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第1段

1 .<-NARRATOR:->Listen to part of a lecture in a theater class.

旁白:请听一段在影视课上的演讲。

第2段

1 .<-MALE PROFESSOR:->As we have seen, the second half of the 18th century was an exciting time in Europe. It was not only an age of great invention, but social changes also led to a rise in all sorts of entertainment, from reading to museums, to travel.

教授:如我们所看到的,在欧洲,十八世纪下半世纪是一段令人兴奋的时期。这不仅是一段伟大发明的时代,社会变革也引发了各种娱乐的事业的崛起,从读书到博物馆再到旅游。

2 .And finding himself in the middle of this excitement was an accomplished French painter named Philippe Jacques de Loutherbourg.

而发现自己置身于这种多姿多彩的生活之中的是一名成就卓越的法国画家,他的名字叫做鲁斯伯格卢泰尔堡。

第3段

1 .Loutherbourg arrived in England in 1771, and immediately went to work as a set designer at the famous Drury Lane Theater in London.

1771年,鲁斯伯格来到英国,立即在伦敦著名的朱瑞巷剧院担任布景设计师。

2 .From his first shows, Loutherbourg showed a knack for imagination and stage design, all in the interest of creating illusions that allowed the audience to suspend disbelief completely.

在他的第一次演出中,鲁斯伯格展示了想象力和舞台设计的技巧,所有这些都是为了创造错觉,让观众完全暂停怀疑。

3 .He accomplished this by giving the stage a greater feeling of depth, which he did by cutting up some of the rigid background scenery, and placing it at various angles and distances from the audience.

(all in the interst of creating illusionsthat allowed the audience to susped disbelief completely.)他是通过营造舞台一种更为深度的感觉完成这样的创造的。通过将死板的舞台布景分割开来分放到不同的角度,离观众的距离也不同。

4 .Another realistic touch was using three-dimensional objects on the set, like rocks and bushes as opposed to two-dimensional painted scenery.

另一种营造真实感的方法就是在布景上运用三维物体,以比如岩石和灌木丛,而不是二维绘画的舞台布景。

5 .He also paid much more attention to lighting and sound than had been done before.

他同时也比以前更为注重舞台的灯光和音效。

第4段

1 .Now, these sets were so elaborate that many people attended the theater more for them than for the actors or the stories.

如今,这些布景做得非常精致,以至于比起演员和故事情节,更多人是为了舞台布景到剧院去。

2 .At the time, people were wild for travel and for experiencing new places, but not everyone could afford it.

在那时,人们对于旅行和体验新地方都很狂热,但不是每个人都担负的起。

3 .Loutherbourg outdid himself, however, with a show that he set up in his own home.

然而,鲁斯伯格超越了自己,他在自己房间里建立了一场表演。

4 .He called it the "Eidophusikon".

他将之称之为“Eidophusikon” (描述)

第5段

1 ."Eidophusikon" means something like “representation of nature” -- and that's exactly what he intended to do—create realistic moving scenes that change before the audiences' eyes.

其意思大概是大自然的画像,这也正是他意欲要做的:在观众眼前创造真实变化的移动场景。

2 .In this, he synthesized all his tricks from Drury Lane: mechanical motions, sound, light, other special effects to create, if you will, an early multimedia production.

他综合了特鲁利街戏院区中用到的所有技巧:机械运动,音效,灯光,以及其他需要营造的效果,可以说是一种前期多媒体生产。

第6段

1 .The "Eidophusikon" was Loutherbourg's attempt to release painting from the constraints of the picture frame.

“Eidophusikou”是鲁斯伯格试图将绘画从画框的束缚中释放出来的尝试。

2 .After all, even the most action-filled, exciting painting can represent only one moment in time, and any illusion of movement is gone after the first glance.

毕竟,即使充满情节的,令人兴奋的画作,也只能代表一个瞬间,任何运动的错觉在第一眼之后就消失了。

3 .But Loutherbourg, like other contemporary painters, wanted to add the dimension of time to his paintings.

而鲁斯伯格,正如当代的画家一样,想在画面中加入时间的维度。

4 .You know, the popular thinking is that Loutherbourg was influenced by landscape painting, but why can’t we say that the Eidophusikon actually influenced the painters?

你知道,大众的想法便是鲁斯伯格受风景画的影响,但是为什么我们不能说“Eidophusikon”实际上影响了画家呢?

5 .At the very least we have to consider that it was more…it was more of a mutual thing…

至少我们必须考虑这更多是种相互的东西。

6 .We know, for example, that the important English landscape painter Thomas Gainsborough attended almost all of the yearly performances, and his later paintings are notable for their increased color and dynamic use of light.

比如,我们所熟知的一位重要的英国风景画家托马斯根兹伯罗几乎参加了全年所有的表演,而他后期的画作都以渐强的色彩和生动的光线运用而闻名。

第7段

1 .Loutherbourg's influence on the theater though... he was incredibly influential. The way he brought together design and lighting and sound as a unified feature of the stage can easily be seen in English theater's subsequent emphasis on lighting and motion.

鲁斯伯格给剧院带来的影响是难以置信的。他将设计和灯光音效作为一个整体舞台特征呈现出来的方式可以很容易地在英国戏剧界后来对照明和动作的强调中看到。

第8段

1 .Now, the "Eidophusikon" stage was actually a box, a few meters wide, a couple meters tall and a couple meters deep; that is, the action took place within this box.

如今,“Eidophusikon”舞台就是一个盒子:几米宽几米高几米深,而动作是在盒子里面进行的。

2 .This was much smaller of course than the usual stage, but it also allowed Loutherbourg to concentrate the lighting to better effect.

这肯定比真正的舞台小很多。但它却允许鲁斯伯格将灯光集中营造出更好的效果。

3 .Also, the audience was in the dark, which wouldn't be a common feature of the theater until a hundred years later.

同样,观众是处在无灯区的,这在一百年后才成为剧院的一个共同特征。

4 .The show consisted of a series of scenes, for example, a view of London from sunrise that changes as the day moves on. Mechanical figures, such as cattle, moved across the scene and ships sailed along the river.

演出会包含着一系列的场景,比如说,从日出时的伦敦景色随着白昼的变化而变化。像牛这样的机械角色在场景中移动,航船沿着河流行驶。

第9段

1 .But what really got people was the attention to detail, much like his work in Drury Lane.

而真正让人们注意的是细节的东西,就像在他在特鲁利街戏院区的作品一样。

2 .So, for example, he painted very realistic ships, and varied their size depending on their distance from the audience.

所以,比如说,他画出非常写实的帆船,根据离观众的距离长短来改变船只的尺寸。

3 .Small boats moved more quickly across the foreground than larger ones did that were closer to the horizon.

小船只在近景中移动的速度要比靠近视野的大船只快。

4 .Other effects, like waves, were also very convincing—they reflected sunlight or moonlight depending on the time of day or night--even the colors changed as they would in nature.

其他的效果,比如波浪,也是很逼真的。波浪可以根据时间,即白天还是黑夜,反射太阳光或月光,甚至颜色也改变了,就像它们在自然界中一样。

5 .Sound and light were important in making his productions realistic.

音效和灯光效果对于他的作品生动性来说是非常重要的。

6 .He used a great number of lamps and he was able to change colors of light by using variously colored pieces of glass to create effects like passing clouds that subtly change in color.

他运用大量灯具,通过使用颜色变化多样的玻璃从而改变灯光的颜色,营造出像飘过的云朵会微妙地改变颜色。

7 .Furthermore, he used effects to make patterns of shadow and light rather than using the uniform lighting that was common at the time.

再者,他运用各种特效制造阴影和灯光的图案,而不是使用当时大家普遍使用的统一的灯光效果。

8 .And many of the sound effects he pioneered are still in use today, like creating thunder by pulling on one of the corners of a thin copper sheet.

很多他创造出来的音效现在还为人们所用。比如拉动薄铜片的一角制造雷声。

第10段

1 .One of his most popular scenes was of a storm.

他所创造的最受欢迎的场景之一即暴风雨的场景。

2 .And there’s a story that on one occasion an actual storm passed overhead during the show, and some people went outside and they claimed Loutherbourg’s thunder was actually better than the real thunder!

而曾经有这样的事情,在演出进行过程中,一场真实的暴风雨经过剧院。演出结束后观众离场,他们说鲁斯伯格的雷声要比真实的暴风雨还要给力。