关闭图标
log图标

toefl.viplgw.cn

  • 使用手机注册
  • 使用邮箱注册
  • 手机号不能为空!

    验证码不能为空!

    用户名不能为空!

    密码不能为空!

  • 邮箱不能为空!

    验证码不能为空!

    用户名不能为空!

    密码不能为空!

已有账号? 登录到雷哥托福
关闭图标
log图标
  • 使用手机找回密码
  • 使用邮箱找回密码
  • 手机号不能为空!

    验证码不能为空!

    密码不能为空!

  • 邮箱不能为空!

    验证码不能为空!

    密码不能为空!

又想起来了
加入生词本

listen

英['lɪs(ə)n] 美['lɪsn]
vi. 听,倾听;听从,听信
n. 听,倾听

已添加
×

我要举报草莓小菇凉评论

用户头像
草莓小菇凉:说的非常好,十分有道理,棒棒棒!

06-08 15:44:55

请选择举报类型:

举报电话:400 1816 180    举报QQ:2095453331
×
logo图标
分享到雷哥托福

分享成功图标分享成功

邀请名师点评成功,管理员正在安排老师进行点评。

继续做题 返回首页
支付雷豆失败图标 雷豆余额不足 购买雷豆 返回
报告题目错误
请选择错误类型:
请描述一下这个错误:

取消

文章结构

Official 09-L1 .Philippe Jacques de Loutherbourg 点击收藏

标准

  • 高音
  • 静音
  • 句子
    精听
  • 全文
    精听
  • 听写
    模式
  • 点击查看本句

    听写本句 再播一遍 下一句
  • 点击查看全文

    再播一遍本文

    Listen to part of a lecture in a theater class.

    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 led to a rise in all sorts of entertainment, from 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 Theater in London.

    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.

    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.

    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 stories.

    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 Drury 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 constraints 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 "Eidophusikon" 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 Gainsborough attended almost all of the yearly performances, and his later paintings are 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 be seen in English theater's subsequent emphasis on lighting and motion.

    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.

    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 Drury Lane.

    So, for example, he painted very realistic ships, and varied 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 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.

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

    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.

    One of his most popular scenes was of a storm.

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

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

    • special
    ☞查看答案 再播一遍