英国新闻听力 《名利场》杂志肖像摄影展

《名利场》杂志肖像摄影展(Vanity Fair Portraits)

大家好，欢迎回来，我是主持人马科斯，您现在收听的是BBC的艺术娱乐节目--《娱乐播报》。现在难道你们对演员斯嘉丽·约翰逊的新闻照片不感兴趣了吗？不？我已经结束了包括服装各异的爱因斯坦、查理·卓别林、欧内斯特·海明威和路易斯·阿姆斯特朗等名流的肖像作品，也看了跳舞的罗纳德·里根总统的肖像。

[注释]

1.portrait n. 肖像，人像 2.highday n. 节日 3.avant-garde n. 先锋派 4.legendary¹ adj. 传奇的 5.omen² n. 征兆，预兆 6.trumpeter n. 号手，喇叭手 7.remarkable³ adj. 值得注意的，显著的 8.glamour⁴ n. 魅力，魔力 9.trial adj. 尝试性的 10.impresario⁵ n. 舞台监督 11.scrupulous⁶ adj. 小心谨慎的，细心的 12.costume n. 服装，装束 13.visionary adj. 幻想的，梦想的 14.accessible adj. 可到达的 15.iconic adj. 肖像的，与肖像有关的 16.tribune n. 民众领袖 17.cast v. 派（角色） 18.vital adj. 至关重要的，重大的 19.foregone adj. 过去的，先前的 20.intervene vi. 插入，介入 21.despair vi. 绝望 22.diffident adj. 缺乏自信的

[积少成多]

[date back to 回溯到，从……时就有]

例句1：The history of hockey can date back to thousands ago.

曲棍球的历史可以追溯到数千年前。

例句2：While mini-books have become a big business, there are few people who would believe that these books date back to 15th century.

现在迷你书已经风行市场，但却少有人知道它的历史竟可以追溯到15世纪。

Vanity Fair Portraits

MARCOS: Hello, welcome back, I'm Marcos, and you are listening to the Tickets ---the BBC's Art and Entertainment Program. Now can't interest you in a news photo of actress Scarlett Johansson? No? Well I've been over by Einstein, Charley Chaplin, Ernest Hemingway and Louise Armstrong with their clothes on, who former US President Ronald Reagan dancing. Yet some of the greatest portrait photographs of the last hundred years or so are just going on show in London, actors, musicians, athletes, dancing presidents and politicians. All the images on show would rather have taken full or published in the US magazine Vanity Fair since it first began back in 1913. And it is highday the magazine captured the era, the jazz age, the birth of modernism, the avant-garde. Its pages are full of images by legendary early photographers like Cecil Beaton, Man Ray, Baron⁷ De Meyer and Edward Steichen. You find their works as well as that by contemporary Vanity Fair photographers at London's National Portrait Gallery, pictures of some of the jazz greats. How could I resist?

PRESIDENT: Well here we are, London's National Portrait Gallery around the back of the Trafalgar Square of stone strove from Nelson's Column, seemly got a good omen. In here I am reliably told the portraits of two man music icons⁸ trumpeters, Louise Armstrong and Miles Davids. They are just two with more than 150 photographs, not to mention, rather large crowd of glitter. Look at them. I am joined by the Armstrong caster Christopher Cook. Christopher, I think, it's incredible collection, isn't it?

CHRISTOPHER COOK: It's quite remarkable. When you see these pictures together, they can't just kind of record of our ideas about fame, celebrity⁹ and glamour.

PRESIDENT: And what are trial portrait to begin? We just walk a little away to, well, the first three portraits here in the collection. Right, by the main door you come through, the composer, Irving Berlin, the Russian dancer Nijinsky and Anna Pavlova?

CHRISTOPHER COOK: What really interested us in this picture is not so much the quality that we never found. But the fact, here are two great classical dancers. Both of whom were dances with the Diaghilev, the Russian impresario. And also the great popular chance with the early American period Irving Berlin. What of course reminds us is that Vanity Fair was always about both popular and highly serious. There is Nijinsky dress among these wonderful, Ballets Russes scrupulous costumes. But there is Irving Berlin sitting behind Tim Panally, looking on the knowingly with the camera and with the sheet of paper writing. We know Irving Berlin could actually write a music. Yeah, it is a famous photo. It does look like that.

PRESIDENT: Why Vanity Fair magazine, I mean this picture dated back to the beginning of the magazine since section 1913, 1914, why this magazine, what did they do with it so special?

CHRISTOPHER COOK: Well, I think, its well man's visionary. It's Frank Crowninshield to the editor of Vanity Fair who understood perhaps before most anybody the importance of what we now call photo journalist. We understood it wasn't its words, but the images, too. And they understood the importance of the equality and the words. So they fixed¹⁰ together. You take the pictures of somehow fixed together appropriately in the right style with the test. Is that, I think, from the surface floats, the great 20th century tradition of photo journalist, whether is news, whether it is quality leisure magazine or whatever.

PRESIDENT: It took photography very seriously as well, didn't it? I mean it did want to make everything accessible, but it almost put it on a part without their art forms.

CHRISTOPHER COOK: I think the early period what you're getting is the photograph version that the great portraiture¹¹ of the 19th century. This is photography that seems to do exactly what the portray¹² paint does review the character, the kind of one-to-one relationship that you're framing and organizing situates the reviews of it.

PRESIDENT: Come with me and look at the extraordinary picture, on the great iconic pictures now I've covered.

CHRISTOPHER COOK: This is quite frankly¹³ one of the greatest pictures, I think, of Vanity Fair ever published. I think it's one of the greatest pictures here in the exhibitions. Now come in the great popular entertainer, the writer plays like private lives musical complicated shouting New York. What's extraordinary about is that you can scarcely see his face. It's almost Italian tribune led from the left. He's got the cigarette when he standing¹⁴ in the shadow over open grand Pierma making him wonderful kind of shell bowl shape behind a over for light on a pillar there is an Egyptian cat. What's of course all this is the perfect presentation of our decade, that great New York stars like Sheer Smart Star with the Rockefeller Center and the Chrysler Building. And here is covered somehow with the explosions. And just look at the way he stands. His hand's in his pocket, one links slightly a kind of motionless, a kind of easy-grace about it. This is the essence of the 1920s, 1930s's time.

PRESIDENT: And if we move around here, that was only 32, and the whole wall of the photographs here are from the 1930s. And you begin to see that sort of experimentation¹⁵ with shadows.

CHRISTOPHER COOK: I think that what you get from here of course is the realization¹⁶ that what influences the photographers isn't simply the tradition we talked about before, the idea of portraiture. What's happening here is that new sort of photograph or photo journalist is beginning to cast. Here social realism is beginning to cripple to its photographs.

PRESIDENT: I have just spoken that Louie Armstrong portrayed¹⁷ that I was only about and that seems typified to me that iconic jazz became so vital to the 1940s and 1950s. You know clubs, all with instruments, dark, sweating until weary with the huge. And of course the extraordinary shadow that leads off the back of the photograph.

CHRISTOPHER COOK: In the sense it is. What we think as a kind of smoky jazzy one, but everything is foregone in the end of about Louie, the artist. Well, it has to actually to say that the text or the style for how it expect jazz exhibition to look. When we get to 1980s, we moved away from the concept of glamour that, for example on cover or Louie Armstrong. The idea of presenting these people as a kind of figure extraordinary rather remote glamour and we can just somehow participate there were and we move actually to celebrity. We move to the idea of people being famous simply for the second to be famous and the key element within the celebrity presentation. It's of course they should also look rather like us, so should be a sense of ordinariness about the world in which we are photographed where we are and of course the shift beginning here. The photographer is slowly beginning to intervene himself. And when we get photograph by Annie Leibovitz; for example, one of the great contemporary photographers, there are all about her as much social photographs.

PRESIDENT: Because a lot of politicians say behind these we've gotten president Bushes, Cabinet Ohio face misses and rather terrified, the biggest pictures in the exhibition, Margret Thatcher¹⁸ staring straight out.

CHRISTOPHER COOK: By Helmut Newton, too, I'd like to say that she is a pretty woman in the 90s. You should take in 1991. It's after she left the office. I mean she has the sense of regret, just look at the eyes. They are not quite chilling as you think. The mouth slightly open, and the pearl slightly hidden down. I think the sense of this woman's time has passed. But you're right. Seeing quickly it's the past tense. It's not some you don't time with.

PRESIDENT: You mentioned Annie Leibovitz. She's taken this president Bush and his very secretary state, gather-together in the offices of panel in the White House.

CHRISTOPHER COOK: The land he comes to mind obviously on this photographs is the pose that I look on my work with my tears despair. You know there we have the kind of key figures, who is responsible for taking the United States. I am not supposed that Britain to be any other allies into the war in Iraq. There signs in the middle, the president himself wave the peace with the kind of cowboy built, hands in the pockets. There is the Vice¹⁹ President sitting on the low as his hands on his knees, Colin Powell on the left looking on the diffident and the way with there Mr. Rumsfeld to the end, a command, perhaps the most powerful armies the world has ever filled. Yes, indeed. This is the real smell of power and that there is one woman there and by large there are all men.

MARCOS: Christopher Cook with the president of the Vanity Fair portrait exhibition and the exhibition continues at London's National Portrait Gallery until 26th, May.

《名利场》杂志肖像摄影展

马科斯：大家好，欢迎回来，我是主持人马科斯，您现在收听的是BBC的艺术娱乐节目--《娱乐播报》。现在难道你们对演员斯嘉丽·约翰逊的新闻照片不感兴趣了吗？不？我已经结束了包括服装各异的爱因斯坦、查理·卓别林、欧内斯特·海明威和路易斯·阿姆斯特朗等名流的肖像作品，也看了跳舞的罗纳德·里根总统的肖像。然而，近百年来的一些伟大的肖像作品要在伦敦巡回展出，有演员，音乐家，运动员，跳舞的总统和政界人士。展览的所有图片全部来自美国杂志《名利场》，它早在1913年就开始出版这样的图片。这是杂志记录时代的节日，包括爵士乐时代、现代主义先锋派的诞生。拍摄肖像的有早期的传奇摄影师塞西尔·比顿、曼·雷、拜伦·迪·梅尔、爱德华·史泰钦。你能在伦敦国家肖像画廊发现他们的作品以及当代《名利场》摄影师的作品，一些爵士大师的图片。我怎么能抗拒呢？

主席：现在我们到了位于特拉法尔加广场的纳尔逊石柱后面的伦敦国家肖像画廊，似乎是个好兆头。在这里据可靠消息称，有两位著名小号演奏家路易斯·阿姆斯特朗和迈尔斯·戴维斯的肖像。他们仅是这150多张照片中的两个，更不用说剩下那些伟大的人物了。看看他们。这位是阿姆斯特朗展区的克里斯托夫·库克。克里斯托夫，我认为这是令人难以置信的收集，不是吗？

克里斯托夫·库克：这是值得注意的。当你看到这些照片聚集在一起，它们就不只是我们关于名声、名人和魅力的记录。

主席：试着从哪个肖像开始呢？我们走走吧，看这里收集的前三个肖像。对，在你进来的正门旁边，分别是作曲家欧文·柏林、俄罗斯的舞蹈家尼金斯基和安娜·巴甫洛娃。

克里斯托夫·库克：这张图片真正让我们感兴趣的不是我们从未发现的质量。而是这里有两个伟大的古典舞蹈家的事实。而且他们两个都和俄国舞台监督佳吉列夫跳过舞。同时还有美国早期的流行舞蹈家欧文·柏林。当然，这使我想起《名利场》杂志一向都是关于流行和高度认真的。在《戏梦芭蕾》中，服装谨慎细心，尼金斯基的着装最棒。欧文·柏林坐在蒂姆·潘纳丽后面,在一张纸上写字，还向摄影机这边看过来。我们知道事实上欧文在作曲。是的，这是一幅著名的照片。确实名副其实。

主席：为什么《名利场》杂志，我的意思是，这张图片可追溯至该杂志开始的1913年、1914年的版本，为什么这个杂志，他们这么特别得处理它呢？

克里斯托夫·库克：我认为，这是因为人是充满幻想的。作为《名利场》杂志的编辑,弗兰克·克劳宁希尔德可能比所有人都明白摄影记者的重要性。我们明白这不是它的具体条文，而是影像。他们明白平等和内容的重要性。所以他们就固定在一起。你拍的照片，以某种方式把它们以恰当的风格恰好的组在一起。我认为从表面上看，伟大的二十世纪的传统摄影记者，无论是新闻还是高品质的休闲杂志或者无论什么，他们都可以做得很棒。

主席：拍照片也需要很认真，不是吗？我的意思是，它的每一个细节都要做到位，但是几乎没有它们的艺术形式。

克里斯托夫·库克：我认为在早期，你们获得的是十九世纪伟大的肖像画法的照片版本。这好像是摄影可以通过描绘涂料来回忆人物，这是一种一对一的关系，你的取景和组织是对这一人物的回忆。

主席：过来看看这张不平凡的照片，现在我指的这张肖像照片。

克里斯托夫·库克：坦率地说，我认为这是《名利场》杂志曾出版的最棒的图片之一。我认为这也是这次展览中最棒的图片之一。现在进来的是一位很受欢迎的娱乐者，这张照片的作者给我们展示了在纽约的一幅关于私人生活的、混杂着喊声的图片。不同寻常的是，你几乎看不到他的脸。从左边看好像是一个意大利的民众领袖。他站在开放场地的阴凉处，手里拿着香烟，从柱子上有光照下来，使他的影子成美丽的弓状，在他的身边还躺着一只埃及猫。当然，这张照片真的是我们这十年的完美陈现，在这个图片中也有著名的纽约图腾像洛克菲勒中心和克莱斯勒大厦。这里不知是什么缘故还有些爆炸物。看一下他的站姿。他的手插在口袋里，一动不动，安逸优雅。这是二十世纪的二、三十年代的本质。

主席：如果我们就在这里转转，那就只有32张照片，这里整个墙上的照片都是来自二十世纪三十年代。你开始看到那种有阴影的实验画法了。

克里斯托夫·库克：我认为你从这里收获的当然是你意识到影响摄影师的不仅仅是我们以前谈到过的传统肖像画法。这里我们可以看到新形式的照片或者摄影记者开始分配角色。这里社会现实主义开始削弱在摄影上的影响。

主席：我刚才所说的，路易斯·阿姆斯特朗是我想描绘的，对于我这似乎是典型的标志性的爵士乐，对二十世纪四、五十年代至关重要。你知道所有的俱乐部都有乐器，灯光黑暗，汗流浃背直到非常累。当然，阴影作为照片的背面有着异同寻常的效果。

克里斯托夫·库克：在这个意义上讲，它是这样的。我们认为，作为一种烟熏的有爵士乐特点的照片，对于路易斯这个艺术家，一切都过去了。事实上不得不说，期望的内容或风格在爵士乐展览中都可以看到。当我们到了二十世纪八十年代，我们从魅力的概念转移，例如在封面的路易斯·阿姆斯特朗。把他们作为一种非同寻常的人物呈现，而不是作为遥远的魅力的想法，使我们可以在某种程度上参与，我们事实上在与名人靠拢。我们提出拍著名人物这一想法，只是为了展示出名的瞬间以及名人的主要内涵的展示。当然，他们也应该看起来和我们很像，所以我们拍摄的照片才能展现世界的平常，当然，转变从这里开始。摄影师正慢慢开始纳入自己。例如，当我们得到当代伟大的摄影师之一的安妮·莱伯维茨的作品时，有关于她的所有社会照片。

主席：因为很多政客说，除了这些，还有布什总统，俄亥俄州内阁面对失败惊恐万状，这是这次展览中最大的照片，玛格丽特撒切尔夫人一直凝视着。

克里斯托夫·库克：赫尔穆特·牛顿，我想说她是九十年代一位非常漂亮的女士。应该是1991年拍的。那时她已经离开办公室。我的意思是她有种遗憾的感觉。从她的眼神就可以知道。它们不像你想的那样让人感到悲凉。嘴巴稍稍张开，项链稍微垂钓下来。我认为这名女士所在的时代的感觉已经过去了。但你是对的。猛然看上去，它是过去的口味。这也不是你所安排的。

主席：你刚才提到了安妮·莱伯维茨。她拍摄了这张布什总统和他的秘书，在白宫办事处聚在一起讨论国家大事的照片。

克里斯托夫·库克：在这张照片中，很显然他想到的是姿态，我含着眼泪绝望地看着我的作品。那里我们有关键人物负责联合美国。我认为英国在伊拉克战争不是同盟国。总统本人站在其中，穿着牛仔装，手在口袋里示意和平。还有副总统坐在低点的位置，他的手放在漆盖上，科林·鲍威尔在左边看上去缺乏自信，拉姆斯菲尔德这位将军排在最后。他可能有世界上最强的军队。是的，确实是。这才是真正的力量的味道，这里有一位女性，但大部分是男性。

马科斯：这是克里斯托夫·库克和《名利场》杂志肖像展主席之间的对话，这次展览在伦敦国家肖像画廊举行，并持续到5月26日。

1 legendary   

adj.传奇（中）的，闻名遐迩的；n.传奇（文学）

参考例句：

• Legendary stories are passed down from parents to children.传奇故事是由父母传给孩子们的。
• Odysseus was a legendary Greek hero.奥狄修斯是传说中的希腊英雄。

2 omen   

n.征兆，预兆；vt.预示

参考例句：

• The superstitious regard it as a bad omen.迷信的人认为那是一种恶兆。
• Could this at last be a good omen for peace?这是否终于可以视作和平的吉兆了？

3 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

• She has made remarkable headway in her writing skills.她在写作技巧方面有了长足进步。
• These cars are remarkable for the quietness of their engines.这些汽车因发动机没有噪音而不同凡响。

4 glamour   

n.魔力，魅力；vt.迷住

参考例句：

• Foreign travel has lost its glamour for her.到国外旅行对她已失去吸引力了。
• The moonlight cast a glamour over the scene.月光给景色增添了魅力。

5 impresario   

n.歌剧团的经理人；乐团指挥

参考例句：

• The impresario will present an expanded series of concerts next season.下个季节将举办一次大型的系列音乐会。
• The impresario had buttoned his astrakhan coat.乐团经理扣好了羔皮外套。

6 scrupulous   

adj.审慎的，小心翼翼的，完全的，纯粹的

参考例句：

• She is scrupulous to a degree.她非常谨慎。
• Poets are not so scrupulous as you are.诗人并不像你那样顾虑多。

7 baron   

n.男爵；(商业界等)巨头，大王

参考例句：

• Henry Ford was an automobile baron.亨利·福特是一位汽车业巨头。
• The baron lived in a strong castle.男爵住在一座坚固的城堡中。

8 icons   

n.偶像( icon的名词复数 )；（计算机屏幕上表示命令、程序的）符号，图像

参考例句：

• Distinguish important text items in lists with graphic icons. 用图标来区分重要的文本项。 来自About Face 3交互设计精髓
• Daemonic icons should only be employed persistently if they provide continuous, useful status information. 只有会连续地提供有用状态信息的情况下，后台应用程序才应该一直使用图标。 来自About Face 3交互设计精髓

9 celebrity   

n.名人，名流；著名，名声，名望

参考例句：

• Tom found himself something of a celebrity. 汤姆意识到自己已小有名气了。
• He haunted famous men, hoping to get celebrity for himself. 他常和名人在一起, 希望借此使自己获得名气。

10 fixed   

adj.固定的，不变的，准备好的；(计算机)固定的

参考例句：

• Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗？
• Once the aim is fixed,we should not change it arbitrarily.目标一旦确定，我们就不应该随意改变。

11 portraiture   

n.肖像画法

参考例句：

• I am going to have my portraiture taken.我请人给自己画张肖像。
• The painting of beautiful women was another field of portraiture.人物画中的另一个领域是仕女画。

12 portray   

v.描写，描述；画(人物、景象等)

参考例句：

• It is difficult to portray feelings in words.感情很难用言语来描写。
• Can you portray the best and worst aspects of this job?您能描述一下这份工作最好与最坏的方面吗？

13 frankly   

adv.坦白地，直率地；坦率地说

参考例句：

• To speak frankly, I don't like the idea at all.老实说，我一点也不赞成这个主意。
• Frankly speaking, I'm not opposed to reform.坦率地说，我不反对改革。

14 standing   

n.持续，地位；adj.永久的，不动的，直立的，不流动的

参考例句：

• After the earthquake only a few houses were left standing.地震过后只有几幢房屋还立着。
• They're standing out against any change in the law.他们坚决反对对法律做任何修改。

15 experimentation   

n.实验，试验，实验法

参考例句：

• Many people object to experimentation on animals.许多人反对用动物做实验。
• Study and analysis are likely to be far cheaper than experimentation.研究和分析的费用可能要比实验少得多。

16 realization   

n.实现；认识到，深刻了解

参考例句：

• We shall gladly lend every effort in our power toward its realization.我们将乐意为它的实现而竭尽全力。
• He came to the realization that he would never make a good teacher.他逐渐认识到自己永远不会成为好老师。

17 portrayed   

v.画像( portray的过去式和过去分词 )；描述；描绘；描画

参考例句：

• Throughout the trial, he portrayed himself as the victim. 在审讯过程中，他始终把自己说成是受害者。
• The author portrayed his father as a vicious drunkard. 作者把他父亲描绘成一个可恶的酒鬼。 来自《现代汉英综合大词典》

18 thatcher   

n.茅屋匠

参考例句：

• Tom Sawyer was in the skiff that bore Judge Thatcher. 汤姆 - 索亚和撒切尔法官同乘一条小艇。 来自英汉文学 - 汤姆历险
• Mrs. Thatcher was almost crazed; and Aunt Polly, also. 撒切尔夫人几乎神经失常，还有波莉姨妈也是。 来自英汉文学 - 汤姆历险

19 vice   

n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的

参考例句：

• He guarded himself against vice.他避免染上坏习惯。
• They are sunk in the depth of vice.他们堕入了罪恶的深渊。