『新东方在线托福听力』为托福考生准备了ETS托福TPO/Official 23 Lec 4听力练习：Why does the professor talk about a dancer entering and exiting a frame?原文题目答案解析，TPO/Official 23 Lec 4听力原文范文音频翻译。

托福TPO/Official 23 Lec 4听力原文Why does the professor talk about a dancer entering and exiting a frame?-新东方托福官方网校手机版

旁白：请听一段编舞的课堂讲解。

Narrator: Listen to part of a lecture in a choreography class.

教授：当你想到编舞的时候，恩，你们上次的任务是要编一段现场的舞台舞蹈。

Professor: Now, when you think about choreography, well, uh, for your last assignment, you choreographed the dance that was performed on stage in front of live audience.

它是一种你编导的在屏幕上演出的舞蹈形式，电视屏幕，电脑屏幕，电影院，任何类型的屏幕。

It is a dance routine you will be choreographing specifically to be viewed on a screen, on a computer screen, a TV screen, in a movie theater, any screen.

所以我们要问的问题是，现场表演和屏幕演出的编舞有什么不同？

So the question we have to ask is, what's the difference between choreography for a live performance and choreography for on-screen viewing?

当我们看电影时，难道只是一群人在舞台上表演的影片吗？

When you see a movie, is it just a film of people acting on a stage?

电影运用了多种拍摄角度和富有创意的剪辑。

Movies use a variety of camera angles and creative editing.

电影可以扭曲时间，放慢或放快镜头，使人物淡入或淡出镜头等等。

Movies can distort time, slow movement down, or speed it up, show actors fading in and out of scenes, etc.

所有的这些不能用在舞台表演中的拍摄技巧都可以用在荧屏舞蹈中。

All of these...All of these film-making techniques, things that can't be used in a live performance, are possible in a screen dance.

这个概念我们稍后会详细讲解，但是大家要记住，我不是要大家讲舞者拍下来就作为你的荧屏舞蹈。

Now, we'll cover these concepts in greater detail later, but you should be getting the idea that I don't want you to just film dancers on stage and turn it in as your screen dance project.

学生：但是这是不是会缺少点什么，沃特森教授？

Student: But isn't something lost here, Professor Watson?

我是一个舞者，当我在舞台上表演的时候， 我会被观众的反应所激励，例如掌声。

I am a dancer, and when I perform on stage, I am so energized by the audience's reactions, the applause.

我和大部分舞者都是这样，观众的反应使我们最大的鼓舞。

I actually, and for a lot of dancers, it, it really inspires us.

荧屏舞蹈是一种相对较新的事物，并不适合每个人。

Screen dance, which is a relatively new, isn't for everyone.

一些舞者可能不愿参加你的项目，因为现场表演的直接回馈会使他们心潮澎湃。

Uh, some dancers may seem reluctant to participate in your project, because they do thrive on the immediacy of performing live.

如果是这种情况，你可以指出荧屏舞蹈可以提供给他们其它的与观众互动的方式。

If this happens, you could point out that screen dance offers other ways for dancers to connect to their audience.

例如，舞者可以通过面部表情来表达他们自己的感情，甚至能够改变这个情景的意境。

For example, dancers can express themselves, even change the whole mood of the scene through a facial expression.

你可以近距离的拍摄他们的脸。

And you could film close-up shots of their faces.

一般来讲面部表情在现场表演中并不十分重要，因为编舞者知道剧场后排的观众可能无法清楚的看到舞者的脸。

Facial expressions aren't as important in live performances generally, because the choreographer knows that someone in the back row of a theater may not be able to see a dancer's face clearly.

学生：但是，我从来没有用过摄像机，也没有编辑过影片。

Student: But? Um, I have never used a movie camera or edited film before.

我们怎样才能学懂我们需要知道的东西呢？

How will we learn everything we need to know to?

你们要用的摄像机操作十分简单。

The cameras you will be using are pretty simple to operate.

在你的课题开始之前你可以使用几次影片编辑软件。

And you'll get to play with the film-editing software several times before beginning your project.

你还可以选择与电影系的学生合作，他们对这些技术十分熟悉。

You'll also have the option of working with a student in the film department, someone who's familiar with the technology.

但是编舞和你的最终分数就是你自己的事了。

But the choreography and the end result will be your responsibility of course.

学生：您能再介绍一下影片制作的技巧吗？就是那些对荧屏舞蹈最有用的。

Student: Could you talk some more about the film - making techniques, you know, the ones that work best for screen dances.

教授：下个星期我会给大家展示一些我最喜欢的荧屏舞蹈，让大家更有更好的了解。

Professor: I'll show some of my favorite screen dances next week to give you a better idea.

这是一个可以在荧屏舞蹈中创作出流动的错觉的技巧。

But, uh, OK. Here's one technique that can create the illusion of flow in a screen dance.

你拍摄同一个舞者反复的从镜头中出入。

You film the same dancer, entering and exiting the frame several times.

开始的时候动作较慢，然后越来越快。

Moving slowly at first, then faster and faster.

然后再编辑的时候，你可以用电子设备操控这些影像，你可以做出五个，十个或二十个这个舞者，就像他在屏幕中与自己跳舞一样。

Then in the editing room, you can digitally manipulate these images, like you might put five or ten or twenty copies of that same dancer meeting himself in the middle of the screen, to make it look like he is dancing with himself.

很显然这在现场表演中是无法做到的。

Obviously, this can't be done in a live performance.

另一个例子，在我看的一个荧屏舞蹈中，舞者从燃烧着的废弃的大楼里跳出来。

Another example, in one screen dance I saw, the dancers leap through sheets of fire in a big abandoned building.

Of course, the building wasn't really on fire.

这里应用了一种叫做添增的技术。

A technique called super-imposing was used.

将舞者拍摄下来，然后再到剪辑室中分层制作，

The dancers were filmed and layered in the editing room.

但是如果大家都能够在电脑上欣赏舞蹈，为什么还有人去看现场演出呢？

But if anyone can watch a dance on a computer screen, why would they pay to go see a live performance?

如果荧屏舞蹈取代了现场舞蹈怎么办？

What if screen dance got so popular that it replaced live dance?

教授：荧屏舞蹈是一种完全不同的表现形式。

Professor: Screen dance is an entirely different type of presentation.

它绝对无法复制现场表演的直接反馈和戏剧性。

It could never replicate the immediacy, the kind of drama that live performance offers.

There will always be an audience for that.

我认为荧屏舞蹈会在总体上提高人们对舞蹈的认知。

I think what screen dance will do, though, is heighten awareness of dance in general.

任何时候人们都可以在家里，在工作中看到。

Uh, it can reach people in their homes, in their workplaces, at any time really.

如果人们通过观看荧屏舞蹈发现他们对舞蹈的热爱，他们很有可能会有足够的兴趣买票去看现场表演。

And if someone discovers that they love dance by watching a screen dance, there's a good chance they will get interested enough to buy a ticket to see a live performance.

Why does the professor say that facial expressions are relatively unimportant in live performances?

How does the professor try to make students feel more confident about their assignment?

Why does the professor talk about a dancer entering and exiting a frame?

According to the professor, what does screen dance offer to viewers that live dance does not?

What is the professor's opinion about the future impact of screen dance?

Narrator: Listen to part of a lecture in a choreography class. 
Professor: 
Now, when you think about choreography, well, uh, for your last assignment, you choreographed the dance that was performed on stage in front of live audience. Now, screen dance is very different. It is a dance routine you will be choreographing specifically to be viewed on a screen, on a computer screen, a TV screen, in a movie theater, any screen. So the question we have to ask is, what's the difference between choreography for a live performance and choreography for on-screen viewing? 
OK. Think for a minute. When you see a movie, is it just a film of people acting on a stage? Of course not. Movies use a variety of camera angles and creative editing. Movies can distort time, slow movement down, or speed it up, show actors fading in and out of scenes, etc. All of these ? all of these film-making techniques, things that can't be used in a live performance, are possible in a screen dance. Now, we'll cover these concepts in greater detail later, but you should be getting the idea that I don't want you to just film dancers on stage and turn it in as your screen dance project. Uh, Yes? Debbie. 
Student: 
But isn't something lost here, Professor Watson? I am a dancer, and when I perform on stage, I am so energized by the audience's reactions, the applause. I actually, and for a lot of dancers, it ? it really inspires us. 
Professor: You're right. Screen dance, which is a relatively new, isn't for everyone. Uh, some dancers may seem reluctant to participate in your project, because they do thrive on the immediacy of performing live. If this happens, you could point out that screen dance offers other ways for dancers to connect to their audience. For example, dancers can express themselves, even change the whole mood of the scene through a facial expression. And you could film close-up shots of their faces. Facial expressions aren't as important in live performances generally, because the choreographer knows that someone in the back row of a theater may not be able to see a dancer's face clearly. 
Student: But ? um, I have never used a movie camera or edited film before. How will we learn everything we need to know to? 
Professor: 
Oh, don't worry. The cameras you will be using are pretty simple to operate. And you'll get to play with the film-editing software several times before beginning your project. You'll also have the option of working with a student in the film department, someone who's familiar with the technology. But the choreography and the end result will be your responsibility of course. 
Student: 
Could you talk some more about the film - making techniques, you know, the ones that work best forscreen dances? 
Professor: 
I'll show some of my favorite screen dances next week to give you a better idea. But, uh, OK. Here's one technique that can create the illusion of flow in a screen dance. You film the same dancer, entering and exiting the frame several times. Moving slowly at first, then faster and faster. Then in the editing room, you can digitally manipulate these images, like you might put five or ten or twenty copies of that same dancer meeting himself in the middle of the screen, to make it look like he is dancing with himself. 
Obviously, this can't be done in a live performance. Another example, in one screen dance I saw, the dancers leap through sheets of fire in a big abandoned building. Of course, the building wasn't really on fire. A technique called super-imposing was used. The dancers were filmed and layered in the editing room. The fire was added to the background. 
Professor: 
I'll show some of my favorite screen dances next week to give you a better idea. But, uh, OK. Here's one technique that can create the illusion of flow in a screen dance. You film the same dancer, entering and exiting the frame several times. Moving slowly at first, then faster and faster. Then in the editing room, you can digitally manipulate these images, like you might put five or ten or twenty copies of that same dancer meeting himself in the middle of the screen, to make it look like he is dancing with himself. 
Obviously, this can't be done in a live performance. Another example, in one screen dance I saw, the dancers leap through sheets of fire in a big abandoned building. Of course, the building wasn't really on fire. A technique called super-imposing was used. The dancers were filmed and layered in the editing room. The fire was added to the background. 
Student: That sounds awesome. But if anyone can watch a dance on a computer screen. Why would they pay to go see a live performance? What if screen dance got so popular that it replaced live dance? 
Professor: 
Screen dance is an entirely different type of presentation. It could never replicate the immediacy, the kind of drama that live performance offers. There will be an audience for that. I think what screen dance will do, though, is heighten awareness of dance in general. Because it is a way ? u h, it can reach people in their homes, in their workplaces, at anytime really. And if someone discovers that they love dance by watching a screen dance, there's a good chance they will get interested enough to buy a ticket to see a live performance. 
Professor: 
Screen dance is an entirely different type of presentation. It could never replicate the immediacy, the kind of drama that live performance offers. There will be an audience for that. I think what screen dance will do, though, is heighten awareness of dance in general. Because it is a way ? u h, it can reach people in their homes, in their workplaces, at anytime really. And if someone discovers that they love dance by watching a screen dance, there's a good chance they will get interested enough to buy a ticket to see a live performance.