2015.01.27【英译中】超越“受害者艺术”2 (733)

发表于:2015-01-27 15:11 [只看楼主] [划词开启]

Two decades on, Croce appears stranded on the wrong side of history. Artists bringing personal histories to the table are now mainstream. 

二十年来,Croce似乎站在了历史错误的一边。现在,拥有个人历史的艺人们成为了主流。

You see “victim art” in reality TV and verbatim theatre; in the work of oversharing visual artists likeTracey Emin and Ryan Trecartin; and, increasingly, you see it in dance, where an immaculate body and blank-slate persona are no longer the invariable starting point.

你在电视真人秀和逐字背稿的剧院中可以看到“受害者艺术”;在过度分享的视觉艺术家,如翠西•爱美和瑞安•特雷卡丁的作品里也可以看到“受害者艺术”;并且,这种艺术在舞蹈里也出现得越来越频繁,完美身躯和空白角色已不再是舞蹈中永恒不变的出发点了。

Belgium’s Les Ballets C de la B make work about asylum inmates or delinquent children, while Theater HORA’s performers with learning disabilities recently opened the Dance Umbrella festival with Jérôme Bel’s Disabled Theater. 

比利时的Les Ballets C de la B编排了关于被收容者或失足青少年的作品,而Theater HORA有学习障碍的表演者最近在Jérôme Bel的残疾人剧院开展了“舞蹈之伞”节。

Like Australia’s Back to Back ensemble of disabled actors, these companies ask us to examine who has the right to tell a story and who has the right to be heard. 

这些公司就像澳大利亚的Back to Back剧院的全体残疾演员一样,要求我们审核谁有讲述故事的权力,以及谁有被聆听的权力。

Yet practitioners do accept that there are still sensitive ethical, political and aesthetic questions. Who participates? Who observes? Does authenticity necessarily make art?

尽管如此,这些从业者也接受这个事实,那就是社会上仍存在着敏感的道德、政治和美学问题。谁在参与?谁在评论?真实的情况是否有必要做成艺术?

Stine Nilsen is the Norwegian-born co-director of Candoco, which integrates disabled and non-disabled dancers. She says that, during the company’s 24-year history, it has sought to “draw the lens away” from notions of disability and have its work judged as contemporary choreography instead. 

Stine Nilsen出生于挪威,是Candoc舞团的合伙指导。Candoc舞团既有残疾舞者,也有健全舞者。她说,在过去24年中,公司一直努力追求“将关注点从残疾观念上移走”,并且让人们将他们表演看作是当代舞蹈。

Even today, there are blips. “I was really surprised when a review listed all our disabilities,” says Toke Broni Strandby, a tall Dane who is one of the troupe’s dancers. “I am not here because I am disabled, but because I’m a trained dance artist.” 

即使是现在,这种观念仍然大有市场。Toke Broni Strandby说:“当我看到一则评论将我们的残疾舞者全部列出来时,我真是大吃了一惊。”他是个高个子丹麦人,剧团中的一名舞者。他还说,“我在这里跳舞,并不是因为我是残疾人,而是因为我是个受过训练的舞蹈艺术家。”

Candoco works with leading international choreographers: their new piece, Let’s Talk About Disby the much-heralded Hetain Patel, is founded on the cast’s own experiences and identities. Does that make it classic “victim art” or cutting-edge innovation?

Candoco与重要的国际舞蹈指导合作:他们的新作品——Let’s Talk About Dis,由大受欢迎的Hetain Patel指导,根据全体舞者自己的经历和身份认同而编排出来。这会使它成为经典的“受害者艺术”还是尖端的创新呢?

Nilsen believes there has been some progress. Early reviews described the company as a kind of “freakshow – they couldn’t see beyond the appearance of the dancers. Of course we look at dancers, their bodies, compare them with ourselves, so how do you move beyond that? 

Nilsen认为这方面已经有了一些进步。早期的评论将该公司描绘为某种“怪物秀”——他们所看到的仅仅局限在舞者的外观上。当然,我们在看这些舞者时,会注意他们的身体,会拿他们来与自己比较,那么,怎样才能跨过那个局限呢?

You hope that any good choreographer will make use of the performers – not to exploit them, but to empower them. More choreographers are interested in exploring different physical starting points.”

你希望某个优秀的编舞者可以很好地使用表演者——不是开发他们潜力,而是赋予他们权利。

分类: 英语
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