Prima Ballerina
美音、自然拼读、分级阅读与词汇复习
Table of Contents A National Treasure.
目录 A 国宝.
4 Early Years.
早年4岁.
5 New York: A Star Is Born.
5 纽约:一星出世.
8 Chicago: Master Teacher.
8 芝加哥:师傅.
13 Legacy.
13 遗事.
15 Glossary.
15 词汇。
16 A National Treasure The date was September 29, 1999.
16国宝 该日期为1999年9月29日.
The place was Washington, D.
当时是华盛顿
C.
C组
The event was the award ceremony for recipients of the National Medal of Arts.
该活动为国家艺术奖章获得者颁奖仪式.
This award is the highest honor given by a U.
这个奖项是U给予的最高荣誉.
S.
师曰.
president to an individual artist for outstanding achievement.
总统给一位杰出的艺术家
One of that year’s honorees was Maria Tallchief.
当年的一位被尊者是玛丽亚·高尔西.
A tall, elegant dancer, she had taken the world of ballet by storm fifty years earlier.
一个高个子又优雅的舞者 她五十年前就被暴风雨夺走了芭蕾的世界
How did Maria Tallchief become the first Native American professional ballerina and the first shining star in American ballet?
玛丽亚·塔克西是怎样成为第一位美国原住民职业芭蕾舞演员,也是美国芭蕾舞剧中第一位闪亮的明星?
Her story begins on a Native American reservation in Oklahoma.
她的故事开始于俄克拉荷马州的美国原住民保留地.
President Clinton awards Maria Tallchief the National Medal of Arts.
克林顿总统奖 国家艺术奖章的玛丽亚·高尔盖德.
Early Years Elizabeth Marie Tall Chief—nicknamed Betty Marie—was born on January 24, 1925, in Fairfax, Oklahoma, on the Osage (OH-sayj) Reservation.
伊丽莎白早年 Marie Tall Chief——昵称Betty Marie——于1925年1月24日生于俄克拉荷马州费尔法克斯,在Osage(OH-sayj)保留地。
Her father, Alexander Tall Chief, was full-blooded Osage.
她的父亲亚历山大·高酋长(Alexander Tall Chief)是满族欧萨奇.
Oil was discovered on Osage land when he was young, and the profits made many tribal members rich.
他年轻时在奥萨奇地上发现了石油,利润使许多部落成员富有.
As an adult, Alexander owned a great deal of property in Fairfax.
作为成年人,亚历山大在费尔法克斯拥有大量的地产.
Betty Marie’s mother, Ruth Porter, came from Scottish and Irish settlers.
贝蒂·玛丽的母亲露丝·波特来自苏格兰和爱尔兰定居者.
Ruth recognized that both Betty Marie and her sister, Marjorie, had a musical gift.
露丝承认了贝蒂·玛丽和她的妹妹玛乔莉都有音乐天赋.
She encouraged them to develop it.
她鼓励他们开发这一系统。
Ruth arranged for both girls to take piano and dance lessons from an early age.
露丝安排了两个女孩从小学习钢琴和舞蹈课程.
As a child, Betty Marie was quiet and shy.
童年时,贝蒂·玛丽很安静而害羞.
In 1933, when Betty Marie was eight, her mother decided that the girls needed more educational opportunities than Fairfax offered.
1933年贝蒂·玛丽八岁时,她的母亲决定女孩们需要比费尔法克斯提供的更多的教育机会.
Their father agreed.
他们的父亲同意。
The family moved to Los Angeles and found a dance school for the girls even before buying a house.
一家人搬到了洛杉矶,甚至在买房子之前就为女孩们找到了一所舞蹈学校.
At the school, the sisters studied ballet, tap dancing, tumbling, acrobatics, and Spanish dancing.
在学校,姐妹们学习了芭蕾舞,踢踏舞,曲棍球,杂技,和西班牙舞.
Before long, Betty Marie and Marjorie were performing at rodeos and county fairs.
不久后,贝蒂·玛丽和马乔里在克罗多斯和郡集市演出.
Their performances included a staged Native American dance routine wearing feathered headbands, buckskin costumes, bells, and moccasins.
他们的表演包括一个有舞台的美洲原住民舞蹈常规,佩戴有羽毛的头带,花皮相接相接的服装,铃声和相接相接相接相接.
Both girls were uncomfortable with the dance, which wasn’t authentic.
两人都对舞蹈感到不舒服,
It emphasized the stereotypes many people had about Native Americans.
它强调了许多人对美洲原住民的成见。
Betty Marie (left) and Marjorie (right) pose for a picture with their mother in 1930.
贝蒂·玛丽(左)和马乔里(右)在1930年与母亲一起为相片出场.
Authentic Osage Dancing Only men were active dancers in ceremonial Osage dances.
认证 Osage 跳舞 只有男性是祭祀性奥萨奇舞中的活跃舞者.
The women formed a circle around them and took small sidesteps back and forth in time with the drumbeat.
女子们围绕她们形成了一圈,并及时与鼓手一起取出小后退.
While Betty Marie and Marjorie were growing up, ceremonial Native American dances were outlawed by the U.
在贝蒂·玛丽和马乔里长大的时候,仪式上美洲原住民的舞蹈被U取缔.
S.
师曰.
government.
政府。
Grandma Tall Chief frequently took the girls to ceremonial Osage dances, which continued in secret.
高爷爷 酋长经常带女孩们去参加祭祀性的Osage舞蹈会,这些舞蹈会继续秘密地进行.
At age twelve, Betty Marie’s father told her to “follow one star.”
12岁时,贝蒂·玛丽的父亲告诉她 " 跟着一星走 " 。 “
He insisted that she pursue either piano or dance, but not both.
他坚持要求她要么追求钢琴,要么追求舞蹈,但不是两者兼而有之.
She chose dance because she felt the music throughout her body.
她选择了舞蹈是因为她全身都感受到了音乐.
She later wrote about making that choice, stating, “My life as a dancer really began.”
她后来写到作出这种选择,说:“我作为一个舞蹈家的生活确实开始了。 “
Soon after, she became a student of Bronislava Nijinska (brah-nuh-SLAH-vuh nuh-JIN-skuh), her first important ballet teacher.
不久后,她又成为了她第一位重要的芭蕾教师布罗尼斯拉瓦·尼金斯卡(brah-nuh-SLAH-vuh-JIN-skuh)的学生.
Betty Marie studied with Madame Nijinska from 1937 until 1942.
贝蒂·玛丽从1937年到1942年与尼金斯卡夫人一起学习.
During that time, she learned to dance with power, grace, and feeling.
在此期间,她学会了用力量,优雅和感觉来跳舞.
By the time she finished high school in 1942, she knew that ballet was the right path for her.
在她于1942年完成高中学业时,她已经知道芭蕾舞对她来说是正确的道路.
Bronislava Nijinska (right) was the sister of Vaslav Nijinsky (left), one of the twentieth century’s greatest male dancers.
布罗尼斯拉瓦·尼真斯卡(右)是瓦斯拉夫·尼真斯基(左)的妹妹,是二十世纪最伟大的男性舞蹈家之一.
New York: A Star Is Born When Betty Marie was a teenager, the art of ballet was still young in the United States.
纽约:贝蒂·玛丽少年时出世了"一星出世"(A Star Is Born When Betty Marie),芭蕾艺术在美国仍然年轻.
All the well- known ballet dancers were Russian.
所有知名的芭蕾舞演员都是俄罗斯人.
The Ballet Russe de Monte Carlo (ROOSS DU MOHN-tee KAR-loh), a touring Russian company, introduced people across the United States to ballet.
俄罗斯旅游公司 " 芭蕾舞 " (ROOSS DU MOHN-tee KAR-loh)向美国各地介绍芭蕾舞。
The company, which was based in New York, came to Los Angeles in 1938.
公司总部设在纽约,1938年来到洛杉矶.
Betty Marie attended all their performances and was amazed.
贝蒂·玛丽出席了他们所有的演出,并感到惊讶.
During her last year of high school, the head of the company saw her dance and recognized her talent.
在她高中的最后一年,公司负责人看到她跳舞并承认了她的才华.
After graduation, she went to New York, and the Ballet Russe de Monte Carlo hired her as a dancer right away.
毕业后她去纽约,芭蕾舞团Russe de Monte Carlo立即聘请她为舞者.
Her professional dance career began without so much as an audition.
她的职业舞蹈生涯开始时没有像试镜那样多.
At that point, she changed her name to Maria Tallchief.
这时她更名为"玛丽亚·高尔西".
Tallchief prepares her ballet shoes before her 1944 performance in The Song of Norway.
在她1944年出演"挪威之歌"之前,"高通"为她准备了芭蕾鞋.
Two years after Tallchief joined the Ballet Russe de Monte Carlo, choreographer George Balanchine started working with the company.
塔克西加入"芭蕾舞团"(Balllet Russe de Monte Carlo)两年后,编舞乔治·巴拉辛开始与公司合作.
Balanchine, who had studied ballet in Russia, is widely considered one of the twentieth century’s most important choreographers.
曾在俄罗斯学习芭蕾舞的巴兰钦被广泛认为是二十世纪最重要的舞蹈家之一.
Building on classical ballet, which was graceful and flowing, he created a new style of American ballet.
以古典芭蕾为生,优雅而流畅,他创造了美国芭蕾的新风格.
It required dancers to be very strong, quick, streamlined, and athletic.
它要求舞者非常强壮,快速,精简和运动。
George Balanchine’s choreography came to life with Maria Tallchief’s dancing, and she became his muse—his greatest source of inspiration.
George Balanchine的舞曲随着玛丽亚·塔克西(Maria Tallheape)的起舞而活出生机,她成为了他的缪斯——他最大的灵感来源.
Balanchine and Tallchief admired each other’s talent, and they married in 1946.
巴兰钦和高尔基佩互相推崇对方的才华,两人于1946年结婚.
Their marriage only lasted five years, but they continued to work together for decades.
他们的婚姻只持续了5年,但是他们继续合作了几十年.
Tallchief and Balanchine practiced ballet up to fourteen hours a day.
高头和Balanchine每天练习芭蕾14小时。
In 1948, Balanchine became a guest choreographer with the Paris Opera Ballet.
1948年,巴兰钦与巴黎歌剧院芭蕾舞团一起出任客串编舞.
Tallchief traveled with him to France and became their first American dancer.
高通同他一起去法国,并成为了他们的第一个美国舞者.
The following year, Balanchine cofounded the New York City Ballet.
次年,巴兰钦共同创办了"纽约市芭蕾舞团".
At the time, many New Yorkers didn’t think they needed an American ballet company.
当时,许多纽约人并不认为他们需要一家美国芭蕾公司.
They changed their minds, however, when they saw Tallchief dance in Balanchine’s production of Firebird in 1949.
然而,当他们在1949年的"火鸟"(Firebird)的出品中看到Tallmais舞蹈时,他们改变了主意.
That role made Tallchief famous, and she eventually became the New York City Ballet’s first prima ballerina, or leading female dancer.
她最终成为纽约市芭蕾舞团的第一位初选芭蕾舞演员,
She held the title for thirteen years, until 1965.
她拥有了13年的头衔,直到1965年.
Tallchief wrote about her Firebird performance: “The city center sounded like a stadium.
Tallhead写道她的Firebird表演:“市中心听起来像体育场。
after somebody’s made a touchdown.”
在有人触地得分之后, “
Balanchine created some of his most beautiful roles for Tallchief.
巴拉辛为"高尔克"创造了他最美丽的角色.
These included roles in Swan Lake, Scotch Symphony, and the role of the Sugar Plum Fairy in The Nutcracker.
其中包括"天鹅湖"中的角色"苏格兰交响乐""和"花果"中"糖花仙子"中的角色".
Tallchief’s performance as the Sugar Plum Fairy helped make ballet more popular in the United States.
高尔帕作为"糖花仙子"的表演帮助了芭蕾在美国更受欢迎.
While Tallchief was with the New York City Ballet, she toured with them in nineteen foreign countries.
泰克西在纽约市芭蕾舞团时 她和他们在19个外国旅行
She also danced on television and had a small role as a ballerina in the musical film Million Dollar Mermaid (1952).
她还在电视上跳舞并出演了音乐电影"百万美人鱼"(1952年)中的芭蕾舞演员小角色.
In addition, she was a guest dancer with the American Ballet Theatre.
此外她还是美国芭蕾舞剧院的客座舞者.
Erik Bruhn partnered with Tallchief in Swan Lake and many other ballets.
埃里克·布鲁恩与高尔克(Tallheap)合作出演了"天鹅湖"等多部芭蕾.
People showered Tallchief with praise wherever she danced and demanded to see her perform more.
人们用赞美的姿势淋浴了高尔帕,无论她在哪里跳舞,都要求看到她更多的表演.
Critics gave her strongly positive reviews for her strength, musicality, and technical precision.
批评家们为她的力量,音乐,以及技术精度给出了强烈的正面评价.
Tallchief had a fiery stage presence and was also light on her feet.
高头巾在舞台上亮相,脚上也放光了.
She danced in a regal yet free way that set her apart from other ballerinas.
她跳起舞来却自由了 让她和其他芭蕾舞演员不同
Never failing to speak her mind, she was also respected for her intelligence and honesty.
她的智慧和诚实也受到尊敬。
Tallchief danced the role of the White Swan in Balanchine’s production of Swan Lake.
大头巾舞出白天鹅在Balanchine出品"天鹅湖"中的角色.
Chicago: Master Teacher In 1965, at age forty-one, Tallchief grew tired of performing and all the travel her career required.
芝加哥:师傅 1965年,在41岁时,高尔凯普开始厌倦了表演和所有需要的出行生涯.
Nine years earlier, she had married Henry Paschen, who was from Chicago, Illinois, and they had a daughter together.
九年前,她与来自伊利诺伊州芝加哥的亨利·帕申(Henry Paschen)结婚,两人育有一女.
Tallchief retired from dancing and moved to Chicago to devote time to her family.
大头巾从舞蹈中退休后,搬到芝加哥为她的家人奉献时间.
In 1975, Tallchief became the creative director of the Chicago Lyric Opera Ballet.
1975年,塔克西出任芝加哥歌剧芭蕾舞团的创意总监.
She founded the Chicago City Ballet in 1980 because she felt that Chicago deserved an important ballet company.
她于1980年创办了"芝加哥城市芭蕾舞团",因为她觉得芝加哥值得一家重要的芭蕾舞公司.
She served as its creative director until 1987.
她担任其创意总监至1987年.
Many students whose lives she touched went on to have successful ballet careers.
她所接触的许多学生继续从事成功的芭蕾舞事业。
Maria Tallchief dances with her only child, Elise Paschen, in Chicago.
玛丽亚·高尔克(Maria Tallheap)与她的独生子女伊莉斯·帕申(Elise Pashen)一起在芝加哥跳舞.
Maria Tallchief’s Life During her retirement, Tallchief also worked to preserve the work of Balanchine, who died in 1983.
在退休期间,Tallheape还致力于保护1983年去世的Balanchine的工作。
She felt strongly that his ballets should be danced the way he originally intended.
她强烈地认为他的芭蕾舞应该按照他最初的打算来跳舞.
She and several other Balanchine ballerinas recorded sections of his ballets so future students could learn from them.
她和其他几个Balanchine ballerinas录制了部分他的芭蕾舞曲,以便未来的学生能够从中学习.
In 1996, she was inducted into the National Women’s Hall of Fame, which honors extraordinary women’s achievements.
1996年,她进入了全国妇女名人堂,该堂为杰出的妇女成就致敬。
The same year, she was given a Kennedy Center award.
同年她被授予肯尼迪中心奖.
This award recognizes artists who have made outstanding contributions to American culture.
这个奖项表彰为美国文化做出杰出贡献的艺术家.
She died at age eighty-eight on April 11, 2013, in Chicago.
她于2013年4月11日在芝加哥逝世,享年88岁.
The world paid tribute to her life and work.
世界对她的生命和工作表示敬意。
Legacy Maria Tallchief was an American trailblazer.
玛利亚·高尔基是一位美国前锋
As the first prima ballerina from the United States, she helped inspire a new style of ballet.
作为第一位来自美国的初等芭蕾舞演员,她帮助激发出一种新的芭蕾风格.
As professional ballet’s first Native American star, she opened its doors to ethnic minorities.
作为职业芭蕾舞的首位美国原住民明星,她向少数民族敞开了大门.
Her grace, talent, and achievement helped move the world of ballet forward.
她的优雅、才华和成就 帮助推进了芭蕾舞的世界
A fellow dancer, Jacques d’ Amboise (ZHAHK dahm- BWAHZ), once said of Tallchief, “There is one word for her: grand.
舞者Jacques d ' Amboise(ZHAHK Dahm-BWAHZ)曾对Tallheap说: " 她有一个词:宏伟。
She was absolutely grand.”
她绝对是伟大的。 “
Maria Tallchief and Jacques d’Amboise perform at the White House for a state dinner in 1964.
玛丽亚·塔克西和雅克·德·安布瓦斯于1964年在白宫出演国宴.