PBS高端访谈:缅怀舞蹈传奇保罗·泰勒的一生(在线收听

JUDY WOODRUFF: Finally tonight: remembering a giant in the world of dance and the performing arts, choreographer Paul Taylor. Jeffrey Brown has our remembrance of his career and why he became one of the most influential creators in his field.

JEFFREY BROWN: Joyful, athletic, and lyrical, Paul Taylor's choreography was often complex, always human. Hailed as a towering figure of modern dance, Taylor's success in movement group from a unique eye for observation, as he told me when we met in 2007.

PAUL TAYLOR, Choreographer: Watching people has always been something that I have done even as a kid. You know I changed schools a lot. And I knew almost immediately who was gonna be the class bully, who to watch out for. And you can tell sometimes by the way they move. And walking is the most revealing. A walk is like a fingerprint. No two people walk the same.

JEFFREY BROWN: Taylor was born in 1930 and spent part of his early years on a farm in Maryland. An athlete in his youth, he went to Syracuse University on a swimming scholarship, but discovered a love for dance in his 20s.

PAUL TAYLOR: I fell in love with the idea of dance. It just hit me all of a sudden. And the idea of being a dancer was like the idea of being a flame. And I loved to move.

JEFFREY BROWN: At 6 feet tall, he was a virtuosic performer who quickly captured the attention of dance legends, performing with Martha Graham, Merce Cunningham, and George Balanchine, before devoting himself to his own troupe, the Paul Taylor Dance Company. There, he created and perform landmark works like Aureole, a 1962 piece choreographed to music by Handel that remains in the company's performance repertoire today. Taylor even pushed the boundaries for what was considered dance, as in his minimalist 1957 work called Duet where, for four minutes, he and a reclining woman never moved. Over more than six decades, Taylor explored all aspects of the human experience, from joy to the horror of war. And he offered his audiences a range of styles, from the classical to slapstick.

PAUL TAYLOR: Dance, I think, consciously or unconsciously, symbolizes life. And it reflects the human condition. It tells us the joys, the sorrows, the fallacies, the idiocies, the brilliance, anything human.

JEFFREY BROWN: Taylor himself retired from performing in 1974, but continued to choreograph, often still polishing movement even in dress rehearsals.

PAUL TAYLOR: OK, good.

JEFFREY BROWN: He created an astounding body of work, at least two new dancers a year, for a total of 147 pieces. In recent years, Taylor took steps to ensure a continuing life for his troupe, naming dancer Michael Novak as its next artistic director. And the company will continue to tour worldwide.

PAUL TAYLOR: I think there will always be a need for dance, for dancers to dance and for watchers to watch. I believe that. I have to believe that.

JEFFREY BROWN: Paul Taylor died Wednesday in Manhattan of kidney failure. He was 88 years old.

朱迪·伍德拉夫:今晚的重磅消息:让我们缅怀舞坛巨匠、表演艺术家、舞蹈指导保罗·泰莱。杰弗里·布朗也记得保罗的职业生涯以及保罗为何能成为其所在领域最有影响力的人物。

杰弗里·布朗:保罗总是热情洋溢、充满活力、感情充沛,他所编的舞蹈虽复杂却又符合人体构造。人们一直尊崇他为现代舞的宗师级人物,他的成功来源于他独特的观察力,这一点我们在2007年见面的时候他曾对我说过。

保罗·泰莱,编舞指导:观察他人是我从小时候就养成的习惯。我对学校的改变也很大。我几乎能立刻断定谁是班级里的小霸王,要担心着点儿。有时候可以从他们走路的姿势看出来。走路姿势是最容易暴露性格的。足迹就是指纹。每个人的走路方式都不同于他人。

杰弗里·布朗:泰莱生于1930年,早年间一直在马里兰州的农场里干活。他年少时曾当过运动员,获得了游泳类的奖学金后,就去雪域大学上学了,但他20多岁的时候发现自己爱上了舞蹈。

保罗·泰莱:我爱上了舞蹈的那种感觉。就像是突然击中了我的心。成为一名舞者的想法就像是想成为火焰一样的想法,我喜欢舞动身体。

杰弗里·布朗:6英尺高的时候,他就有了大师风范,迅速吸引了舞蹈大咖的注意。他曾与玛莎·葛兰姆、康宁汉、乔治·巴兰钦同台表演,后来他有了自己的团队——保罗·泰莱舞蹈公司。在自己的公司里,他创作并表演了许多里程碑式的作品,比如1962年的编舞作品。这部作品得到了汉德尔的配乐,这支舞现在依然保留在该公司的剧目中。泰莱甚至拓宽了舞蹈的疆界,因为1957年,他只有4分钟的极简抽象主义作品里,他和一名造型倾斜的女子始终未曾挪动身体。60多年过去了,泰莱探索了人性体验的各个领域,有开心的,也有对战争的恐惧的。他为观众提供了不同的风格,有古典的,有人间闹剧的。

保罗·泰莱:我觉得,舞蹈象征着生活,无论是有意识的时候,还是无意而为的时候。舞蹈反应了人的状态,可以传递欢乐、悲伤、荒谬、痴癫、聪慧等任何人的特点。

杰弗里·布朗:泰莱本人是1974年从舞台上隐退的,但他还没有放弃编舞,总是带妆彩排一遍遍雕饰舞蹈。

保罗·泰莱:很好,不错。

杰弗里·布朗:泰莱创作了令人瞠目结舌的舞蹈作品,每年可以推出2位新舞者,总共有147个作品推出。近年来,泰莱开始想办法保证团队的常青,并任命舞者迈克·诺瓦克为下一任艺术总监。他的公司将继续进行全球巡演。

保罗·泰莱:我认为我们需要舞蹈,舞者需要跳舞,观众需要观看,我坚信这一点。

杰弗里·布朗:保罗·泰莱因肾衰竭于周三在曼哈顿逝世,享年88岁。

  原文地址:http://www.tingroom.com/lesson/pbs/sh/501550.html