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来源:中华互动    发布时间:2019年08月26日 16:22:09    编辑:admin         

A best man from central China whose iPhone was stolen after a stag night was “stunned” when the thief posted him a handwritten list of more than 1,000 contacts stored on the device.在中国中部的一个城市,一个小伙子在参加单身派对时iPhone被偷了,但使他“震惊”的是,小偷居然把他电话里存的1000多个联系人的号码全部手抄了一遍,然后给他寄了回去。Zou Bin, a barman from Changsha, the capital of Hunan province, told local media he had been commemorating his best friend’s wedding on November 14 in the nearby city of Yiyang.邹彬是湖南省省会长沙的一个酒保,他对当地媒体说,11月14日那天,他是在靠近长沙的益阳市参加自己挚友的婚礼。Mr Zou, whose age was not given, said he had lost his mobile phone the following day after passing in out in an illegal taxi that was taking him and three other bleary-eyed strangers home.邹先生并未透露其年龄,称他是在回家后的第二天丢失手机的。他说,那天他是和其他三个睡眼朦胧的陌生人一起搭的“黑车”回家的。Furious that he had lost not only his iPhone but also more than 1,000 work-related contacts, Mr Zou borrowed a friend’s mobile phone and began bombarding his own number with threatening text messages.邹先生感到非常愤怒的不仅仅是因为他丢了自己的iPhone手机,更重要的是手机里存了1000多个工作上的联系人号码。邹先生借用了朋友的手机,开始对自己原先的号码进行威胁短信的狂轰滥炸。“You can be sure that I will find you,” he vowed. “Just have a look through my contacts and you will see who I am. If you are clever, you will send the mobile back to the following address…”“你要知道我肯定会找到你的,” 他发誓称。“只要你看看我的联系人就知道我是谁了。如果你稍微聪明点,就把手机寄到下面的地址……”Mr Zou told Hunan’s Xiaoxiao Morning Herald he had been “bluffing” and had not expected to recover the iPhone 4, which is worth around £270 in China, or its contents.邹先生告诉湖南《潇湘晨报》,他一直是在“吓唬小偷”,实际上也不指望自己的iPhone 4 能回来。在中国,这样一部手机大概值270英镑(约合人民币2658元)。So he was “stupefied” when, just four days later, a parcel was couriered to his front door. There was no sign of the iPhone inside but the package did contain 11 pieces of paper containing each and every telephone number and email that had been stored on the stolen device.然而使他颇为“震惊”的是,仅仅四天后快递公司送货上门了。包裹里装的不是邹先生的iPhone,而是11张纸,纸上满满写着被盗手机里存储的所有人的电话号码和电子邮箱。“All of the numbers were handwritten,” said Mr Zou. “It would take a long time simply to write the numbers 1 to 1,000 let alone all those names and telephone numbers. It must have given him a swollen hand.”“所有的数字都是手抄的,” 邹先生说,“仅仅从数字1写到1000就要蛮长时间了,更不用说手机里的所有名字和电话号码了。他肯定抄得手都肿了。”Two clear morals emerged from his story, a relieved Mr Zou told journalists.邹先生告诉记者,从他的亲身经历中他看清了两点。“Don’t just give up if you lose your phone – sometimes bluffing works,” he said. “But it is also best to save your contacts to your SIM card so you spare the thief some writing.”“如果手机丢了不能就此放弃,有时候吓唬吓唬小偷还是有用的,”邹先生说。“但如果你要给小偷省点儿工作量,最好还是把联系人存进SIM卡里。” /201311/266358。

Looking like a tourist can cost you money and pride.如果看起来像个游客,会让你又花钱又伤自尊。Looking like a local can open you up to even greater harassment.而看起来像本地人可能会带给你更多的烦恼。Read our survivor#39;s guide, split the difference and come away with your upper lip intact.阅读一下我们的生存指南,寻找一种折中的方式,让你在游玩时不再沉默。1. Getting around出行Travel around the UK is relatively simple.在英国旅行相对来说还是比较简单的。Yes, they drive on the left, but don#39;t be daunted. Most roads are so narrow that it doesn#39;t make any difference which side you#39;re on.没错,他们靠左行驶,但别被吓到。大部分的道路都很狭窄,你靠哪边都没什么分别。Be prepared when driving distances of more than 20 miles.当你的驾驶距离超过20英里时,要做好准备。Britain has an extensive and efficient rail network, which only ever grinds to a halt when the weather turns hot, cold, wet or dry.英国有着广阔而且高效的铁路网络,只是在天气变热、变冷、变得湿润或干燥时才会停摆。Tickets are expensive but you can find cheap fares by booking eight or nine years in advance of travel.车票很贵,但如果你提前个八、九年预订,还是有廉价票的。2. Climate气候There are warm days in the UK, but you know you#39;re in a damp country when the merest hint of sunshine is front page news.英国也有温暖的日子,但你要明白你是在一个潮湿的国家,哪怕有一丁点出太阳的迹象也是头条新闻。Britain has four seasons, and while the transitions between them can be pleasant, each is typically as wet, gray and cold as the last.英国有四季,虽然四季交替时比较舒适,但每一季都很分明:潮湿、灰暗、寒冷。All are considered by Brits to be ;ice cream weather.;英国人看来这四季都是“冰淇淋天气”。Whatever the climate throws at you, be prepared for endless conversations about it.不论你遇到怎样的天气,都要准备面对关于天气无休止的讨论。These needn#39;t be dull since, like Eskimos with snow, Brits have a impressive lexicon for rain.这也不会很无聊,因为就好像爱斯基人有许多关于“雪”的词汇一样,关于“雨” 英国人也有许多说法。If you hear the word ;mizzle,; it probably means a light shower. Or maybe a low quality Snoop Dogg track.如果你听到“mizzle”这个词,意思应该是小雨。不过也可能是一张低音质的Snoop Dogg(美国歌手)的唱片。3. Royalty皇室Don#39;t be duped by Downton Abbey. Britain has come a long way since the days when ordinary folk were awestruck by aristocracy.别被《唐顿庄园》骗了。英国早已不再是那个普通民众都要对贵族肃然起敬的时代了。This is a modern country where all are born equal and social rewards are based on merit.这是一个现代国家,人们生来平等,社会报酬基于功绩来分配。This is why few British people bothered turning up when a blue-blooded chap married his sweetheart in 2011.这就是为什么,2011年当一个纯种贵族血统的小伙子娶了他的心上人时,基本没什么英国人愿意出场。It#39;s why barely anyone noticed when she gave birth a couple of years later.这就是为什么几年后当她生下孩子时几乎没有人注意到。And it#39;s also why no one batted an eyelid when his flame-haired brother got naked in Vegas.这也是为什么当他火红头发的弟弟在维加斯全裸时,都没有人惊讶得眨眼睛。OK, none of that is true. British people are as in thrall to their royal family as you are.好吧,这些都是假的。英国人和你一样,被他们的皇室家庭所束缚着。And they#39;re willing to sell you a Wills #39;n#39; Kate souvenir tea towel with matching oven mitts to prove it.他们很乐意卖给你一块威廉王子和凯特王妃的纪念茶巾并配上相称的隔热手套,这足以明这一点。4. History历史Britain has so many ancient attractions, it#39;s hard to know where to start.英国有太多的古迹,不知道该从哪儿开始说起。And if you do manage to visit all the sites of historical interest, archeologists will simply dig up the bones of another 15th-century king from under a parking lot, just to annoy you.如果你真的游遍了所有的历史名胜,考古学家会从停车场地下随便挖出一个15世纪国王的骨头,纯粹是为了惹你生气。But since some Brits are only aware of two key dates -- a French invasion in 1066 and an England soccer World Cup victory 900 years later -- you don#39;t need to try too hard to catch up.不过由于部分英国人只清楚两个重要日期:一个法国人在1066年的入侵和900年后英国赢得世界杯足球赛,你没必要努力参观那么多古迹。Try visiting the northern city of York, where you can wallow in 2,000 years of British history in one location.可以去参观北部城市约克,在这一个地方你就可以体会2000年的英国历史。Or Bath, where you can do the same and also wallow in a nice thermal bath.或者去巴斯,这里不但可以体会到同样的历史,还可以洗个舒的温泉。5. Tea茶叶There may be coffee shops on every UK street corner, but Britain is resolutely a tea-drinking nation.也许在英国每条街的拐角都有咖啡店,但英国绝对是个饮茶的国家。Vast lakes of insipid infusions are consumed on a daily basis.英国人每天都要消耗掉几个湖泊的水量。Visitors will note the almost mandatory provision of a miniscule electric jug, or kettle, in every hotel room.游客们会发现,每个酒店房间都有一个小型电热水壶或茶壶,这几乎是一项强制规定。It will take four hours to boil half a cup, but for many Brits this is an essential lifeline. There isn#39;t any crisis they believe can#39;t be solved with a nice cup of tea, and perhaps a biscuit.煮半杯茶要四个小时,但对于大多数英国人来说这是必备的生命线。在他们看来,喝着一杯美滋滋的茶,也许再配上一块饼干,就没有解决不了的危机。When preparing tea, there are rituals to be observed. Use boiling water and, if you must resort to tea bags, always add the milk last.准备茶水时,还有固定的程序。要用烧开的水,如果你一定要用茶包的话,最后再加牛奶。Failure to do so will result in such distress that it may take another cup of tea to calm everyone down again.如果没做到这些,会让你感觉不舒,也许需要再喝一杯茶来安慰大家。6. Language语言If in doubt, mimic the body language.如果有疑问,请模仿肢体语言。Even if you#39;re fluent in English, you may experience linguistic difficulties in the UK.即使你英语流利,在英国也许还是会遇到语言困难。Regional dialects vary extensively in the space of a few miles, resulting in bafflement even among locals.相隔几英里的地方,方言就可能大不同,即使本地人也会感到迷惑。If you can#39;t understand what a British person is saying, it#39;s fairly safe to assume it#39;s either a). something about the weather (see climate above), or b). an apology.如果你听不懂一个英国人在说什么,你可以放心做出两种假设,A,在谈论天气(参见之前的天气部分);B,在道歉。British people love apologizing: they#39;re sorry to trouble you, sorry they can#39;t be more helpful, sorry about the rain and sorry about invading your country in 1762, or whenever it was.英国人喜欢道歉:他们很抱歉麻烦你,很抱歉不能帮你,很抱歉下雨了,很抱歉在1762年入侵了你的国家,总之任何时候都在道歉。They also love apologizing when it#39;s not even their fault: they#39;re sorry that you bumped into them, sorry you knocked them to the floor and sorry that you are repeatedly thwacking them over the head and telling them to stop apologizing.哪怕不是自己犯的错,他们也喜欢道歉:你碰到了他们,他们会道歉;你撞倒了他们,他们会道歉;你不停地拍他们的头让他们别道歉了,他们还是会道歉。Be warned though, it#39;s contagious.不过要小心,这是会传染的。7. Cuisine菜肴Britain#39;s bland national diet has been revolutionized by South Asian migrants whose spicy concoctions are now firm favorites sold on every high street.来自南亚的移民们给乏味的英国菜带来了革命,他们混合辣味的菜肴正在每条主要街道上热卖。Meanwhile, pubs that once nourished customers with despondent sandwiches are now studded with Michelin stars.同时,那些曾经只提供令人失望的三明治的酒吧,现在也有米其林星级认了。But don#39;t be fooled.不过别上当。They might pretend to love fine dining, but when on the hoof, many Brits still prefer to fill their faces with offal and saturated fat.他们也许假装喜欢正式的餐厅,但只要还活着,许多英国人依然更偏爱垃圾食品和饱和脂肪。Few journeys are made within the ed Kingdom that aren#39;t catered with sausage rolls, Cornish pasties and Scotch eggs.在英国境内的旅行,几乎都伴随着腊肠卷、康沃尔郡菜肉烘饼和苏格兰式煎蛋。Visitors troubled by the sight of greasy meat should also be warned of three words that will strike fear -- if not full-blown cardiovascular seizures -- into their hearts: Full. English. Breakfast.那些因为油腻的肉而烦恼的游客还要小心三个让你心生恐惧的词(如果没有心血管痉挛的话):吃饱、英语、早餐。8. Television电视Be sure to take time out from your travels to sample a few hours of British television, but seek not the polished period dramas that are easily exported to other countries.一定要从你的旅行里抽出一些时间,看几个小时的英国电视,但不要选那些制作精良、容易被他国引进的历史剧。Where British TV excels is in its celebration of the lives of ordinary, dare we say boring, citizens.让英国电视脱颖而出的是它对普通人生活的歌颂。The UK#39;s three most popular soaps focus not on the beautiful or the damned, but on normal folk engaged in humdrum tasks like buying cheese, arguing about pottery or tending to their farms.英国三部最受欢迎的肥皂剧关注的不是美好或丑恶,而是忙于单调任务的普通人。他们购买奶酪,争论陶器制造工艺,或者关注自己的农场。 /201312/268206。

How many revolutions in history have been “successful”? How many have delivered lasting and stable political change? These are interesting intellectual questions, which are provoking new debate inside America#39;s security and foreign policy apparatus, particularly when looking at the Middle East.历史上有多少革命是“成功的”?有多少场革命带来了长久而稳定的政治新格局?这两个有趣的学术问题,正在美国国防与外交部门内引发新的辩论,尤其是就中东问题而言。Two years ago, when tumultuous change swept across the region, it was common to refer to events as the “Arab spring”. The sight of young crowds congregating in the streets of Cairo or Tunis seemed inspiring. It was easy for us all to cheer or at least post a message of support on Twitter or Facebook.两年前,剧变席卷中东时,人们通常称其为“阿拉伯之春”。当时,在开罗或突尼斯,一群群年轻人走上街头,那情景看上去激动人心。那时,我们大家很容易欢呼事件的发生,或至少在Twitter或Facebook上发条信息、以示持。These days, some key US leaders have quietly made a subtle linguistic shift. Instead of talking about the “Arab spring”, they are discussing the “Arab revolution(s)”. And while that “r” word might sound hopeful too, there is a crucial catch. “If you look at revolutions in history - say, the American, Russian, French, Chinese or Cuban - there is perhaps only one that turned out well: America,” a Washington grandee declared to a high-powered group of business leaders and policy officials earlier this month in Aspen. Thus, if the “normal” course of history plays out, he added, then “we had better be planning for a generation of turmoil and unrest”. Far from being an aberration, in other words, the current mess in Egypt or Syria will come to seem like the tragic norm - or so this new “revolution” argument goes.如今,美国一些关键领导人物悄悄地改了口。他们不再说“阿拉伯之春”,而开始说“阿拉伯革命”。虽然“革命”一词听起来也充满希望,但有一个重大隐患。上月初在阿斯彭(Aspen),华盛顿一名显要人物面对一群位高权重的商界领袖和政策官员宣称:“如果你回顾一下史上历次革命,比如,美国、俄罗斯、法国、中国和古巴的革命,你会发现结局不错的或许只有一场,那就是美国革命。”因此,他补充道,如果情况按照“正常”的历史进程发展,那么“我们最好计划一下如何应对未来一代人时间里的混乱和动荡”。换句话说,埃及或叙利亚当前的混乱远非异常现象,而似乎是一种悲哀的正常现象。至少,这种新的“革命”论是这样认为的。Some non-Americans might find this vision of history objectionably slanted. For one thing, America#39;s “revolution” did not immediately produce an entirely stable and peaceful democracy. Instead, it eventually delivered a very violent civil war. And some revolutions beyond US soil have produced much better outcomes than the cynics expected, if not always entirely peacefully. The collapse of the Berlin Wall did not deliver mass bloodshed in eastern Europe. The Baltic states broke free from Russia without too much dramatic upheaval (a development I remember only too well, since I started my career as a journalist writing about those Baltic revolutions and found the lack of cataclysmic drama frustrating). And if you want another reminder that history can sometimes deliver pleasant surprises, take a look at the brilliant new biopic of Nelson Mandela being released in the UK in January: as it shows, the “revolution” that took place in South Africa was almost as extraordinary as anything that occurred inAmerica. 在美国以外其他国家的人看来,这种历史观或许有失偏颇、令人反感。一方面,美国“革命”并未马上产生一个完全稳定、和平的民主制国家。相反,美国革命后来带来了一场极其暴力的内战。而美国之外的某些革命,即便过程不总是完全和平,其结果也大大好于怀疑者的预期。柏林墙(Berlin Wall)的倒塌并未导致东欧发生大规模流血冲突。波罗的海国家脱离俄罗斯,也没有引发太剧烈的动荡(我清楚地记得这件事,因为我的记者生涯就始于报道波罗的海革命,而革命过程的平淡无奇让我很郁闷)。如果你还不相信历史有时会产生让人惊喜的结果,那你可以看看英国今年1月新推出的一部关于纳尔逊?曼德拉(Nelson Mandela)的精纪录片。影片表明,南非的“革命”跟美国革命一样了不起。But irrespective of what you think about individual revolutions, it is crystal clear that the new “r” word poses big problems for America#39;s establishment, particularly in the Middle East. What has been overlooked during the recent drama over the debt ceiling is that fiscal policy is not the only question splitting the nation: the political world is now also deeply divided about what it should do about foreign policy - and those revolutions-cum-springs.但不管你怎么看待个别革命,新的“革命”一词明显对美国当局构成了重大问题,尤其是在中东地区。在最近的美国债务上限风波中,人们忽视了这样一个问题:财政政策不是唯一分裂美国的问题。在如何处理外交政策、以及阿拉伯革命(或曰阿拉伯之春)的问题上,美国政界如今也存在严重分歧。The debate at Aspen, which featured numerous former and present foreign policy players, illustrated this split. One chunk of the establishment feels strongly that America needs to intervene more forcefully in the Middle East, not just for humanitarian reasons but also to protect the aspirations of people wanting a “revolution” against despotic regimes - and to prevent extreme versions of Islam gaining ground. But other parts of the establishment feel equally strongly that it would be madness to get involved - that this would probably make things worse, particularly given the sorry, messy history of revolutions. “The American public is overwhelmed with globalisation, they are war weary,” complained one former military leader.在阿斯彭,无数昔日和当今外交政策决策者的辩论凸显出这种分歧。当权者中有一派非常肯定地认为,美国必须加大对中东地区的干预力度,不仅仅是出于人道主义,还是为了保护人们想要揭竿而起、推翻暴政的愿望,以及为了防止伊斯兰极端势力得势。但当权者中另一派则同样肯定地认为,疯子才会去掺和中东问题——干预只会让局势变得更糟,尤其是有鉴于革命往往难逃悲剧和一团糟的结局。一名前军方领袖不满地说:“美国公众已经被全球化搞得焦头烂额,他们对战争感到厌烦。”Indeed, the only thing upon which everyone agrees is that the current fiscal fights make the policy options far worse by undercutting US economic power, military muscle and credibility. Or as one policy grandee thundered: “The biggest threat to national security today is not what is happening elsewhere [say, the Middle East] but in the two square miles in Washington.”确实,唯一得到每个人认同的一点是,当前围绕财政预算的争斗削弱了美国经济和军事实力、损害了美国的信誉,从而导致美国面临的政策选择形势大大恶化。或如一位政界大佬怒吼的那样:“眼下美国国家安全面临的最大威胁,不是正在别处发生的事情,而是正在华盛顿的两平方英里内发生的事情。”Such battles are not entirely new. In the 18th century, founding fathers such as Alexander Hamilton and Thomas Jefferson argued bitterly about whether to support the French revolution. But when Jefferson was worrying about Paris, America was a minor player on the world stage. Today, it is not. Either way, the key point is this: the next time an American politician talks or tweets about the Middle East, watch if that “s” word - “spring” - crops up or if the controversial “r” word appears instead. Subtle semantic shifts can matter deeply - particularly when they are barely noticed at all.这样的争斗并不新鲜。18世纪,亚历山大?汉密尔顿(Alexander Hamilton)和托马斯?杰斐逊(Thomas Jefferson)等美国的开国之父,曾就是否应持法国大革命展开激辩。但在杰斐逊操心巴黎的事情时,美国还只是世界舞台上的小角色。如今的美国,与那时大不相同。无论如何,问题的关键在于:下一次哪位美国政界人士谈论中东(或在Twitter上发有关中东的消息)时,留心观察他用的是阿拉伯之“春”、还是有争议性的“革命”一词。微妙的用词变化可能具有深远意义,尤其是在这种变化几乎完全无人注意到的时候。 /201311/263915。

It is hard to overstate the impact Ming Cho Lee has had on the world of theater design.你怎么称赞李名觉对戏剧设计界的影响都不为过。Michael Yeargan, a student of Mr. Lee#39;s at the Yale School of Drama in 1969 and now co-chairman of the drama school#39;s design department, recognized that at the 2005 Tony Awards ceremonies, where Mr. Yeargan was honored for set design.迈克尔·耶尔根(Michael Yeargan)2005年参加托尼奖颁奖典礼领取舞台设计奖时意识到了这一点。1969年耶尔根在耶鲁大学戏剧学院就读时师从李名觉,现在是该戏剧学院设计系的联合系主任。;When I went backstage and looked around me,; he recalled, he noticed that five of the six Tony winners standing there had studied with Mr. Lee. ;I suddenly realized what an influence he had on all of us.;他回忆说,“我走到后台,看着周围的人”,注意到站在那里的六位托尼奖获得者中有五位曾师从李名觉,“我突然意识到他对我们所有人的影响有多大”。The schools of drama and architecture at Yale are staging a retrospective exhibition honoring Mr. Lee, who has been a member of the drama school faculty for more than four decades.耶鲁大学戏剧学院和建筑学院正在举办李名觉回顾展。李名觉已在戏剧学院任教40多年。;Stage Designs by Ming Cho Lee,; on display at the Yale School of Architecture in New Haven through Feb. 1, features more than 90 models, sketches and photographic reproductions for more than 60 theater, dance and opera productions by Mr. Lee, who received a special Tony Award for lifetime achievement last year and a National Medal of Arts in 2002.“李名觉舞台设计展”(Stage Designs by Ming Cho Lee)在纽黑文市的耶鲁大学建筑学院举行,持续到2月1日,展出李名觉为60多部戏剧、舞蹈剧和歌剧设计的90多件作品,包括模型、草图和逼真的复制品。李名觉去年获得了托尼奖终身成就奖,2002年获得了国家艺术奖章。Arnold Aronson, a professor of theater at Columbia University who wrote the introductory wall text and publication for the Yale exhibition and who is writing a book on Mr. Lee that will be published this year, said Mr. Lee had trained more set designers than anyone else.展览简介墙和出版物上的文字是由哥伦比亚大学戏剧教授阿诺德·亚伦森(Arnold Aronson)撰写的。他正在写一本关于李名觉的书,该书将于今年出版。他说李名觉培养的舞台设计师比其他任何人都多。;And his influence goes beyond set design,; Dr. Aronson said. ;Costume and lighting designers, playwrights, directors, architects, artists have taken his classes. His aesthetic and ideology have seeped into the very fabric of American theater.;“他的影响力超越了舞台设计,”亚伦森士说,“装和灯光设计师、剧作家、导演、建筑师和艺术家都上过他的课。他的审美观和思想方式已经渗入了美国戏剧的构造中。”Mr. Lee, who has also taught at New York University and has held classes and workshops around the world, is not passing along a particular style of design, Dr. Aronson added. Instead he offers ;an approach, a commitment to the idea that art has the possibility of changing the world, that art must make a statement.;李名觉也在纽约大学教书,还在世界各地开过讲习班。亚伦森士补充说,他不是传授某一种设计风格,而是提供“一种方法,传递一种信念——艺术具有改变世界的可能,艺术应该表达立场”。Born in Shanghai in 1930, Mr. Lee studied landscape painting as a teenager, which, he said in a recent interview, had taught him ;not to use much color; and ;gave me a real foundation for watercolor.; These studies, he added, also showed him how to be ;real without being realistic.;李名觉1930年出生在上海,十几岁的时候学过风景画。他在最近的一次采访中说,学习风景画让他明白“不要使用太多色”,“为我学水画奠定了扎实的基础。”他补充说,这也让他知道如何“具有真实感而不照搬现实”。When he entered Occidental College in Los Angeles in 1949 with little command of English, he could not understand his first lecture, and decided, he said, ;to take every drawing class I could get my hands on.; In them, he said, ;I would get A#39;s, which balanced the D#39;s I got in freshman English. They saved my life.;1949年他进入洛杉矶西方学院学习时,几乎不会说英语,第一节课完全听不懂,所以他决定“去上能上的所有绘画课”。他说,这些课“我能得到A,它们能平衡我在大一英语课上得的D。它们救了我的命。”Mr. Lee moved to New York in 1954 and worked for Jo Mielziner, the designer of sets for plays including ;The Glass Menagerie,; ;Death of a Salesman; and ;Carousel.;1954年,李名觉搬到纽约,为乔·梅尔齐纳(Jo Mielziner)工作。梅尔齐纳是很多戏剧的舞台设计师,包括《玻璃动物园》(The Glass Menagerie)、《推销员之死》(Death of a Salesman)和《旋转木马》(Carousel)。Mr. Lee also worked with the set designer Boris Aronson (no relation to Arnold Aronson), who Dr. Aronson said introduced nonobjective art movements into the American theater, providing ;an important counterpoint to the poetic realism of Mielziner.;李名觉还跟舞台设计师鲍里斯·亚伦森(Boris Aronson,与阿诺德·亚伦森没有关系)合作过。亚伦森士说鲍里斯·亚伦森把抽象艺术运动带入了美国戏剧界,提供了“一种与梅尔齐纳的诗意现实主义相反的重要方法”。;For Boris, Lee has said, designing for the theater was not just a question of design but of the play#39;s relationship to history, society, politics, religion — to life itself,; Dr. Aronson said.“李名觉曾说过,对鲍里斯来说,戏剧设计不只是设计的问题,而是这部戏剧与历史、社会、政治、宗教以及生活本身的关系,”亚伦森士说。The Yale exhibition, which was organized by the New York Public Library for the Performing Arts and based on three earlier exhibitions, traces these influences and experiences, largely through some 65 models made by Mr. Lee for sets.耶鲁大学的展览是纽约公共图书馆为表演艺术组织的展览,它以之前的三次展览为基础,主要通过李明觉为布景创作的约65个模型来追踪这些影响力和经历。From 1962 to 1973, Mr. Lee was the principal designer for what is today the Public Theater#39;s Shakespeare in the Park program at Central Park#39;s Delacorte Theater. He also designed sets for the Metropolitan Opera, Royal Opera House at Covent Garden, Martha Graham Dance Company, regional theaters like the Arena Stage in Washington and the Mark Taper Forum in Los Angeles, and many others.从1962年到1973年,李名觉是如今的公共剧团在中央公园戴拉寇特剧院举办的“公园中的莎士比亚”(Shakespeare in the Park)项目的主要设计师。他还为其他很多剧院设计过布景,比如大都会剧院、科文特花园的皇家歌剧院、玛莎·葛兰姆现代舞团,以及一些地方剧院,比如华盛顿的阿瑞娜剧场和洛杉矶的马克·塔佩剧场。The models are mostly one-eighth-inch-scale and one-quarter-inch-scale and some half-inch-scale models of sets, in full color, not only containing scenery, but often lights, actors and audiences.这些模型大多是1/8英寸或1/4英寸,有些是1/2英寸,全色,不仅包括布景,还包括灯光、演员和观众。Among the most important, Mr. Lee said, is the model for ;Electra,; a 1964 Public Theater production at the Delacorte Theater. The model has three stone sculptural pieces on a metal framework that represent the walls of a courtyard.李名觉说,其中最重要的一个是为《厄勒克特拉》(Electra)制作的模型。该剧是公共剧团1964年在戴拉寇特剧院上演的戏剧。这个模型有三个石雕,镶嵌在一个代表院墙的金属框架上。This set was the first with ;a completely nonliteral abstract design, though at the same time it was real, an emblem, an icon,; Mr. Lee said. ;It wasn#39;t an illustration of a place, it was the pure expression of the play.;李名觉说,这个布景是第一个“完全非写实的抽象设计,虽然它同时也具有真实感,但它是一个象征,一个标志”,“它不是对一个地方的描绘,而纯粹是对这出戏的表达。”Similarly, his designs for two sets from the Metropolitan Opera#39;s 1973 production of ;Boris Godunov; feature multiple religious icons as well as what he called ;fairly real sculptural pieces; that represent a cathedral wall and a stone wall.同样的,他为大都会歌剧院1973年的《鲍里斯·戈都诺夫》(Boris Godunov)设计的两个布景也含有很多宗教标志以及他称之为“非常真实的雕塑”,这些雕塑代表大教堂的一面墙和一面石头墙。Mr. Lee said more recent models for the two parts of ;Angels in America,; produced at the Dallas Theater Center in 1996, ;are very different from ‘Electra.#39; I#39;m no longer interested in making things abstract, I#39;m using super-realism.;李名觉说为1996年在达拉斯戏剧中心上演的分两部分的“《美国天使》(Angels in America)设计的模型”与“《厄勒克特拉》很不一样”。“我对制作抽象的东西不再有兴趣了,我用的是超现实主义风格。”In Part 1, the rear wall of the set#39;s great hall contains light switches and various medical controls, representing a hospital, while it is also painted with a blue sky and white clouds; this design thus combines multiple locations and images into one. The set for Part 2 is what Mr. Lee described as a ;pretty abstract; East Village tenement, painted a ;dirty blue; that could represent heaven.在第一部分中,布景中大厅的后围墙上有电灯开关和各种医疗控制装置,代表一个医院,不过上面还画着蓝天白云,这样的设计能把多个地点和场景融合在一起。为第二部分设计的布景是李明觉所说的“非常抽象的”东村住宅,它是“深蓝色”的,可以代表天堂。The exhibition also brings Mr. Lee#39;s career full circle: Beside theatrical models, it also contains 24 of his watercolors, painted from 1949 to 2007; none has been shown before. These include 1950s scenes of Los Angeles and New York and lyrical, almost abstract seascapes of Bar Harbor, Me., from 2007.此次展览还全面展示了李名觉的艺术生涯:除了戏剧模型,还包括24幅他从1949年到2007年绘制的水画,这些水画之前从未展示过。其中包括20世纪50年代洛杉矶和纽约的场景以及2007年缅因州巴尔港的抽象海景。;I#39;ve devoted a good part of my life to teaching at Yale, and when they said, ‘Let#39;s do a retrospective at Yale,#39; I welcomed it,; he said, adding he hoped the exhibition would help visitors better understand set design, which he called ;neither fish nor fowl.;他说,“我大半生都在耶鲁大学任教,所以当他们说‘我们在耶鲁办个回顾展吧#39;时,我欣然同意。”他又补充道,希望这次展览能帮助观众更好地理解“不伦不类的”舞台设计。 /201409/331677。