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  1. #1
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    Default please give some advices about this passage's translation!



    These years were to provide the essential shaping and strengthening of Ulanova’s gifts—as with many Soviet ballerinas thereafter—and her graduation performance in May 1928, in which she danced the Mazurka and the Grande Valse from Les Sylphides and the Nutcracker adagio, revealed a talent marked by a potent lyricism and a gentle and intensely sincere femininity which were to distinguish her interpretations throughout her career.
    The young ballerinas emerging at this time—including Marina Semyonova, Tatyana Vecheslova and Natalya Dudinskaya—were to provide Soviet ballet with a prodigious generation of artists, and their gifts contrasted magnificently. Among them, Ulanova seemed to incarnate certain essentially Russian qualities that were especially welcome as ballet. The grace and decorous nobility of Ulanova’s style, her idealisation of young Soviet womanhood, and the astonishing intensity with which she assumed every role secured for her an unchallenged place in Soviet art.
    The great classic roles—Aurora, Odette-Odile, Giselle, Raymonday—were given a luster by Ulanova’s intense musicality and the apparent simplicity of her interpretation. That they were the product of prolonged and scrupulous work and no less prolonged consideration, testifies to the dedication and integrity behind Ulanova’s calm and even vulnerable exterior.
    Of the new ballets of her time, she found exceptional sympathy with such roles as Maria in Fountains of Bakhchisaray, Coralie in Lost Illusions and Cinderella. But it was the 1940 staging of Leonid Lavrosky’s Romeo and Juliet at the Kirov Theatre in Leningrad which brought her, as Juliet, such accolades as “perfect in its profundity and strength of feeling, in its subtlety and inspired fashioning.” In this role, as in the traditional Giselle, Ulanova’s art spoke most truly and most significantly to Russian and to the world. Writing in an autobiographical memoir, she recalled the features she sought for and found in these and other favorite roles:” poetry, chastity of spirit, courage, faith in man, in man’s reason and will to do good.”
    It was her genius as an artist to be able to convey all this to her public, to discover and reveal something ennobling in each character, in each performance, that would toutch the hearts and minds of the audience. That she did so was not, however, simply the marvellous talent of a great dance actress, or the skill of a performer who found in a restricted range of roles the ideal guidelines for her art.
    Ulanova was endowed with exquisite physical gifts which Vaganova’s initial training and her own prodigious determination burnished and kept bright. Yet this technical armoury was never the justification for her interpretation: rather was it the seemingly effortless basis for readings that reached out to the world and spoke grandly of Ulanova’s greatness, and it was this which so moved Western audiences when the ballerina was finally to be seen in the context of a company—when she joined the Bolshoi from her parent Kirov Troupe in 1944.

    黑体的都是特殊名词(人名和地名),斜体的是芭蕾舞剧 名

    这篇文章是讲前苏联的芭蕾舞蹈演员Ulanova成长过程。
    Ulanova:前苏联第一为首席芭蕾舞蹈家
    Vaganova:前苏联芭蕾舞蹈演员兼出色教师,是Ulanova 睦鲜Α
    Les Sylphides:芭蕾舞剧《仙女们》,其中的主要角色就是M azurka
    Odette-Odile:《天鹅湖》中的主要演员
    Giselle:吉赛尔,〈〈吉赛尔〉〉中的主要角色
    Fountains of Bakhchisaray:〈〈。。。。泪泉〉〉,其中重要角色是 Maria
    Kirov Theatre:基洛夫大剧院
    Kirov Troupe:前苏联杰出的芭蕾舞团
    Bolshoi:前苏联杰出的芭蕾舞团
    Leningrad:列宁格勒

  2. #2
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    Default Re: please give some advices about this passage's translatio

    These years were to provide the essential shaping and strengthening of Ulanova’s gifts—as with many Soviet ballerinas thereafter—and her graduation performance in May 1928, in which she danced the Mazurka and the Grande Valse from Les Sylphides and the Nutcracker adagio, revealed a talent marked by a potent lyricism and a gentle and intensely sincere femininity which were to distinguish her interpretations throughout her career.
    Depending on context, I would say Those years saw or Those years were to see, meaning that is when it happened. Apart from the non-English characters, that is the only thing I would change there.

    :)

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    Default Re: please give some advices about this passage's translatio

    The young ballerinas emerging at this time—including Marina Semyonova, Tatyana Vecheslova and Natalya Dudinskaya—were to provide Soviet ballet with a prodigious generation of artists, and their gifts contrasted magnificently. Among them, Ulanova seemed to incarnate certain essentially Russian qualities that were especially welcome as ballet. The grace and decorous nobility of Ulanova’s style, her idealisation of young Soviet womanhood, and the astonishing intensity with which she assumed every role secured for her an unchallenged place in Soviet art.
    • The young ballerinas emerging at this time, including Marina Semyonova, Tatyana Vecheslova and Natalya Dudinskaya, were to provide Soviet ballet with a prodigious generation of artists, and they had widely contrasting styles. Among them, Ulanova seemed to incarnate certain essentially Russian qualities that were especially welcome in ballet. The grace and decorous nobility of Ulanova's style, her idealisation of young Soviet womanhood, and the astonishing intensity with which she assumed every role secured for her an unchallenged place in Soviet art.


    What do you think?

    :D

  4. #4
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    Default

    How about:
    to provide Soviet ballet with a prodigious generation of artists, with widely contrasting styles
    ?

  5. #5
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    Quote Originally Posted by tdol
    How about:
    to provide Soviet ballet with a prodigious generation of artists, with widely contrasting styles
    ?
    That's okay, but I don't think I would use the comma there.

    :)

  6. #6
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    Default Re: please give some advices about this passage's translatio

    The great classic roles—Aurora, Odette-Odile, Giselle, Raymonday—were given a luster by Ulanova’s intense musicality and the apparent simplicity of her interpretation. That they were the product of prolonged and scrupulous work and no less prolonged consideration, testifies to the dedication and integrity behind Ulanova’s calm and even vulnerable exterior.
    • The great classic roles of Aurora, Odette-Odile, Giselle, and Raymonday were given a luster by Ulanova's intense musicality and the apparent simplicity of her interpretation. That they were the product of prolonged and scrupulous work testifies to the dedication and integrity behind Ulanova's calm and even vulnerable exterior.


    I am not sure what is meant by prolonged consideration, but I am fairly sure it is covered by prolonged and scrupulous work.

    Of the new ballets of her time, she found exceptional sympathy with such roles as Maria in Fountains of Bakhchisaray, Coralie in Lost Illusions and Cinderella. But it was the 1940 staging of Leonid Lavrosky’s Romeo and Juliet at the Kirov Theatre in Leningrad which brought her, as Juliet, such accolades as “perfect in its profundity and strength of feeling, in its subtlety and inspired fashioning.” In this role, as in the traditional Giselle, Ulanova’s art spoke most truly and most significantly to Russian and to the world. Writing in an autobiographical memoir, she recalled the features she sought for and found in these and other favorite roles:” poetry, chastity of spirit, courage, faith in man, in man’s reason and will to do good.”
    • Of the new ballets of her time, she found exceptional sympathy with such roles as Maria in Fountains of Bakhchisaray, Coralie in Lost Illusions and Cinderella. But it was the 1940 staging of Leonid Lavrosky's Romeo and Juliet at the Kirov Theatre in Leningrad which brought her, as Juliet, such accolades as "perfect in its profundity and strength of feeling, in its subtlety and inspired fashioning." In this role, as in the traditional Giselle, Ulanova's art spoke most truly and most significantly to Russia and to the world. Writing in a memoir, she recalled the features she sought and found in these and other favorite roles: poetry, chastity of spirit, courage, faith in man, in man's reason and will to do good.


    I am not sure "exceptional sympathy" is the correct phrase there, but I cannot at present think of an English phrase that does a better job of saying what you are trying to say. All memoirs are autobiographical, thus, autobiographical memoir is a redundancy.

    :)

  7. #7
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    Default Re: please give some advices about this passage's translatio

    It was her genius as an artist to be able to convey all this to her public, to discover and reveal something ennobling in each character, in each performance, that would toutch the hearts and minds of the audience. That she did so was not, however, simply the marvellous talent of a great dance actress, or the skill of a performer who found in a restricted range of roles the ideal guidelines for her art.
    Ulanova was endowed with exquisite physical gifts which Vaganova’s initial training and her own prodigious determination burnished and kept bright. Yet this technical armoury was never the justification for her interpretation: rather was it the seemingly effortless basis for readings that reached out to the world and spoke grandly of Ulanova’s greatness, and it was this which so moved Western audiences when the ballerina was finally to be seen in the context of a company—when she joined the Bolshoi from her parent Kirov Troupe in 1944.
    • It was her genius as an artist to be able to convey all this to her public, to discover and reveal something ennobling in each character, in each performance, that would touch the hearts and minds of the audience. That she did so was not, however, simply the result of the marvellous talent of a great dance actress, or the skill of a performer who found in a restricted range of roles the ideal guidelines for her art. Ulanova was endowed with exquisite physical gifts which Vaganova's initial training and her own prodigious determination burnished and kept bright. Yet this technical armoury was never the justification for her interpretation. Rather, it was the seemingly effortless basis for readings that reached out to the world and spoke grandly of Ulanova's greatness, and it was this which so moved Western audiences when the ballerina was finally to be seen in the context of a company when she joined the Bolshoi from her parent Kirov Troupe in 1944.


    In "this technical armoury was never the justification" I don't think justification fits very well, but I am not sure what to replace it with. Perhaps basis. In the following sentence, I don't think "seemingly effortless basis" works very well, but I am not sure what to replace it with. I would say seemingly effortless performance but not seemingly effortless basis. A seemingly effortless performance is a performance that seems to require no effort. The adjective seemingly effortless does not apply to basis as there is no effort associated with creating a basis. Additionally, I am not sure what you mean by "was finally to be seen in the context of a company". Had she not been seen in the context of a company before? :?

    The rest of it is in Chinese characters. :(

    [Edited to add what I added.]
    [Edited for punctuation.]

  8. #8
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    Quote Originally Posted by RonBee
    Quote Originally Posted by tdol
    How about:
    to provide Soviet ballet with a prodigious generation of artists, with widely contrasting styles
    ?
    That's okay, but I don't think I would use the comma there.

    :)
    It could easily be lost. )

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