达到。两场讲座,试试爆满,来晚的同窗只好站在门口,或蹲在台阶上,都想争先一睹新东方名师妨现校而记实讲座出色瞬间的,不只有讲座随行工作人员的身影,更有地址院校同窗们记实讲座点点滴滴的专注神气。

  宁波新东方黉舍听力主讲名师胡柏松,在同窗们的强烈热闹拍手声中,帅气登场。面临同窗们避之不及的听力,柏松教员自有妙招。连系历年真题命题纪律,柏松教员引经据典,模拟与拭魅战相连系,以严谨肄业、循循善诱的立场,处处激发着同窗们的英语神经。在最后的听力互动环节,柏松教员更是用轻松诙谐的体例,让同窗们逐渐陷入英语听力的爱河。
    
  随后,有着丰硕英语教育教学经验的宁波新东方黉舍国内外考试部名师韩甦震撼登场。面临浩如烟海的词汇,良多同窗一筹莫展。韩甦教员强调,词汇作为英语进修的重中之重,不能死记硬背,在把握纪律的同时,要词形更要词意。同样地,作为英语年夜项的阅读与写作,韩教员同样提出中肯建议:要深刻理解考试背后的命题素质,有用出击,有用打破。

  “四六级考试,我行!”在宁波新东

联系我们 - 快捷支付 - 招聘信息 -  服务条款 - 友情链接 - 网站地图 - TAG 点击这里给我发消息
随你译,中国最大的网上翻译公司,集中了超过5万名各语种专业译者,为您提供高性价比的笔译口译同声传译本地化翻译服务.
京ICP备09008907号 Powered by suiniyi.com Copyright 2010