高級口譯練習資料

　　口譯筆記是大腦短期記憶的有效補充;用的好，會(huì )成為譯員手上的大殺器�？谧g學(xué)習者應該結合自己的思維特點(diǎn)和理解習慣，設計個(gè)人的筆記體系。為了幫助大家，小編整理了一些口譯練習材料，希望能幫到大家!

　　花臉繪畫(huà)藝術(shù)

　　畫(huà)家千嶂手中的那支筆表現得輕松自如，山水、花鳥(niǎo)、人物，無(wú)所不能，尤其精于“花臉”的表現。

　　The painting brush of the Chinese artist Qianzhang paints easily: mountains, waters, flowers, birds, human figures - there is simply nothing that the brush fails to paint. Above all, it feels most at home when painting hualian.

　　“花臉”，又稱(chēng)為“凈”，是戲曲表演中的一個(gè)行當。京劇中的凈分為正凈、副凈和武凈。人物的忠、奸、善、惡、俠義都可從那張臉上表現出來(lái)，它的本 身就是一種符號化的立體藝術(shù)。把這種立體藝術(shù)移栽在紙上，使之變?yōu)槠矫嫠囆g(shù)的，在畫(huà)界也不乏其人。一種是依樣畫(huà)葫蘆，在紙上畫(huà)著(zhù)真真切切的臉譜，另一種是 戲曲人物畫(huà)，把特定的臉譜和特定的人物結合起來(lái)，頗有舞臺速寫(xiě)的韻味。

　　Hualian, also known as jing, is a major role in China’s theatrical performing tradition. In Peking Opera jing includes the categories of leading, assisting and military jing. A particular way of painting jing’s face represents a particular identity of the concerned role in a play: it may be a loyal, wicked or good man, or a villain, or a chivalrous hero. The masked face itself is a symbolized work of stereoscopic art. The effort of transplanting stereoscopic art on paper to produce works of plane art is not an isolated phenomenon in the art community. Such work, more often than not, follows one of the two approaches, one of which is to create on paper an exact copy of a masked face, and the other to paint a theatrical figure portrait, casting a particular figure in a mask, quite similar to the work of stage sketches.

　　而千嶂筆下的花臉不是這樣，他離開(kāi)了特定的人物、特定的臉譜、特定的劇情，以超越的.視野，橫掃大筆，洋洋灑灑，把花臉畫(huà)的更加抽象化，夸大了花臉 的象征意義，進(jìn)入一個(gè)試圖表現人類(lèi)心靈的全新境界。在進(jìn)行這種藝術(shù)探索時(shí)，畫(huà)家有著(zhù)獨到的悟性和心得。他跳開(kāi)了傳統戲劇花臉的那種凝固的程式，為古老的花 臉藝術(shù)架起了通向現代人心理的橋梁，潑寫(xiě)著(zhù)人世間的喜怒哀樂(lè )。這個(gè)從平面到立體的過(guò)程，形成了時(shí)空藝術(shù)的瞬間閃現，天真爛漫而不悖理性精神的美學(xué)，使畫(huà)家 的思想自由馳翔，令其筆下生輝。

　　Qianzhang’s hualian, nevertheless, represents a different approach to painting. Freeing himself from the rigid commitment of being truthful to stereotypical theatrical figures, masks and plots, he paints quite freely and skillfully. His more liberal vision gives birth to the kind of hualian which is characteristically more abstract and more lavishly exaggerated in terms of its symbolic meaning. In this brand-new realm the artist attempts to best reveal the mind and soul of mankind. In his search for a particular mask-painting art, the artist works with a unique understanding for his object of creation. Ignoring the frozen traditional formula, the artist remains dedicated to constructing a bridge that connects the ancient art of hualian mask painting with the psychology of modern man, brushing out human joys and sorrows. The transition of the theatrical mask art from a plane form to the present stereoscopic model represents the instantaneous flashes of the so-called time-space art. The naive yet rational aesthetics composed in this new school of art guides the artists in this voyage to creative and free thinking and provides them with resourceful painting brushes for masterpieces.

　　醉漢是寫(xiě)不出詩(shī)的。太清醒了也寫(xiě)不出詩(shī)。畫(huà)畫(huà)也是這樣，總是在似醉非醉的狀態(tài)中進(jìn)入佳境。我說(shuō)千嶂的花臉有醉的韻味，那是一種朦朧美與流動(dòng)美的結 合。說(shuō)它是朦朧的，那是墨彩交融而非混沌不清。書(shū)法用筆的參入，給畫(huà)帶來(lái)了流動(dòng)的節奏。這是一種剛與柔、動(dòng)與靜、清晰與朦朧相統一的藝術(shù)效果。

　　An intoxicated mind writes no poems. Nor does a completely sober mind. It is also true of painting. The best state of creation is one when the artist is partially drunk and partially sober. When I say Qianzhang’s hualian smells of drunkenness, I mean that to be an embodiment of obscure beauty with flowing beauty, obscure as the result of mixing ink and color, obscure but not murky. His calligraphic paintbrushing brings flowing rhythm to the work of mask painting, thus achieving an artistic effect of a harmonious combination of firmness with gentleness, of mobility with tranquility, and of precision with obscurity.

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