视听说教程3第三课听力原文及翻译

Janet: So where are we now?
Andy: This is the West End. It’s famous for cinemas and theatres. I used to work in a theatre near here.
Janet: Really? What did you do?
Andy: I moved the scenery between acts in the play. If I’m not mistaken, I worked on Pyg malion by George Bernard Shaw
Janet: If I remember correctly. That was made into a musical film, wasn’t it? My Fair Lady? I remember seeing it on TV.
(Phone ringing)
Andy: Oh, oh, it’s Joe.
(Andy picked up the phone)
Andy: Hey!... Yes, we’re on our way…I don’t think we’re that late. Chill out Joe, we’ll be there.
(Andy hung up the phone)
Andy: Anyway, come on, we’d better get a move on.
Janet: How far is it from here?
Andy: It’s not far. Maybe five minutes’ walk. Joe gets cross if I’m late.
Joe: Hello Janet, hello Andy. Late as usual.
Andy: Actually, by my watch, I’m bang on time.
Joe: Well let’s get on with it. This is Toby Jenkins, the theatre critic.
Toby: Nice to meet you, are you ready to start?
Andy: Hang on a minute! Janet, can you check the sound level? Can you hear me ok ,Janet？Janet?
Janet: Hi Andy, I can’t hear you. What’s up?
Andy: Can you hear me now?
Janet: Ouch! Yes, that’s much louder.
Joe: Let’s stop wasting time please. Just get on with the interview, will you?
Janet: 那么，我们现在在哪？
Andy: 这是伦敦西区, 他因影院、戏院而出名.。

我曾在这附近的一家戏院里工作过。

. Janet: 真的？你当时做什么？
Andy: 我在一出剧中的幕间移动布景，如果我没搞错的话，我参与的是皮革马利翁这出戏的工作，剧本是由萧伯纳写的。

Janet: 如果我没记错的话。

它被改编成了一部歌舞片，不是吗？——《窈窕淑女》,我记得在电视上看过这片。

（电话响了）
Andy: 噢，Joe打来的。

(Andy 接起电话)
Andy: 嗨…对，我们已经在路上了。

我不觉得我们真的像你说的那么晚.。

别紧张Joe, 我们会到那的。

（Andy挂了电话）
Andy: 不管怎样，快点把，我们最好动身了。

Janet: 这里离目的地多远？
Andy: 不远，可能走五分钟就到了，我们迟到的话，Joe会生气的。

Joe: Janet、Andy你们好啊，你们还是像往常一样迟到了。

Andy: 事实上，照我的表来看，我们到的正准时。

Joe: 算了，我们别说这个了。

这位是剧评家Toby Jenkin
Toby: 很高兴见到你，你准备好开始采访了吗？
Andy: 等一下，Janet，你能检查一下音量吗？你听得请我说话吗Janet？Janet?
Janet: 嗨Andy, 我听不见你说话，怎么回事？
Andy: 现在听得见吗？
Janet: 哎呀…听见了，清楚多了
Joe: 拜托，咱们别浪费时间了。

快点开始采访，行不？
Conversation2
Andy: And we’ve got Toby Jenkins here with us today, who has just been to see the latest show at The Hippodrome La Clique. So La Clique is slightly different from the usual shows we see here in the West End these days. Can you tell me something about it, Toby?
Toby: Yes, It’s a kind of cabaret, with a series of variety acts set in a kind of circus, but it’s v ery contemporary, extremely well produced and huge fun..
Andy: Tell me more about the acts.
Toby: Well, there are stunts performed on a high wire, and puppets. There’s a sword swallower and juggler, and a rubber man who manages to pass his whole body through a tennis racquet.
Andy: It sounds very unusual.
Toby: Yes, for the West End today, but not so unusual for 30 or more years ago.
Andy: So, It’s family entertainment then?
Toby: Ah, no. I’m afraid it’s pretty adult, but very funny and stylish.
Andy: Did you get that ok, Janet?
Joe: Let me have a listen…
Janet: Oh no, did I do some thing wrong?
Joe: Well, It’s just that I can’t hear anything. Let’s try again…
Andy: Did you remember to keep an eye on the sound levels? That meter, there!.
Janet: Oh no, I clean forgot.
Andy: It’s Ok. We’ll just do another take.
Joe: Come on you two. Hurry up!
Janet: I’m so sorry. It slipped my mind.
Joe: You’ll forget your own head one day. Sorry about this, Toby. From the top, please.
Andy: And we’ve got Toby Jenkins here with us today…
Andy: 今天我们很荣幸地邀请到Toby Jenkins接受我们的采访, 他刚刚在The Hippodrome剧院看了最新公演的La Clique。

那么，La Clique和我们近期在伦敦西区看的表演略微有点不同，能就这一点和我们谈谈吗？
Toby: 好的，这算是一种余兴节目,在某种马戏表演中穿插一系列演出,但这些演出都是非常有时代性的，制作精良，而且很有趣。

.
Andy: 能更多地谈谈那些演出吗？
Toby: 好的，其中有杂耍演员在高空钢丝上的表演、有木偶表演、吞剑表演、魔术表演、还有个柔韧性很好的人从一个网球拍中成功地钻了过去。

Andy: 听起来确实很特别。

Toby: 是的，对于现在的伦敦西区来说是很特别, 但对于三十多年前来说，就没那么特别了。

Andy: 所以说，这是老少咸宜的娱乐形式喽？
Toby: 不，恐怕这更适合成年人，但确实很流行、也很有趣。

.
Andy: Janet，这些你都录好了吗?
Joe: 让我听听看
Janet: 哦不，我做错什么了吗？
Joe: 问题是，我什么都听不见啊。

我们再试一次.
Andy: 你有留心音量控制器吗? 就是那个表。

Janet: 哦不，我忘得一干二净
Andy: 没事，我们再录一次就行了
Joe: 快呀你们两个！快点！
Janet: 太抱歉了，我一不小心忘了.
Joe: 没准哪天你连自己的脑袋都忘了。

Toby,我们对此感到很抱歉，请从头开始。

.
Andy: 今天我们很荣幸地邀请到Toby Jenkins接受我们的采访……
Outside View
The Mona Lisa, the most famous painting in the world, was trully revolutionary even in its time. While he was painting the Mona Lisa, Leonardo da Vinci broke all the rules, even his own. In spite of the fact that Leonardo and other aritists believed that women should only be portrayed with eyes gazing slightly down. Leonodo painted the Mona Lisa looking directly at the viewer. The positon of her body is another innovation. While her face looks straight ahead, her body is slight turned, a pose that creates a sense of movement and tension. In another break from tradition, the Mona Lisa is not wearing any jewellery or adorments. Finally, backgrounds in portraits usually indicated a real place but the landscape in Leonardo’s portrait seems almost imaginary.
A:One of the things I like to do is, um, think about her face and why, what is she trying, why, what is she trying to say with her face and I used to think that her face told more than one story. For instance, if I covered up one side of her face, it seemed like she might be a little sad or resevered, almost secretive.
S:Her eyes are, they’re kind of looking at us or around us, through us perhaps. I think with that painting she is the viewer and we are the subject in a way. And she has this look that she knows somehting that we don’t know.
A:And then when I coverd up that side and looked at the other side, she seemed happier, um, more satisfied. And togher, it created sort of the mystery about her that, um, made interpreting her face very enigmatic.
S:There’s speculation that the Mona Lisa is a self-portrait of Leonardo and I, I believe that
it is, there, there, the features do line up between the Mona Lisa and sketches of Leonardo.
Scott McMahon and Anne Pfaff are both portrait artists. They believe that portraits can tell a story and make people think, just as the Mona Lisa has done for so many years.
A:When I was young, um, I was always interested in, um, reading books about people and, and the dynamics, different kinds of relationships they had and so when I became a painter it was natural for me to be interested in painting poeple and looking for similar kinds of stories to tell about them that you might read in a book.
S:Uh, most of my work consists of photographic self-portraiture. Um, I’m interested in using myself as th subject, um, not only as the creator of the image but as the, the character, or the performer of, of the images. So in my portraits I’m trying to capture, um, a deeper essence of a
person, um, more or less. This work here is done with a pinhole camera, which requires a very long e xposure so, with a portrait you can get this feeling of time passed. It’s not a, it’s not an instant, per se, it could be five minutes of exposure.
A:So this is another project I’m working on. I’m almost finished with it but I still need to work on the re flections in the wather, um, and the face of the boy before it’s finished.
S:I often work with multiples and, you know, using a mirror or the same image twice and what I wanted to do was link the two portraits together with the string. It’s kind of the st ring of thought or this idea of remembering or the resilience of memory.
A:I don’t just paint from photographs. I try to make a work of art. Um, I try to make a painting that goes beyond a mere photographic image. I try to capture something about the soul of the, or the essence of this person.
S:This piece here is, uh, it’s called The Measure of Decay and behind the piece there are portraits, again, of me I have this clay covering on that has cracked and so it’s, it’s kind of like the process of decay. So as each portrait goes around you can, you can see the image in a different focus. I love painting portraits.
Words & Tips
1.
The first artwork about laughter.
The first artist to use a 3D printer.
The first 3D artwork to be created in space.
The first artwork to have a social media campaign.
答案：C
听力原文：
Israeli artist Eyal Gever is working on a project that will be the first artwork created in space. It will be a 3D sculpture made inside the International Space Station. He will create his artwork using a zero-gravity 3D printer. Once it is finished, the sculpture will be released into the universe.
Working with NASA, Gever's space project is named "Laugh". The 3D printer will produce a physical representation of a person's laugh. Sound cannot travel in space, but this sculpture can show what laughter looks like.
Gever is asking people around the world to participate in his project. There is a social media campaign called "LaughInSpace", where people are invited to record and submit their laughter online. When the audio samples have been collected, people will be invited to vote on which clip should be represented in the sculpture. Then Gever will use the sounds of the winner’s laughter to create the space sculpture.
Q1. What is the news report mainly about?
Q2. Whose laughter will create the sculpture?
Words & Tips
1.
3,400 years ago.
1345 BC.
1912.
1345.
答案：C
听力原文：
A controversial statue of Queen Nefertiti has been removed from the entrance to Samalut, a city in Egypt, after locals compared it to Frankenstein's monster. The statue was intended to be a reproduction of the 1345 BC statue of Nefertiti, which was found in 1912 by a team of German archaeologists.
The huge statue was removed after hundreds of people criticized it on social media. Many comments described the statue as "ugly" and "terrifying". People complained that it was poorly designed and cheap looking. They also rejected the statue for misrepresenting the original statue, which is known for its beauty and elegance.
For 3,400 years, Queen Nefertiti has been considered a great beauty. Her name means "a beautiful woman has arrived". Samalut residents were angry that someone designed a statue that could be so insulting to Nefertiti and to Egyptians.
The statue will be replaced with a statue of a peace dove.
Q1. When was the original statue of Nefertiti found?
Q2. What were local people's opinions of the statue reproduction?I'm
News report-2
00:00 / 01:40
1.0x
Words & Tips
1.
3,400 years ago.
1345 BC.
1912.
1345.
答案：C
听力原文：
A controversial statue of Queen Nefertiti has been removed from the entrance to Samalut, a city in Egypt, after locals compared it to Frankenstein's monster. The statue was intended to be a reproduction of the 1345 BC statue of Nefertiti, which was found in 1912 by a team of German archaeologists.
The huge statue was removed after hundreds of people criticized it on social media. Many comments described the statue as "ugly" and "terrifying". People complained that it was poorly designed and cheap looking. They also rejected the statue for misrepresenting the original statue, which is known for its beauty and elegance.
For 3,400 years, Queen Nefertiti has been considered a great beauty. Her name means "a beautiful woman has arrived". Samalut residents were angry that someone designed a statue that could be so insulting to Nefertiti and to Egyptians.
The statue will be replaced with a statue of a peace dove.
Q1. When was the original statue of Nefertiti found?
Q2. What were local people's opinions of the statue reproduction?
2.
They thought the reproductive statue was insulting to Nefertiti.
They thought the reproductive statue was beautiful.
They thought the reproductive statue looked like the original statue it was based on.
They thought the reproductive statue was well-designed.
答案：A
Passage 2-2
00:00 / 03:21
1.0x
Words & Tips
1. Modern art galleries _______.
have become very popular in recent years
are very large
are only visited by young people
are usually housed in amazing new buildings
答案：A
听力原文：
Interviewer: Kathy Richards is a specialist art tour guide. Kathy, can you tell us what trends you've noticed in recent years?
Kathy: Well, one of the biggest phenomena I've noticed is a huge increase in visitors to galleries and a growing interest in modern art in general.
Interviewer: What do you think the reason is for that?
Kathy: Well, there are several reasons, I think. The most important ones are firstly, that some new contemporary art galleries have opened which have had a lot of publicity, and secondly the younger generation feel more comfortable with modern art so the kind of people visiting galleries is changing. Finally, the new generation of galleries have become destinations in themselves ... they tend to be housed in amazing buildings.
Interviewer: So which are the most popular new galleries?
Kathy: Well, the Tate Modern in London has had over 30 million visitors since it opened in 2000. The annual average is now over 4.5 million. The Museum of Modern Art, or MoMA in New York is an older gallery, it was founded in 1929 but has been recently renovated and expanded. This work was finished in 2006 and it had over 2.5 million visitors in the first year after reopening. Another very successful new gallery is the Guggenheim in Bilbao in Spain. It opened in 1997 and now gets about a million visitors a year.
Interviewer: Those are pretty impressive figures. Maybe the fact that the Tate Modern is free to visit might have something to do with it?
Kathy: It's true that entrance to the permanent collection is free but the numbers of people visiting the temporary exhibitions are also high –and the entrance fee is usually about ten pounds.
Interviewer: Do you have to pay to get into the other galleries you mentioned?
Kathy: Oh yes. You do. Admission to MoMA is 20 US dollars and the Guggenheim in Bilbao costs eight euros.
Interviewer: Do people mind paying, do you think?
Kathy: No, I don't think they do mind. Most people feel the fees are reasonable considering the outstanding collections of priceless works of art that they get to see.
Interviewer: You mentioned that the buildings that art galleries are in can be an attraction themselves these days ...
Kathy: Well, yes, the Guggenheim has literally revitalized the whole city and put Bilbao on the tourist map. It's got a futuristic, curvy metallic structure and people love it. The Tate Modern has helped redevelop an old industrial area beside the River Thames. The gallery itself is actually
inside a huge, old, brick power station. And MoMA is interesting as it's in downtown New York. Interviewer: And who visits these galleries? What's the profile of the average art lover?
Kathy: Well, in the past museums and galleries were seen as appealing to the older generation. But in fact, 48 per cent of visitors to the Tate Modern are under 35 …
《蒙娜丽莎》是世界上最著名的画作，即使在它的时代，也确实具有革命性。

当他在画蒙娜丽莎时，达芬奇打破了所有的规则，甚至他自己的规则。

尽管莱昂纳多和其他算术家认为，女性形象的塑造只应使眼睛稍微向下凝视。

列奥多画的蒙娜丽莎直接看着观众。

她身体的位置是另一个创新。

当她的脸直视前方时，她的身体轻微地转动，这一姿势创造了一种运动感和紧张感。

另一个打破传统的是，蒙娜丽莎没有佩戴任何珠宝或崇拜品。

最后，肖像画中的背景通常表示一个真实的地方，但列奥纳多肖像中的风景似乎几乎是虚构的。

A：我喜欢做的一件事是，嗯，想想她的脸，为什么，她在尝试什么，为什么，她想用她的脸说什么，我过去认为她的脸讲了不止一个故事。

例如，如果我遮住她脸的一侧，她可能会有点悲伤，或者被割下，几乎是神秘的。

S：她的眼睛是，他们在看着我们或我们周围，也许是通过我们。

我认为在那幅画里，她是观者，我们在某种程度上是主体。

她有一副我们不知道的样子。

A：然后当我把那一边遮起来看着另一边时，她看起来更快乐，嗯，更满足。

和她在一起，它创造了关于她的某种神秘，嗯，使解释她的脸非常神秘。

S：有人猜测蒙娜丽莎是列奥纳多和我的自画像，我相信在那里，在那里，在蒙娜丽莎和列奥纳多的素描之间，这些特征是一致的。

斯科特·麦克马洪和安妮·普法夫都是肖像画家。

他们相信肖像可以讲述一个故事，让人们思考，就像蒙娜丽莎多年来所做的那样。

A：当我年轻的时候，嗯，我总是对，嗯，阅读关于人的书籍，以及他们之间的动态，不同类型的关系感兴趣，所以当我成为一名画家时，我很自然地对绘画诗歌感兴趣，并寻找类似的故事来讲述他们，你可以在书中读到。

S：呃，我的大部分作品都是摄影自画像。

嗯，我很想把自己作为主题，嗯，不仅作为图像的创造者，而且作为图像的角色或表演者。

所以在我的肖像中，我试图捕捉，嗯，一个人更深层次的本质，嗯，或多或少。

这项工作是用针孔相机完成的，这需要很长的曝光时间，所以，用肖像你可以得到这种时间流逝的感觉。

这不是一个，也不是一瞬间，就其本身而言，可能是五分钟的曝光时间。

A：所以这是我正在做的另一个项目。

我差不多写完了，但在写完之前，我还需要研究水里的倒影，嗯，还有男孩的脸。

S：我经常用倍数画，你知道，用一面镜子或同一张画两次，我想做的是把这两幅肖像和线连在一起。

这是一系列的思考，或者是记忆的想法，或者是记忆的弹性。

A：我不只是用照片作画。

我试着做一件艺术品。

嗯，我试着画出一幅超越单纯摄影影像的画。

我试着捕捉这个人的灵魂或本质。

S：这一块，呃，它被称为腐朽的度量，在这一块后面，还有我的肖像，我有一个粘土覆盖层，上面已经开裂了，所以，它有点像腐朽的过程。

所以当每幅肖像画绕着你转的时候，你可以看到不同焦点的图像。

我喜欢画肖像画。