都江堰韩式半永久学校
时间:2019年06月21日 06:12:00

It started with Natalie Massenet. The Net-a-Porter founder and British Fashion Council chairman was spotted pairing a leopard print Marc Jacobs skirt with a leopard print Valentino Rockstud clutch at New York Fashion Week; the following week in London Kate Moss was seen front row at Topshop’s show in a pair of black leopard print Hysteric Glamour jeans, then, at Paris Fashion Week, stylist Giovanna Battaglia turned up in a vintage early 1990s leopard print Ala?a dress at the designer’s retrospective opening at the Palais Galliera.一切皆肇事于娜塔莉?马斯内(Natalie Massenet),这位Net-a-Porter网店创始人兼英国时装协会主席身穿马克?雅可布(Marc Jacobs)豹纹衬衣,手拎华伦天奴(Valentino) Rockstud豹纹手提包现身纽约时装周(New York Fashion Week);接下来的一周,在伦敦,凯特?莫斯(Kate Moss)身穿日本Hysteric Glamour潮牌牛仔裤就坐于Topshop时装发布会前排;而后的巴黎时装周(Paris Fashion Week),设计师乔瓦娜?巴塔吉利亚(Giovanna Battaglia)身穿上世纪90年代初的老款阿亚拉(Ala?a)裙装现身在加列拉宫(Palais Galliera)举行的个人作品回顾展开幕式。By the time Andrea Mitchell, N News’ chief foreign affairs correspondent, wore a black leopard print trench while delivering her nightly report on the Syrian crisis the trend was official: animal spots are big news.到全球广播公司新闻台(N News)首席外交事务记者安德莉亚?米切尔(Andrea Mitchell)身穿黑色豹纹风衣、在晚间新闻播报叙利亚危机时,整个时尚潮流算是尘埃落定:动物斑纹装登上了头条新闻。“With the amount of prints women are now dressing in, leopard really is the ‘new black’,” says stylist Isabel Dupré, whose equivalent to the little black dress is an Isabel Marant leopard print number she considers her fail-safe go-to. “There is something that s expensive and ‘fashion’ in the print when it is worn right,” she adds. “Most of the time it’s as timeless as wearing black.”“随着女士穿着动物斑纹装渐趋增多,豹纹成为名符其实的流行趋势,”设计师伊莎贝尔?杜普雷(Isabel Dupré)说,她的“小黑礼”(Little black dress)是伊莎贝尔?玛兰(Isabel Marant)豹纹装,她认为它能适用于各种场合。“豹纹装只要穿着得体,就会透出奢侈与‘时尚’气息,”她补充道。“多数情况下,穿黑色豹纹装从不落伍。”“Leopard print really is the new classic,” agrees Colleen Sherin, senior fashion director at Saks Fifth Avenue. “Women today should look at leopard as a great investment piece and not something to shy away from because it’s too bold or too old or too young.” Helen David, head of womenswear at Harrods, says that because designers have offered leopard print in paler tones for autumn, it has become a more versatile day-to-evening option. “This season leopard print has firmly established itself,” says David, who bought everything from Roland Mouret’s multicoloured leopard eveningwear to a 3.1 Phillip Lim leather biker jacket with leopard print sleeves for the department store.“豹纹表现的是真正的新古典风格,”萨克斯第五大道(Saks Fifth Avenue)高级时尚总监珂丽恩?谢林(Colleen Sherin)对此表示赞同。“如今的女士应把豹纹装视作奇货可居之物,不能因它太过醒目、老气横秋或是朝气蓬勃而有意规避它。”哈罗德百货(Harrods)女装部总管海伦?大卫(Helen David)说。由于设计师在今秋时装季推出淡色调豹纹装,它已成为左右逢源的饰,能满足工作与社交的各种需求。“这个秋冬季,豹纹装已经牢牢地在时尚界站稳阵脚,”大卫说,她本人也购买了各种豹纹装,从罗兰?穆雷(Roland Mouret)的多色豹纹晚装到菲利普?林3.1(Phillip Lim 3.1)为百货公司设计的豹纹袖款托夹克,品类繁多。She is not the only one. Walk into a Burberry shop anywhere in the world and you will be faced by a plethora of animal spots; leopard print sleeves on a gabardine trench, a pair of metal bow-front patterned pumps, leopard mink trim on a tan drawstring leather bag, a below-the-knee calfskin printed pencil skirt, matching gloves or even an outsized leopard print umbrella.类似者大有人在。走进全球任何一家柏利(Burberry)门店,看到的是形形色色的动物斑纹装——带豹纹袖的华达呢风衣、弓背形金属图案的宫廷鞋(脚面露出较多,没有绑定固定部分,但脚踝部可有系带)、豹貂皮饰边的棕褐色拉带皮包、中长款小牛皮纹紧身窄裙,它们用手套甚至特大号豹纹雨伞搭配,相得益彰。There is no doubt then, that the preferred print of screen sirens Sophia Loren and Elizabeth Taylor – not to mention 73-year-old Raquel Welch, who wore a leopard print dress at a pre-Emmy awards party last month – is making a roaring comeback. And the responses of designers and retailers suggest that it’s here to stay.毫无疑问,昔日影视界时尚女王索菲娅?罗兰(Sophia Loren)与伊丽莎白?泰勒(Elizabeth Taylor)钟爱的豹纹装正强势回归——更甭提73岁的拉奎尔?韦尔奇(Raquel Welch)了,她身穿豹纹裙出席了上月的艾美奖预热晚会(pre-Emmy awards party)。设计师与零售商反响强烈,表明豹纹装前景一片看好。Eva Chen, Lucky magazine editor-in-chief, calls it the “Jenna Lyons effect”, crediting the J Crew president and creative director with “informing women on how to mix and match sailor stripes, animal prints and out-there florals as you would a black or grey T-shirt”.《Lucky》时尚杂志华裔主编陈怡桦(Eva Chen)称之为“詹娜?莱昂斯效应”,她把这归功于时尚品牌J Crew总裁兼创意总监詹娜?莱昂斯(Jenna Lyons),对方“向女士灌输如何把水手条纹、动物斑纹以及异乎寻常的花纹等混搭至黑色或灰色T恤衫上”。“It’s a print that real women, not the red carpet divas, have made their own little by little,” says Stefano Gabbana, who recalls that leopard print dresses were considered daring – scandalous, even – when he co-founded Dolce amp; Gabbana in 1985. “For us, leopard print is universal, irrespective of age or profession,” adds his design partner Domenico Dolce.“豹纹装是‘真女人’(而非歌剧女主角)一点一滴打拼出来的天地,”斯特凡诺?加巴纳(Stefano Gabbana)说,他回忆自己1985年与多梅尼科?多尔切(Domenico Dolce)合创杜嘉班纳(Dolce amp; Gabbana)品牌时,穿豹纹装被视为惊世骇俗之举——甚至可以说有伤风化。“我们觉得豹纹装适合各个年龄段、各种职业,”加巴纳的设计伙伴多尔切补充道。Fellow Italian designer Roberto Cavalli has long had a love for these patterns. “Nature created the animal print and I just put my own twist on it,” he says. “What I appreciate most about leopard is its strong graphic identity that also lends itself to interpretation. As long as you wear it with confidence and ease, leopard will always be empowering.”他俩的意大利同行罗伯特?卡沃利(Roberto Cavalli)长久以来一直很喜欢这些豹纹图样。“大自然的造化缔造了这些动物斑纹,本人只是稍作改动而已,”他说。“我最欣赏豹纹,因为它能很好地通过图样体现穿着者的身份,还能起到一定的诠释作用。只要自信而轻松地穿着豹纹装,它永远显得那么英姿飒爽。”Empowering it may be, but it is best to t carefully while wearing the print in a business setting. “The more black you pair it with, the more that it will help mute the print but still allow it to flash,” says Alexandra Lebenthal, president and chief executive of municipal bond dealer Lebenthal amp; Company, who still counts her 10-year-old Equipment leopard print jacket as a wardrobe staple.尽管英姿飒爽,但出席商务活动时,穿着豹纹装走起路来要尽可能谨小慎微。“你搭配其它饰的颜色越黑,就越能中和豹纹装带来的咄咄逼人气势,但仍可让豹纹装光夺目,”市政债券交易公司Lebenthal amp; Company总裁兼CEO亚历桑德罗?莱贝撒尔(Alexandra Lebenthal)说,她仍把穿了10年的Equipment豹纹夹克视作自己的“镇箱之宝”。At Saks, Sherin advises the feline-shy to ease into the print with an accessory, such as a loafer or as a treatment on a lapel, in lining or as outerwear. “Wear leopard in a place you want to draw the eyes to,” she says.在萨克斯第五大道,谢林建议:不喜欢猫科动物斑纹者可用配饰慢慢过渡至豹纹的办法,如穿双乐福鞋、对翻领及内衬稍作改动、或是用外套来搭配。“把豹纹放在自己希望引发关注的部位,”她说。But at Net-a-Porter, the current popularity of the print was almost a missed opportunity. Having decided to take a break from the ubiquitous pattern this season, fashion director Holli Rogers dropped her spot-free mandate after seeing designers who normally shy away from leopard – from Stella McCartney to Mother of Pearl – embrace it with fervour: “Leopard print felt fresh again – something I wasn’t expecting this season at all.” And her advice on how to embrace the look? “My number one tip is to have fun with leopard,” she says. “Fearlessly experiment.”但目前最流行的豹纹装差点与Net-a-Porter网店失之交臂。时尚总监霍利?罗杰斯(Holli Rogers)原打定主意与今年秋冬季无处不在的豹纹式样“决裂”,但在亲眼目睹从斯特拉?麦卡特尼(Stella McCartney)到Mother of Pearl、这些昔日规避豹纹图样的设计师都对它顶礼膜拜后,也摈弃了不用动物斑纹的设计信条:“这个秋冬季豹纹再次迸发青春气息——这是我压根未曾预料到。”那么她建议该如何对待豹纹装?“本人最佳建议是高高兴兴接受豹纹装,”她说。“勇敢无畏地去尝试它。”The spot market for men: Get in touch with your inner caveman男士豹纹装:满足内心狂野“I guess animal prints have always been a classic – just never in menswear,” says Topman’s creative director Gordon Richardson of the animal print phenomenon that is crossing over into men’s wardrobes. “With the explosion of print and pattern we’ve been witnessing in menswear, an animal print suddenly seems like an easy option for men as a way of updating their wardrobes and looking ahead of the curve.”“我觉得动物斑纹装永远经典——只是原先从不与男装有关,”Topman创意总监戈登?理查德森(Gordon Richardson)这样评价动物斑纹装逐步进入男装领地这种现象。“随着动物斑纹及图样在男装系列遍地开花,它们似乎突然之间成为男士更新换代自己装、实现超前时尚的捷径。”But leopard print for men is not just about affordable T-shirts and sweatshirts; it is also being touted as an ultra luxurious investment buy, writes David Hayes.但男士豹纹装并非只是寻常价位的T恤以及运动衫,它还忽悠成有投资价值的超奢侈消费品,大卫?海耶斯(David Hayes)如是写道。“The ‘snow leopard’ patterned coat is in mink that has been needle-punched through cashmere jacquard,” says Kim Jones, creative director of Louis Vuitton menswear, of the label’s star men’s buy (£5,050). “It’s a brand new technique that we have developed exclusively.”“雪豹纹外套用羊绒提花针轧的貂皮做就,”路易威登(Louis Vuitton)男装创意总监金姆?琼斯(Kim Jones)这样评价旗下推出的、专门针对男士大腕的款式(售价5050英镑)。“这项全新技术是我们专为男士开发。”“I’ve always liked Stephen Sprouse’s leopard print for Louis Vuitton and wanted to make a masculine version of it,” adds Jones.“我一直很喜欢史蒂芬?斯普劳斯(Stephen Sprouse)为路易威登设计的豹纹装,也想设计类似的男装系列,”琼斯补充道。But will leopard print – however luxurious – sell to men? “Some of our clients are on a constant search for unique, limited edition products to make themselves stand out,” says Jones. “I’m always surprised by some of our top clients’ choices; it challenges us to come up with new developments season after season.”但男士豹纹装(不管多奢华)销路会如何?“有些顾客一直在苦苦找寻独具风格的限量版装,以使自己与众不同,”琼斯说。“我总是惊喜于某些高端客户的喜好;他们不断激励我们在每个装季推陈出新。”Another label pioneering leopard for men is British knit trio Sibling, who have made the leopard sweater their own (from £260). “All three of us adore animal prints,” says Cozette McCreery, who teamed up with Sid Bryan and Joe Bates to form Sibling in 2008. “Our wardrobes are like an African dictator’s interior decoration scheme: zebra, leopard spots, tiger stripes, snake print.另一前卫豹纹男装设计师是英国针织装三人组合Sibling,他们推出了自己的豹纹运动衫(售价260英镑起)。“我们三人都酷爱动物斑纹,”柯赛特?麦克里瑞(Cozette McCreery)说,她2008年与希德?布赖恩(Sid Bryan)以及乔?贝兹(Joe Bates)共同创建Sibling品牌。“我们的衣柜酷似非洲独裁者的室内装饰图案大荟萃:斑马纹、豹纹、狮纹以及蛇纹。“Our very first collection incorporated a leopard pattern on a cashmere base and was a firm favourite with everyone from skater guys to city boys,” adds McCreery. Why leopard? “Because it was always our intention to steal from womenswear. Now it’s what store buyers and consumers expect, and, because it feels timeless to us, we are happy to oblige.”“我们设计的第一个系列就把豹纹融入到羊绒制品中,从溜冰小伙到都市男孩,他们对我们的产品爱不释手,欲罢不能,” 麦克里瑞补充说。为何选择豹纹装?“因为我们一直有从女装嫁接设计风格的愿望。如今它是顾客与消费者期盼的产品,因为它永远不落伍,我们乐得顺水推舟。”Have animal prints really become the new neutral for men? Some style insiders are having none of it. “No. It’s a trend, not a classic,” says Mr Porter’s Jeremy Langmead emphatically.动物斑纹装是否真成了男士新的中性装代表?某些时尚业内人士全然不这么认为。“不,它只是股流行风,而非时尚经典,”在线零售商Mr Porter主编杰里米?兰米德(Jeremy Langmead)强调说。“For autumn we have bought animal prints sp broadly across accessories and clothing,” says Langmead. “From leopard sweaters by Raf Simons (£610) and shirts by Acne (£200) to Chelsea boots (£650) by Burberry Prorsum and scarves (£390) from Saint Laurent. But we also have a great pair of grey suede leopard print slippers by Jimmy Choo (£395) which could easily be worn with a dinner suit and are incredibly elegant.”“对于今年的秋冬季,我们采购了广泛运用动物斑纹的各种配饰及装,”兰米德说。“从拉夫?西蒙斯(Raf Simons)的豹纹毛衣(售价610英镑)、艾克妮(Acne)的豹纹衬衣(售价210英镑)、柏利?珀松(Burberry Prorsum)设计的短靴(Chelsea boots,售价650英镑)到圣?罗兰(Saint Laurent)的丝巾(售价390英镑),应有尽有。但我们也采购了Jimmy Choo灰色山羊皮豹纹拖鞋(售价395英镑),它设计精巧,很容易与晚宴小礼搭配穿,显得特别温文尔雅。”“It certainly heralds a new mood for print and texture in menswear. It will be interesting to see how this will evolve,” adds Langmead. “Who knew that men would willingly embrace florals a few years ago, let alone leopard?”“这明确昭示了男装花样与质地出现了新的时尚趋势。能亲眼目睹它如何演变发展很有意义,”兰米德补充道。“几年前,谁都没预见到男士会心甘情愿地喜欢上花式装?更甭提豹纹装了!” /201311/263916

Ronald Reagan to Nancy Reagan罗纳德#8226;里根致妻子南希Dear St. Valentine,亲爱的圣瓦伦丁:My request of you is—could you on this day whisper in her ear that someone loves her very much and more and more each day? Also tell her, this “Someone” would run down like a dollar clock without her so she must always stay where she is.”我对您的请求是:在今天这个特别的日子里,能否悄悄地靠在她耳边对她说,有一个人深爱着她,他的爱与日俱增?同时也请告诉她,如果没有她,这个人会像电子表一样停止运转,所以请她一直留在这个地方。”【这是罗根总统写在情人节的,聪明的你别忘了将St. Valentine换一下喔~~】 /201401/272103

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


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