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翻译人员: Xiaoqiao Xie
校对人员: Bear Jin
00:15
Adrian Kohler: Well, we're here today
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艾德里安 科勒:我们今天来
00:17
to talk about the evolution of a puppet horse.
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是想讲讲木偶战马的进化
00:21
Basil Jones: But actually we're going to start this evolution
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贝索 琼斯:事实上我们想以木偶鬣狗
00:24
with a hyena.
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来开篇
00:26
AK: The ancestor of the horse.
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艾德里安 科勒:也就是木偶战马的先祖
00:28
Okay, we'll do something with it.
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现在我们要表演了
01:01
(Laughter)
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(笑声)
01:05
Hahahaha.
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哈哈
01:24
The hyena is the ancestor of the horse
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这个木偶鬣狗是木偶战马的先祖
01:27
because it was part of a production
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因为它是整个制作的一部分
01:29
called "Faustus in Africa,"
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叫做“非洲的浮士德”
01:31
a Handspring Production from 1995,
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是我们回春手公司1995年的作品
01:34
where it had to play draughts with Helen of Troy.
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用来在海伦特洛伊一剧中拖载重物
01:37
This production was directed
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这个作品是由一个
01:39
by South African artist and theater director,
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南非的艺术家和剧场导演来指导的
01:41
William Kentridge.
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威廉 肯持觉
01:43
So it needed a very articulate front paw.
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所以这个鬣狗需要有非常灵敏的前爪
01:51
But, like all puppets, it has other attributes.
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但是就像所有的木偶一样,它也有其他的特性
01:54
BJ: One of them is breath,
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贝索 琼斯:其中之一就是呼吸
01:57
and it kind of breathes.
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它能呼吸
01:59
AK: Haa haa haaa.
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艾德里安 科勒:(呼吸声)
02:04
BJ: Breath is really important for us.
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贝索 琼斯:呼吸对我们是很重要的
02:07
It's the kind of original movement
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在舞台上对木偶来说
02:09
for any puppet for us onstage.
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这是一个非常基本的动作
02:12
It's the thing that distinguishes the puppet --
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这是区分木偶-
02:15
AK: Oops.
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艾德里安 科勒:不好!
02:17
BJ: From an actor.
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贝索 琼斯:和演员的基本原则
02:19
Puppets always have to try to be alive.
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木偶总是试图活过来的
02:22
It's their kind of ur-story onstage,
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这是它们台上的挣扎
02:26
that desperation to live.
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它们对生命的渴望
02:28
AK: Yeah, it's basically a dead object, as you can see,
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艾德里安 科勒:这是个没有生命的物体,像大家看到的
02:31
and it only lives
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它只有在你使它活过来的时候
02:33
because you make it.
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才有生命
02:35
An actor struggles to die onstage,
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演员试图在台上演死去
02:37
but a puppet has to struggle to live.
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木偶在台上试图活过来
02:39
And in a way that's a metaphor for life.
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这也是一种生命的隐喻
02:41
BJ: So every moment it's on the stage, it's making the struggle.
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贝索 琼斯:所以每时每刻在舞台上,它都会试着试图活下去。
02:44
So we call this
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我们管它叫做
02:47
a piece of emotional engineering
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一个情感工程
02:51
that uses up-to-the-minute
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它使用最新的
02:54
17th century technology --
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十七世纪的技术-
02:56
(Laughter)
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(笑声)
02:58
to turn nouns
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来把名词
03:00
into verbs.
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变成动词
03:02
AK: Well actually I prefer to say
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艾德里安 科勒:其实我想说
03:04
that it's an object
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这是个物体
03:06
constructed out of wood and cloth
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由木头和布做的
03:08
with movement built into it
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当我们融入动作
03:10
to persuade you to believe that it has life.
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就能诱使你相信它是有生命的
03:13
BJ: Okay so.
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贝索 琼斯:好的
03:15
AK: It has ears that move passively
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艾德里安 科勒:当它的头转的时候
03:17
when the head goes.
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耳朵能跟着移动
03:19
BJ: And it has these bulkheads
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贝索 琼斯:它有这些隔板
03:22
made out of plywood,
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都是压合板作的
03:24
covered with fabric --
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覆上布料-
03:26
curiously similar, in fact,
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事实上和艾德里安的父亲
03:28
to the plywood canoes
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还是个孩童时
03:30
that Adrian's father used to make
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在工作间里做的
03:32
when he was a boy in their workshop.
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压板独木舟出奇地相似
03:35
AK: In Port Elizabeth, the village outside Port Elizabeth in South Africa.
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艾德里安 科勒:在伊丽莎白港,港外的小村庄里
03:38
BJ: His mother was a puppeteer.
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贝索 琼斯:他的妈妈是一个木偶剧演员
03:40
And when we met at art school
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我们在1971年
03:42
and fell in love
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在艺术学院相识
03:44
in 1971,
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相爱
03:46
I hated puppets.
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我当时讨厌木偶
03:48
I really thought they were so beneath me.
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总觉得它们很低贱
03:51
I wanted to become an avant-garde artist --
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我想成为特别前卫的艺术家-
03:54
and Punch and Judy was certainly not where I wanted to go.
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《庞奇和朱迪》可我绝对不想做的
03:57
And, in fact, it took about 10 years
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事实上,我花了十年
03:59
to discover
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来发掘
04:01
the Bambara Bamana puppets of Mali in West Africa,
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非洲西部的马里的特有木偶
04:05
where there's a fabulous tradition of puppetry,
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那里有令人惊叹的木偶制作传统
04:09
to learn a renewed, or a new, respect
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从而领会到了更新的,或者说是全新的
04:13
for this art form.
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对于木偶艺术的崇敬
04:15
AK: So in 1981, I persuaded Basil and some friends of mine
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艾德里安 科勒:在1981年,我劝服贝索和我的一些朋友
04:18
to form a puppet company.
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成立了一个木偶公司
04:20
And 20 years later, miraculously,
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二十年后,出乎意料地
04:23
we collaborated with a company from Mali,
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我们和马里的公司合作
04:25
the Sogolon Marionette Troupe of Bamako,
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巴马口的艺术团
04:28
where we made a piece about a tall giraffe.
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制作出了一个长颈鹿木偶
04:30
It was just called "Tall Horse," which was a life-sized giraffe.
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名字叫做“高马”的,是一个真长颈鹿大小的木偶
04:33
BJ: And here again, you see the same structure.
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贝索 琼斯:这里,你可以看到同样的结构
04:35
The bulkheads have now turned into hoops of cane,
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但换做用藤蔓做主框架,
04:40
but it's ultimately the same structure.
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但是差不多是一样的结构
04:42
It's got two people inside it on stilts,
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它需要在里面藏两个人,踩着高跷
04:44
which give them the height,
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把他们拔高
04:46
and somebody in the front
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一个人在前面
04:48
who's using a kind of steering wheel to move that head.
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用方向盘来移动头部
04:51
AK: The person in the hind legs
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艾德里安 科勒:一个人在后腿这里
04:53
is also controlling the tail, a bit like the hyena --
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同时掌控尾巴,就像是鬣狗一样-
04:56
same mechanism, just a bit bigger.
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同样的工艺`,只是更大些
04:59
And he's controlling the ear movement.
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他还能掌握耳朵的动作
05:03
BJ: So this production
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贝索 琼斯:这个制作
05:05
was seen by Tom Morris
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被在伦敦的国家剧团
05:07
of the National Theatre in London.
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的汤姆 摩瑞斯看到了
05:09
And just around that time,
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差不多也是这个时候
05:12
his mother had said,
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他的母亲说:
05:14
"Have you seen this book by Michael Morpurgo
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“你有没有看过麦克 莫普构的书
05:17
called 'War Horse'?"
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叫做“战马”的?”
05:19
AK: It's about a boy who falls in love with a horse.
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艾德里安 科勒:这是个关于一个男孩爱上一匹马的故事
05:21
The horse is sold to the First World War,
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这匹马被卖到去参加一次世界大战
05:23
and he joins up to find his horse.
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这个男孩就参了军去找到了他的马
05:25
BJ: So Tom gave us a call and said,
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贝索 琼斯:这样汤姆就给我们打了个电话说
05:27
"Do you think you could make us a horse
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“你觉得你能不能给我们作匹马
05:30
for a show to happen at the National Theatre?"
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在国家剧院演戏用?”
05:32
AK: It seemed a lovely idea.
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艾德里安 科勒:这主意听起来妙极了
05:34
BJ: But it had to ride. It had to have a rider.
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贝索 琼斯:但是这马得能骑,它得有个骑士
05:36
AK: It had to have a rider,
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艾德里安 科勒:不错,它得有个骑士
05:38
and it had to participate in cavalry charges.
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它还得加入骑兵队
05:41
(Laughter)
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(笑声)
05:44
A play about early 20th century plowing technology
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对于伦敦的国家剧院来说
05:46
and cavalry charges
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一个二十世纪初的耕技术
05:48
was a little bit of a challenge for the accounting department
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和骑兵团的费用
05:50
at the National Theatre in London.
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是有点超支了
05:52
But they agreed to go along with it for a while.
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但是他们同意看看发展再说
05:54
So we began with a test.
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所以们就开始试验了
05:56
BJ: This is Adrian and Thys Stander,
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贝索 琼斯:这是艾德里安和塞斯 斯丹德
05:59
who went on to actually design the cane system for the horse,
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他们是马的藤圈系统的设计者
06:03
and our next-door neighbor Katherine,
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我们的邻居卡瑟琳
06:05
riding on a ladder.
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在梯子上的
06:07
The weight is really difficult when it's up above your head.
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这样的重量在悬在头顶的时候是非常吃重的
06:10
AK: And once we put Katherine
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艾德里安 科勒:一旦我们逼着卡瑟琳
06:12
through that particular brand of hell,
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经历了这个特别的“炼狱”
06:14
we knew that we might be able to make a horse, which could be ridden.
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我们就意识到我们可能能够作出一个能被骑的马来
06:17
So we made a model.
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所以我们做了个模型
06:19
This is a cardboard model,
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是个纸板模型
06:21
a little bit smaller than the hyena.
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比鬣狗稍小一点
06:23
You'll notice that the legs are plywood legs
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你能看到这些腿都是压合板的
06:25
and the canoe structure is still there.
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也使用了独木舟式的结构
06:27
BJ: And the two manipulators are inside.
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贝索 琼斯:两个操纵者在里面
06:29
But we didn't realize at the time
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当时我们没有意识到
06:31
that we actually needed a third manipulator,
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我们其实需要第三个操纵者
06:34
because we couldn't manipulate the neck
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因为我们不能从里面
06:36
from inside
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控制脖子的运动
06:38
and walk the horse at the same time.
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同时也让马行走
06:41
AK: We started work on the prototype
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艾德里安 科勒:在设计模型通过后,
06:43
after the model was approved,
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我们开始作雏形
06:45
and the prototype took a bit longer
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制作雏形很费了些时间
06:47
than we anticipated.
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比我们想象中长
06:49
We had to throw out the plywood legs and make new cane ones.
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我们必须放弃原来的压合板马腿,改用藤制的
06:52
And we had a crate built for it.
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我们还得给雏形做个大箱子
06:54
It had to be shipped to London.
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它得被运往伦敦
06:56
We were going to test-drive it on the street outside of our house in Cape Town,
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我们原本想在我们克珀城外的道路上试跑
06:59
and it got to midnight and we hadn't done that yet.
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但是一直忙到半夜我们也没顾得上试跑一回
07:02
BJ: So we got a camera,
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贝索 琼斯:我们拿了照像机
07:04
and we posed the puppet
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把木偶马摆出
07:07
in various galloping stances.
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奔腾的立像(大照特照)
07:12
And we sent it off
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然后把照片都
07:15
to the National Theatre,
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寄到国家剧院
07:17
hoping that they believed
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希望他们能一见之下
07:19
that we created something that worked.
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就相信我们真的是造出了能动的东西
07:21
(Laughter)
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(笑声)
07:23
AK: A month later, we were there in London
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艾德里安 科勒:一个月后,我们在伦敦
07:25
with this big box and a studio full of people about to work with us.
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带着这个大盒子,和一整个剧院的人等着和我们合作呢
07:29
BJ: About 40 people.
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贝索 琼斯:总共四十个人
07:31
AK: We were terrified.
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艾德里安 科勒:我们可害怕了
07:33
We opened the lid, we took the horse out,
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我们打开盖子,把马拿出来
07:35
and it did work; it walked and it was able to be ridden.
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它居然真的能动,能走能骑
07:38
Here I have an 18-second clip
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这里我有一个十八秒钟的录像
07:40
of the very first walk of the prototype.
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是这个雏形第一次走路的录像
07:43
This is in the National Theatre studio,
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这是国家剧院的剧场
07:45
the place where they cook new ideas.
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人们酝酿新题材的地方
07:47
It had by no means got the green light yet.
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当时我们还没有过关呢
07:57
The choreographer, Toby Sedgwick,
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舞蹈指导托比 萨剧维克
07:59
invented a beautiful sequence
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设计了一系列优美的动作
08:01
where the baby horse,
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这个小马
08:03
which was made out of sticks and bits of twigs,
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整个由木签和细棍做成
08:06
grew up into the big horse.
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慢慢长大变成壮年的马
08:08
And Nick Starr, the director of the National Theatre,
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尼克 斯达,国家剧院的导演
08:11
saw that particular moment, he was standing next to me -- he nearly wet himself.
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看到了这个片段-他当时站在我身边-他差点尿了裤子
08:14
And so the show was given the green light.
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就这样这个表演就通过了
08:17
And we went back to Cape Town and redesigned the horse completely.
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我们回到克珀城,重新设计了整匹马。
08:20
Here is the plan.
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现在说说我们的计划
08:22
(Laughter)
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(笑声)
08:26
And here is our factory in Cape Town
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这是克珀城我们的工厂
08:28
where we make horses.
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我们在那里造马
08:31
You can see quite a lot of skeletons in the background there.
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你可以看到背景中很多骨架
08:35
The horses are completely handmade.
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这些马都是手工制作的
08:38
There is very little 20th century technology in them.
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二十世纪的科技含量很少
08:41
We used a bit of laser cutting on the plywood
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我们用激光切割压合板
08:43
and some of the aluminum pieces.
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和一些铝片
08:45
But because they have to be light and flexible,
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因为这些马必须要很轻,可塑性强
08:47
and each one of them is different,
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每匹马都不完全一样
08:50
they can't be mass-produced, unfortunately.
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很不幸,它们不能被批量生产出来
08:53
So here are some half-finished horses
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这里是一些半成品
08:56
ready to be worked in London.
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正在伦敦加工
08:59
And now we would like to introduce you
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现在我们想为大家介绍
09:01
to Joey.
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乔伊
09:04
Joey boy, you there?
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乔伊,你在哪里?
09:07
Joey.
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乔伊
09:10
(Applause)
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(掌声)
09:28
(Applause)
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(掌声)
09:51
Joey.
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乔伊
09:53
Joey, come here.
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乔伊,到这里来
10:10
No, no, I haven't got it.
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我这里没有(吃的)
10:12
He's got it; it's in his pocket.
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他口袋里有
10:16
BJ: Joey.
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贝索 琼斯:乔伊
10:28
AK: Joey, Joey, Joey, Joey.
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艾德里安 科勒:乔伊乔伊乔伊乔伊
10:33
Come here. Stand here where people can see you.
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来这里,站在这里,大家都能看见你
10:43
Move around. Come on.
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转一圈,来吧
10:48
I'd just like to describe --
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我想和大家描述一下-
10:50
I won't talk too loud. He might get irritated.
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我会轻轻地讲,要不乔伊该发脾气了
10:55
Here, Craig is working the head.
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这里, 克莱格在控制马的头
10:58
He has bicycle brake cables
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他用的是自行车的闸线
11:00
going down to the head control in his hand.
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每条都汇集到他手里的头部的控制中心
11:03
Each one of them
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每条线
11:05
operates either an ear, separately,
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分别管一个耳朵
11:08
or the head, up and down.
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或者是头部上下动
11:10
But he also controls the head directly
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他也用他的手直接
11:13
by using his hand.
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控制整个头部
11:15
The ears are obviously
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耳朵显然是
11:17
a very important emotional indicator of the horse.
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对展示了马的表情非常重要的
11:20
When they point right back,
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当耳朵向后指
11:24
the horse is fearful or angry,
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说明马不是害怕就是愤怒
11:28
depending upon what's going on in front of him, around him.
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取决于马的面前,或者周围有什么
11:31
Or, when he's more relaxed, the head comes down
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或者当马放松的时候,头会垂下来
11:33
and the ears listen, either side.
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耳朵会听,指向两边
11:38
Horses' hearing is very important.
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马的听觉十分常重要的
11:40
It's almost more important than their eyesight.
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几乎比它们的视觉更重要
11:44
Over here,
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大家看这里
11:46
Tommy's got what you call the heart position.
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汤姆掌握了所谓的心脏部位
11:49
He's working the leg.
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他驱使马的腿
11:51
You see the string tendon from the hyena,
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请看这里的弦腱
11:54
the hyena's front leg,
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像在鬣狗的前腿里一样
11:57
automatically pulls the hoop up.
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自动把环拉起来
12:00
(Laughter)
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(笑声)
12:05
Horses are so unpredictable.
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马是很不好预测的
12:07
(Laughter)
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(笑声)
12:11
The way a hoof comes up with a horse
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马扬前蹄
12:14
immediately gives you the feeling
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马上就给你一种
12:16
that it's a convincing horse action.
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真的马的动作的感觉
12:18
The hind legs have got the same action.
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后腿也有相似的动作
12:24
BJ: And Mikey also has,
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贝索 琼斯:迈克还有
12:26
in his fingers,
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在他的手指里
12:28
the ability to move the tail
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控制马尾巴的能力
12:30
from left to right,
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能让尾巴左右摆
12:32
and up and down with the other hand.
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另一只手能控制尾巴上下动
12:34
And together, there's quite a complex possibility
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合在一起,带给尾巴的表情
12:37
of tail expression.
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很复杂的组合
12:39
AK: You want to say something about the breathing?
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艾德里安 科勒:你想说说关于呼吸的部分么?
12:41
BJ: We had a big challenge with breathing.
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贝索 琼斯:我们在呼吸的模拟上撞了南墙
12:44
Adrian thought
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艾德里安以为
12:46
that he was going to have to split the chest of the puppet in two
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他必须要把木偶的胸部剖成两半
12:48
and make it breathe like that --
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才能做出呼吸-
12:50
because that's how a horse would breathe, with an expanded chest.
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因为这是真的马呼吸的样子,胸部扩张
12:53
But we realized
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但是我们发现
12:55
that, if that were to be happening,
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如果这样做
12:57
you wouldn't, as an audience, see the breath.
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作为观众的你们是看不到的
12:59
So he made a channel in here,
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所以他在这里做了个通道
13:03
and the chest moves up and down in that channel.
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这样胸腔就在通道里上下动
13:06
So it's anti-naturalistic really, the up and down movement,
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这个和自然的动作是相悖的,上下动
13:08
but it feels like breath.
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但是看起来更像呼吸
13:10
And it's very, very simple
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所以就非常简单就解决了
13:12
because all that happens
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只需要表演者
13:14
is that the puppeteer breathes with his knees.
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的膝盖运动,马就呼吸了
13:20
AK: Other emotional stuff.
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艾德里安 科勒:另一个表情
13:22
If I were to touch the horse here
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如果我在马这里按下去
13:24
on his skin,
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在它的皮肤上
13:27
the heart puppeteer can shake the body from inside
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核心的表演者能够从身体里面摇动
13:30
and get the skin to quiver.
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使整个皮肤抖动
13:32
You'll notice, of course,
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你能看到,当然了
13:34
that the puppet is made out of cane lines.
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这个木偶是用藤线作的
13:36
And I would like you to believe that it was an aesthetic choice,
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我希望你理解这是个审美的选择
13:39
that I was making a three-dimensional drawing of a horse
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我在画这个马的三维立体图的时候选择的
13:41
that somehow moves in space.
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为了能让它在空中腾跃
13:43
But of course, it was the cane is light,
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当然了,这里用的藤线很轻
13:45
the cane is flexible, the cane is durable
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也很有弹性,很经用
13:47
and the cane is moldable.
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藤线的可塑性也很强
13:49
And so it was a very practical reason why it was made of cane.
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选用藤线还有一个很实际的原因
13:52
The skin itself
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就是这块皮肤自己
13:54
is made out of a see-through nylon mesh,
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是用透明的尼龙网作的
13:56
which, if the lighting designer
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如果灯光师
13:58
wants the horse to almost disappear,
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想让这个马在舞坛上消失
14:00
she can light the background
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她可以在背景打灯
14:02
and the horse becomes ghostlike.
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马就好像是幽灵一样
14:05
You see the skeletal structure of it.
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你只能看见马的骨骼
14:07
Or if you light it from above, it becomes more solid.
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如果你从下面打灯,它就变得更实际一些
14:10
Again, that was a practical consideration.
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所以说这是个实际考虑
14:13
The guys inside the horse have to be able to see out.
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马里面的表演者必须能够看得见外面
14:16
They have to be able to act
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他们需要及时作出反应
14:18
along with their fellow actors in the production.
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和表演中的其他的演员演对手
14:21
And it's very much an in-the-moment activity that they're engaged in.
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每时每刻他们都要能够跟得上
14:24
It's three heads making one character.
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这三个臭皮匠顶个诸葛亮啊
14:27
But now we would like you to put Joey through some paces.
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现在我想让你们让乔伊跑起来
15:08
And plant.
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现在站住
15:13
(Whinny)
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(马嘶声)
15:25
Thank you.
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谢谢你们
15:27
And now just --
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现在-
15:29
(Applause)
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(掌声)
15:37
All the way from sunny California
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从加州的阳光海岸远道而来的
15:39
we have Zem Joaquin
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泽姆 乔安坤
15:41
who's going to ride the horse for us.
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将要为我们表演骑马
15:43
(Applause)
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(掌声)
16:38
(Applause)
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(掌声)
16:48
(Music)
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(音乐)
17:09
So we would like to stress
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我们想强调的是
17:11
that the performance you see in the horse
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你现在看到的骑马表演
17:13
is three guys
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是三个人的协作
17:15
who have studied horse behavior incredibly thoroughly.
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每个人都仔细研究了马的行为
17:18
BJ: Not being able to talk to one another
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贝索 琼斯他们在台上时
17:20
while they're onstage
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是不能够互相交谈的
17:22
because they're mic'd.
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因为他们都有麦克风
17:24
The sound that that very large chest makes, of the horse --
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这里的音效,马的嘶鸣-
17:27
the whinnying and the nickering and everything --
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轻声嘶鸣和大声嘶吼等等-
17:30
that starts usually with one performer,
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都是由一个表演者发起的
17:33
carries on with a second person
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然后第二个人接上去
17:35
and ends with a third.
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第三个人结束
17:37
AK: Mikey Brett from Leicestershire.
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艾德里安 科勒:迈克 伯瑞特,来自莱斯特
17:40
(Applause)
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(掌声)
17:47
Mikey Brett, Craig, Leo,
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迈克 伯瑞特,克莱格,里奥,
17:50
Zem Joaquin and Basil and me.
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泽姆 乔安坤, 贝索和我自己
17:53
(Applause)
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(掌声)
17:56
Thank you. Thank you.
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谢谢,谢谢大家
17:58
(Applause)
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(掌声)
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