Andy: Hey!... Yes, we’re on our way…I don’t think we’re that late. Chill out Joe, we’ll be there.
(Andy hung up the phone)
Andy: Anyway, come on, we’d better get a move on. Janet: How far is it from here?
Andy: It’s not far. Maybe five minutes’ walk. Joe gets cross if I’m late. Joe: Hello Janet, hello Andy. Late as usual. Andy: Actually, by my watch, I’m bang on time.
Joe: Well let’s get on with it. This is Toby Jenkins, the theatre critic. Toby: Nice to meet you, are you ready to start?
Andy: Hang on a minute! Janet, can you check the sound level? Can you hear me
ok ,Janet？Janet?
Janet: Hi Andy, I can’t hear you. What’s up? Andy: Can you hear me now?
Janet: Ouch! Yes, that’s much louder.
Joe: Let’s stop wasting time please. Just get on with the interview, will you? Janet: 那么，我们现在在哪？
Andy: 这是伦敦西区, 他因影院、戏院而出名.。我曾在这附近的一家戏院里工作过。. Janet: 真的？你当时做什么？
Andy: 我在一出剧中的幕间移动布景，如果我没搞错的话，我参与的是皮革马利翁这出戏的
工作，剧本是由萧伯纳写的。
Janet: 如果我没记错的话。它被改编成了一部歌舞片，不是吗？——《窈窕淑女》,我记得
在电视上看过这片。 （电话响了）
Andy: 噢，Joe打来的。
(Andy 接起电话)
Andy: 嗨…对，我们已经在路上了。我不觉得我们真的像你说的那么晚.。别紧张Joe, 我
们会到那的。 （Andy挂了电话）
Andy: 不管怎样，快点把，我们最好动身了。 Janet: 这里离目的地多远？
Andy: 不远，可能走五分钟就到了，我们迟到的话，Joe会生气的。 Joe: Janet、Andy你们好啊，你们还是像往常一样迟到了。 Andy: 事实上，照我的表来看，我们到的正准时。
Joe: 算了，我们别说这个了。这位是剧评家Toby Jenkin Toby: 很高兴见到你，你准备好开始采访了吗？
Andy: 等一下，Janet，你能检查一下音量吗？你听得请我说话吗Janet？Janet? Janet: 嗨Andy, 我听不见你说话，怎么回事？ Andy: 现在听得见吗？
Janet: 哎呀…听见了，清楚多了
Joe: 拜托，咱们别浪费时间了。快点开始采访，行不？
Conversation2
Andy: And we’ve got Toby Jenkins here with us today, who has just been to see the
latest show at The Hippodrome La Clique. So La Clique is slightly different from the usual shows we see here in the West End these days. Can you tell me something about it, Toby?
Toby: Yes, It’s a kind of cabaret, with a series of variety acts set in a kind of
circus, but it’s very contemporary, extremely well produced and huge fun.. Andy: Tell me more about the acts.
Toby: Well, there are stunts performed on a high wire, and puppets. There’s a sword
swallower and juggler, and a rubber man who manages to pass his whole body through a tennis racquet. Andy: It sounds very unusual.
Toby: Yes, for the West End today, but not so unusual for 30 or more years ago. Andy: So, It’s family entertainment then?
Toby: Ah, no. I’m afraid it’s pretty adult, but very funny and stylish. Andy: Did you get that ok, Janet? Joe: Let me have a listen…
Janet: Oh no, did I do some thing wrong?
Joe: Well, It’s just that I can’t hear anything. Let’s try again…
Andy: Did you remember to keep an eye on the sound levels? That meter, there!. Janet: Oh no, I clean forgot.
Andy: It’s Ok. We’ll just do another take. Joe: Come on you two. Hurry up!
Janet: I’m so sorry. It slipped my mind.
Joe: You’ll forget your own head one day. Sorry about this, Toby. From the top, please.
Andy: And we’ve got Toby Jenkins here with us today…
Andy: 今天我们很荣幸地邀请到Toby Jenkins接受我们的采访, 他刚刚在The Hippodrome
剧院看了最新公演的La Clique。那么，La Clique和我们近期在伦敦西区看的表演略微有点不同，能就这一点和我们谈谈吗？ Toby: 好的，这算是一种余兴节目,在某种马戏表演中穿插一系列演出,但这些演出都是非常
有时代性的，制作精良，而且很有趣。. Andy: 能更多地谈谈那些演出吗？
Toby: 好的，其中有杂耍演员在高空钢丝上的表演、有木偶表演、吞剑表演、魔术表演、还
有个柔韧性很好的人从一个网球拍中成功地钻了过去。 Andy: 听起来确实很特别。 Toby: 是的，对于现在的伦敦西区来说是很特别, 但对于三十多年前来说，就没那么特别了。 Andy: 所以说，这是老少咸宜的娱乐形式喽？
Toby: 不，恐怕这更适合成年人，但确实很流行、也很有趣。. Andy: Janet，这些你都录好了吗? Joe: 让我听听看
Janet: 哦不，我做错什么了吗？
Joe: 问题是，我什么都听不见啊。我们再试一次. Andy: 你有留心音量控制器吗? 就是那个表。 Janet: 哦不，我忘得一干二净 Andy: 没事，我们再录一次就行了
Joe: 快呀你们两个！快点！
Janet: 太抱歉了，我一不小心忘了.
Joe: 没准哪天你连自己的脑袋都忘了。Toby,我们对此感到很抱歉，请从头开始。. Andy: 今天我们很荣幸地邀请到Toby Jenkins接受我们的采访……
Outside View
The Mona Lisa, the most famous painting in the world, was trully revolutionary even in its time. While he was painting the Mona Lisa, Leonardo da Vinci broke all
the rules, even his own. In spite of the fact that Leonardo and other aritists believed that women should only be portrayed with eyes gazing slightly down. Leonodo painted the Mona Lisa looking directly at the viewer. The positon of her body is another innovation. While her face looks straight ahead, her body is slight turned, a pose that creates a sense of movement and tension. In another break from tradition, the Mona Lisa is not wearing any jewellery or adorments. Finally, backgrounds in portraits usually indicated a real place but the landscape in Leonardo’s portrait seems almost imaginary.
A:One of the things I like to do is, um, think about her face and why, what is she trying, why, what is she trying to say with her face and I used to think that her face told more than one story. For instance, if I covered up one side of her face, it seemed like she might be a little sad or resevered, almost secretive.
S:Her eyes are, they’re kind of looking at us or around us, through us perhaps. I think with that painting she is the viewer and we are the subject in a way. And she has this look that she knows somehting that we don’t know.
A:And then when I coverd up that side and looked at the other side, she seemed happier, um, more satisfied. And togher, it created sort of the mystery about her that, um, made interpreting her face very enigmatic.
S:There’s speculation that the Mona Lisa is a self-portrait of Leonardo and I, I believe that it is, there, there, the features do line up between the Mona Lisa and sketches of Leonardo.
Scott McMahon and Anne Pfaff are both portrait artists. They believe that portraits can tell a story and make people think, just as the Mona Lisa has done for so many years.
A:When I was young, um, I was always interested in, um, reading books about people and, and the dynamics, different kinds of relationships they had and so when I became a painter it was natural for me to be interested in painting poeple and looking for similar kinds of stories to tell about them that you might read in a book.
S:Uh, most of my work consists of photographic self-portraiture. Um, I’m interested in using myself as th subject, um, not only as the creator of the image but as the, the character, or the performer of, of the images. So in my portraits I’m trying to capture, um, a deeper essence of a person, um, more or less. This work here is done with a pinhole camera, which requires a very long exposure so, with a portrait you can get this feeling of time passed. It’s not a, it’s not an instant, per se, it could be five minutes of exposure.
A:So this is another project I’m working on. I’m almost finished with it but
I still need to work on the reflections in the wather, um, and the face of the boy before it’s finished.
S:I often work with multiples and, you know, using a mirror or the same image twice and what I wanted to do was link the two portraits together with the string. It’s kind of the string of thought or this idea of remembering or the resilience of memory.
A:I don’t just paint from photographs. I try to make a work of art. Um, I try to make a painting that goes beyond a mere photographic image. I try to capture something about the soul of the, or the essence of this person.
S:This piece here is, uh, it’s called The Measure of Decay and behind the piece there are portraits, again, of me I have this clay covering on that has cracked and so it’s, it’s kind of like the process of decay. So as each portrait goes around you can, you can see the image in a different focus. I love painting portraits.
A:I love painting but portraits are very special because they’re about people. S:I’m fascinated by portraiture in general, and the human body and how the image lives over time. I like to capture what is unique and special about an individual in paint.
蒙娜丽莎，作为世界上做最著名的画，在当时的时代是完完全全颠覆性的。列奥纳多·达·芬奇在创作这幅画的时候突破了一切的规则限制，甚至是他自己的。在达芬奇创作的这幅画中，尽管他其他广大艺术家都认在画像中妇女只能以眼睛微向下看的姿态出现，可是他仍然将蒙娜丽莎画为直视着看画者。她的身体则是另外一个突破。当她的脸是对着正前方的时候，她的身体略微转过一个角度，这个姿势将一种动感和张力结合到了一起。另外一个突破传统的就是蒙娜丽莎没有佩戴任何的珠宝或者是装饰品。最后一点，肖像画的背景通常指向一个真实的地点，而列奥纳多的肖像画的背景看起来都是梦幻一般的。
安普法夫：我喜欢做的一件事情是，恩，思考她的脸还有为什么她是这样的姿态，她想通过她的脸传达什么，我曾认为她的脸告诉我们不止一个故事。比如说，如果我遮起她的脸的一边儿，她看起来会有些悲伤或者说是沉默寡言的，几乎是遮遮掩掩的。
斯科特麦克马洪：她的眼睛是那种像看着我们，又像看着我们周围，或许还是穿过了我们。在一定程度上，我想在这幅画中，她是旁观者，而我们却成了画的主题。她的这种表情仿佛表示出她知道某些我们不知道的事情。
安普法夫：而后当我遮起她的另一边脸看刚才一边的时候，她看起来快乐一些，恩，或者说更满足的。整体一起看的时候，它又有一种关于她的神秘感，恩，让理解她的脸变的难以捉摸。
斯科特麦克马洪：有一种猜测说蒙娜丽莎这幅画是达芬奇的自画像，而我认为，这些特点是集合了蒙娜丽莎还有达芬奇的素描。
斯科特麦克马洪和安普法夫都是肖像画艺术家。他们认为肖像画可以讲述一个故事而且令人深思，就像多年前蒙娜丽莎这幅画的作用一样。
安普法夫：当我年轻的时候，恩，我喜欢，恩，读关于人的书，还有关于人的相互关系的，他们之间各种各样的关系，所以当我成为一个画家的时候，很自然地我会去关注画人还有在书中找寻相似的故事去讲述它们。
斯科特麦克马洪：恩，我的大部分工作由摄影自画像组成。恩，我很乐意将自己作为主题，恩，不仅仅是画的创作者，而且是画的主角或者是表演者。所以在我的肖像画作品中，我试图去抓住，恩，或多或少一个人的更深层的本质。这儿的这个工作需要借助针孔摄像机完成，它需要很长的曝光时间，所以你可以在这个肖像画的过程中感受到时间的流逝。它并
不是，并不是一个瞬间的，它本身可以是五分钟的曝光时间。
安普法夫：这是我正在进行的另一个作品。我几乎快要完成了，可是在真正完成之前仍然有一些工作，比如说水的反射，恩，还有这男孩儿的脸。
斯科特麦克马洪：你知道的，我工作的时候经常和倍数打交道，还有用镜子或者相同的东西两次，我所想要做的是将两幅肖像用一根线联系起来。那是一种思想的线，或者说是记忆，还有记忆的重现。
安普法夫：我不仅仅是按照图片作画。我试图做关于艺术的工作。恩，我试着画一种超越了仅仅是图片的画。我试着捕捉一些关于人的灵魂或者是关于人的本质的东西。
斯科特麦克马洪：这里的东西，恩，叫做衰退的测量，在这张陶土的后面是一些肖像，再一次，我将陶土中间弄碎，所以它是，它像是一种衰退的过程。所以，当每一幅肖像转动的时候，你可以，你可以在不同的焦点上看这些画。
安普法夫：我喜爱画肖像画。我喜欢画画但是肖像画是非常特殊的，因为它们是关于人的。
斯科特麦克马洪：我通常被肖像艺术所吸引，还有人的躯体和这些画是如何在岁月中存活下来。我喜欢在画中捕捉一些独特的东西还有有关个体的一些特质。
Listening in conversation 1
Lily: So what was the highlight of your trip to (South)Korea? Hugh: Well that's…let me see...it's got to be going to see Nanta. Lily： What on earth is Nanta?
Hugh：It's this amazing live show-part theater-part dance-part music. Lily: Sounds really interesting. But why’s it so brilliant?
Hugh: I think it's the energy of the performers. Also it has a unique concept. It's
a mixture of traditional Korean music, percussion and drums, into a western style performance
Lily: I've never heard of it. Has it ever been performed in the West?
Hugh: Yeah, it's been a sell-out. They've toured in over 30 countries since the show
began in 's a non-verbal performance so there are no language barriers. That's what's made it an international success. Lily: What else makes it so special then?
Hugh: Well...the other thing is that all the action takes place in the kitchen. You
see these four chefs preparing the food for a wedding reception. The performers use knives, dustbin lids and various other kitchen utensils to create a hypnotic soundtrack. The food literally flies everywhere! It's hilarious. Lily: That sounds quite funny I must admit. Is there an actual story though? Hugh: Oh yes, there is a story. The four chefs have to prepare the meal by 6 o'clock
and they also have to give the manager's nephew cooking lessons too, which adds to the fun. There’s loads of audience participation and despite there being no language involved you get completely engrossed. It's really quite wacky!
Lily: And what about the audience? I suppose they start throwing food around…? Hugh: Not quite! But they are totally involved in what's going on-everyone loves
it. It's a really great family show. In fact it's one of the best shows I've ever seen. Jim, my friend, says he takes all his visitors. He's seen it about
新标准大学英语_视听说教程3原文及翻译(2)
