please give some advices about this passage's translation!

[AMD]

:?: :?: :?: :?:

These years were to provide the essential shaping and strengthening of Ulanova¡¯s gifts¡ªas with many Soviet ballerinas thereafter¡ªand 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¡ªincluding Marina Semyonova, Tatyana Vecheslova and Natalya Dudinskaya¡ªwere 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¡ªAurora, Odette-Odile, Giselle, Raymonday¡ªwere 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¡ªwhen she joined the Bolshoi from her parent Kirov Troupe in 1944.

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[RonBee]

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

These years were to provide the essential shaping and strengthening of Ulanova¡¯s gifts¡ªas with many Soviet ballerinas thereafter¡ªand 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.

 

[RonBee]

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

The young ballerinas emerging at this time¡ªincluding Marina Semyonova, Tatyana Vecheslova and Natalya Dudinskaya¡ªwere 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?

 

[Tdol]

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

 

[RonBee]

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.

 

[RonBee]

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

The great classic roles¡ªAurora, Odette-Odile, Giselle, Raymonday¡ªwere 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.

 

[RonBee]

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¡ªwhen 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.]

 

[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. ;-))