博物馆英音｜拆封百年芭蕾传奇戏服，百年薄纱与珠绣，精致到不肯
字幕摘录
| 时间 | 英文 | 中文 |
|---|---|---|
| 0:08 | Today we're going to be looking at some of the iconic objects relating to 20th century | 今天,我们将看到一些 与20世纪相关的标志性物体 |
| 0:14 | ballet. | 芭蕾剧。 |
| 0:17 | Right, so it's a large box but eventually we get to get glimpses of Margaux Fontaine's | 是的,所以这是一个大盒子,但最终我们得到 浏览马尔戈丰坦的 |
| 0:23 | tutu that she wore in The Sleeping Beauty. | 她在"睡美人"里穿的礼服 |
| 0:27 | So this costume made to the 1946 design by Oliver Messel was worn by Fontaine actually | 所以奥利弗·梅塞尔为1946年设计的服装 其实是方丹穿的 |
| 0:33 | in the 1960s but it was a role that was very very important to her and indeed to the company | 20世纪60年代 但是这个角色对她来说非常重要 并且对公司来说也非常重要 |
| 0:40 | that became the Royal Ballet. | 成为皇家芭蕾舞团 |
| 0:44 | We have such a large box because we want to keep the circular tutu as flat as possible. | 我们有一个这么大的盒子,因为我们想保持 圆形的图图尽可能平坦。 |
| 0:51 | Tutus are fiendishly difficult to look after in long terms so we have to have these boxes | Tutus很难长期照顾 所以我们得有这些盒子 |
| 0:58 | specially made for tutus and to keep them in pristine condition. | 专为Tutus而制作,使其保持原始状态. |
展开字幕全文（258 条）
| 序号 | 英文 | 中文 |
|---|---|---|
| 1 | Today we're going to be looking at some of the iconic objects relating to 20th century | 今天,我们将看到一些 与20世纪相关的标志性物体 |
| 2 | ballet. | 芭蕾剧。 |
| 3 | Right, so it's a large box but eventually we get to get glimpses of Margaux Fontaine's | 是的,所以这是一个大盒子,但最终我们得到 浏览马尔戈丰坦的 |
| 4 | tutu that she wore in The Sleeping Beauty. | 她在"睡美人"里穿的礼服 |
| 5 | So this costume made to the 1946 design by Oliver Messel was worn by Fontaine actually | 所以奥利弗·梅塞尔为1946年设计的服装 其实是方丹穿的 |
| 6 | in the 1960s but it was a role that was very very important to her and indeed to the company | 20世纪60年代 但是这个角色对她来说非常重要 并且对公司来说也非常重要 |
| 7 | that became the Royal Ballet. | 成为皇家芭蕾舞团 |
| 8 | We have such a large box because we want to keep the circular tutu as flat as possible. | 我们有一个这么大的盒子,因为我们想保持 圆形的图图尽可能平坦。 |
| 9 | Tutus are fiendishly difficult to look after in long terms so we have to have these boxes | Tutus很难长期照顾 所以我们得有这些盒子 |
| 10 | specially made for tutus and to keep them in pristine condition. | 专为Tutus而制作,使其保持原始状态. |
| 11 | Now it's out of the box you get more of a sense of the size of the skirt. | 现在它从盒子里出来 你更能感觉到裙子的大小 |
| 12 | I think that this is actually fascinating as a costume. | 我认为这其实是迷人的服装。 |
| 13 | It's a costume that was remade at the end of the run of The Sleeping Beauty for the | 睡美人为了睡美人 |
| 14 | Royal Ballet and this is always known as the Messel Sleeping Beauty. | 皇家芭蕾舞团和这个总是被称为梅塞尔睡美人. |
| 15 | It's unusual that the designer should be the defining name for a production but Oliver | 设计师应该是制作人 但奥利弗 |
| 16 | Messel who was I think a major British designer worked on this and it opened the Royal Opera | 梅赛尔,我当时是一位英国设计师, 研究这个,它打开了皇家歌剧院 |
| 17 | House after the Second World War. | 第二次世界大战后的房子. |
| 18 | Messel used such rich colours. | 梅塞尔使用了如此丰富的色彩. |
| 19 | Now when you start looking at the pink here you think ah it's not that rich but underneath | 现在,当你开始看粉红色 在这里,你认为啊 它不是那么丰富,但下面 |
| 20 | you're going to have all the different layering that when the dancer is moving you're going | 你会有不同的层次 当舞者移动时,你要去 |
| 21 | to have that sort of flash of colour the whole time so it really is quite bright there and | 一直有那种颜色的闪光 所以那里真的很亮 |
| 22 | that sense of actually slightly different colours coming in it's not just all one colour | 那种感觉其实有点不同 颜色进来 它不只是所有的颜色 |
| 23 | I think is something that's actually very important particularly in tutus which are | 我觉得这其实很重要 尤其是Turtus... |
| 24 | short so you'll see in the underside as well as the top of the costume. | 短的,所以你会看到 在下边以及服装的顶部。 |
| 25 | So this is a costume that was actually worn in what is known as Act One of The Sleeping | 所以,这是一种服饰,实际上穿在 被称为睡眠的第一幕 |
| 26 | Beauty which is her 16th birthday party it's the point at which she will be pricked and | 16岁生日派对的美人 就是她被刺痛的时刻 |
| 27 | fall asleep and this costume is worn for a section that's known as the Rosa D'Arcio. | 睡着 这件服饰是用来穿的 被称为罗莎·达尔西奥的 |
| 28 | So this is wonderful dance in which she is actually presented with a series of roses | 所以,这是美妙的舞蹈 在其中,她实际上 呈现出一系列玫瑰 |
| 29 | by four prospective cavaliers which is why it is usually a pink or red colour. | 由四个可能的骑兵组成 这就是为什么它通常是粉红色或红色的 |
| 30 | When the ballet went on first in St Petersburg it was actually a much darker red. | 当芭蕾舞在圣彼得堡第一时 它实际上是更深的红色。 |
| 31 | The ballet was first seen in London in 1921 with the Argalev's Company and at that point | 芭蕾舞于1921年在伦敦与Argalev公司首次见面,当时 |
| 32 | it was still a much richer red but Messel really starts the pink tradition. | 红色还是更丰富 但梅塞尔真的开始粉红色的传统。 |
| 33 | Aurora is the young girl and it's the idea of dawn, Aurora means dawn so traditionally | 奥罗拉是年轻女孩 这是黎明的想法 奥罗拉意味着黎明 |
| 34 | that is the name for The Sleeping Beauty, the princess. | 这是睡美人的名字,公主。 |
| 35 | This is what's known now as an English tutu it's fairly old fashioned in terms of making | 现在人们称之为英国礼服 它在制作方面相当古老 |
| 36 | it's basically you've got your bodice which comes in several panels and that is attached | 基本上你的身体是用几块面板 贴着的 |
| 37 | to another section here for the hips which is referred to as the basque. | 给另一部分的臀部 被称为basque。 |
| 38 | It then comes down into a V which is of course very flattering to the figure so I think very | 然后它变成一个V, 这当然是非常受欢迎的数字 所以我觉得非常 |
| 39 | important here we have the darker ribbons on the shoulder and then he's attached onto | 这里很重要,我们肩上有更深的丝带 然后他附着在 |
| 40 | those just one little bead and the whole sleeve which is actually unusual to have on a tutu | 那些只是一颗小珠子 和整个袖子 这其实很不寻常 |
| 41 | a sleeve and I think it was to give a sense of this is a young girl being portrayed. | 袖子,我想是给人一种感觉 这是一个年轻女孩被描绘。 |
| 42 | They are attached sort of loosely with elastics so that the dancer is free to move, it's always | 他们有松散的弹性 这样舞者就可以自由行动,总是这样 |
| 43 | one of the challenges is how do you cut a costume for movement. | 其中一个挑战就是如何剪掉运动服饰 |
| 44 | Messel was somebody who could actually do wonderful decoration often on the cheap he | 梅瑟尔是一个人 谁可以真正 做美妙的装饰 经常在便宜他 |
| 45 | had imagination. | 有着想象力 |
| 46 | We are in a period when people were going for the newly invented nylons and things like | 我们正处于一个时期 人们要去 新发明的尼龙之类的东西 |
| 47 | and onto that you place your decoration and in this case it's largely a plecate you've | 将你的装饰放在上面,在这种情况下,它基本上是一个丰富的你 |
| 48 | got wonderful braid that's been worked out adding various sequins that are going to pick | 编织了很棒的辫子 加上了各种亮点 |
| 49 | up the light those sort of elements are very important on stage and then this wonderful | 这些元素在舞台上非常重要 然后是美妙的 |
| 50 | sort of almost sort of baroque style of decoration in fact is a silver sort of lame type of fabric | 那种几乎是巴洛克风格的装饰 实际上是一种银色的 无聊的布料 |
| 51 | cut up and then the edges are all trimmed with another braid so there's a lot of work | 剪断,然后边缘 全部修剪 用另一个辫子,所以有很多工作 |
| 52 | that goes into the decoration. | 进入装饰。 |
| 53 | One of the things I love about this costume is that some of the decoration is very typical | 我喜欢这种服装的一件事 就是一些装饰非常典型 |
| 54 | for Messel it's sort of found what he could find to use. | 对于梅塞尔,它有点 他能找到什么可以使用。 |
| 55 | This sort of laced part at the top in fact is an industrial material but in the 1960s | 顶端的这种缝隙 实际上是工业材料 但在1960年代 |
| 56 | when this costume was made a lot of costumiers were being very inventive in terms of what | 当这服装被制成 很多成本 是非常创新的 什么 |
| 57 | they found to use some of these things have survived happily some of them unfortunately | 他们发现使用这些东西 幸好幸免于难 有些不幸 |
| 58 | are not materials with longevity but this of course does have that but it works it works | 虽然不是长寿的素材,但这当然有,但它是有效的 |
| 59 | from a distance that's one of the fun things about theatre costumes is the fact that you | 从距离来看,戏剧服装的乐趣之一是你 |
| 60 | can use all sorts of strange materials and yet it will look very impressive to the audience. | 可以使用各种怪异的素材,然而它会让观众印象非常深刻. |
| 61 | One of the things with this costume is that you can see it's made in a lot of different | 这件服装的其中一件事情是,你可以看到它是由很多不同的 |
| 62 | panels to fit the body well. | 装好身体的面板 |
| 63 | Nowadays you would quite often put in a panel that was | 现在,你会很经常地 在一个面板是 |
| 64 | a stretch fabric typically of course it fastens with hooks and eyes which is still the way | 伸展的织物 通常它用钩子和眼睛紧紧地绑住 仍然是方法 |
| 65 | that you will fasten a dance costume much safer than putting a zip in it might pull | 穿着舞服比拉拉链安全得多 |
| 66 | apart. | 分开 |
| 67 | If we just sort of look at the inside of a costume it's always sort of fascinating there's | 如果我们只是看看服装的内在 它总是有点迷人 |
| 68 | usually a sense of this be lined with cotton to help with sweat and also you're going | 通常这种感觉是用棉条排成一排的 用来帮你解汗,你也会去 |
| 69 | to have the label that sort of tells you it was made at the Royal Opera it gives you your | 上面的标签是皇家歌剧院给你的 |
| 70 | production so Sleeping Beauty it also will give you the scene Act 1 and for whom it was | 所以"睡美人" 也会给你一号场景 |
| 71 | made it actually says as character Rosa D'Argio rather than Aurora and obviously identifies | 写成罗莎·达尔吉奥 而不是奥罗拉 |
| 72 | it as Margot Fontaine's costume. | 这是玛歌・方丹的服装。 |
| 73 | If we look underneath I think it's always fascinating | 如果我们看看下面,我觉得总是很迷人 |
| 74 | to see the underside of a tutu so the different layers all cut to different lengths and then | 以看到衬衫的底部 所以不同的层 切到不同的长度 然后 |
| 75 | stitched together and within them you will find that there is also and that helps to | 缝合在一起,在其中 你会发现,还有,帮助 |
| 76 | keep the shape. | 保持形状。 |
| 77 | It is a real star costume I think very important we're lucky we do | 这是一个真正的明星服装 我认为非常重要 我们很幸运我们做到了 |
| 78 | have several costumes that were worn by Margot Fontaine who was such a great ballerina and | 玛格特・方丹穿的几件服装 是个很棒的芭蕾舞演员 |
| 79 | so important for the development of ballet in Britain. | 这对英国芭蕾舞的发展很重要 |
| 80 | So in fact Margot Fontaine wasn't | 所以事实上玛戈·方丹不是 |
| 81 | the real name of the ballerina as was so often the case her real name was Peggy Hookham but | 她的真名是佩吉・胡克汉姆 |
| 82 | Nina de Valois who ran the company was always determined that her dancers would have sort | 公司老板尼娜·德·瓦卢瓦 总是决定 她的舞者有排序 |
| 83 | of properly sort of sounding starish names. | 听起来像明星的名字 |
| 84 | Margot Fontaine成为初选芭蕾舞演员 | |
| 85 | absoluta of the Royal Ballet she had a real sense of style and she could do the choreography | 皇家芭蕾舞团的Absoluta 她有真正的风格 她可以做舞蹈 |
| 86 | effectively and artistically. | 在艺术上有效 |
| 87 | She takes a pose she goes into arabesque she goes into | 她摆姿势 她去阿拉伯去她去 |
| 88 | attitude she takes a flower and she holds that pose and it is said that Fontaine is | 她拿着花 拿着那姿势 据说方丹是 |
| 89 | really the one who developed holding the poses in a most impressive way. | 真正的一个谁发展 持有姿势 最令人印象深刻的方式。 |
| 90 | So this is | 这就是 |
| 91 | also a tutu from the same production it's for act two rather than act one and in act | 也是同一种作品中的礼服 用于第二幕 而不是一幕和一幕 |
| 92 | two Aurora is a vision that appears to the prince and then lure the prince to the castle | 两个奥罗拉是王子看见的幻象 然后引诱王子到城堡 |
| 93 | to kiss her and wake her up after a hundred years. | 亲吻她 并在一百年后唤醒她 |
| 94 | This scene actually is all quite watery | 这个场景其实都是水的 |
| 95 | so it gives that sort of sense of a flow but it's that sort of atmosphere that is being | 所以它赋予了一种流动的感觉 但正是这种气氛 |
| 96 | evoked in the decoration. | 在装饰中引起。 |
| 97 | So although there are sort of what look like little feathers | 所以,虽然有些 看起来像小羽毛 |
| 98 | on it they're not some really feathery feathers but I think they're wonderful little bits | 上面不是羽毛羽毛 但我觉得它们很好看 |
| 99 | of plastic really. | 塑胶真的。 |
| 100 | We're not looking at a bird here by any means we are looking at an | 我们不是在看着鸟儿 |
| 101 | idealised version of a young princess who the prince will fall in love with. | 理想的版本 一个年轻的公主 王子会爱上。 |
| 102 | Now this | 现在这个 |
| 103 | costume was actually made for another ballerina called Nadia Narina who was South African | 服装其实是给另一个芭蕾舞演员 Nadia Narina做的,她是南非人 |
| 104 | by birth and was one of the dancers who came to Britain in that period after the Second | 出生的舞者之一 在那个时期来到英国的第二。 |
| 105 | World War. | 世界大战. |
| 106 | I think she found Aurora quite a challenging role, it is a challenging role | 我觉得她觉得奥罗拉是个很有挑战性的角色 是个很有挑战性的角色 |
| 107 | there's no doubt about it. | 无疑. |
| 108 | She was somebody who actually wrote about how it was one of | 她是一个写了 如何它是其中之一 |
| 109 | the ballets in which she sometimes felt that she was sort of completely there with the | 芭蕾舞,她有时觉得 她有点完全在那里 |
| 110 | audience and so she did enjoy dancing it. | 所以她确实喜欢跳舞 |
| 111 | Because it's a vision it's a light coloured | 因为它是一个视觉 它是一个浅色 |
| 112 | costume and indeed Oliver Messel was very good at creating misty rural scenes basically | 奥利弗·梅瑟尔非常擅长创造 雾中乡村的场景 |
| 113 | and so I think this is one that he really enjoyed. | 所以我觉得他很喜欢这个 |
| 114 | With this tutu it's very much more | 有了这身礼服,就好多了 |
| 115 | simple with the straps. | 简单的带子。 |
| 116 | They are basically elastic straps onto which they have stitched | 它们基本上就是它们缝合的弹性带 |
| 117 | a trim. | 一个修剪。 |
| 118 | In fact I think it's very much the same sort of fabric as was used on Aurora's | 事实上我觉得它和Aurora的布料差不多 |
| 119 | tutu, it gives the illusion of lace and it's actually got a gold thread that goes through | 蒂图,它给 蕾丝的幻觉, 它实际上有一个金线 通过 |
| 120 | it. | 这个 |
| 121 | This is what's known now as an English tutu. | 这才叫英国礼服 |
| 122 | The bask area is all decorated, it's | 水缸区都是装饰的 |
| 123 | probably wire with a cotton thread wound round it, very typical of the material that Messel | 很可能是棉线刺穿的铁丝网 典型的材料是梅塞尔 |
| 124 | liked to use and so once again we've got the V shape of the centre which is so flattering | 喜欢使用,所以我们再次得到了V的形状 中心是如此的恭维 |
| 125 | to the dancer's body. | 到舞者的身体。 |
| 126 | In the middle 20th century dancers were still probably a little bit more | 在20世纪中叶 舞者可能还多一点 |
| 127 | shapely than they are now and so this was a way of actually flattering the physique. | 和现在相比,这是一种 真正赞美身体的方式。 |
| 128 | Now the main part of the tutu will go straight down and you won't have that extra detail | 现在大礼服的主要部分会直下 你就不会有这个额外的细节 |
| 129 | by and large. | 总的来说。 |
| 130 | The Sleeping Beauty was one of Oliver Messel's really great triumphs. | "睡美人"是奥利弗·梅塞尔的伟大胜利之一. |
| 131 | We are lucky at the V&A to have such a rich collection of his designs and a number of | 我们很幸运在V&A 有这么丰富的 集他的设计和一些 |
| 132 | costumes to go with them. | 服装和他们一起去。 |
| 133 | It's also fascinating to see how costumes develop over time and | 看到服装随着时间的流逝和 |
| 134 | that's one of the things that's really nice. | 这是一件非常好的事 |
| 135 | With something like the Sleeping Beauty it | 和睡美人一样 |
| 136 | goes on first of all in 1946 at Covent Garden. | 1946年在科文特花园开始 |
| 137 | It continues through to the end of the 60s | 持续到60年代末 |
| 138 | with successful long running theatre. | 与成功的长跑剧场。 |
| 139 | It's not just a static, here is the costume, it | 不只是静态的,这是服装,它 |
| 140 | is a version of the costume. | 是一个版本的服装。 |
| 141 | So this costume actually we have unboxed and put onto a mannequin | 所以,这服装实际上我们已经 卸下箱子,并放在一个模特 |
| 142 | so you can actually get to see it. | 这样你才能真正看到它。 |
| 143 | It's a costume from the Ballet Cotillon which was | 芭蕾舞团的服装 |
| 144 | 1932年由乔治·巴兰钦(英语:George Balanchine)编剧. | |
| 145 | Now this sort of costume really is based on | 现在这种服装真的基于 |
| 146 | what we think of as a romantic tutu. | 我们所认为的浪漫礼服 |
| 147 | Romantic tutu is really developed a hundred years earlier | 浪漫的图图是一百年前的 |
| 148 | than this ballet so think of a Victorian dress, think of it in a very light flowing fabric | 比这个芭蕾舞剧更精彩 想想维多利亚式的裙子 想想它 穿在流畅的布料里 |
| 149 | so chiffons and silks and then think of it slightly shorter so that a dancer can move | 香肠和丝绸,然后考虑一下 稍短一点,让舞者可以移动 |
| 150 | and show off their feet and that becomes really the basic pattern for a ballet costume for | 露出双脚 这成为芭蕾舞服装的基本模式 |
| 151 | a woman. | 一个女人。 |
| 152 | Cotillon, it's an abstract ballet in many ways, it's young people at a party | 科蒂隆,这是一个抽象的芭蕾舞 在许多方面,它是年轻人在一个派对 |
| 153 | and this costume actually is called the Hand of Fate. | 这种服装实际上叫做命运之手。 |
| 154 | So basically the dancer comes into | 所以基本上,舞者进来 |
| 155 | the party, performs, in a way casts a change of mood, it's been light hearted up until | 派对,表演,在某种程度上, 使心情的改变, 它一直轻心 直到 |
| 156 | that point and the costume is a contrast with the others. | 和服装是一个对比 与其他人。 |
| 157 | It's the same basic shape, same | 一样的基本形状,一样 |
| 158 | very simple idea, a velvet bodice and a net skirt but the other women were all in coloured | 非常简单的想法, 一条绒毛的身体 和一条网裙 但其他的女人都穿彩色的 |
| 159 | costumes and they actually all had white gloves whereas the Hand of Fate had black gloves | 服装,其实他们都戴着白色手套 而命运之手戴着黑色手套 |
| 160 | so she instantly stood out as something different and it's really enlivened by having the stars | 所以她一瞬间就表现得不同了 有了星星就令人兴奋 |
| 161 | both on the bodice and the skirt and then we also have a couple of moons as well so | 身体上和裙子上 还有几颗月亮 |
| 162 | this sort of sense of night coming in. | 那种夜晚的感觉来了。 |
| 163 | It's designed by Christian Béard, I think a very | 这是克里斯蒂安·贝达尔设计的,我认为非常 |
| 164 | important French designer. | 重要的法国设计师。 |
| 165 | The original version was made by Korinska. | 最初的版本由科林斯卡制作. |
| 166 | Korinska is one of the | 科林斯卡是一个 |
| 167 | most important costumiers of the 20th century. | 20世纪最重要的成本学家 |
| 168 | She was somebody who had fled from Russia | 她是逃离俄罗斯的人 |
| 169 | after the revolution, established herself in Paris, in various ateliers and a number | 在革命之后,在巴黎, 在各种尖塔和一些 |
| 170 | of designers discovered her talent and insisted that their costumes were made by her. | 设计师发现她的才华 坚持说他们的服装是她做的 |
| 171 | | |
| 172 | was somebody who I think had a great sense of colour and you'll never get something, | 是一个我认为有 伟大的颜色感 你永远不会得到的东西, |
| 173 | a costume that is one colour. | 一种颜色的服装 |
| 174 | So even with this you look at it, it's black and gold with | 所以即使这样,你看它, 它的黑色和黄金与 |
| 175 | the decoration but in actual fact if you look underneath in the skirts it's a light blue | 装饰,但事实上 如果你看在裙子下面 是浅蓝色的 |
| 176 | and so that would have sort of come through as the dancers whirled around a space and | 当舞者们在空间里旋转时, |
| 177 | I think it's fascinating that looking at the way Oliver Messel had given the colour to the | 我觉得很吸引人 看着奥利弗·梅瑟尔给 |
| 178 | underskirts of Fontaine's tutu in particular, I suspect that he had partly picked it up from | 特别是Fontaine的裙带内裤 我怀疑他从我这里捡到了 |
| 179 | what Korinska was doing. | 科林斯卡正在做的事情。 |
| 180 | It may not be something very deliberate but you can see how the trends | 可能不是故意的 但你可以看到趋势 |
| 181 | set in and certainly that use of colour in costumes like this and particularly in this | 装扮着 肯定用着颜色 像这样的服装 特别是这种服装 |
| 182 | production very clearly shows you what colour can do. | 制作非常清晰地显示什么颜色可以做。 |
| 183 | When people talk about tutus they almost | 当人们谈论Tutus时,他们几乎 |
| 184 | always also talk about toe shoes or pointe shoes which the ballerinas would wear with those | 也总是谈论脚趾鞋或指针鞋 芭蕾舞演员会穿这些 |
| 185 | costumes and so I'm going to show you a couple of shoes and they are actually presented rather | 我给你们看两双鞋,其实是展示 |
| 186 | differently. | 不一样 |
| 187 | So opening this box you can see how beautifully packed our items can be and this is | 所以,打开这个盒子,你可以看到 多么漂亮的包装 我们的物品,这是 |
| 188 | this shoe has actually been out on tour and so it's got to be well and securely packed | 这双鞋实际上已经出巡了 所以必须安全地包装好 |
| 189 | for travel. | 旅行费。 |
| 190 | 这双鞋其实是送给Cyril Beaumont的, 他是一个伟大的球迷的Bali Rus by | |
| 191 | one of the ballerinas, really the main ballerina I think of Diaghilev's company Tamara Kosavina | 芭蕾舞演员之一, 真正的主芭蕾舞演员 我想迪亚吉列夫的公司塔玛拉科萨维纳 |
| 192 | and the shoe itself to actually preserve it has also been put with a frame inside | 鞋本身来保护它 里面也装了个框架 |
| 193 | to keep it in shape and this is a particularly interesting one it's been signed by Kosavina | 这个特别有意思的 是科萨维纳签的 |
| 194 | to Cyril Beaumont and so inside it says Monsieur Cyril Beaumont Tamara Kosavina so that's the | 给西里尔·博蒙特 里面写着西里尔·博蒙特·塔马拉·科萨维纳先生 |
| 195 | ballerina and then July 1914 but it's all written in French of course and then it says Les Papillons | 芭蕾舞女郎和1914年7月 都用法文写出来 上面写着"帕皮隆" |
| 196 | so this shoe she would have worn in the ballet Papillon Cyril Beaumont would probably have met | 因此,这双鞋 她会穿 在芭蕾舞帕皮隆 西里尔・博蒙特 可能已经见过 |
| 197 | afterwards and asked for a shoe and traditionally dancers would give one shoe not a pair of shoes | 之后又要了一只鞋 传统舞者会给一只鞋 而不是一双鞋 |
| 198 | and they would sign so this is actually the point when Kosavina was really I think absolutely at her | 他们签了字 所以这是科萨维娜真正存在的地方 我认为绝对是她 |
| 199 | peak as a ballerina. | 作为芭蕾舞演员最高峰 |
| 200 | The shoe the dancers will actually mark them so they don't slip this one | 舞者们的鞋会给他们做标记 这样他们就不会滑了 |
| 201 | has not been in any way sort of actually sort of darned to help the performance and the ribbons | 没有任何一种实际上 某种该死的帮助 性能和丝带 |
| 202 | you can actually see where they were but they have been removed so this is very much I would | 你可以看到他们在哪里,但是他们已经被移除了 所以,这是非常的,我会 |
| 203 | say what I would think of as a presentation ballet shoe probably worn once and then passed on to an | 说出我想的 展示芭蕾鞋 可能穿过一次 然后传给一个 |
| 204 | admirer. | 赞叹者. |
| 205 | Here is another ballet shoe and this is very much more how most of our shoes will actually | 这是另一双芭蕾舞鞋 这比我们大部分的鞋要多得多 |
| 206 | be preserved in this case we have a shoe with its ribbon attached in this instance the ribbon has | 在此情况下,我们保存着一只鞋, 上面有它的丝带,在这个例子中,丝带有 |
| 207 | been supported with some extra tape behind it traditionally dancers will actually sew on their | 被一些额外的磁带支持 它背后的传统舞者 实际上缝在他们的 |
| 208 | own ribbons sometimes dancers will add extra areas of elastic anything to keep your toe shoe | 拥有丝带,有时舞者会增加额外的区域 弹性任何东西保持你的脚趾鞋 |
| 209 | comfortably in position there we have the ribbons and you can see the extra support that has been | 在位置上,我们有丝带,你可以看到额外的支持 一直以来 |
| 210 | tacked on there to keep it. | 塔克塞在那里留着它。 |
| 211 | So this is not a shoe that has been given in a special presentation mode | 所以这不是一种特殊展示模式的鞋 |
| 212 | but it is a shoe that was acquired by Cyril Beaumont and we think it is quite likely that | 但这是西里尔·博蒙特买的鞋子 我们认为很可能 |
| 213 | it was one of Anna Pavlova's shoes. | 这是安娜·巴甫洛娃的鞋子之一 |
| 214 | Now Anna Pavlova was probably the greatest ballerina | 现在安娜·巴甫洛娃 可能是最棒的芭蕾舞演员 |
| 215 | of the 20th century she was somebody who was determined to take ballet to all corners of the | 在20世纪,她是一个人 谁决心 芭蕾舞到所有角落 |
| 216 | Pavlova always favored Niccolini ballet shoes. | 巴甫洛娃总是喜欢尼科利尼的芭蕾鞋. |
| 217 | Niccolini is an Italian company and these shoes | 尼科利尼是一家意大利公司 和这些鞋子 |
| 218 | are as we will see on the back does just have the Niccolini branding so that is almost certainly | 正如我们从背后看到的 尼科利尼的品牌 几乎可以肯定 |
| 219 | the case and we do have actually some other shoes that we also think but she didn't sign any of the | 我们确实有其他的鞋子,我们也认为,但她没有签任何 |
| 220 | shoes unfortunately so we don't have that concrete evidence. | 很不幸的鞋子 所以我们没有具体的证据 |
| 221 | Anna Pavlova when she was touring had | 安娜·巴甫洛娃在旅游时 |
| 222 | lots of shoes and there's this wonderful photograph taken in a Paris dressing room | 巴黎更衣室拍的这张照片 |
| 223 | where you see the shoes laid out around her. | 你看见她身边的鞋子 |
| 224 | What is fascinating when you look at it closely | 你仔细看有什么迷人的 |
| 225 | is you can see that there are the shoes that have already got the toe darned so obviously those were | 你可以看到,有 鞋子已经得到了 脚趾该死的如此明显, |
| 226 | ones that were being worn in performance and then there are other shoes that are laid out that are | 在表演中穿戴的鞋 还有其它鞋 |
| 227 | obviously in pristine condition but I think it is so important to be aware that a ballerina can get | 很明显,在纯洁的状态下, 但我认为如此重要的是 要知道,一个芭蕾舞演员可以得到 |
| 228 | through more than one pair of shoes in one performance. | 在一次表演中穿过不止一双鞋. |
| 229 | As you can see with this shoe it | 你可以看到这双鞋 |
| 230 | is darned at the toe and traditionally that's what dancers would do ballerinas would do it so again | 舞女们会再次这么做 |
| 231 | it gave them more grip on the stage. | 这让他们在舞台上更加牢牢掌握。 |
| 232 | It's fascinating because actually a ballet shoe | 这很迷人,因为实际上 芭蕾鞋 |
| 233 | the point which some people assume is going to be wood because it is so solid is actually made up of | 某些人认为是木头的要点 因为它是如此坚固 |
| 234 | of glue and hessian and card and that makes the firm point of the shoe. | 胶水 黑森和卡片 这才是鞋的坚定点 |
| 235 | Now when a ballerina | 现在当一个芭蕾舞演员 |
| 236 | gets their shoes they frequently then hammer the toes or put them in the door | 得到他们的鞋,他们经常 锤脚趾或放在门内 |
| 237 | doorway and close the door on them to soften them. | 关上门来软化它们 |
| 238 | Point shoes really developed through | 尖鞋真的通过 |
| 239 | the 19th century alongside the tutus. | 在19世纪和Tutus一起 |
| 240 | As the tutus got shorter the point shoes got harder | 随着Tutus变短 尖鞋变硬了 |
| 241 | dancers want to balance for longer and so the stiffer point helps them although initially | 舞者想要保持平衡 所以更僵硬的一点帮助他们 虽然一开始 |
| 242 | dancers such as Mari Talioni who are in the first generation of going on point they had shoes that | 像玛丽·塔利欧尼这样的舞者 在第一代的舞台上 |
| 243 | were completely soft they might darn the toe as was done early in the 20th century they may possibly | 他们可能像20世纪早期那样 完全软了脚趾 |
| 244 | have added in some card or something of their own volition but we don't know that for sure but they | 已经加了一些卡片 或他们自己的东西 自愿的,但我们不知道 这肯定,但他们 |
| 245 | only be on point very briefly. | 只能说得非常简短 |
| 246 | Gradually the dancers wanted to stay on point longer and we | 渐渐地,舞者们想要 留在点更长,我们 |
| 247 | get to the point with the Rosa D'Argio which is all about balance which is really showing off the | 和罗莎·达尔吉奥说重点 平衡才是关键 |
| 248 | development of that style thing. | 发展那种风格的东西。 |
| 249 | That is also important because they're doing a lot more turns. | 这也是重要的,因为他们在做更多的转弯。 |
| 250 | Now if you're doing those sort of turns you don't want a lot of fabric around your legs | 现在,如果你做这种转弯 你不需要很多布料在你的腿上 |
| 251 | and so the tutus really get shorter to enable the dancers to move freely and as I say | 所以Tutus真的变短了 让舞者可以自由行动 就像我说的 |
| 252 | the point shoes develop alongside that to help them perform those steps. | 尖鞋与尖鞋同时发展 帮助他们完成这些步骤。 |
| 253 | This pair of shoes | 这双鞋 |
| 254 | definitely has been worn not necessarily worn an enormous amount but I think one can see | 穿的肯定不是很多 但我想人们可以看到 |
| 255 | the toe is grubby and I think with the ribbons on it it does suggest that there has been wear | 脚趾是粗的,我想 用上面的丝带 它确实表明有穿 |
| 256 | in this shoe. | 穿这双鞋。 |
| 257 | It's fascinating to know that within the V&A we have so many treasures relating to | 令人着迷的是,在V&A内部 我们拥有这么多的宝藏 |
| 258 | and it's been wonderful to be able to share these items with you today. | 今天能和你们分享这些东西真好 |
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