Toby: 不，恐怕这更适合成年人，但确实很流行、也很有趣。. Andy: Janet，这些你都录好了吗? Joe: 让我听听看
Janet: 哦不，我做错什么了吗？
Joe: 问题是，我什么都听不见啊。我们再试一次. Andy: 你有留心音量控制器吗? 就是那个表。 Janet: 哦不，我忘得一干二净
Andy: 没事，我们再录一次就行了 Joe: 快呀你们两个！快点！
Janet: 太抱歉了，我一不小心忘了.
Joe: 没准哪天你连自己的脑袋都忘了。Toby,我们对此感到很抱歉，请从头开始。. Andy: 今天我们很荣幸地邀请到Toby Jenkins接受我们的采访??
Outside View
The Mona Lisa, the most famous painting in the world, was trully revolutionary even in its time. While he was painting the Mona Lisa, Leonardo da Vinci broke all the rules, even his own. In spite of the fact that Leonardo and other aritists believed that women should only be portrayed with eyes gazing slightly down. Leonodo painted the Mona Lisa looking directly at the viewer. The positon of her body is another innovation. While her face looks straight ahead, her body is slight turned, a pose that creates a sense of movement and tension. In another break from tradition, the Mona Lisa is not wearing any jewellery or adorments. Finally, backgrounds in portraits usually indicated a real place but the landscape in Leonardo‘s portrait seems almost imaginary.
A:One of the things I like to do is, um, think about her face and why, what is she trying, why, what is she trying to say with her face and I used to think that her face told more than one story. For instance, if I covered up one side of her face, it seemed like she might be a little sad or resevered, almost secretive.
S:Her eyes are, they‘re kind of looking at us or around us, through us perhaps. I think with that painting she is the viewer and we are the subject in a way. And she has this look that she knows somehting that we don‘t know.
A:And then when I coverd up that side and looked at the other side, she seemed happier, um, more satisfied. And togher, it created sort of the mystery about her that, um, made interpreting her face very enigmatic.
S:There‘s speculation that the Mona Lisa is a self-portrait of Leonardo and I, I believe that it is, there, there, the features do line up between the Mona Lisa and sketches of Leonardo.
Scott McMahon and Anne Pfaff are both portrait artists. They believe that portraits can tell a story and make people think, just as the Mona Lisa has done for so many years.
A:When I was young, um, I was always interested in, um, reading books about people and, and the dynamics, different kinds of relationships they had and so when I became a painter it was natural for me to be interested in painting poeple and looking for similar kinds of stories to tell about them that you might read in a book.
S:Uh, most of my work consists of photographic self-portraiture. Um, I‘m interested in using myself as th subject, um, not only as the creator of the image but as the, the character, or the performer of, of the images.
So in my portraits I‘m trying to capture, um, a deeper essence of a person, um, more or less.
This work here is done with a pinhole camera, which requires a very long exposure so, with a portrait you can get this feeling of time passed. It‘s not a, it‘s not an instant, per se, it could be five minutes of exposure.
A:So this is another project I‘m working on. I‘m almost finished with it but I still need to work on the reflections in the water, um, and the face of the boy before it‘s finished.
S:I often work with multiples and, you know, using a mirror or the same image twice and what I wanted to do was link the two portraits together with the string. It‘s kind of the string of thought or this idea of remembering or the resilience of memory.
A:I don‘t just paint from photographs. I try to make a work of art. Um, I try to make a painting that goes beyond a mere photographic image. I try to capture something about the soul of the, or the essence of this person.
S:This piece here is, uh, it‘s called The Measure of Decay and behind the piece there are portraits, again, of me I have this clay covering on that has cracked and so it‘s, it‘s kind of like the process of decay. So as each portrait goes around you can, you can see the image in a different focus. I love painting portraits.
A:I love painting but portraits are very special because they‘re about people.
S:I‘m fascinated by portraiture in general, and the human body and how the image lives over time. I like to capture what is unique and special about an individual in paint.
蒙娜丽莎，作为世界上做最著名的画，在当时的时代是完完全全颠覆性的。列奥纳多·达·芬奇在创作这幅画的时候突破了一切的规则限制，甚至是他自己的。在达芬奇创作的这幅画中，尽管他其他广大艺术家都认在画像中妇女只能以眼睛微向下看的姿态出现，可是他仍然将蒙娜丽莎画为直视着看画者。她的身体则是另外一个突破。当她的脸是对着正前方的时候，她的身体略微转过一个角度，这个姿势将一种动感和张力结合到了一起。另外一个突破传统的就是蒙娜丽莎没有佩戴任何的珠宝或者是装饰品。最后一点，肖像画的背景通常指向一个真实的地点，而列奥纳多的肖像画的背景看起来都是梦幻一般的。
安普法夫：我喜欢做的一件事情是，恩，思考她的脸还有为什么她是这样的姿态，她想通过她的脸传达什么，我曾认为她的脸告诉我们不止一个故事。比如说，如果我遮起她的脸的一边儿，她看起来会有些悲伤或者说是沉默寡言的，几乎是遮遮掩掩的。
斯科特麦克马洪：她的眼睛是那种像看着我们，又像看着我们周围，或许还是穿过了我们。在一定程度上，我想在这幅画中，她是旁观者，而我们却成了画的主题。她的这种表情仿佛表示出她知道某些我们不知道的事情。
安普法夫：而后当我遮起她的另一边脸看刚才一边的时候，她看起来快乐一些，恩，或者说更满足的。整体一起看的时候，它又有一种关于她的神秘感，恩，让理解她的脸变的难以捉摸。
斯科特麦克马洪：有一种猜测说蒙娜丽莎这幅画是达芬奇的自画像，而我认为，这些特点是集合了蒙娜丽莎还有达芬奇的素描。
斯科特麦克马洪和安普法夫都是肖像画艺术家。他们认为肖像画可以讲述一个故事而且令人深思，就像多年前蒙娜丽莎这幅画的作用一样。
安普法夫：当我年轻的时候，恩，我喜欢，恩，读关于人的书，还有关于人的相互关系的，他们之间各种各样的关系，所以当我成为一个画家的时候，很自然地我会去关注画人还有在书中找寻相似的故事去讲述它们。
斯科特麦克马洪：恩，我的大部分工作由摄影自画像组成。恩，我很乐意将自己作为主题，恩，不仅仅是画的创作者，而且是画的主角或者是表演者。所以在我的肖像画作品中，我试图去抓住，恩，或多或少一个人的更深层的本质。这儿的这个工作需要借助针孔摄像机
完成，它需要很长的曝光时间，所以你可以在这个肖像画的过程中感受到时间的流逝。它并不是，并不是一个瞬间的，它本身可以是五分钟的曝光时间。
安普法夫：这是我正在进行的另一个作品。我几乎快要完成了，可是在真正完成之前仍然有一些工作，比如说水的反射，恩，还有这男孩儿的脸。
斯科特麦克马洪：你知道的，我工作的时候经常和倍数打交道，还有用镜子或者相同的东西两次，我所想要做的是将两幅肖像用一根线联系起来。那是一种思想的线，或者说是记忆，还有记忆的重现。
安普法夫：我不仅仅是按照图片作画。我试图做关于艺术的工作。恩，我试着画一种超越了仅仅是图片的画。我试着捕捉一些关于人的灵魂或者是关于人的本质的东西。
斯科特麦克马洪：这里的东西，恩，叫做衰退的测量，在这张陶土的后面是一些肖像，再一次，我将陶土中间弄碎，所以它是，它像是一种衰退的过程。所以，当每一幅肖像转动的时候，你可以，你可以在不同的焦点上看这些画。
安普法夫：我喜爱画肖像画。我喜欢画画但是肖像画是非常特殊的，因为它们是关于人的。
斯科特麦克马洪：我通常被肖像艺术所吸引，还有人的躯体和这些画是如何在岁月中存活下来。我喜欢在画中捕捉一些独特的东西还有有关个体的一些特质。
Listening in conversation 1
Lily: So what was the highlight of your trip to (South)Korea? Hugh: Well that's…let me see...it's got to be going to see Nanta. Lily： What on earth is Nanta?
Hugh：It's this amazing live show-part theater-part dance-part music. Lily: Sounds really interesting. But why‘s it so brilliant?
Hugh: I think it's the energy of the performers. Also it has a unique concept. It's a mixture of
traditional Korean music, percussion and drums, into a western style performance Lily: I've never heard of it. Has it ever been performed in the West?
Hugh: Yeah, it's been a sell-out. They've toured in over 30 countries since the show began in
1997.It's a non-verbal performance so there are no language barriers. That's what's made it an international success.
Lily: What else makes it so special then?
Hugh: Well...the other thing is that all the action takes place in the kitchen. You see these four
chefs preparing the food for a wedding reception. The performers use knives, dustbin lids and various other kitchen utensils to create a hypnotic soundtrack. The food literally flies everywhere! It's hilarious.
Lily: That sounds quite funny I must admit. Is there an actual story though?
Hugh: Oh yes, there is a story. The four chefs have to prepare the meal by 6 o'clock and they also
have to give the manager's nephew cooking lessons too, which adds to the fun. There‘s loads of audience participation and despite there being no language involved you get completely engrossed. It's really quite wacky!
Lily: And what about the audience? I suppose they start throwing food around…?
Hugh: Not quite! But they are totally involved in what's going on-everyone loves it. It's a really
great family show. In fact it's one of the best shows I've ever seen. Jim, my friend, says he takes all his visitors. He's seen it about eight times and still loves it. Lily: I bet it's popular with tourists then.
Hugh: Well apparently over a million foreign tourists in (South)Korea have seen the show and it's
had a run on Broadway too. It first got popular after they appeared at the Edinburgh Festival. Now they are planning to tour more cities in Asia where (South) Korean popular culture is becoming incredibly trendy. Lily： By the way what does―Nanta‖ mean?
Hugh：It means random drumming in Korean. The English name for the show is Cookin‘, which
gives you a clearer idea of what it's all about.
Lily： You've got me interested now. I'll have to check it out on the internet. 丽莉：这次你的韩国之行有什么让你难忘的事情么？ 休： 额。。。让我想想。。。应该是去看Nanta这件事吧。 丽莉：到底什么是Nanta?
休： 他是个很精彩的舞台剧，应该说是戏剧，舞蹈以及音乐的大综合吧。 丽莉：那听起来挺有意思啊。不过它为什么那么精彩？
休： 我想应该是因为演员们的活力吧。还有就是这个舞台剧本身包含一个很独特的概念。
它是一种将传统朝鲜音乐，打击乐器和鼓融合进西方风格的表演 丽莉：我从来没有听说过她，这个节目在西方国家上映过么？
休： 当然，而且场场爆满。自1997年这个节目正式开始表演以来，Nanta的表演团队已
经游遍了三十多个国家。Nanta是一个非语言类的表演，因此演员与观众之间不存在语言交流的障碍，而这恰恰就是让它在全球范围内取得成功的原因。 丽莉：它还有什么让它变得如此特别的亮点？ 休： 额。。。说道其他的特点的话，应该就是表演中所有的事情都发生在厨房。你会看到4
个主厨在厨房中为准备婚宴餐点而忙碌。演员们用刀具，垃圾箱的盖子以及其他各式各样的厨具来制造出令人着迷的音效。舞台上的各种食物简直就是在飞来飞去，这很有意思的。
丽莉：我承认，这听起来很有趣。但是表演内容中有没有一个完整的故事？ 休： 有啊，那四个主厨必须在6点之前准备好婚宴晚餐，同时又要给经理的侄子上烹饪课，
这些元素都使整部节目充满笑点。节目中还包含大量观众参与互动的环节，尽管节目与语言毫不相关，但每个人都全神贯注于其中。这真的有点古怪，不是么？ 丽莉：来谈一谈观众们的反应吧，我猜他们一定开始四处仍食物了吧？
休： 并非完全如此。但他们确实全都沉浸在整部节目中，毕竟每个观众都喜爱它。这是一
部非常适合家庭成员一起观看的表演。说实话，他是我所看过的节目中最好的节目之一。我的一个朋友Jim说，他会带他所有的客户来看这节目。他已经看过约8次了，却仍不厌烦。
丽莉：我打赌它肯定很受旅客们的喜爱 休： 恩。。。显然，成百上千到韩国旅游的游客都看过这部节目，而且nanta也在百老汇上
演过。当初，Nanta在爱丁堡的庆典上开始受到世人的瞩目。而现在，Nanta节目组正准备在更多的亚洲城市进行巡演，韩国的流行文化显然在这些地方十分地受欢迎。 丽莉：顺便问一下，Nanta是什么意思？
休： 在韩国，它是胡乱击鼓的意思。他的英文名是Cookin‘s,英文名可以让你更好地理解
这个节目的主题。
丽莉：好吧，你的话激起了我对他的兴趣。我要上网查一查它了
Listening in Conversation 2
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