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English to Chinese: The Short Songyang Story - 松阳小故事 General field: Social Sciences Detailed field: Architecture
Source text - English The Short Songyang Story
This publication summarises the content of our international conference in Songyang, which represents the results of an exploration of rural development in China. The conference was part of our long-term enquiry programme Regions on the Rise and is a continuation of an almost two-decades-long intensive exchange, relationship and cooperation between Aedes and China in the field of the built environment.
In 2016, we opened this new chapter in Songyang – a rural region southwest of Hangzhou – as part of our fruitful relationship with Wang Jun, Secretary of the CPC Songyang County Committee. In the course of preparing the Aedes exhibition Rural Moves – The Songyang Story we had the opportunity to explore the exemplary work of the Beijing-based architect Xu Tiantian during an almost four-week-long travel in 2017 to gain a deeper understanding of her built ‘acupunctural interventions’. Following her holistic concept, which was supported by the local government, she implemented a form of rural ‘healing matrix’. Instead of focussing on a few singular architectural projects only, the strategy includes a number of small buildings with different functions related to the local landscape, community and economy. Supporting this strategy, various start-ups and actors from industry, infrastructure and governance implemented new concepts to provide incentives for the young generation to remain in the countryside or to convince others to return from metropolitan regions. This approach produced new spaces of opportunity, stimulating economic developments by protecting the identity, the traditional roots and the character of this specific rural region.
During the past five decades, governments, city planners, companies, architects, the academic community and the real-estate industry from all over the world have primarily discussed urban developments and the consequences of the increasing urbanisation processes, while rural regions worldwide were neglected. Meanwhile, the forgotten ones of the ‘hinterland’ demand their rights for equality and migrate to the cities in hope of prosperity.
The development in Songyang appeared to us as an outstanding and exemplary strategy to counter steer this pressing conflict. And while not every detail or building from Songyang can be applied one-to-one in the Western context, the approach and method by Xu Tiantian and the local government was what we considered to be relevant to show to the world. The Rural Moves exhibition at Aedes Architecture Forum in Berlin and at the Venice Architecture Biennale in 2018 received extensive global attention.
This positive momentum inspired us to organise this international conference and network event in Songyang together with the local government, inviting international experts to the Chinese province to share knowledge and experience, while exploring the built projects and concepts on excursions in the beautiful countryside.
We are excited that the Songyang Story continues: The exhibition has been shown in more destinations, such as Vienna, and a part will be on display at the London Design Museum in September 2019. The conference topics have been exported to various places and the international media is spreading the word. Furthermore, we are glad that the connections we initiated turned into a new mode of knowledge exchange: In May 2019, the Songyang development model was presented at UN-Habitat’s annual assembly in Nairobi and in October 2019, UN-Habitat and Songyang will commence a five-year collaboration programme.
A special thank you to Wang Jun, Secretary of the CPC Songyang County Committee, and his fantastic team for organising a conference, where all participants and guests felt cordially welcome and at home.
Thank you to Eduard Kögel and the team of ANCB for conceptualising and coordinating the conference and this publication.
We were delighted that participants and audience from all over the world followed our invitations, so thank you to everyone who joined the debate and shared their knowledge, which is now compiled in this book.
German to Chinese: Vorwort für "Regiekunst China" - 《中国导演观点》 前言部分 General field: Art/Literary Detailed field: Poetry & Literature
Source text - German Das vorliegende Buch ist aus der langjährigen Zusammenarbeit zwi- schen dem Internationalen Forschungskolleg »Verflechtungen von The- aterkulturen« an der Freien Universität Berlin und der Theaterakademie Shanghai hervorgegangen. Im Zentrum der gemeinsamen Interessen standen die Begegnungen und daraus resultierenden Verflechtungen zwischen chinesischen und deutschen Theaterformen. Dabei fassen wir unter den Begriff »Theater« alle Formen eines Sprech-, Musik- und Tanztheaters ebenso wie entsprechende Mischformen bis hin zu eini- gen Installationen. Verflechtungen haben zur Voraussetzung, dass bei den Begegnungen zwischen Vertretern unterschiedlicher Theaterfor- men ein je spezifisches Wissen zirkuliert und jeweils von der einen auf die andere Seite transferiert wird, wobei es häufig Veränderungen er- fährt. Dabei kann es sich um verkörpertes Wissen handeln, technisches Wissen oder spezielles kulturelles Wissen, ebenso wie um theoretisches, philosophisches, spirituelles Wissen. Es geht bei Verflechtungen von Theaterformen bzw. Theaterkulturen also immer auch um ein Wandern von Wissen zwischen den Vertretern der unterschiedlichen Formen, das häufig zur Generierung ganz neuen Wissens führt.
Hinsichtlich dieser Begegnungen zwischen chinesischen und eu- ropäischen/deutschen Theaterkünstlern lassen sich grob drei Perio- den unterscheiden: (1) das erste Drittel des 20. Jahrhunderts, in dem sich in Europa die Avantgarden formierten und in China die west- liche Form des Sprechtheaters eingeführt wurde, (2) der Kulturaus- tausch zwischen der VR China und der DDR in den 1950er-Jahren und (3) die Zeit nach der Kulturrevolution, in der ganz neue Formen der Zusammenarbeit möglich wurden.
Translation - Chinese 这本书出自于上海戏剧学院和柏林自由大学多年合作的国际研究课程“交织的戏剧文化”的结果。共同的兴趣中心在于中国和德国戏剧形式的碰撞和由此产生的交织现象。在这个语境下我们所谈论的“戏剧”的概念包括话剧、音乐剧和舞剧以及它们的混合形式，可以直到一些装置表演。交织现象的基础有，不同戏剧形式的代表围绕着某个特殊知识的碰撞对话，还有它们中的一方是如何向另外一方转化的，这个转化的过程通常带着很多改动。这其中牵扯到的知识包括技术上的或者是特殊文化上的，同时也包括理论上的、哲学上的和精神上的。戏剧形式上的交织更确切的说是不同形式的戏剧文化的碰撞交流，这种交流可以带来新的知识类型和体系。
English to Chinese: Introduction of "Cecil Beaton. Portraits and Profiles" -《塞西尔·比顿——人像和印象》引言部分 General field: Art/Literary Detailed field: Photography/Imaging (& Graphic Arts)
Source text - English Cecil Beaton died more than thirty-four years ago, but remains as popular and relevant as in his lifetime. Many famous people suffer a dip in their reputations over time, but that has never happened with Cecil Beaton. He has gone from strength to strength with a series of exhibitions in 13ritain,the United States, Australia and several other countries. In 2012 there were exhibitions at the Victoria and Albert and Imperial War Museums in London and at the Museum of the City of New York. Publications such as "The Glass of Fashion and Ashcombe" are being reissued, and now comes this book, "Cecil Beaton: Portraits and Profiles", which fills a rare gap in the considerable output of books by and about Cecil.
Cecil Beaton was primarily known for having photographed virtually every prominent person in public life in the course of his long career. Everyone from the Queen to the Rolling Stones sat to his lens, the greatest figures from the worlds of society, the arts - authors, dancers, choreographers, playwrights, poets. actors, actresses, magazine editors, directors and musicians - those torn the realm of politics, generals, world leaders and statesmen, as well as iconic figures in the world of fashion and high life spanning from the 1920s to the 1970s.
He was a man of great visual intelligence. In his portraits he sought to bring the best out of his sitters. With his love of theatre and style, he liked to place them in a particular context A queen should sit on her throne, an actor in a stage setting. A fashion designer in their salon and so on. He took trouble to dress the set in advance, placing before his camera the requisite background before posing his subject.
He had a clear idea of how he wanted his world to look and he imposed his visual demands upon them. He was prepared to edit and touch up the final results of photographs in a quest for the best. An example can be found in his 1937 "Scrapbook". It is an entertaining spoof but it is indicative of what he was capable of doing to achieve his ends.
It occurred to me that he reecled to move out of the background in which he was born. He toyed his Aunt Jessie, as seen in his garden at Reddish House towards the end of her life. But his aunt was a rotund old figure, the waist had disappeared, and though jolly and showing a definite resilience to the woes of her life. she did not quite fit his required visual image. What he really wanted his aunt to be was the beautiful actress, Cathleen Nesbitt, a trim figure of porcelain elegance, with her romantic past as the lave of Rupert Brooke, likewise photographed in his garden, in 1970. In a sense he achieved that And, interestingly, by the time she came to stay, such was the aura around Cecil himself that Cathleen Nesbitt was just as thrilled to be in his garden as he was to have her there.
A photographic sitting gave Cecil the chance to examine his subjects. While aiming to bring out their best, he dd not Icok at them throufti rose-tinted spectacles. He observed faults and then worked to eliminate them.Thus when he saw Audrey Hepburn. he noticed a neck too thin, a chin too pointed and a nose too long and he posed her to avoid these perceived problems. As Audrey Hepburn herself observed:
"Owning a really fire Cecil Beaton photograph is like awning a beautiful painting...There's nothing terribly unusual about me, but perhaps there was a sensitivity about him and I think he understood me Like every woman arid every young chid I said I always would have Iceed to be beautiful and for a moment I was If somebody [ores you very much then they make you feel beautiful and he did it with his tenderness, but also with his art. Between the clothes and the photographs I looked smashing."
While Cecil clicked away with his camera, he also talked. He questioned his sitters and when they had gone, he frequently sat down and recorded his observations. Thus he achieved portraits with both lens and pen.
This book presents a combination of these. The photographs are portraits, taken either by his wish or to fulfil a particular commission. The words alongside them were sometimes done as profiles written to accompany the images, sometimes they were notes that he made for his own interest. and sometimes they formed entries in the diaries he kept between 1922 and 1980.
As a photographer, Cecil had access to more or less everyone he wanted to meet — with the regrettable exceptions of Queen Mary- and Virginia Woolf He would spend forty-five minutes or so chasing Marilyn Monroe around his hotel room running off three sheets of contacts. After she left, hewould then sit dawn and capture her c words. Not many artists can do this It is to his credit that he was able to do both so successfully, a unique combination and an example of his many talents.
Cecil was also an accomplished diarist, artist interior, set and costume designer. During his lifetime he produced a "Book of Beauty", a "Scrapbook", two spoof volumes of royal memoirs, books on the war in many aspects, a memorable study of his favourite house Ashcombe, a Photo-biography, five volumes of diaries, photographic portraits as well as books on fashion ballet and travel. Since his death I have written his biography, further examined his relationship with Greta Garbo in "Loving Garbo", and edited two volumes of his unexpurgated diaries. There are celebratory volumes of his photographs and catalogues in connection with various exhibitions. This handsome book is different and pique.
Translation - Chinese 塞西尔·比顿离我们而去已经有三十多年了，然而现如今他仍和生前一样受欢迎和具有影响力。很多颇 具盛名的人物随着时间的流逝渐渐淡出了人们的视线，但是这样的情况并未发生在塞西尔·比顿的身上。在 英国、美国、澳大利亚还有其他一些国家的展览，让他的形象在人们的记忆中愈发深刻。2012 年，他的展 览在维多利亚和阿尔伯特博物馆、伦敦帝国战争博物馆以及纽约城市博物馆举办。他本人的作品《时尚的镜 子》(The Glass of Fashion) 和《阿什库姆》(Ashcombe) 已经多次再版。现在《塞西尔·比尔顿 : 人像和印象》(Cecil Beaton: Portraits and Profiles) 这本书的问世，填补了现存的数量可观的由他出版和关 于他的这些书籍之中一个罕见的空缺。
塞西尔也是一名出色的日记作家、艺术家、室内景观和服装设计师。在他的一生中他完成了《美丽之书》(Book of Beauty)、《剪贴簿》、两卷皇家回忆录以及很多本从多角度反应战争的书籍，还有一本关于 他最爱的房屋的著名研究手册《阿什库姆》, 一本《照片传记》(Photo-biography)，五卷日记，肖像画手 记还有关于时尚、芭蕾还有旅游的著作。在他去世之后我撰写了他的传记，出版了一本深度研究了他和葛丽 泰·嘉宝(Greta Garbo)关系的著作《爱着嘉宝》(Loving Garbo)，编辑了两卷他的未经删节版本的日记。让人欣喜的是，现在有大量的照片和目录索引资料可以和他的不同展览相结合。这本书也是与众不同和独一无二的。
German to Chinese: Im Seidenschatten - 在丝般细腻的暗影之下 General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - German Vemo schafft Landschaften, durch die unsere Phantasie schweben kann wie auf einem Berglift. Die Fahrt beginnt und plötzlich öffnen sich immer neue Aussichten eines Kaleidoskops. Äußeres senkt sich nach innen und von oben schwingt eine Front unter uns hinweg. Es scheint ihr formal genau auf diese Momente anzukommen: das Wechselspiel der Ebenen und Dimensionen, die Verschränkung von Himmel und Erde, Nähe und Ferne. Die Formen sind nicht fest definiert und können ihre sichtbare Gestalt öffnen, verbergen oder verweben. Dabei deutet der Begriff Landschaft auf eine Zuordnung, die dem Betrachter bald fragwürdig erscheint. Es bleibt immer eine Deutung offen wie eine angelehnte Tür, dazu bereit, einen Blick freizugeben, der eben noch nicht zu ahnen war.
Die Motive bleiben im Doppelsinnigen, changieren zwischen Energie und Materie. Und zugleich bilden sie ein Geflecht, mit dem sie einen Ausgleich suchen, eine dynamische Harmonie, in die geradezu alles Wirkliche oder Vorstellbare integrierbar ist: Fragen und Erkennen, Wissen und Staunen, Stille und Schreck. Genauso vieldeutig verbinden die Motive Tradition, Moderne und Utopie, alle Deutung bleibt dem Betrachter überlassen, als sollte er alles neu begreifen, worin er sich scheinbar so vertraut in Zeit und Raum bewegt.
Die Farben unterstreichen einen solchen Effekt des Vagen, fast unwirklich Fühlbaren, denn sie geben sich nicht „natürlich“ – immer ist etwas betont Artifizielles darin, keine Kontraste, eher Variationen einer streng reduzierten Palette. Es sind tatsächlich Abwandlungen weniger Farben,etwa dem Grün-Blau-Spektrum oder dem von roten und Ocker-Tönen. Es geht nicht darum,
Farbkontraste zu bilden, sondern eher in subtilen Schatten zu vermitteln, was sonst leicht der Aufmerksamkeit entgeht. Für diese Wirkung entwickelt die Künstlerin gar eigene Grundierungen, durch die Ihre Farbe tiefer in das Gewebe eindringt und im Spiel von Dichte und Durchlässigkeit einen Effekt bewirkt, der alles matt und ruhiger wirken lässt, wie beim Blick durch ein Seidentuch.
Sie wählt auch bewusst schmale Hochformate, um die Räume zu dehnen. Das Licht ändert die Stimmung mit der Tageszeit und dem Einfallswinkel, ob von oben oder der Seite. Auch hierin geht es um Ausgleich, Harmonie, im Bild, im Ausdruck, sogar im Einklang mit der Umgebung oder Lebenswelt. Solch eine Weite atmen diese Bilder von Stimmung, Versenkung und Konzentration, die wir erleben, wenn wir uns von einer Komposition verzaubern lassen, die uns zur Stille in uns selbst führt. Man meint oft einen leisen Gesang zu hören, den Klang von Glocken und Zimbeln, Begleiter einer Geschichte, die jedes der Bilder immer neu, anders und schöner erzählt.
Translation - Chinese 我们的想象力仿佛乘坐着山腰缆车，轻盈地穿梭在维慕所创造的抽象山水中。随着旅途的开始，总有新的景致突然展现在我们面前，就像变幻多彩的万花筒那样。外部的画面向内部塌陷的同时，上方又有景色正面垂下，映入我们的眼帘。似乎对她来说，就是要呈现这样的动态时刻：不同层次和维度之间的游戏，天空和地面的交织，远和近的叠加。这样的形式很难被确切定义，它可以开启或隐藏新的可视化的各种形象，并让它们互相交叠。由此一来，风景的概念便指向一种系统化的排列组合，它会让观察者立刻产生疑问。在我们试图阐释这样的抽象山水画时，总是会保留着一种新的可能性。就像一扇虚掩的门，在它后面总会有新的景致在等着我们，是我们之前所不知道的惊喜。
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