『新东方在线托福听力』为托福考生准备了ETS托福TPO/Official 9 Lec 1听力练习：What is the professor's opinion about the relationship between English landscape painters and Loutherbourg?原文题目答案解析，TPO/Official 9 Lec 1听力原文范文音频翻译。

托福TPO/Official 9 Lec 1听力原文What is the professor's opinion about the relationship between English landscape painters and Loutherbourg?-新东方托福官方网校手机版

旁白：请听一段在影视课上的演讲。

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

教授：我们知道，在欧洲，十八世纪下半世纪是一段令人兴奋的时期：这不仅是一段伟大发明的时代，社会变化也引发了各种娱乐的事业的崛起，从读书到博物馆再到旅游。

Pro: As we have seen, the..the second half of the 18th century was an exciting time in Europe: it was not only an age of great invention, but social changes also led to a rise in all sorts of entertainment, from reading to museums, to travel.

而发现自己置身于这种生活的刺激之中的是一名成就卓越的法国画家，他的名字叫做鲁斯伯格卢泰尔堡。

And finding himself in the middle of this excitement was an accomplished French painter named Philippe Jacques de Loutherbourg.

鲁斯伯格于1771年抵达英国，之后他立即在伦敦工作，在朱瑞巷剧院担任网站设计师。

Loutherbourg arrived in England in 1771, and immediately went to work as a set designer at the famous Drury Lane Theater in London.

在他的前几次展示中，鲁斯伯格展示了他关于想象力和舞台设计的诀窍，这一切都是出于创造幻象的利益考虑，这些幻想允许观众暂时完全的怀疑。

From his first shows, Loutherbourg showed a knack for imagination and stage design, all in the interest of creating illusions that allowed the audience to suspend disbelief completely.

他是通过营造舞台一种更为深度的感觉完成这样的创造的。通过将呆滞的舞台布景分割开来分放到不同地方，角度不同，离观众的距离也不同。

He accomplished this by giving the stage a greater feeling of depth, which he did by cutting up some of the rigid background scenery, and placing it at various angles and distances from the audience.

另一种营造真实感的方法就是在布景上运用三维物体，以二维的绘成的风景为背景，在舞台上放置像石头和灌木丛的道具。

Another realistic touch was using three-dimensional objects on the set, like rocks and bushes as opposed to two-dimensional painted scenery.

他同时也比以前更为注重舞台的灯光和音效。

He also paid much more attention to lighting and sound than had been done before.

如今，这样的布景做得非常精致，很多人到戏院去不是为了看演员和表演，更多的是欣赏舞台布景。

Now, these sets were so elaborate that many people attended the theater more for them than for the actors or the story.

曾经一度，人们为了旅游而疯狂，想到新地方体验不同的生活，而不是每个人都能这么做。

At the time, people were wild for travel and for experiencing new places; but not everyone could afford it.

然而，卢森而堡却做到了，他超越地域的极限，在自己房里就展示出来了。

Loutherbourg outdid himself, however, with a show that he set up in his own home.

他将之称之为“Eidophusikon”（描述）。

其意思大概是大自然的画像，这也正是他意欲要做的：在观众眼前创造真实变化的移动场景。

"Eidophusikon" means something like representation of nature, and that's exactly what he intended to do: create realistic moving scenes that change before the audiences' eyes.

他综合了特鲁利街戏院区中用到的所有戏法：机械运动，音效，灯光，以及其他需要营造的效果，可以说是一种前期多媒体生产。

In this, he synthesized all his tricks from Drury Lane: mechanical motions, sound, light, other special effects to create, if you will, an early multimedia production.

“Eidophusikou”是卢森而堡将描述从图片框架中释放出来的一种尝试。

The "Eidophusikon" was Loutherbourg's attempt to release painting from the constraints of the picture frame.

毕竟，即便很多情节场景是令人兴奋的，其描绘的也只是某一时刻的情景。而在看过第一眼之后，任何动作场景都会烟消云散。

After all, even the most action-filled exciting painting can represent only one moment in time; and any illusion of movement is gone after the first glance.

而卢森而堡，正如当代的画家一样，想在画面中加入时间的维度。

But Loutherbourg, like other contemporary painters, wanted to add the dimension of time to his paintings.

你知道，大众的想法便是卢森而堡是受风景画法的影响。

You know, the popular thinking is that Loutherbourg was influenced by landscape painting.

那为什么我们不能说“Eidophusikon”从实质上影响了画家呢？

But why can't we say that the "Eidophusikon" actually influenced the painters?

至少我们必须考虑这更多是种相互的东西。

At the very least we have to consider that it was more... it was more of a mutual thing.

比如，我们所熟知的一位重要的英国风景画家托马斯根兹伯罗几乎参加了全年所有的表演，而他后期的画作都以渐强的色彩和生动的光线运用而闻名。

We know, for example, that the important English landscape painter, Thomas Gainsborough, attended almost all of the early performances, and his later paintings are notable for their increased color and dynamic use of light.

而卢森而堡给电影院带来的影响是巨大的。

Loutherbourg's influence on the theater though, he was incredibly influential.

他将设计和灯光音效作为一个整体舞台特征呈现出来，这种方式能轻易地被看做是英语戏剧舞台对灯光和动作的连贯性的重视。

The way he brought together design and lighting and sound as a unified feature of the stage can easily be seen in English theater's subsequent emphasis on lighting and motion.

如今，“Eidophusikon”舞台就是一个盒子：几米宽几米高几米深。

Now, the "Eidophusikon" stage was actually a box: a few meters wide, a couple meters tall and a couple meters deep.

That is, the action took place within this box.

This was much smaller of course than the usual stage.

但它却允许卢森而堡将灯光营造出更好的效果。

But, it also allowed Loutherbourg to concentrate the lighting to better effect.

同样，观众是处在无灯区的，这在一百年后才成为一般戏院的特征。

Also, the audience was in the dark, which wouldn't be a common feature of the theater until a hundred years later.

某一场演出会包含着一系列的场景。

The show consisted of a series of scenes.

比如说，伦敦的景色从朝阳升起到一天结束，变化多样；机械景象，比如牛群，会从镜头前走过，航船沿着河流行驶。

For example, a view of London from sunrise that changes as the day moves on; mechanical figures, such as cattle, moved across the scene, and ships sailed along the river.

而真正让人们注意的是细节的东西，就像在他在特鲁利街戏院区的作品一样。

But what really got people was the attention to detail, much like his work at Drury Lane.

所以，比如说，他画出非常写实的帆船，根据离观众的距离长短来改变船只的尺寸。

So, for example, he painted very realistic ships, and varied their size depending on their distance from the audience.

小船只在前景中移动的速度要比大船只快，而大船只更加接近水平线。

Small boats moved more quickly across the foreground than larger ones did that were closer to the horizon.

其他的效果，比如波浪，也是很逼真的。

Other effects, like waves, were also very convincing.

波浪可以根据时间，即白天还是黑夜，反射太阳光或月光。

They reflected sunlight or moonlight depending on the time of day or night.

其颜色甚至能像自然的波浪一样改变。

Even the colors changed as they would in nature.

音效和灯光效果对于他的作品生动性来说是非常重要的。

Sound and light were important in making his productions realistic.

他运用各种灯光，通过使用颜色变化多样的玻璃，他可以改变灯光的颜色，营造出像飘过的云朵突然变色的效果。

He used a great number of lamps, and he was able to change colors of light by using variously colored pieces of glass, to create effects like passing clouds that suddenly change in color.

再者，他运用各种特效制造阴影和灯光的图案，而不是使用当时大家普遍使用的统一的灯光效果。

Furthermore, he used effects to make patterns of shadow and light, rather than using the uniform lighting that was common at the time.

很多他创造出来的音效现在还为人们所用。比如拉动厚铜纸一角制造雷声。

And many of the sound effects he pioneered are still in use today, like creating thunder by pulling on one of the corners of a thin copper sheet.

他所创造的最受欢迎的场景之一即暴风雨的场景。

One of his most popular scenes was of a storm.

而曾经有这样的事情，在演出进行过程中，一场真实的暴风雨经过戏院。

And there is a story that on one occasion, an actual storm passed over head during the show.

演出结束后观众离场，他们说卢森而堡的雷声要比真实的暴风雨还要给力。

And some people went outside, and they claimed Loutherbourg's thunder was actually better than the real thunder.

According to the professor, how did Loutherbourg create a feeling of greater depth on the stage?

What can be inferred about theatergoers in eighteenth-century England?

What is the professor's opinion about the relationship between English landscape painters and Loutherbourg?

What are two notable features of the Eidophusikon?

Why does the professor mention a storm that passed over Loutherbourg's home?

Listen to part of a lecture in a theater class. 
M: As we have seen, the second half of the 18th century was an exciting time in Europe. It was not only an age of great invention but social changes also lead to a rise in all sorts of entertainment, form reading to museums to travel. And finding himself in the middle of this excitement was an accomplished French painter named Philippe Jacques de Loutherbourg. 
Loutherbourg arrived in England in 1771, And immediately went to work as a set designer at the famous Drury Lane Theatre in London. From his first shows, Loutherbourg showed a nack for imagination in stage design. All in the interests of creating illusions that allowed the audience to suspend disbelief completely. He accomplished this by giving the stage a greater feeling of depth which he did by cutting up some of the rigid background scenery and placing it at various angles and distances from the audience. Uh.. another realistic touch was using three dimensional objects on the set like rocks and bushes as opposed to two dimensional painted scenery. 
He also paid much more attention to lighting and sound than had been done before. Now, these sets were so elaborate that many people attended the theater more for them than for the actors or the story. At the time, people were wild for travel and for experiencing new places. But not everyone could afford it. 
Loutherbourg outdid himself, however, with a show that he set up in his own home. He called it the Eidophusikon. Eidophusikon means something like representation of nature. And that’s exactly what he intended to do. Create realistic moving scenes that change before the audiences’ eyes. In this, he synthesized all his tricks from Duruy Lane. Mechanical motions, sound, light, other special effects to create if you will, an early multimedia production. The Eidophusikon was Loutherbourg’s attempt to release painting from the constrains of the picture frame. After all, even the most action filled exciting painting can represent only one moment in time. And any illusion of movement is gone after the first glance. 
But Loutherbourg, like other contemporary painters, wanted to add the dimension of time to his paintings. You know, the popular thinking is that Loutherbourg was influenced by landscape painting. But why can’t we say that the Ediphusikon actually influenced the painters. At the very least ,we have to consider that it was more. It was more of a mutual thing. We know, for example, that the important English landscape painter Thomas Gaysborough attended almost all of the early performances. And his later painting certain notable for their increased color and dynamic use of light. Loutherbourg’s influence on the theater though, he was incredibly influential. The way he brought together design and lighting and sound as a unified feature of the stage can easily been seen in English theater subsequent emphasis on lighting and motion. 
Now, the Ediophusikon stage was actually a box. A few meters wide, a couple meters tall, and a couple meters deep. That is, the action took place within this box. This was much smaller, of course, than the usual stage. But it also allowed Loutherbourg to concentrate the lighting to better effect. Also, the audience was in the dark, which wouldn’t be a common feature of the theater until a hundred years later. The show consisted of a series of scenes. For example, a view of London from sunrise that changes as the day moves on. Mechanical figures, such as cattle moved across the scene and ships sailed along the river. But what really got people was the attention to detail, much like his work in Duruy Lane. So, for example, he painted very realistic ships and vary their size depending on their distance from the audience. Small boats moved more quickly across the foreground than larger ones did that were closer to the horizon. 
Other effects like waves were also very convincing. They reflected sunlight or moonlight depending on the time of day or night. Even the colors changed as they would in nature. Sound and light were important in making his productions realistic. He used a great number of laps and he was able to change colors of light by using variously colored pieces of glass to create effects like passing clouds that suddenly change in color. 
Furthermore, he used effects to make patterns of shadow and light rather than using the uniformed lighting that was common at the time. Any many of the sound effects he pioneered are still in use today. Like creating thunder by pulling on one of the corners of a thin copper sheet. One of his most popular scenes was of a storm. And there’s a story that on one occasion , an actual storm passed overhead during the show. And some people went outside and they claimed Loutherbourg’s thunder was actually better than the real thunder.