邓肯的悲欢人生2_娱乐Entertainment

    theatrical life
    isadora didn’t like poverty and she didn’t like restrictions. there were distant horizons awaiting her. she read about them in her books, the faraway places that call to all imbued with the creative instinct. any place would do as long as it was “away”. she induced her mother to take her to chicago. funds were found and, armed with a wealth of enthusiasm, mother and daughter started out。
    the eastern theatrical managers saw the girl dance, praised her, and told her it was all very lovely. but, after all, that wasn’t the accepted way to dance; it wasn’t the way of the theater. she’d better go home to san francisco and be a schoolteacher! their funds were gone, so they pawned their jewelry. finally, starvation, not a threat but an actuality, faced them, and then isadora received an engagement. at last, she was to dance in a music hall. in a fogged atmosphere of stale beer and tobacco smoke the girl appeared, a breath of ancient greece. her audience chewed on its cigars. this certainly wasn’t what they’d come to see! in short, they wished she’d get through so the next act could appear。
    but in the audience one night sat a dreamer like herself. he was augustin daly, the theatrical producer. he saw what none of the others had seen—the vision, the ideal, and the dream behind the dancing of the girl. he cast her as one of titania’s dancing fairies in his production of a midsummer night’s dream. perhaps she couldn’t force her audience to understand the beauty of simplicity, but at least this gave her the opportunity to dance, and to eat。
    thus the family settled to new york. one night isadora danced to the music of ethelbert nevin; nevin was in the audience, entranced. he arranged for concerts for her and suddenly blasé new york hailed a new star. society accepted her. she danced for the four hundred in newport’s exclusive salons. they made much of her, but just as swiftly they dropped her. and again the family purse was empty。
    剧院生涯
    伊莎多拉不喜欢穷困潦倒,也不喜欢条条框框的拘束。在遥远的地平线上,有什么正等待着她去追寻。她在书中读到过那些遥远的地方,那些向所有所有充满创作天赋的发出呼唤的地方。不管这些地方在哪儿,对她来说只要是“远在他乡”就行。她劝服母亲带她去芝加哥。资金终于凑足,怀着满腔热忱,母女俩出发了。
    东方的剧院经理们看过小姑娘的舞蹈后,对她称赞有加,说她跳得实在是妙极了。不过话又说回来,她的舞蹈毕竟不是公众认可的跳法,也不对剧院的套路。所以她最好还是打道回府,去旧金山当一名算了!钱已经花光,母女俩只好当掉了首饰。最红,饥饿之灾,不是饥饿的威胁而是实实在在的饥饿——摆在了母女俩的面前。然后,伊莎多拉接到了一纸聘书。终于,她就要在一家剧场里跳舞了。在剧场那烟雾缭绕、酒气熏天、浑浊不堪的氛围中,小姑娘登场了,带着一丝古希腊的气息。她的观众兀自嚼着口中的雪茄。这无疑不对他们的胃口!简而言之,他们希望她赶紧跳完,好让下一个节目登台。
    但是,有一天晚上,观众席中来了一位和她一样怀揣梦想的人。此人便是戏剧制作人奥古斯丁·戴利。他看到了别人没有看到的东西,那便是女孩舞蹈背后的憧憬、理想和梦想。他让她在他编排的《仲夏夜之梦》中出演了一个角色——泰坦尼亚王后的一个舞蹈仙女。也许她不能强迫自己的观众理解朴素之美,但是至少,这给了她跳舞——以及糊口——的机会。
    就这样,他们一家人在纽约安顿了下来。一天晚上,伊莎多拉以埃塞尔伯特·内文的为伴奏舞了一曲;内文当时就在观众席中,他看得入了迷。他为她安排了几场音乐会,冷漠的纽约一下子沸腾了,为一颗新星的诞生而欢呼。社会认可了她。在纽波特限制慎严的沙龙里,她为上层社会的人士跳舞。他们极力吹捧她,但就像这吹捧来得迅猛一样,他们抛弃她的速度也同样迅疾。于是,家里的钱袋子又空了。