2014年職稱英語(綜合類)教材閱讀判斷文章及譯文11

　　綜合類-閱讀判斷　　

　Stage Fright

　　Fall down as you come onstage. That's an odd trick. Not recommended. But it saved the pianist Vladimir Felts man when he was a teenager back in Moscow. The veteran cellist Mstislav

　　Rostropovich tripped him purposely to cure him of pre-performance panic, 2 Mr. Felts man said," All my fright was gone. I already fell. What else could happen?"

　　Today, music schools are addressing the problem of anxiety in classes that deal with performance techniques and career preparation. There are a variety of strategies that musicians can learn to fight stage fright and its symptoms : icy fingers, shaky limbs, racing heart, blank mind.

　　Teachers and psychologists offer wide-ranging advice, from basics like learning pieces, inside out,to mental discipline, such as visualizing a performance and taking steps to relax. Don t deny that your're jittery, they urge; some excitement is natural, even necessary for dynamic playing. And play in public often, simply for the experience.

　　Psychotherapist Diane Nichols suggests some strategies for the moments before performance ,Take two deep abdominal breaths, open up your shoulders, then smile," she says. "And not one of “these' please don't kill me' smiles. Then choose three friendly faces in the audience, people you would communicate with and make music to, and make eye contact with them. " She doesn't want to think of the audience as a judge.

　　Extreme demands by mentors or parents are often at the root of stage fright, says Dorothy Delay, a well-known violin teacher. She tells other teachers to demand only what their students are able to achieve.

　　When Lynn Harrell was 20,he became the principal cellist of the Cleverl and Orchestra, and he suffered extreme stage fright. "There were times when I got so nervous I was sure the audience could see my chest responding to the throbbing. It was just total panic. I came to a point where I thought, If I have to go through this to play music, I think I'm going to look for another job. "

　　Recovery, he said, involved developing humility-recognizing that whatever his talent, he was fallible, and that an imperfect concert was not a disaster.

　　It is not only young artists who suffer, of course. The legendary pianist Vladimir Horowitz's nerves were famous. The great tenor Franco Corelli is another example. "They had to push him on stage," Soprano Renata Scotto recalled.

　　Actually, success can make things worse. "In the beginning of your career, when you're scared to death, nobody knows who you are, and they don't, have any expectations," Soprano June Anderson said. "There' s less to lose. Later on, when you re known, people are coming to see you, and they have certain expectations. You have a lot to lose. "Anderson added, "I never stop being nervous until I've sung my last note. "

　　注釋：

　　1.Stage Fright：舞臺恐懼

　　2.The veteran cellist Mstislav Rostropovich tripped him purposely to cure him of pre―performance panic…資深大提琴家Mstislav Rostropovich故意把Vladimir Feltsman絆倒，因而治愈了他的上臺前的恐懼癥。cure somebody of something(illness，problem)：醫(yī)治好病(解決問題)

　　3….its symptoms：icy fingers，shaky limbs，racing heart，blank mind：舞臺恐懼的癥狀有手冰涼、身體顫抖、心跳加快和大腦一片空白。

　　4.Teachers and psychologists offer wide―ranging advice.from basics like learning pieces inside out…：老師和心理學家提出了方方面面的建議，一些基礎(chǔ)知識，比如將演奏曲目爛熟于心……inside out：in great detail詳細地，從里到外地

　　5.I came to a point where I thought，“If I have to go through this to play music，I think l’m going to look for another job.”我曾經(jīng)一度認為，如果搞音樂就必須經(jīng)過克服舞臺恐懼這一關(guān)的話，這項工作不能做。

　　6.Recovery，he said，involved developing humility―recognizing that whatever his talent，he was fallible，and that an imperfect concert was not a disaster.不舞臺恐懼意味著提高謙卑感，即認識到不管你多有才，你也會出錯;一個有瑕疵的音樂會也絕對不是世界末日。

　　練習：

　　1. Falling down onstage was not a good way for Vladimir Feltsman to deal with his stage fright.

　　A Right

　　B Wrong

　　C Not mentioned

　　2. There are many signs of stage fright.

　　A Right

　　B Wrong

　　C Not mentioned

　　3. Teachers and psychologists cannot help people with extreme .stage fright.

　　A Right

　　B Wrong

　　C Not mentioned

　　4: To perform well on stage, you need to have some feelings of excitement.

　　A Right

　　B Wrong

　　C Not mentioned

　　5. If you have stage fright, it's helpful to have friendly audience.

　　A Right

　　B Wrong

　　C Not mentioned

　　6. Often people have stage fright because parents or teachers expect too much of them.

　　A Right

　　B Wrong

　　C Not mentioned

　　7. Famous musicians never suffer from stage fright.

　　A Right

　　B Wrong

　　C Not mentioned

　　答案與題解：

　　1.B本文第一段講的是鋼琴家Vladimir Feltsman被Mstislav Rostropovich絆倒后，他的舞臺恐懼被治愈了的故事。

　　2.A第二段的最后一句點出舞臺恐懼的諸多癥狀為手冰涼、身體顫抖、心跳加快和大腦一片空白。

　　3.B本文的第三、四、五、六段都在講老師和心理學家為舞臺恐懼者提供全方位的建議。

　　4.A 依據(jù)第三段的倒數(shù)第二句：some excitement is natural。even necessary for dynamic playing.(表演中激情是自然甚至是必要的)

　　5.c第四段提到克服舞臺恐懼的方法之一是：在觀眾中選擇三位友好的面孔，與他們用眼光交流。所以克服舞臺恐懼要靠自己而不是指望所有的觀眾都友好。

　　6.A第五段講了舞臺恐懼的根源在于指導(dǎo)者或父母對表演者要求太高。extreme demands就是expect too much of them的意思。

　　7.B第七段講的是：不只年輕藝術(shù)家有舞臺恐懼癥，鋼琴家Vladimir Horowitz和男高音Franco Corelli亦不能幸免。Never一詞不恰當。

　　譯文：如何避免怯場

　　上臺就跌倒。這是個奇特的辦法!但不推薦?？伤_實拯救了鋼琴家弗拉基米爾?菲茲曼，那個時候他才十幾歲，正在莫斯科表演。資深大提琴手米提斯拉夫?羅斯特羅波維奇故意在他上臺前將他絆倒，幫助他擺脫上臺前的恐慌。菲茲曼先生說：“所有的害怕都煙消云散類。我已經(jīng)摔倒了，還有比這更糟糕的嗎?”

　　如今，音樂學校都在課堂中強調(diào)焦慮問題，因為這是講授表演技巧和打好表演基礎(chǔ)的課程。怯場有很多表現(xiàn)，比如手指冰冷、四肢發(fā)抖、心跳加速、大腦一片空白，音樂家們可以學著用許多多應(yīng)變策略應(yīng)對這些問題。

　　教師和心理學家給出了許多建議，從基礎(chǔ)的做法，比如將演奏曲目爛熟于心，到精神訓(xùn)練，比如想象演出場景，有步驟地進行放松等。他們強調(diào)，不要掩飾你的緊張感，適度的興奮對于精彩演出是正當甚至是必要的。為了積累經(jīng)驗，要常在公眾場合演出。

　　黛安?尼克爾斯是一名心理治療師，她給出了一些上臺前的建議：“做兩次深度的腹式呼吸，擴胸，然后微笑，注意不是那種仿佛央求對方不要殺你的微笑，而是友好的微笑。從觀眾中選出三名比較友善的人，這些是你愿意與之交流并為之演奏的人，并與他們做眼神接觸?！?她不想讓演奏者將觀眾當成是法官。

　　多蘿西?德雷是一名著名小提琴教師，她認為來自老師和父母的苛刻要求常常是怯場的根源。她告訴其他教師，對學生的要求要以學生本身所能達到的水平為基礎(chǔ)。

　　林?哈雷爾20歲的時候成為克利夫蘭管弦樂隊的首席大提琴手，但是他怯場非常嚴重。他說：“有時候我非常緊張，我甚至能肯定，觀眾一定能看到我的胸口隨著心跳而搏動，簡直變成了慌亂?！焙髞砦揖谷坏搅诉@個地步，我想“如果演出要經(jīng)歷這種慌亂，我寧可另找一份工作。”他說要克服怯場要謙虛，要認識到，不論自己有多大的才能，都可能犯錯誤，一場音樂會即使有不完美的地方，也不是災(zāi)難。

　　當然，并不只有年輕人才會怯場。具有傳奇色彩的鋼琴家弗拉基米爾?霍洛維茨的敏感神經(jīng)同樣盡人皆知。另一個例子是著名男高音弗朗科?科萊里，女高音蕾娜塔?思科多這樣形容他：“必須得有人推著他才肯上臺?！?/P>

　　實際上，成名之后情況可能會變得更糟?！皠傞_始的時候，即使你怕得要死，也沒有人知道你是誰，因為對你不抱有多大期望?！迸咭舡?安德森說道，“你不會有任何損失。但你成名以后，人們專程來看你的表演，那時他們一定是滿懷期待而來，這樣，你損失的東西就多了?！?/P>

　　安德森還說：“直到唱完最后一個音符之前，我一直都會緊張?！?/P>

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