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Narrator:Listen to part of a lecture in a dance history class.
獨立:聽下面一段舞蹈歷史課堂上的講解。
Professor:As we have been studying, ballet, the classical ballet, is based on formalized movements, specific positioning of the arms, feet and the body.
教授:我們經(jīng)學(xué)過，芭蕾，古典芭蕾，是以規(guī)范的動作，精確的手臂，腳和身體的位置為基礎(chǔ)。
So, now let's move on to modern dance, also known as theatrical dance.
接下來我們要講的是現(xiàn)代舞，就是我們所知道的劇場舞蹈。
Modern dance evolved in the late nineteenth, early twentieth century, and in most cases, audiences were very receptive to this radical new type of performing art.
現(xiàn)代舞是在十九世紀(jì)晚期和二十早期出現(xiàn)的，而大部分觀眾對這種完全新生的表演形式比較歡迎。
Student:Um... what made modern dance so radical?
學(xué)生:是什么使現(xiàn)代舞出現(xiàn)這樣極端呢？
Professor:Well, for example, I think the best analogy to modern dance is modern art or modern music.
教授:比如說，我認(rèn)為最合理的類比就是現(xiàn)代藝術(shù)和現(xiàn)代音樂。
Compared to their classical predecessors, these never art forms are freer, more experimental, more improvisational.
比起他們的前身，這些新生的藝術(shù)形式更加自由，實踐性更強，也更加的即興。
Modern dance seeks to show how deep emotions and the music itself, how these intangible attributes can affect and inspire physical movement, and how movement can convey emotions to the audience.
現(xiàn)代舞努力要表達深度的情感和音樂本身的內(nèi)涵，表現(xiàn)這種無形的屬性如何影響并引導(dǎo)肢體動作，表現(xiàn)肢體動作如何將情感傳遞給觀眾。
As I said, in classical ballet, emotions are conveyed through a set of strictly formalized movements.
而正如我前面所說的沒在古典芭蕾中，情感是通過一整套標(biāo)準(zhǔn)的動作表達的。
Now, a pioneer of modern dance was Isadora Duncan, who was born in 1878.
現(xiàn)代舞的一位先驅(qū)是伊莎多拉鄧肯。她出生在 1878 年。
Isadora Duncan did study ballet briefly as a child, but she quickly developed her own unique style, which she called free dance.
鄧肯在小的時候?qū)W過芭蕾，但是很快她就發(fā)展出了自己的獨特的風(fēng)格，她稱之為自由舞。
And by age fourteen, she was teaching her free dance to young children and giving recitals.
在她 14 歲時，她就將她的自由舞教給小孩，并舉行了獨舞表演。
Her early dance technique was loosely based on the natural movements of children, running, skipping, acting out stories, also on motions from nature, waves crashing onto shore, trees swaying in the wind.
她早期的舞蹈技巧比較松散，只是建立在兒童自然的動作的基礎(chǔ)上，跑動，跳躍，表演故事，還有大自然中的動作，海浪沖擊海岸，樹木在風(fēng)中擺動。
Her expressive gestures were motivated from within rather than from being dictated by strict technique.
她的表現(xiàn)動作只是自然的流露而沒有嚴(yán)格的技術(shù)指導(dǎo)。
Duncan also wore her hair down, ballerinas typically wear their hair in a tight bun behind the head.
鄧肯還把她的頭發(fā)散開，而芭蕾舞者通常將他們的頭發(fā)在腦后盤成一個結(jié)。
And instead of the short steep skirts and rigid toeshoes worn by ballerinas, Duncan wore loose, flowing tunics, and she dance bare foot.
芭蕾舞者穿著陡峭的短裙和前尖堅硬的舞鞋，而鄧肯卻穿著寬松的，飄逸的短裝，而且她還光著腳跳舞。
Now, that was something her audiences had never seen before.
這些都是觀眾們從前沒有見過的。
Duncan performed in Paris,and other European cities,dancing to the music of classical composers, but avoiding set movements and steps, no two performances were alike.
鄧肯在巴黎的作曲家中表演，大多時間回避固定的觀眾。而在其他歐洲的城市，她伴著傳統(tǒng)的舞步的音樂，它的表演每次都是不同的。
And audiences, for the most part adored her.
這些人都很崇拜她。
In 1904, she opened a school of modern dance in Berlin.
1904 年，她在柏林開設(shè)了一個現(xiàn)代舞學(xué)校。
And the next year she performed in Russia.
第二年她又到俄國去表演。
But the Russian critics were not really kind.
但俄國的評論家卻不是很友好。
Some said Duncan's art form was closer to pantomime than to dance.
有的人說鄧肯的舞蹈像是啞劇而不是舞蹈。
But her style was a clear rebellion against ballet, and ballet is extremely important in Russia.
但她的風(fēng)格是對芭蕾的一種革新，而芭蕾在俄國十分被重視。
A question, Julie?
有問題嗎，朱莉？
Student:Yeah. What did Duncan have against ballet? I mean, she studied it as a child.
學(xué)生:是的。為什么鄧肯會反對芭蕾呢？我是說他小的時候也學(xué)過芭蕾啊。
Professor:As a youngster, she might have found it too restrictive, uh, not creative enough.
教授:作為一名少年，她可能覺得芭蕾太嚴(yán)格，不夠創(chuàng)新。
I think that feeling is exemplied by something that happened earlier in her career, in Russia.
我認(rèn)為是她職業(yè)生涯早期在俄國的時候，有些事使她產(chǎn)生了這種感覺。
Duncan attended a ballet, and the lead dancer was the renowned Russian ballerina，Ana Pavlova.
鄧肯曾經(jīng)參加過一個芭蕾舞團，這個舞團的領(lǐng)舞是著名的俄國芭蕾舞者安娜巴普洛娃。
The following day, Pavlova invited Duncan to watch her practice.
第二天，巴普洛娃邀請鄧肯去看她的練習(xí)。
Duncan accepted but was appalled by what she saw.
鄧肯接受了邀請，但是她被所看到的景象驚呆了。
To her, the exercises that Pavlova and the other ballerinas were doing seemed painful, even harmful, standing on tiptoe for hours, moving their bodies in unnatural ways.
再看看來巴普洛娃和其他的芭蕾舞演員所做的聯(lián)系看起來十分痛苦，甚至是對身體有害的，幾個小時連續(xù)的用腳尖站立，用一種超出自然的方式活動他們的肢體。
After seeing this, Duncan publically denounced ballet as a form of acrobatics, uh, complicated and excruciating mechanism she called it.
在見到這些以后，鄧肯公開的譴責(zé)芭蕾舞是一種雜技，她稱之為復(fù)雜又折磨人的技巧。
This critic generated I think some undue rivalry between ballet and modern dance, and it would take a long time, many years in fact, for the rivalry to calm down.
我認(rèn)為這種評論造成了芭蕾與現(xiàn)代舞之間的不適當(dāng)?shù)臄硨顟B(tài)。而且需要很長時間，許多年才能使這種敵對狀態(tài)消失。
