Revelations from a lifetime of dance | Judith Jamison and the Alvin Ailey American Dance Theater

翻译人员: Jiasi Hao 校对人员: Yolanda Zhang

(Music: "Wade in the Water" by Ella Jenkins)

（音乐：“赤足涉水” ——埃拉·詹金斯）

Wade in the water

赤足涉水，

Wade in the water, children

赤足涉水，孩子

Wade in the water

赤足涉水，

God's a-gonna trouble the water

上帝要麻烦水了。

Oh, why don't you wade in the water

哦，你为什么不赤足涉水，

Wade in the water, children

赤足涉水，孩子，

Wade in the water

赤足涉水，

God's a-gonna trouble the water

上帝要麻烦水了。

See that man all dressed in white

看那个身着白色衣裳的男人，

God's a-gonna trouble the water

上帝要麻烦水了，

He looks like a man of the Israelite

他看起来像是以色列人，

God's a-gonna trouble the water

上帝要麻烦水了。

Wade in the water

赤足涉水，

Wade in the water, children

赤足涉水，孩子，

Wade in the water

赤足涉水，

God's a-gonna trouble the water

上帝要麻烦水了。

See that man all dressed in red

看那个身着红色衣裳的男人，

God's a-gonna trouble the water

上帝要麻烦水了，

It looks like the man that Moses led

他看起来像是被摩西领导着的人，

God's a-gonna trouble the water

上帝要麻烦水了。

Wade in the water

赤足涉水，

Wade in the water, children

赤足涉水，孩子，

Wade in the water

赤足涉水，

God's a-gonna trouble the water

上帝要麻烦水了。

Didn't my Lord deliver Daniel

我的主没有解救丹尼尔，

Daniel, Daniel

丹尼尔，丹尼尔

Didn't my Lord deliver Daniel

我的主没有解救丹尼尔，

Then why not every man?

那为什么不是每个男人？

Didn't my Lord deliver Daniel

我的主没有解救丹尼尔，

Daniel, Daniel

丹尼尔，丹尼尔

Didn't my Lord deliver Daniel

我的主没有解救丹尼尔，

Why not every man?

那为什么不是每个男人？

Man went down to the river

人们步入水中，

Man went down to the river

人们步入水中，

Man went down to the river

人们步入水中，

Went down there for to pray

步入水中虔诚祈祷，

Man went down to the river

人们步入水中，

Man went down to the river

人们步入水中，

Man went down to the river

人们步入水中，

To wash his sins away

步入水中洗刷罪行，

He washed all day, he washed all night

洗一整天，一整夜，

He washed till his hands were sore

直到他的双手开始酸痛，

He washed all day, he washed all night

洗一整天，一整夜，

Till he couldn't wash a-no more

直到他无法再继续。

Man went down to the river

人们步入水中，

Man went down to the river

人们步入水中，

Man went down to the river

人们步入水中。

(Music fades)

（音乐淡出）

(Applause)

（掌声）

(Juliet Blake) And now, let's give a warm welcome

朱丽叶·布拉克： 现在，我们热烈欢迎

to the artistic director emerita of the Alvin Ailey American Dance Theater,

阿尔文·艾利美国舞蹈剧院 名誉艺术总监

Judith Jamison.

杰迪斯·詹米森。

(Applause)

（掌声）

Judith Jamison: Thanks.

杰迪斯·詹米森： 谢谢。

How are y'all?

大家好吗？

(Audience cheers)

（观众欢呼）

JJ: Yeah, you know you've just been to church?

你们大概刚去了教堂？

(Laughter)

（观众笑声）

你们刚观看了一场洗礼，对吗？

You just saw a baptism, yes?

This is from this wonderful piece Mr. Ailey created in 1960,

这是艾利先生在1960年 编排的一个绝妙作品，

called "Revelations."

叫《启示录》。

Mr. Ailey was 29 years old when he choreographed this masterpiece.

在创作这个巨作的时候， 艾利先生29岁。

It's been danced all over the world and understood universally,

这个作品已在世界巡演， 其作品内涵也被普遍理解，

because he understood the humanity in us all.

因为艾利先生知道 人性根植于我们所有人。

"Revelations" is a reflection of a journey we all take in life,

《启示录》反映了 我们所有人的生活旅程，

and, hopefully, triumphantly.

满怀期望的，自豪得意的。

That was the magic of Alvin Ailey.

这是阿尔文·艾利的奇妙之处，

He was able to see you, in the audience,

他能够看穿观众席中的你，

see me, as the dancer,

看透作为舞者的我，

and see the connection between us,

并且弄清我们之间的联系，

and choreographed works that connected us all.

更是编排了 能将我们所有人联系起来的作品。

So you felt he was telling your story,

因此你会觉得他在讲述你的故事，

while I felt I was dancing mine.

而我觉得我在用 舞蹈诠释自己的故事。

I started dancing when I was six years old

我从6岁开始跳舞，

in Philadelphia.

那时我住在费城。

I was skinny ...

当时我很瘦……

(Laughter)

（观众笑声）

Dark chocolate,

黑巧克力肤色，

and a kid with legs up to my armpits.

拥有一双长腿。

And the very first performance I had, at the Judimar School of Dance,

我第一次的演出是在 茱迪玛舞蹈学校，

was in a red checkered shirt,

穿着红色格子衬衫，

dungarees, pink ballet shoes,

牛仔背带裤，粉色芭蕾舞鞋，

and we were dancing to "I'm an Old Cowhand from the Rio Grande."

那时我们在跳电影边疆铁骑军的 插曲《我是一个老牛仔》。

I loved every minute of it.

我爱表演的每一分钟，

I mean, I literally did love every minute of it,

真的，我确实 爱舞台上的每一分钟，

especially when I heard the applause,

尤其在我听到掌声的时候，

and I knew right there, when I was six, I said,

我就知道， 那年6岁的我说：

"That's for me."

“那些掌声是给我的。”

(Laughter)

（观众笑声）

At six, you're not thinking

在6岁，你不会想

that's going to be a career of your lifetime,

这是我以后要追随一生的事业，

but that was perfect for that moment.

尽管这确实是一个完美的瞬间。

I danced my way through school, and through college,

我一路坚持跳舞，一直到大学毕业，

and it still didn't dawn on me that that's what I actually wanted to do.

但我仍然没有想过 这是我真正想做的事。

I went to an audition,

当时我去参加了一次试镜，

which I was dreadful in --

害怕得不行，

it's the only audition I've had in my life --

那是我人生中的第一个试镜。

and when I was let go from that audition --

在我被面试官打发走的时候，

because I thought when they were saying, "Thank you very much,"

我以为他们说“非常感谢”，

是让我留下的意思。

that meant for me to stay.

(Laughter)

（观众笑声）

I ran up the steps,

所以我高兴得冲上台阶，

and there was a man sitting on the steps.

台阶那里有个男人坐着，

And I barely noticed him.

但我几乎没注意到他。

He was an observer.

他是观察员老师。

Three days later, that man called me

三天后，那个男人打电话给我，

and asked me, would I like to join the Alvin Ailey American Dance Theater.

问我是否愿意加入 阿尔文·艾利美国舞蹈剧院。

That's how it happened, folks, that's it.

一切就是这么发生的， 同志们，就这样。

There's no drama or trauma.

过程中没有大起大落。

(Applause)

（观众掌声）

So I spent 15 years dancing with the company,

于是我花了15年跟着舞团跳舞，

and then I directed it for something like 21 years.

随后我开始指导舞团， 大概有21年。

If you were black and African American and a dancer,

如果你是非裔美国人， 还是一个舞者，

any time between the '40s and the '70s,

在40-70年代的任何时候，

you had much to say,

你都有太多话想说，

because your complete voice was not being heard.

因为你的声音完全不会被在意，

And you were not being represented as you truly were.

而且你也不是在展现真实的自己。

Alvin Ailey had the courage,

阿尔文·艾利有这样的勇气，

right in the middle of the Civil Rights Movement,

在民权运动进行时，

to present the truth about who we were --

揭示“我们是谁”的真相：

that our creativity, our beauty,

我们的创造力，我们的美好，

our intelligence, our talents

我们的智慧，我们的能力，

were an intrinsic part of the panoply of American culture.

都是美国文化中不可或缺的一部分。

Our mantra has always been to educate, to entertain,

我们的至理箴言常常

被用来教育、娱乐以及提升受众。

and to lift our audiences.

Mr. Ailey believed that dance came from the people

艾利先生相信舞蹈源于人民，

and needed to be delivered back to the people.

但也需要回归人民。

We didn't dance in a vacuum.

我们不是漫无目的地跳舞，

It was our mission to serve people.

服务于人民，是我们的使命。

We call it outreach now,

现在我们称之为“延伸”，

but it's always been a part of who we were and still are,

但它一直是我们曾经和现在的一部分，

60 years later, to this day.

直到60年后，依旧如此。

Being inclusive of our audiences --

在演出中包容观众体验

it's always been an important part of the company.

始终是我们舞团十分重视的一点。

We ask ourselves, who are we dancing for?

我们扪心自问，我们为谁舞蹈？

Why are we dancing, if not to show people what it is to be human

我们为什么舞蹈，若不是为 展示众人“生而为人的意义“，

and to connect with the audiences that we dance for.

若不是为创建与观众的连接？

We've always felt responsible to make sure the community understood

我们始终感到自己有责任 要让社会团体明白

that what we do is a part of their heritage.

我们所做的，是他们遗产的一部分。

We just don't do this, also, in America,

我们不仅在美国做这事， 更在全世界宣扬。

we do it all over the world.

We tour more than any other dance company in the world.

我们的世界巡演的场次

比任何一个舞团都要多。

After Nelson Mandela was released from prison,

在纳尔逊·曼德拉出狱后，

I thought, well, this is the time to go to South Africa.

我想：好吧，是时候去南非了。

And that was some outreach.

我们安排了些拓展活动，

We went to Johannesburg, Soweto,

去了约翰内斯堡，索韦托，

and some other townships that were really in dire straits.

以及其他处于艰难困境的城镇。

And it dawned on me, as we were there, I'm going like,

当我们团队到达那里的时候， 我突发奇想，

"Here we are in the seat of Mother Africa,

“我们正在非洲母亲的大地上，

and we're trying to teach these people how to dance?"

要不我们尝试着 教当地民众如何跳舞吧？”

(Laughter)

（观众笑声）

But it was our African Americanness that they were interested in,

但他们感兴趣的是 我们“非裔美国人”的特质，

and the culture that we had developed over the last 400 years.

以及我们过去400年来发展的文化。

We toured all over the world many times,

我们举办了多次世界巡演，

and whether we're in Europe or South America or Asia

不论我们在欧洲，南美，亚洲，

or somewhere else,

还是其他地方，

audiences are thrilled and excited.

观众总是那么激动与兴奋，

You sounded thrilled and excited.

在座的你们也是，

Sometimes with tears in their eyes,

他们有时甚至面带泪光。

because this nonverbal communication really works.

因为这种无声的交流方式 真的很有效，

And it's about embracing everyone.

它欣然拥抱着每一个人。

Alvin didn't need to explain to us

阿尔文不需要向我们解释

what was going on at the time in the '60s and the '70s;

在60和70年代发生了什么，

it was obvious why were doing his work.

因为他编排这些作品的原因显而易见。

He knew what the truth of the time was about,

他知晓那个年代的真相，

and he was unafraid to reveal it through dance.

他也无所畏惧，想要用舞蹈来揭发真相。

He tapped into every emotion he had and we had,

他充分挖掘自己的 每一种情感，和我们的，

and from angerness to happiness,

从愤怒到快乐，

to grief and everything in between,

再到悲伤，以及其间 每一个微妙的情感变化。

he knew us.

他了解我们，

He took our history and turned it into powerful dance.

他把我们的历史 转化为有感染力的舞蹈。

He and I overlapped generationally.

他和我世代重叠。

We didn't have to talk about things so much,

我们不需要说太多，

because we understood implicitly our shared responsibilities.

因为我们不言而喻身上的共同责任。

So when he asked me to take over the company

所以当阿尔文先生问我 要不要接管舞团，

before he passed in 1989,

在1989年，他去世前，

I felt prepared to carry it forward.

我感到自己已经做好准备， 带领舞团前行。

Alvin and I were like parts of the same tree.

阿尔文和我像是 一棵树上的不同部分，

He, the roots and the trunk,

他是树根，是树干，

and we were the branches.

而我们都是树枝。

I was his muse.

我曾是他的缪斯，

We were all his muses.

我们都曾是他的缪斯。

The ballet "Cry,"

芭蕾舞《呐喊》，

which some of you might have seen --

在座有些人可能看过，

you're going to see an excerpt of it --

你们一会儿将会观赏它的片段，

it was made on me,

是根据我而创造的。

and Alvin dedicated it to all black women,

阿尔文痴迷于所有黑人女性，

especially our mothers.

包括我们的母亲。

When Alvin and I went in the studio,

当阿尔文和我走进舞房，

of course he wasn't thinking,

当然，他当时并不在想：

"Here I am, creating an iconic work."

我今天在这要创作一个代表作。

Do you know any artist that does that?

你知道哪一个艺术家是这样做的吗？

You don't go into the studio

你不是走进工作室

to create anything

去创造什么，

but what's coming truthfully from your heart and your spirit.

而是捕捉 内心和精神中真实的灵感，

And you trust that you have a dancer you can share that with.

之后你相信有一个舞者 能和你分享这些灵感。

Rehearsal space is a sacred space,

排练厅是一个神圣的地方，

not to be intruded upon,

一个不容侵犯的地方，

because it's about talking to each other through spirit.

因为这是通过灵魂交流的地方，

You better have some technique on top of that

与此同时，你最好有一些技巧，

so you can do the dance.

这样你才能把舞跳出来。

(Laughter)

（观众笑声）

He brought his Alvin to "Cry" and I brought my Judy to it.

阿尔文把自己带入《呐喊》， 我也把自己带入其中。

I just did the steps.

我只是比划了动作。

And this was a birthday present for his mother,

这是阿尔文给他母亲的生日礼物，

because he couldn't afford to get her a tactile gift.

因为他负担不起实际的礼物。

When I performed it the first time,

当我第一次表演这个作品时，

it was physically and emotionally draining.

我的体力和情感都在消耗殆尽。

I hadn't yet run through the whole piece from beginning to end.

我还未从头到尾地顺过整支舞。

The ballet is 16 minutes long.

这支舞时长16分钟，

It's about a proud woman who has been to hell and back,

讲的是一个骄傲女性的故事：

她历经苦难 从穿越大西洋的旅程中回来，

from her journey across the Atlantic.

She's exhausted,

她精疲力竭，

she's a queen,

她是一个女王，

and in this section, you're going to see she is triumphant.

在这个节选片段， 你们将看到她春风得意的样子，

She made it,

因为她做到了。

and she is, in that last step that she does,

在最后的动作定格，

beating away anything negative

她用自己强大的力量冲破阻碍；

with her tremendous strength.

And in the last step, she digs into the earth

在最后的动作定格，

她重重地踩上坚实的大地，

and she reaches into the sky ...

并伸手触碰天空，

because she's clearing space for the next journey.

因为她在为下段旅程做准备。

I performed it in 1971,

我在1971年表演了这个作品，

and we are still clearing space.

而现在我们依旧在做准备： 清理前方阻碍。

Now let me leave you with one last thought.

现在让我留给你们最后一个思考。

Here we are, in the 21st century,

21世纪的我们

still fighting for civil rights.

依旧为民权奋战。

Not a day goes by

每一天的流逝，

that we are not made aware of the struggle that continues.

我们都更加充分意识到 这一斗争还在继续。

I believe that dance can elevate our human experience

我相信舞蹈 可以将人类体验上升到

beyond words.

超越语言的高度。

And when you're sitting in the dark,

当你坐在剧院大厅的黑暗中，

in the theater,

having a personal experience,

观看舞蹈，

获得个人体验，

you don't feel blocked or misunderstood.

你不会感到受阻，或是被误解，

You feel open,

相反，你感到坦诚开放，

alive,

情绪饱满，

and, we hope,

同时，我们期冀，

inspired.

能够受到鼓舞。

Thank you.

谢谢。

(Applause)

（观众掌声）

(Music: "Right on. Be free." by East Harlem)

（音乐：“马上，自由” ——East Harlem）

I wanna go where the north wind blows

我想要去往北风吹的地方，

I wanna know what the falcon knows

我想要了解猎鹰知道什么，

I wanna go where the wild goose goes

我想要前往野鹅去的地方，

High flyin' bird, high flyin' bird, fly on

高飞的鸟儿，高飞的鸟儿，继续前行。

I want the clouds over my head

我想要云朵在头上笼罩，

I don't want no store bought bed

我拒绝去到商店里买床，

I'm gonna live until I'm dead

我要活着，直到死去，

Mother, mother, mother Save your child

母亲，母亲，母亲， 救救你的孩子！

Right on, be free

马上，就自由了！

Right on, be free

马上，就自由了！

Right on, be free

马上，就自由了！

I don't want no store bought bed

我拒绝去到商店里买床，

Right on

马上！

I want the clouds over my head

我想要云朵在头上笼罩，

Be free

就自由了！

Ain't no time to be afraid

没有时间去害怕。

Mother, mother, mother Save your child

母亲，母亲，母亲， 救救你的孩子！

(Music)

（音乐）

I don't want no store bought bed

我拒绝去到商店里买床，

Right on

马上！

I want the clouds over my head

我想要云朵在头上笼罩，

Be free

就自由了！

Ain't no time to be afraid

没有时间去害怕。

Mother save your child

母亲，救救你的孩子！

I wanna see a rainbow in the sky

我想仰望天上彩虹，

I wanna watch the clouds go by

我想眼看云朵飘过，

It might make my load a little light

这或许能减轻我的负重。

Lord, Lord, Lord Where will I be tomorrow night?

上帝，上帝，上帝， 我明晚将身处何方？

Right on

马上，

Be free

就自由了！

Right on, be free

马上，就自由了！

Right on, be free

马上，就自由了！

Right on, be free

马上，就自由了！

Right on, be free

马上，就自由了！

Right on, be free

马上，就自由了！

Right on, be free

马上，就自由了！

(Music fades)

（音乐淡出）

(Applause)

（掌声）

(Cheers)

（欢呼）

(Applause)

（掌声）

(Cheers)

（欢呼）

(Applause)

（掌声）