福州第二人民医院性激素六项检查好不好费用多少新华解答

明星资讯腾讯娱乐2019年09月17日 01:07:59
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How Neanderthals Fought Disease穴居人怎样抵抗疾病Every year people are encouraged to get their annual flu shots. Signs are posted at drug stores and clinics. Get your shots here. Modern preventive medicine has saved millions of lives. But you may be surprised to hear that Neanderthals may have helped ancient humans prevent disease. Not with medicine but with immunity genes.每年人们都会被鼓励去打流感疫苗。告示会被贴在诊所和药店里:在这儿打疫苗。现代预防医学挽救了数百万人的生命。但是当你听到穴居人可以帮助过去的人预防疾病时,你可能会感到很吃惊,不是利用药物而是通过免疫基因。Humans have a group of about two hundred genes that keep our immune system running smoothly. These genes allow our bodies to respond to a large number of disease causing agents and adapt to new disease. One of those genes has an allele, HLA C0702, that can be found in many European and Asian people, but not in Africans. Another allele, HLA A11, is found mostly in Asians.人类有一组基因,大约200个,它们让我们的免疫系统正常地运转。这些基因使我们的身体对大量的病源物质做出反应,并且适应新的疾病。这些基因中的一个有 等位基因,HLAC0702,这种基因可以在许多欧洲或者亚洲人身上找到,但无法在非洲人身上找到。另一种等位基因HLA A11则在亚洲人身上最为常见。Both alleles were found in Neanderthal DNA. Scientists studying ancient Neanderthals believe they may know why some modern people have the immunity alleles while others do not. When humans moved out of Africa one hundred thousand years ago, their immune systems were adapted to fight African diseases. Neanderthals on the other hand had aly been living in Europe and Asia for thousands of years. They had been exposed to different diseases, and different alleles had evolved to combat them.这两种等位基因在穴居人的DNA中却都可以找到。研究古穴居人的科学家们相信他们可能知道为什么一些现代人有免疫等位基因,而其他人没有。十万年前,当人 们搬离非洲时,他们的免疫系统就已经适应了同非洲疾病对抗。然而,穴居人在欧洲和亚洲已经生活了数千年。他们被暴露在不同的疾病之下,并且进化出不同的等 位基因同疾病对抗。Scientists aly know that the modern human genome is somewhere between one and four percent Neanderthal in origin. It is not a far leap to speculate that inbreeding may have resulted in shared immunity genes, too. More research is needed to determine if the gene alleles came from a common ancestor, or directly from Neanderthals. In either case, the story of inheriting disease resistance is important in understanding modern man’s survival and migration around the world.科学家们已经知道现代人类基因组在某种程度上1%到4%是起源于穴居人。不难推测,近亲繁殖也许是造成免疫基因共享的原因。但我们还需要更多的研究来确定 是否等位基因来自于人类共同的祖先,还是直接来自于穴居人。在任何一个情况下,遗传抗病性在理解现代人生存和在全世界范围内迁徙都是十分重要的。 /201206/187426

  

  ;Youll have them in your bathroom and youll use them to look at a splinter in your finger or a cut that doesnt heal or anything thats going on inside your body.; “你可以使用它们来清理厕所,用它检查指甲里的碎片,或者身上没有愈合的伤口,任何你身体里的毛病都可以。” Doctors will use the sonic flashlight to more easily insert needles in intravenous lines deep inside the body and find lumps and other potentially malignant masses. Youll also be able to see through other things. 医生有了这个声波手电筒,可以更容易地将针身体深处的静脉,可以更容易地找到肿块和潜在的恶性病变。你也可以用它来透视物体。 ;In the future with the right kind of radar, you could use this display technology to actually look through the wall.; “等未来发明了适合的雷达,你就可以用这种科技来透视墙壁。” Think what this could do for a hostage rescue team or other first responders. 想想这会对救援人质团队或者其他急救队有多么重要的意义。 ;You could do eyes systems that could be built into a firemans helmet and could deliver images of what was in front of the fireman through the smoke.; “你可以将这套视觉系统植入消防人员的头盔,可以向消防员传送浓烟前方的画面。” The sonic flashlight is still in a development phase. But one day soon, this X-ray vision will join robots and the Exoskeleton as technological breakthroughs that will change our lives. 声波手电筒仍处于发展阶段。但是很快,这种X射线视觉就会利用到机器人领域,作为重大技术突破,Exoskeleton将改变我们的生活。 But no future machine could be more thrilling than one that gives us the ability to fly without wings. 但是没有哪一款机器能比让人在空中飞行更让人兴奋了。 Its every kids dream to be able to fly, have no constraints and be completely free. I think everyone has the passion to fly, and thats the mystique of jetpacks, and we are developing jetpacks for the average consumer. 能够无拘无束,自由自在地翱翔天空是每个孩子的梦想。我认为每人都有想飞的冲动,能不能飞就在于那神秘的喷气背包。目前我们正在研发适于广大群众单人飞行的喷气背包。 Which means everyone will able to fire up their personal rockets and jet into the clouds. 这就意味着人人都能发射单人火箭,然后直冲云霄。 Jetpacks were first developed in the 60s to be able try to fly around in space. 喷气背包早在上世纪60年代就被开发,并利用在太空飞行领域。 The military was interested in jetpacks too. But early systems were impractical, too heavy and hard to use. Troy Widgery and Eric Strauss believe theyve solved those problems, and that their jetpack model will usher in a new era of personal flight. 军队也对喷气背包感兴趣。但是早期的系统太不实际,太笨重而不便使用。Troy Widgery和Eric Strauss相信他们会克这些困难,他们的喷气背包模型将会引领单人飞行的新时代。 原文译文属! 201207/192056。

  

  Fire, flood, bomb, whatever the threat to the subway system, Michael Lee can respond. He controls the latest weapon in the arsenal of the Office of Emergency Management--The Mobile Data Center. In a crisis, knowledge is power and Lees team is all mowing. Inside, a computerized map of virtually every citys structure above and below ground, including the entire subway system in unparalleled detail. At a keystroke, they can punch up a station and pinpoint every elevator, emergency exit and fire hydrant. Every stairway in every subway has a unique number registered on a computer, allowing Lees team to guide rescuers who smoke-filled chaos. Today the chaos is water and mud.火灾、水灾、爆炸等等不管对地铁系统有着怎样的威胁,迈克尔;李都可以作出回应。他控制着最新式的武器,它们来自突发事件应急管理办公室;;移动数据中心的兵工厂中。在危机时刻,知识就是力量而且李的队伍都是全能战士。在里面一张电脑化的虚拟地图涵盖了城市上方和下方地面结构的每一处角落,包括整个地铁系统前所未有的细节。只要按下一个按钮,他们就可以定位地铁站,甚至找出每一部电梯、紧急出口和消防栓。每一个地铁的每一处楼梯都在电脑里进行了注册,而且有一个独特数字编码,让李的团队在烟雾弥漫的混乱中引导救援人员。现在的混乱是水和泥土。We have had a 20-inch watermain break. We have found that location and were back always.我们有了一个20英寸的泥石流。我们已经找到那个位置,我们正在进行排除。Steven Zimmerman is among the pontoon workers called up to close the break.史蒂文;泽曼是被征召关闭断裂的浮桥工人。This happens a lot, especially in Manhattan. Theres a lot of infrastructure in a small area, as one top one another.这种情况经常发生,尤其是在曼哈顿。有很多基础设施在一个小的区域,一个挨着一个。The flooding is so bad, it threatens to undermine nearby buildings. Residents are forced to evacuate. It gets worse. Buried beneath the street, right beside the water main, a high voltage powerline.洪水是如此恶劣,它威胁到附近的建筑物。居民被迫撤离。洪水开始变本加厉造成了威胁,侵袭街道,高压电也遭到了殃及。注:听力文本来源于普特201203/173688AntIntrigue蚂蚁的阴谋Don:Hey,antsives are full of intrigue. Take slave-making ants. They invade other antsests, kill some of the adults, and then steal the larvae and take them back to their own nests.Don:蚂蚁的生命中充满了阴谋。拿使用奴隶的蚂蚁来说,他们入侵其它蚂蚁的巢穴,杀死一些成年蚂蚁,然后把幼虫偷回到自己的巢穴。The larvae learn who they belong to by smell, so the slave-making ants get them while theye young so they can turn them into slave-making workers who then go off to raid other colonies.幼虫通过嗅觉来确定自己隶属于谁,所以冠奴蚁就会离开在去入侵攻击其它“殖民地”。Theres an ant species called Temnothorax minutissimus that is all queens and no workers. Talk about wacky hijinx...有一类名为Temnothorax minutissimus的蚂蚁,它们全都是“老大”,没有奴隶。拿古怪的hijinx来说……Yaeuml;l:But Don,do the queens need the workers to forage for food and do general antchores?Yaeuml;l:但是Don,这些蚂蚁王需要奴隶去搜寻食物,做一些日常事务吗?D:They do. Thats why this extremely rare species baffles scientists.Like slave-making ants, these ants are parasites that infiltrate other antscolonies. But unlike slave- making ants, the Temnothorax minutissimus queens somehow do so without killing the host queen and without all the bloodshed. And for some reason, the hosts put up with it and rear the visiting queens eggs along with their own.D:需要。这就是这种极罕见的蚂蚁让科学家们所困惑的。跟冠奴蚁一样,这类蚂蚁也是一种潜入其它蚂蚁殖民地的寄生生物。但跟冠奴蚁不一样的是,Temnothorax minutissimus王们不知怎么的(在入侵时)却不会杀死(入侵巢穴的)蚂蚁王,也不会进行大杀戮。而且,因为某种原因,(被入侵巢穴的)蚂蚁还能接受造访蚂蚁王们的卵与自己的卵放在一起。Many parasitic relationships are harmful to the hosts, like rabies or malaria and anthrax. So studying T. minutissimus and their interactions with their hosts could give scientists a fuller understanding of parasite-host interaction.许多寄生关系对(被入侵)蚂蚁来说是有害的,就像狂犬病,疟疾以及炭疽一样。所以,研究Temnothorax minutissimus以及其对(被入侵)蚂蚁的作为可以让科学家更全面的理解入侵蚂蚁与被入侵蚂蚁的关系。 /201208/195847

  Obituary;Michael Lassen;讣告;迈克尔.拉森;Michael Lassen, stained-glass artist, died on September 8th, aged 61;迈克尔·拉森,花玻璃艺术家,卒于9月8日,享年61岁;ALMOST nothing is known of the men who built the great medieval cathedrals. A masons mark chiselled on a column; a game of nine-mens-morris scratched on a stone; a gargoyles half-human face, of foreman or master of works, are all that remind observers of the crowds of labouring souls who raised Canterbury or Winchester, Beauvais or Cologne.对于建造中世纪大教堂的那些人我们几乎一无所知。一个被刻进圆柱的工匠的标记;一个在石头上乱划的九人莫里斯游戏;一个怪兽状滴水嘴的半人脸,那些工头或者大师的作品,都会让观者想起那些建造坎特伯雷,温彻斯特,科隆或韦伯大教堂的那些千万劳苦大众的在天之灵。The dangers of such projects were legion. Contemporary illustrations show cathedral spires collapsing, vaults caving in, high scaffolding keeling over in a chaos of planks and poles. Casualties were expected, and were many, though the fabric accounts often could not name them. In modern times the labour is no less perilous; but in the days of health-and-safety and hard hats, accidents are rare. Hence the horror in Durham when, on September 3rd, Michael Lassen fell from a ladder as he helped to fix a new stained-glass window in the south quire aisle of the cathedral. He died some days later in hospital.这些大项目危险重重。同时代的画作显示了大教堂尖塔的倾倒,拱顶的塌陷,高高的脚手架倒在一片八七八糟的木板和柱子中。尽管凭零星的记录难以命名,但意外事故的确在所难免而且经常发生。时至今日,这种劳动的危险一点也没有减少。因此,在9月3日达勒姆发生了惨案,当迈克尔。拉森帮助修复一个大教堂南边唱诗班席位的色玻璃窗时,他从梯子上摔了下来。几天后他在医院里死去。Climbing up in the south quire to look at the traceries originally, he had found them heavily fissured, like all Durhams ancient sandstone. Blocks were missing on the exterior, and one side of the main arch was worn away almost to a skeleton, as though two or three centuries of wild north-east weather had blown through it. But all the stone had been carefully stabilised before his work began.爬到南唱诗班席位上去原本是去看花饰窗格,他却发现他们已经严重破裂,就像所有达勒姆古老的沙岩那样。那些石块已经掉了,主拱经过两三百年的东北风吹过,一侧已经破损得只剩一个骨架, 但在他的工作开始之前是所有的石头都被仔细地固定下来。The window was of the Transfiguration of Christ, made by Tom Denny, and one of the largest to be installed in Durham in modern times. Mr Lassen was working from top to bottom, fixing the glass he had leaded. He started with the small quatrefoil lights of the Holy Spirit and the crucifixion, proceeding down through the main panels of Christ and his followers on the mountain, with all the way the white shaft of Gods transfiguring light growing broader through the fire-and-storm colours of the glass. The four principal lights, nicknamed after the chief figures in them, were Cuthbert, Moses, Elijah and Michael; they became familiar friends. He was fitting a small panel at the bottom left-hand side, a pane of bruised blue glass that showed the broken and suffering about to be transformed by light, almost the last piece in the window, when he fell. He was not particularly high up, working at the ledge. But stone flags are unforgiving.窗户是圣容显现,为汤姆丹尼所造,这是在现代达赫姆大教堂要安装的最大的一个。拉森的工作从顶部到底部,负责修复玻璃。他从那些圣灵和十字架的四叶草光芒和开始,接下去通过基督的主体和他在山上的追随者,从上到下,神的美丽的光线透过火红色的玻璃逐渐变光,投射出白色的光柱。四道主要的光,以里面的主要任务命名,分别是库斯伯特,西,以利亚和迈克尔。他们成为熟悉的朋友。当迈克尔坠落的时候,他正在安装左手边底部的一个小的镶嵌板,那是一块磨损了的蓝色玻璃,几乎是窗户上的最后一块玻璃。他其实并不是特别的高,也不是特别靠边缘。但是石板是无情的。Mr Lassen had been called in late to lead and fix this window. The man originally contracted had fallen ill, and the deadline for the installation, the end of September, was fast approaching. Help was needed fast; Mr Lassen provided it, expertly and fully. The tight timetable troubled him; but he was not a keen marathon runner for nothing.拉森很晚的时候被召来领导修复窗户。起初签约的那个人生病了,而九月底工期的最后时限即将到来。拉森专业而不遗余力地提供了急需的帮助。紧张的时间表给他添了麻烦,但拉森不是一个只顾跑步的马拉松运动员。His training had been traditional, in the Government School of Stained Glass at Hadamar in Germany; though English, he had spent many childhood years in Bavaria. After working as a glazer and glass-restorer, he had turned to glass-painting and designing, gradually obtaining commissions in churches all over Britain. His own windows, at St Cadocs chapel in Cowbridge in South Wales, or in the Church of Sts Peter and Paul at Great Somerford in Wiltshire, showed a love of blocks of pure colour carefully contained within thick, angular leads, especially glowing blues and rich reds: the medieval way of glass. His figures, too, had a medieval solidity, dignity and stillness about them.拉森在德国哈达马尔的国立花玻璃学校受到过传统的训练,尽管是个英国人,但他很多童年时光都是在巴伐利亚度过的。在成为一名上釉和玻璃安装工后,他转而从事玻璃绘和设计,逐渐获得了英国各地教堂的任务。他自己的窗作品,遍布南威尔士考布里奇的圣卡多克礼拜堂,威尔特郡大萨默福德的圣彼得圣保罗教堂,展示了他对于仔细地填满又厚又尖的纯色块的热爱,尤其是鲜艳的蓝色和饱满的红色:这是中世纪式的玻璃。他的形状,也具有中世纪的坚固,端庄和沉静。Lead and fire铅与火The techniques needed to lead and fix his own glass had barely changed. He would stretch the H-section lead strips, or cames, to stop “creep” in the soft, ductile metal; cut them expertly straight with his pliers, so as to leave no gaps between them when they were moulded round the glass pieces; apply the hot chisel-tip of the soldering iron just long enough to melt the solder, not the lead, when joining the strips together. The double-layered and plated technique of leading Mr Dennys glass, with the lines almost lost in the painting, was at first new to him, and correspondingly tricky. But by the time of the Durham project he had become an enthusiast, and all was going well until he fell.他固定和修复自己的玻璃所需要的技术几乎没有什么变化。他伸展H型铅条,或卡梅斯,消除柔软韧性金属的脆性; 熟练地用他的钳子把它们弄直,这样当镶嵌上玻璃后就不会产生空隙;用滚烫的带凿头的焊接烙铁刚好溶化焊条,当把两个条焊接起来时不会化掉铅条。起初这种在涂色中几乎不留线条的双层镀金属的工艺对他来说是全新的,而且技术性很强。但是随着达赫姆项目的进行,他对此越发痴迷,一直到他从那里坠落。A memorial service for him was held at the foot of the window while the scaffolding still covered it. Mr Lassen, who worked from Bristol, was barely known in Durham, although he had once had a studio at Worship Farm, not far away. To most of the people who attended, extending the human crowd in the bottom panels of the window, he was just “that nice chap” who had had the accident. But when September 25th came, the day of dedication, he was remembered in a different way. The clue lay in George Herberts poem “The Windows” which was sung as an anthem at evensong. Man was “a brittle crazy glass”:Yet in thy temple thou dost him afford This glorious and transcendent place To be a window, through thy grace.一个为他举办的纪念仪式就在那窗户脚下进行,脚手架还没有拆掉。来自布里斯托尔的拉森在达赫姆几乎不为人知,尽管他在不远的礼拜农场有一个工作室。对于来参加纪念仪式的人群来说,他就是那个出事故的“好小伙”。但是当9月25日,奉献日这天到来的时候,他以一种不同的方式被怀念。而线索就藏在乔治·赫伯特的一首诗里“窗”,这是晚祷的一首赞美歌。人是一块“易脆的疯狂的玻璃”:然而,栖身在你的圣殿,透过你的恩典,他这一光荣而超然的地方是一扇窗As the congregation pressed through afterwards into the south quire aisle they found the windows still wreathed in incense, like the cloud of God that had enveloped Jesus on the mountain. Through it shone the glass. Its golds and blues were smoky in the evening light, but the central column blazed white, like the transfiguration of a man; and of all men, named or un-named, whose lives and skills are embedded in the stone and glass of great cathedrals.众人在集会通过南唱诗班的走廊,他们还发现窗户依然在香缭绕,像神云笼罩了耶稣在山上。通过它闪耀的玻璃,金色和蓝色在夜色里显得烟雾迷茫,但中央纵队开辟白色像一个人变身,和所有的人,有名的无名的,他们的生命和手艺,都早已嵌入大教堂的石头和玻璃中。 /201209/201491

  Don: Hey Yael, did you know that people with red hair need more anesthesia during surgery than other people?唐:嘿,雅艾尔,你知道吗,红发的人在做手术时需要注射比别人更多的麻醉剂?Yael: Oh, cmon Don, thats just another superstition about redheads—like redheads have hotter tempers. Back in the Middle Ages they used to think that people with red hair were witches.雅艾尔:啊,少来了,唐,这是人们对红发的又一个迷信——就像红发的人脾气更暴躁。在中世纪人们认为长有红发的人是巫师。Don: But Im not being superstitious. Dozens of studies have shown that it takes about twenty-percent more anesthesia to knock out redheads than it does people with other hair colors.唐:但这次不是迷信。几十项研究表明:相比其他发色的人,红发的人昏迷所使用的麻醉剂要多出20%。Yael: Why?雅艾尔:为什么?Don: Well, its all about pigment.唐:其实,这与色素有关。Yael: You mean the particles that determine the color of hair and skin?雅艾尔:你是指决定头发或皮肤颜色的粒子?Don: Right. So the amount of pigment you have is controlled by a hormone in the brain. Redheads have more of this hormone—and that matters because the pigment hormone is also involved with pain perception. So for some reason, because redheads have an abundance of this pigment hormone, theyre more sensitive to pain...唐:对。因为色素的数量由大脑中的荷尔蒙控制。红发人分泌更多这种荷尔蒙——这是关键的一点,因为色素荷尔蒙也涉及到痛知觉。因此出于某种原因,红发人体内含有更多的色素,因此对疼痛也更加敏感。Yael: ...which is why it takes more anesthesia to knock them out. So does this matter in any major way?雅艾尔:...这就是为什么需要更多麻醉剂才能使其迷昏的原因。那么对某些重要的方面有影响吗?Don: Well, I guess it does if youre a redhead. But its not like you have to be worried about waking up during surgery, screaming in pain. Surgeons and anesthesiologists are well aware of the phenomenon. Because, Yael, its science, not superstition.唐:好吧,我觉得如果你张着红发,就有影响。但不要担心会发生半路在手术台上醒来,痛得大叫这种情况。手术医师和麻醉师也充分了解这种情况。因为这是科学,不是迷信,雅艾尔。Yael: Touché.雅艾尔:言之有理。原文译文属!201210/203863

  ;Its not even good texts. Its like hey, hey, whats up? whats up? Not much.Like it, just ridiculous texting Im learning not to do anymore,; 都不是什么有意义的短信,像是“嗨,嗨,你在干吗?”这种无聊的短信,我现在正在试图戒掉没事就发短信的毛病。 At her worst, Annie Levitz was sending 100 text messages a day - 4,000 in a single month. Then, the pain started. Annie Levitz最多的时候每天发100条短信,一个月4千条短信。于是手开始疼了。 ;I started like losing feeling in my hands and theyd go numb. Id be going to pick up dishes and things and theyd just fall out of my hands,; “一开始是感觉手失去感觉,变得麻木。我去端盘子,但没有拿住它们,盘子纷纷落到地上。” Doctors diagnosed Annie, who is a junior at Stevenson High School, with carpal tunnel syndrome. So severe, braces and cortisone injections arent enough. Shell have to undergo surgery. 医生诊断Annie,一名高中生患上了腕管综合症,情况严重到注射药物失效,必须手术治疗的。 Annies mom says simply taking her daughters phone away isnt an option. Annie的母亲表示如果只是没收女儿的手机并不明智。 ;Sure, Ive thought about it. But if you have teens you know that doesnt work. Thats their whole social life, plus thats how you get in touch with them,; “是的,我想过这么做。但如果你有十几岁的孩子你就会知道这不会管用。因为这是他们所有的社交活动,何况,家长也是这么联系孩子的。” Experts say just 3 percent of adults have diagnosed cases of carpel tunnel syndrome.In teens, its almost unheard of. But doctors say, too much texting, is becoming a textbook way to get it. 专家表示3%成人被诊断患有腕管综合症,青少年患这种病的还很少。但医生表示,过度发短信有可能患上这种病。 When you, if you get tendonitis in the shoulder or in the wrist and the doctors say ;well, dont do the activity, put it at rest, well, its the same thing.; You know, dont do the activity thats constantly causing the problem. 如果你的肩或腰患上了肌腱炎,医生会建议你别运动,多休息这样的话。要知道,不运动也会不断地引发问题。 The kid with carpal tunnel is all the talk at school, but if Annies friends are any indication, the lesson may have longevity of a text message. 患上腕管综合症的女孩所有社交活动都在学校,但如果Annie的聊天对象是她的同学的话,那么课时长度有可能就是她发送短信的时间。 ;They are teenagers so I think most people, like a minute, oh, Im fine. But its gonna still happening.; “我认为大部分人会反应一下,然后说他们还是孩子,我没事,然后仍然像往常一样发短信。” ;I know its a problem so I may watch it, but I still text a lot.and I probably will, still text. “我知道这是个毛病,但我仍然会发很多短信。” As for Annie, she says shes cut the number of texts she sends a month in half. 对于Annie来说,她表示她减少了平时短信数量的一半。 ;Now, you down to?; “现在你的短信减少到多少条了?” ;Two thousand.; ;Oh~~~~~; “两千条”“哦……” ;I know, its not good enough but Im trying!; “我知道,这还不够,但我还在努力!”注:本篇文章英文来自普特论坛,译文属原创,,。 201206/185304。

  Books and Arts; Book Review;New theatre: “Travelling Light”;文艺;书评;新剧院:《轻装上阵》;The screen at the end of the world;Antony Sher plays the part of a lifetime;世界尽头的银幕;安东尼·谢尔:生为犹太身,今演犹太人;Jacob Bindel, the timber merchant in Nicholas Wrights “Travelling Light” at the Lyttelton theatre, is the second of three Jewish roles that Sir Antony Sher has signed up for in less than a year—after decades of parts from other worlds than that of his forefathers. First he was Phillip Gellburg in last autumns production of Arthur Millers “Broken Glass” at Londons Tricycle theatre, a repressed businessman in 1938 New York who tries to ignore the violent pogroms taking place in Germany. And later this summer he will reanimate Sigmund Freud in Terry Johnsons “Hysteria” in Bath.身为犹太人,安东尼·谢尔爵士(Sir Antony Sher)数十年从未演过本民族角色。而最近不到一年,他已接下了三个犹太角色。去年秋季,他在伦敦三轮车剧院首度出演犹太人,于阿瑟·米勒(Arthur Miller)剧《碎玻璃杯》中饰演菲利普·盖尔格(Phillip Gellburg),一个情感压抑的商人,1938年住在纽约,试图忽视德国残暴的犹太人大屠杀。第二个角色便是在利特尔顿剧院扮演尼古拉斯·赖特(Nicholas Wright)剧《轻装上阵》中的犹太木材商人雅各布·宾德尔(Jacob Bindel)。而今夏,他将在巴斯重新诠释泰利·约翰逊(Terry Johnson)剧《歇斯底里》中的西格蒙德·佛洛依德。Of the three roles, Jacob Bindel may well prove the most memorable. It could make the South African-born actor as unforgettable to London audiences as Chaim Topol was as Tevye in “Fiddler on the Roof” half a century ago.安东尼的三个角色中,雅各布·宾德尔可能最令人难忘。也许该角能使这位南非出生的演员与哈伊姆·托波尔(Chaim Topol)一样让伦敦观众无法忘怀——托波尔五十年前曾在前音乐剧《屋顶上的小提琴手》中出演泰维(Tevye)一角。Mr Wright has set his new play in a remote village in eastern Europe at the dawn of the 20th century. Motl Mendl (a fluid and captivating Damien Molony) has returned after a long absence to his uncles photography studio, where he is entranced by the flickering shadows of a motion picture. Jacob enters, intent on having a photograph taken of his wife and their only son before the boy is called upon to don the uniform of the tsar. At least, that is his plan until he decides to have the family farewell filmed as a motion picture and succumbs to the allure of the movies.这部赖特新作中的故事发生在20世纪初叶一个遥远的东欧小镇上。莫特尔·门德尔(Motl Mendl)长相酷似达米恩·莫罗尼(Damien Molony),动作灵活优雅,充满魅力。久别之后,他回到了叔叔的照相馆,在那儿对电影闪烁的光影着了迷。某天,雅各布来到相馆,本想在独子应征加入沙皇的军队前为妻儿照张合照,后来决定将家人的惜别之景摄为电影;电影的魅力征了他。Orphaned and illiterate, the ebullient self-made businessman explains why: “Me, I dont know words. Words for me are like stone wall around Gods world. So I am stranger to Gods world…Then I see your motion picture, and the door to paradise open for me. I see big light, big sun, big sky! Because no words! No words but all of feelings! Love, happiness, sadness, tears. I see them clear.” Inspired by Anna, Motls clever and captivating assistant (Lauren ONeil), the young director begins making films with Jacob as the worlds first movie producer.这位白手起家的商人幼时失荫,一字不识,却对电影满腔热情。对此,他解释道:“俺——我不识字。那些字儿跟石头墙似的把我挡在上帝的世界外头。对那里头我啥也不晓得……后来看到你的电影,天堂的大门就开了。我看到好多的光,好大的日头,好宽的天空!爱啊,幸福啊,伤心啊,眼泪啊,全都能看清。”莫特尔从聪慧迷人的女助手安娜(Anna)(Lauren ONeil饰)身上得到灵感,开始拍摄电影。雅各布与他合作,成为世上第一位制片人。Mr Wrights paean to the earliest days of film-making—a homage to the birth of Hollywood with its Sam Goldwyns and its Louis B. Mayers—is funny and generous. The warmth of the shtetl feeds the creativity of these nascent cinephiles. Together the two men go back to the flood, discovering the power of stories, dramatic montage, captivated audiences and the thrill of the casting couch.这部音乐剧情节有趣,内容丰富,是赖特献给电影制作最初时光的赞美诗,也是赖特对好莱坞诞生的敬意。当时,它拥有许多像山姆·高德温、路易斯·梅耶一样的大人物。在剧中,犹太小镇的温情滋养着两位初出茅庐的电影迷的创造力。他们一同投身事业的洪流,逐渐明白了应该如何讲述故事,如何进行戏剧性剪辑,如何抓住观众,还知道了选角时办公室沙发上发生的那些“让人激动的事儿”。Earthy, wheedling and endlessly instinctive, Sir Antonys Jacob is at the heart of it all, whether he is trying to meddle in the directing or keep his wife and daughter out of the film and cast Anna, instead, as the leading lady (“When I look at that girl…I like 18 again. I like tree in springtime with hot sap like kettle rise into every branch. You hear my meaning?”) Or even when he tries surreptitiously to rent out his cow to the studio. In fact, Sir Antony is so powerfully Jacob Bindel that it becomes a problem. The second act takes place in Hollywood 30 years later. Jacob barely appears. The audience feels bereft.安东尼深得人物精髓,他的雅各布土里土气、满嘴甜言蜜语、办事依赖直觉,在所有场景中始终表现如一。雅各布试图插手导演,不让妻女涉足影片,反而将安娜定为女主角(“我看着那姑娘……好像又回到了18岁。我像棵春天的树,滚烫的树液像在烧开的水壶里一样扑腾,冲进每根树枝。你听懂我说啥了吧?”),甚至还想偷偷把自己的牛租给制片厂。事实上,他演的雅各布实在太出了,反倒成了麻烦。该剧第二幕的背景是三十年后的好莱坞。雅各布很少出现,让观众怅然若失。 /201301/220947

  

  

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