『新东方在线托福听力』为托福考生准备了ETS托福TPO/Official 24 Lec 2听力练习：What were two characteristics of Isadora Duncan's dance performances?原文题目答案解析，TPO/Official 24 Lec 2听力原文范文音频翻译。

托福TPO/Official 24 Lec 2听力原文What were two characteristics of Isadora Duncan's dance performances?-新东方托福官方网校手机版

旁白:请听一段舞蹈史的课堂讲解。

Narrator: Listen to part of a lecture in a dance history class.

教授：我们经学过，芭蕾，古典芭蕾，是以规范的动作，精确的手臂，脚和身体的位置为基础。

Professor: As we have been studying, ballet, the classical ballet, is based on formalized movements, specific positioning of the arms, feet and the body.

接下来我们要讲的是现代舞，就是我们所知道的剧场舞蹈。

So, now let's move on to modern dance, also known as theatrical dance.

现代舞是在十九世纪晚期和二十早期出现的，而大部分观众对这种完全新生的表演形式比较欢迎。

Modern dance evolved in the late nineteenth, early twentieth century, and in most cases, audiences were very receptive to this radical new type of performing art.

学生：是什么使现代舞这样极端呢？

Student: Um... what made modern dance so radical?

教授：比如说，我认为最合理的类比就是现代艺术和现代音乐。

Professor: Well, for example, I think the best analogy to modern dance is modern art or modern music.

比起它们的前身，这些新生的艺术形式更加自由，实践性更强，也更加的即兴。

Compared to their classical predecessors, these newer art forms are freer, more experimental, more improvisational.

现代舞努力要表达深度的情感和音乐本身的内涵，表现这种无形的属性如何影响并引导肢体动作，表现肢体动作如何将情感传递给观众。

Modern dance seeks to show how deep emotions and the music itself, how these intangible attributes can affect and inspire physical movement, and how movement can convey emotions to the audience.

而正如我前面所说的没在古典芭蕾中，情感是通过一整套标准的动作表达的。

As I said, in classical ballet, emotions are conveyed through a set of strictly formalized movements.

现代舞的一位先驱是伊莎多拉邓肯，她出生在1878年。

Now, a pioneer of modern dance was Isadora Duncan, who was born in 1878.

邓肯在小的时候学过芭蕾，但是很快她就发展出了自己的独特的风格，她称之为自由舞。

Isadora Duncan did study ballet briefly as a child, but she quickly developed her own unique style, which she called free dance.

在她14岁时，她就将她的自由舞教给小孩，并举行了独舞表演。

And by age fourteen, she was teaching her free dance to young children and giving recitals.

她早期的舞蹈技巧比较松散，只是建立在儿童自然的动作的基础上，跑动，跳跃，表演故事，还有大自然中的动作，海浪冲击海岸，树木在风中摆动。

Her early dance technique was loosely based on the natural movements of children, running, skipping, acting out stories, also on motions from nature, waves crashing onto shore, trees swaying in the wind.

她的表现动作只是自然的流露而没有严格的技术指导。

Her expressive gestures were motivated from within rather than being dictated by strict technique.

邓肯还把她的头发散开，而芭蕾舞者通常将他们的头发在脑后盘成一个结。

Duncan also wore her hair down, ballerinas typically wear their hair in a tight bun behind the head.

芭蕾舞者穿着陡峭的短裙和前尖坚硬的舞鞋，而邓肯却穿着宽松的，飘逸的短装，而且她还光着脚跳舞。

And instead of the short steep skirts and rigid toeshoes worn by ballerinas, Duncan wore loose, flowing tunics, and she dance bare foot.

这些都是观众们从前没有见过的。

Now, that was something her audiences had never seen before.

邓肯在巴黎的作曲家中表演，大多时间回避固定的观众，而在其它欧洲的城市，她伴着传统的舞步的音乐，它的表演每次都是不同的。

Duncan performed in Paris and other European cities dancing to the music of classical composers, but avoiding set movements and steps, no two performances were alike.

And audiences, for the most part, adored her.

1904年，她在柏林开设了一个现代舞学校。

In 1904, she opened a school of modern dance in Berlin.

And the next year she performed in Russia.

但俄国的评论家却不是很友好，

But the Russian critics were not really kind.

有的人说邓肯的舞蹈像是哑剧而不是舞蹈。

Some said Duncan's art form was closer to pantomime than to dance.

但她的风格是对芭蕾的一种革新，而芭蕾在俄国十分被重视。

But her style was a clear rebellion against ballet, and ballet is extremely important in Russia.

学生：是的。为什么邓肯会反对芭蕾呢？

Student: Yeah. What did Duncan have against ballet?

我是说他小的时候也学过芭蕾啊。

教授：作为一名少年，她可能觉得芭蕾太严格，不够创新。

Professor: As a youngster, she might have found it too restrictive, uh, not creative enough.

我认为是她职业生涯早期在俄国的时候，有些事使她产生了这种感觉。

I think that feeling is exemplified by something that happened earlier in her career, in Russia.

邓肯曾经参加过一个芭蕾舞团，这个舞团的领舞是著名的俄国芭蕾舞者安娜巴普洛娃。

Duncan attended a ballet, and the lead dancer was the renowned Russian ballerina, Ana Pavlova.

第二天，巴普洛娃邀请邓肯去看她的练习。

The following day, Pavlova invited Duncan to watch her practice.

邓肯接受了邀请，但是她被所看到的景象惊呆了。

Duncan accepted but was appalled by what she saw.

再看看来巴普洛娃和其他的芭蕾舞演员所做的联系看起来十分痛苦，甚至是对身体有害的，几个小时连续的用脚尖站立，并用一种不自然的方式活动肢体。

To her, the exercises that Pavlova and the other ballerinas were doing seemed painful, even harmful, standing on tiptoe for hours, moving their bodies in unnatural ways.

在见到这些以后，邓肯公开的谴责芭蕾舞是一种杂技，她称之为复杂又折磨人的技巧。

After seeing this, Duncan publically denounced ballet as a form of acrobatics, uh, complicated and excruciating mechanism she called it.

我认为这种评论造成了芭蕾与现代舞之间的不适当的敌对状态，而且需要很长时间，许多年才能使这种敌对状态消失。

This critic generated I think some undue rivalry between ballet and modern dance, and it would take a long time, many years in fact, for the rivalry to calm down.

Why does the professor mention modern art and modern music?

What were two characteristics of Isadora Duncan's dance performances?

Why does the professor mention that Duncan watched Anna Pavlova practice?

What does the professor imply about the rivalry between classical ballet and modern dance?

Listen again to part of the Lecture. Then answer the question. Why does the professor say this

Narrator: Listen to part of a lecture in a dance history class. 
Professor: As we have been studying, ballet, the classical ballet, is based on formalized movements, specific positioning of the arms, feet and the body. So, now let's move on to modern dance, also known as theatrical dance. Modern dance evolved in the late nineteenth, early twentieth century, and in most cases, audiences were very receptive to this radical new type of performing art. 
Student: Um... what made modern dance so radical? 
Professor: Well, for example, I think the best analogy to modern dance is modern art or modern music. Compared to their classical predecessors, these newer art forms are freer, more experimental, more improvisational. Modern dance seeks to show how deep emotions and the music itself, how these intangible attributes can affect and inspire physical movement, and how movement can convey emotions to the audience. As I said, in classical ballet, emotions are conveyed through a set of strictly formalized movements. 
Now, a pioneer of modern dance was Isadora Duncan, who was born in 1878. 
Professor: As we have been studying, ballet, the classical ballet, is based on formalized movements, specific positioning of the arms, feet and the body. So, now let's move on to modern dance, also known as theatrical dance. Modern dance evolved in the late nineteenth, early twentieth century, and in most cases, audiences were very receptive to this radical new type of performing art. 
Student: Um... what made modern dance so radical? 
Professor: Well, for example, I think the best analogy to modern dance is modern art or modern music. Compared to their classical predecessors, these newer art forms are freer, more experimental, more improvisational. Modern dance seeks to show how deep emotions and the music itself, how these intangible attributes can affect and inspire physical movement, and how movement can convey emotions to the audience. As I said, in classical ballet, emotions are conveyed through a set of strictly formalized movements. 
Now, a pioneer of modern dance was Isadora Duncan, who was born in 1878. 
Isadora Duncan did study ballet briefly as a child, but she quickly developed her own unique style, which she called free dance. And by age fourteen, she was teaching her free dance to young children and giving recitals. Her early dance technique was loosely based on the natural movements of children, running, skipping, acting out stories, also on motions from nature, waves crashing onto shore, trees swaying in the wind. Her expressive gestures were motivated from within rather than from being dictated by strict technique. Duncan also wore her hair down, ballerinas typically wear their hair in a tight bun behind the head. And instead of the short steep skirts and rigid toeshoes worn by ballerinas, Duncan wore loose, flowing tunics, and she dance bare foot. Now, that was something her audiences had never seen before. 
Duncan performed in Paris composers, but avoiding set audiences, for the most part, and other European cities, dancing to the music of classical movements and steps, no two performances were alike. And adored her. In 1904, she opened a school of modern dance in Berlin. And the next year she performed in Russia. But the Russian critics were not really kind. Some said Duncan's art form was closer to pantomime than to dance. But her style was a clear rebellion against ballet, and ballet is extremely important in Russia. A question, Julie? 
Student: Yeah. What did Duncan have against ballet? I mean, she studied it as a child. 
Professor: As a youngster, she might have found it too restrictive, uh, not creative enough. I think that feeling is exemplied by something that happened earlier in her career, in Russia. Duncan attended a ballet, and the lead dancer was the renowned Russian ballerina，Ana Pavlova. The following day, Pavlova invited Duncan to watch her practice. 
Duncan accepted but was appalled by what she saw. To her, the exercises that Pavlova and the other ballerinas were doing seemed painful, even harmful, standing on tiptoe for hours, moving their bodies in unnatural ways. After seeing this, Duncan publically denounced ballet as a form of acrobatics, uh, complicated and excruciating mechanism she called it. This critic generated I think some undue rivalry between ballet and modern dance, and it would take a long time, many years in fact, for the rivalry to calm down. 
Duncan performed in Paris composers, but avoiding set audiences, for the most part, and other European cities, dancing to the music of classical movements and steps, no two performances were alike. And adored her. In 1904, she opened a school of modern dance in Berlin. And the next year she performed in Russia. But the Russian critics were not really kind. Some said Duncan's art form was closer to pantomime than to dance. But her style was a clear rebellion against ballet, and ballet is extremely important in Russia. A question, Julie?