Anonymous
Anonymous asked in 藝術與人文詩詞與文學 · 1 decade ago

文章翻譯....

可以幫我翻譯以下的文章嗎

是關於一首歌的介紹吧

可以的話盡量不要使用翻譯軟體~~ 謝謝

'Bolero'

Written, arranged and produced by Steve Sharples

Solo violin by Simon Standage

When the credits appear at the end of a movie, the audience automatically begins to 'switch off'. We know that the credits signal the end of the film, and so it is only natural that our minds begin to return to thoughts of the real world. However, there are some movies that make you sit there those few moments longer. There are some movies that succeed in making you so transfixed by what is happening onscreen, you can't just bring yourself to just 'switch off' - you need to unwind first. There are some movies that have such a profound effect that you feel the need to think things over a while longer before you leave the cinema; you need some time to absorb all that has happened. These are all signs of a great movie - one that requires some thoughtful credit presentation to influence your final interpretation of the film.

This version of Bolero is an instrumental piece that serves to slowly draw us out of the world of the Moulin Rouge while still letting its themes linger in our mind. We begin with the gentle notes of a piano in a rather sad, disbelieving tune. Slow violins and some operatic chords heighten our overwhelming sense of tragic loss. But then a tambourine begins to play. The beat begins to thrive and suddenly the violins scamper into a much stronger rhythm. The solid violin notes and escalating drumming beats offset the sombre atmosphere and tempt us out of despair. The violins play low, drums get faster and the crescendo slowly begins to build, as if lifting us to another level of contemplation. Then the violins rise to a joyful tune that leads into a full orchestral rhythm. The tambourine returns with heavy beats from drums and cymbals, and suddenly it feels as though you're back in the world of Moulin Rouge! It resembles a circus rhythm and the sound dips up and down, from the slow and dramatic, to high pitched energetic melodies. The use of stunning violin harmonies continues throughout the piece as these wonderful instruments guide us through a variety of feelings and emotions, from sadness and despair, to contemplative joy and enlightenment.

The final crescendo leads us into a big band style finale, with trumpets blaring and an operatic harmony that serves to reiterate the film's tag line one last time. At the end of the credits, the mottos appear in time with the final beats of the song -

It is the 'Love' image that lingers onscreen a little longer than the rest, clearly reinforcing which is the most prevalent of all the themes in the film. Bolero succeeds in leaving a lingering reminder of the most poignant message implied by the film - the message that above all, this story was about love, a love that will live forever.

I believe Bolero is a perfect choice for the end credits music of such an incredible movie. At a running time of 6 minutes, 53 seconds, it is the longest of all the Moulin Rouge songs featured on the soundtrack and was arranged especially for the movie. Baz Luhrmann says in one of the DVD commentaries that, through this song, he hopes that by the end of the credits the audience will be lifted out of despair into 'another place'. I have transcribed his explanation below, as Baz's words have been an obvious influence on my own observations regarding the song:

"This last piece of music is called 'Bolero' by Steve Sharples and the thing about it was that normally you do read quite a lot of music for the film. But I just felt that in a way it was such a great... he'd written it for another part of the film and it was such a great electro-circus piece. And the fact that it was a 'Bolero', it followed the same trajectory in a way of the film itself... But what I like about it is that you start with the tragedy and, you know, Satine is dead, and if you do sit through the credits, I mean it's not a pure tragedy and hopefully it does uplift you and leaves you with hope. And so that by the end of this, as it gets faster and faster and more and more uplifting, it kind of expels the death scene and leaves you with a sort of sense of - I wouldn't say hope leaving the cinema - but... it brings you to another place at the very end of the credits."

5 Answers

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  • Anonymous
    1 decade ago
    Favorite Answer

    ' 短上衣' 由史蒂夫・Sharples 寫, 安排和導致

    獨奏小提琴由西蒙・Standage

    當credits 出現在電影的結尾, 聽眾自動開始' 切換' 。我們知道, credits 發信號影片的末端, 並且因此它是只自然的我們的頭腦開始返回到現實世界的想法。但是, 有使您坐那裡那些少量片刻更加長式的一些電影。有成功做您因此刺穿由的一些電影什麼發生onscreen, 您無法僅帶來自己給' 切換' - 您需要首先解開。有有這樣一個深刻作用的一些電影您感到需要長期認為事每一會兒在您留下戲院之前; 您需要某個時候吸收所有發生□。這些是所有一個巨大電影- 一個的符號要求某一周道的credit 介紹影響影片的您的最終解釋。

    這個短上衣的版本是服務慢慢地吸引我們在Moulin 胭脂世界外面當仍然讓其題材徘徊在我們的頭腦裡的一個有助片斷。我們從一架鋼琴的柔和的附註開始在一個寧可哀傷, 懷疑的聲調。慢小提琴和一些歌劇的弦升高悲劇的損失我們的巨大感覺。但另一方面tambourine 開始演奏。敲打開始興旺並且小提琴突然疾走入更強的節奏。固體小提琴附註和升級打鼓敲打抵銷嚴肅大氣和誘惑我們出於絕望。小提琴演奏低, 鼓得到更加快速並且漸強慢慢地開始編譯, 好像舉我們到其它觀照的級別。然後小提琴上升到帶領入充分的管弦樂隊的節奏的一個快樂的聲調。tambourine 返回以重的敲打從鼓和鐃鈸, 並且它突然感覺好像您回來在Moulin 胭脂世界! 它類似馬戲節奏並且聲音上上下下浸洗, 從慢和劇烈, 對高被投的精力充沛的曲調。對使小提琴和諧的用途震驚繼續在片斷過程中當這些美妙的票據引導我們通過各種各樣的感覺和情感, 從悲傷和絕望, 對沉思喜悅和啟示。

    最終漸強帶領我們入一個大樂隊樣式結局, 以喇叭發嘟嘟聲和用於重申影片的貨簽線路一上次的歌劇的和諧。在credits 的結尾, 座右銘及時出現以歌曲的最終敲打-

    這是比是最流行所有題材在影片的休息徘徊onscreen 一少許長式的' 愛' 圖像, 清楚地加強。短上衣成功留下最傷感的消息的一個拖延提示由影片暗示- 消息那高於一切, 這個故事是關於愛, 永遠將居住的愛。

    我相信短上衣是一個完善的選擇為這樣一個難以置信的電影結尾credits 音樂。在6 分鐘的運行時間, 53 秒, 它是最長式所有Moulin 胭脂歌曲以為特色在電影配樂和被安排了特別是為電影。Baz Luhrmann 認為在, 通過這首歌曲, 他希望的DVD 評論的當中一個中在credits 以前聽眾將被抱起絕望入' 其它安排' 。我抄錄了他的解釋如下, 因為Baz 的詞是對我自己的觀察的明顯的影響關於歌曲:

    "最後樂章由史蒂夫・Sharples 叫做' 短上衣' 並且事對此是您正常讀quite.a.lot 音樂為影片。但我認為, 在它是這樣偉大的... 他的方式寫它為其它影片的部份並且這是這樣一個巨大electro 馬戲片斷。並且情況這是' 短上衣', 它跟隨了同樣彈道用影片的方式... 但什麼我喜歡對此是, 您開始以悲劇和, 您知道, Satine 是死, 和如果您坐通過credits, 我意味這不是一個純淨的悲劇並且它提高您和有希望地留下您充滿希望。並且以便在這以前, 當它得到快速地和快速地和越□越提高, 它有點兒逐出您以有點兒感覺- 我不會說希望離開戲院- 的死亡場面和葉子但是... 它帶來您給其它安排在credits 的最後。"

    Source(s): Sherlock
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  • 1 decade ago

    我們是翻譯的團隊..........

    請問有需要翻譯嗎?

    可以翻譯的語言..如:英文、日文、德文、法文、西班牙文、

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    如果沒有空自己翻譯,有需要就可以找我們

    可來信至winny302001@yahoo.com.tw

    或dearjindearjin36@yahoo.com.tw

    即時通:winny302001

    msn:et6324@hotmail.com

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  • Anonymous
    1 decade ago

    'Bolero'

    Written, arranged and produced by Steve Sharples

    Solo violin by Simon Standage

    When the credits appear at the end of a movie, the audience automatically begins to 'switch off'. We know that the credits signal the end of the film, and so it is only natural that our minds begin to return to thoughts of the real world. However, there are some movies that make you sit there those few moments longer. There are some movies that succeed in making you so transfixed by what is happening onscreen, you can't just bring yourself to just 'switch off' - you need to unwind first. There are some movies that have such a profound effect that you feel the need to think things over a while longer before you leave the cinema; you need some time to absorb all that has happened. These are all signs of a great movie - one that requires some thoughtful credit presentation to influence your final interpretation of the film.

    This version of Bolero is an instrumental piece that serves to slowly draw us out of the world of the Moulin Rouge while still letting its themes linger in our mind. We begin with the gentle notes of a piano in a rather sad, disbelieving tune. Slow violins and some operatic chords heighten our overwhelming sense of tragic loss. But then a tambourine begins to play. The beat begins to thrive and suddenly the violins scamper into a much stronger rhythm. The solid violin notes and escalating drumming beats offset the sombre atmosphere and tempt us out of despair. The violins play low, drums get faster and the crescendo slowly begins to build, as if lifting us to another level of contemplation. Then the violins rise to a joyful tune that leads into a full orchestral rhythm. The tambourine returns with heavy beats from drums and cymbals, and suddenly it feels as though you're back in the world of Moulin Rouge! It resembles a circus rhythm and the sound dips up and down, from the slow and dramatic, to high pitched energetic melodies. The use of stunning violin harmonies continues throughout the piece as these wonderful instruments guide us through a variety of feelings and emotions, from sadness and despair, to contemplative joy and enlightenment.

    The final crescendo leads us into a big band style finale, with trumpets blaring and an operatic harmony that serves to reiterate the film's tag line one last time. At the end of the credits, the mottos appear in time with the final beats of the song -

    It is the 'Love' image that lingers onscreen a little longer than the rest, clearly reinforcing which is the most prevalent of all the themes in the film. Bolero succeeds in leaving a lingering reminder of the most poignant message implied by the film - the message that above all, this story was about love, a love that will live forever.

    I believe Bolero is a perfect choice for the end credits music of such an incredible movie. At a running time of 6 minutes, 53 seconds, it is the longest of all the Moulin Rouge songs featured on the soundtrack and was arranged especially for the movie. Baz Luhrmann says in one of the DVD commentaries that, through this song, he hopes that by the end of the credits the audience will be lifted out of despair into 'another place'. I have transcribed his explanation below, as Baz's words have been an obvious influence on my own observations regarding the song:

    "This last piece of music is called 'Bolero' by Steve Sharples and the thing about it was that normally you do read quite a lot of music for the film. But I just felt that in a way it was such a great... he'd written it for another part of the film and it was such a great electro-circus piece. And the fact that it was a 'Bolero', it followed the same trajectory in a way of the film itself... But what I like about it is that you start with the tragedy and, you know, Satine is dead, and if you do sit through the credits, I mean it's not a pure tragedy and hopefully it does uplift you and leaves you with hope. And so that by the end of this, as it gets faster and faster and more and more uplifting, it kind of expels the death scene and leaves you with a sort of sense of - I wouldn't say hope leaving the cinema - but... it brings you to another place at the very end of the credits."

    短上衣' 由史蒂夫·Sharples 獨奏小提琴寫, 安排和導致由西蒙·Standage 當credits 出現在電影的結尾, 觀眾自動地開始' 交換' 。我們知道, credits 發信號影片的末端, 並且因此它是只自然的我們的頭腦開始返回到現實世界的想法。但是, 有使您坐那裡那些少量片刻更長的一些電影。有成弘絞z因此刺穿由的一些電影什麼發生onscreen, 您無法僅帶來自己給' 開關' - 您需要首先解開。有有這樣一個深刻作用的一些電影您感到需要長期認為事每一會兒在您留下戲院之前; 您需要某個時候吸收所有發生□。這些是所有一部巨大電影- 一個的標誌要求某一周道的credit 介紹影響影片的您最後的解釋。這個短上衣的版本是服務慢慢地吸引我們在Moulin 胭脂世界外面當仍然讓它的題材徘徊在我們的頭腦裡的一個有助片斷。我們從一架鋼琴的柔和的筆記開始在一個寧可哀傷, 懷疑的聲調。慢小提琴和一些歌劇的弦升高悲劇的損失我們的巨大感覺。但另一方面tambourine 開始演奏。敲打開始興旺並且小提琴突然疾走入更強的節奏。固體小提琴筆記和升級打鼓敲打抵銷嚴肅大氣和誘惑我們出於絕望。小提琴演奏低落, 鼓得到更加快速並且漸強慢慢地開始修造, 好像舉我們到其它觀照的水平。然後小提琴上升到帶領入充分的管弦樂隊的節奏的一個快樂的聲調。tambourine 返回以重的敲打從鼓和鐃鈸, 並且它突然感覺好像您回來在Moulin 胭脂世界! 它類似馬戲節奏並且聲音上上下下浸洗, 從慢和劇烈, 對高被投的精力充沛的曲調。對使小提琴和諧的用途震驚繼續在片斷過程中當這些美妙的儀器引導我們通過各種各樣的感覺和情感, 從悲傷和絕望, 對沉思喜悅和啟示。最後的漸強帶領我們入一個大樂隊樣式結局, 以喇叭發嘟嘟聲和用於重申影片的標記線一上次的歌劇的和諧。在credits 的結尾, 座右銘及時出現以歌曲的?/p>

    不知道對妳有幫助嗎??

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  • Anonymous
    1 decade ago

    ' 短上衣' 由史蒂夫・Sharples 寫, 安排和生產 獨奏小提琴由西蒙・Standage 當credits 出現在電影的結尾, 觀眾自動開始' 交換' 。 我們知道, credits 發信號影片的末端, 並且它如此是只自然的, 我們的頭腦開始返回到想法現實世界。 但是, 有使您坐那裡那些少數的一些電影片刻長期。 有成功做您的一些電影因此刺穿由什麼發生onscreen, 您無法僅帶來自己給' 開關 ' - 您需要首先解開。 有有這樣的a 的一些電影深刻作用, 您感到需要長期認為事每一會兒在您之前留下戲院; 您需要某個時候吸收所有有發生。 這些是所有一部巨大電影- 一個的標誌要求一些周道的credit 介紹影響您最後的解釋影片。 這個短上衣的版本是服務慢慢地畫我們的一個有助片斷在Moulin 胭脂的世界外面當仍然讓它的題材徘徊我們的頭腦。 我們從一架鋼琴的柔和的筆記開始在一相當哀傷, 懷疑的聲調。 慢小提琴和一些歌劇的弦升高我們悲劇的損失巨大感覺。 但另一方面tambourine 開始演奏。 敲打開始興旺並且小提琴突然疾走入一更強節奏。 固體小提琴筆記和升級打鼓敲打抵銷了嚴肅大氣和誘惑我們出於絕望。 小提琴演奏低落, 鼓快速地得到並且漸強慢慢地開始修造, 好像舉我們到其它水平觀照。 然後小提琴上升到帶領入充分的一個快樂的聲調管弦樂隊的節奏。 tambourine 返回以重的敲打從鼓和鐃鈸, 和它突然感覺好像您回來在Moulin 世界胭脂! 它類似馬戲節奏並且聲音上上下下浸洗, 從慢和劇烈, 對高被投的精力充沛的曲調。 對震驚的用途小提琴和諧繼續在片斷過程中作為這些美妙的儀器引導我們通過各種各樣的感覺和情感, 從悲傷和絕望, 對沉思喜悅和啟示。 最後的漸強帶領我們入一個大樂隊樣式結局, 與喇叭發嘟嘟聲和用於重申影片的標記線的歌劇的和諧一上次。 在credits 的結尾, 座右銘及時出現與歌曲的最後的敲打- 這是比休息徘徊onscreen 一少許長的' 愛' 圖像, 清楚地加強是最流行所有題材在影片。短上衣成功留下最傷感的消息的一個拖延提示由影片暗示- 消息那高於一切, 這個故事是關於愛, a 愛永遠將居住。 我相信短上衣是一個完善的選擇為結尾credits 音樂難以置信的電影。 在6 分鐘的運行時間, 53 秒, 它是最長的所有Moulin 胭脂歌曲以為特色在電影配樂和被安排了特別是為電影。 Baz Luhrmann 認為在DVD 評論的當中一個中那, 通過這首歌曲, 他希望在credits 以前觀眾將被抱起絕望入' 其它地方' 。 我抄錄了他的解釋如下, 因為Baz 的詞是明顯的影響獨自觀察關於歌曲: "最後樂章由史蒂夫・Sharples 叫做' 短上衣' 和事對此是, 您通常讀quite.a.lot 音樂為影片。但我認為, 用方式它是這樣一偉大的。.. 他寫了它為其它部份的影片和它是這樣一個巨大electro 馬戲片斷。 並且事實這是' 短上衣', 它跟隨了同樣彈道用方式影片。.. 但什麼我喜歡對此是, 您開始以悲劇和, 您知道, Satine 是死, 和如果您坐通過credits, 我意味它是不是一個純淨的悲劇和它提高您和有希望地留下您充滿希望。並且以便在這以前, 作為它快速地和快速地得到和越□越提高, 它逐出死亡場面和有點兒留下您與有點兒感覺- 我不會說希望離開戲院- 但是。.. 它帶來您其它地方在credits 的最後。"

    Source(s): 我用WORD翻譯的
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  • Anonymous
    1 decade ago

    '無鈕女短上衣'

    被寫,被史蒂夫‧沙普爾斯安排並且生產

    在賽門Standage旁邊的獨奏小提琴

    當信貸出現下一部電影的末尾時,觀眾自動開始'關掉'。 我們知道那信貸顯著電影的末端, 因此我們的心開始返回現實世界的想法只是自然的。 不過,有使你坐在那裡數長的那些很少時刻的一些電影。 有一些電影成功如此拍你被透過正在銀幕上發生的截穿,你實在不能帶來自己到只不過'關掉' - 你需要首先放鬆。 有有你感到需要仔細考慮事情一會兒很久以前你離開電影院的一深奧效應的一些電影; 你需要一些時間吸收已經發生的全部。 這些是一部極妙的電影的全部跡象 - 要求一些深思的信貸交兌影響你的電影的最後的闡釋的一個。

    無鈕女短上衣的這個版本是能緩慢地從Moulin胭脂的世界中拉出我們的一起作用的片, 仍然讓它的主題在我們的頭腦裡持續。 我們在一首相當悲哀,不相信的曲子裡從一架鋼琴的溫和的筆記開始。 慢的小提琴和一些歌劇的弦增大我們的悲劇的損失的壓倒一切的感覺。 然而一個手鼓開始玩。 節拍開始繁榮,突然小提琴輕快地跑步進強大得多的節奏。 固體的小提琴注意到並且增加敲打打補償暗淡的空氣並且出於絕望誘導我們。 小提琴演奏低,鼓得快和高潮緩慢開始建造,好像提起給凝視另一步的我們。 然後小提琴上升到引入充分的管弦樂隊的節奏的一首可喜的曲子。 這個手鼓用來自鼓和銅錢的沉重的節拍返回,並且突然它彷彿覺得你回到Moulin胭脂的世界﹗ 它象馬戲場節奏,聲音上下下降,從慢和戲劇,到高的投的充滿活力的歌曲。 當這些令人驚嘆的樂器指導我們透過多種感覺和情感時,打昏的小提琴和聲的用途在整個個繼續,從悲哀和絕望, 令沈思的快樂和啟發的是。

    最後的高潮引導我們進入一個大的帶子樣式結局, 由於喇叭發出響聲和能上次重述電影的常用的口號的的一種歌劇的協調。 在信貸的末端,座右銘用歌的最後的節拍及時出現 -

    是的 這幅' 愛' 圖像, 持續得在銀幕上比其餘稍長些,清楚加強,是在所有在電影裡的主題當中最流行的。 無鈕女短上衣成功留下一個被電影表示的最沉痛的消息的持續的提示物 - 最重要的是,這個故事是關於愛,將永遠住的愛的消息。

    我相信無鈕女短上衣是這樣的一部難以置信的電影的末端學分音樂的完美的選擇。 在6 分鐘,53秒的營運時間, 它在所有在音帶上有特色的Moulin胭脂歌當中是最長的並且被為電影特別改編。 巴茲Luhrmann在DVD 評論之一說那, 透過這支歌,他希望在信貸末之前觀眾將被從進'另一個地方'的絕望當中振奮。 我已經抄寫他的下面的解釋,因為巴茲的話是明顯的對我自己的關於歌的報告的影響︰

    "這上次 音樂被叫'無鈕女短上衣' 以史蒂夫沙普爾斯和那些事情大約通常,你因那些電影而讀相當多音樂。 剛剛但是我感到在模式內,天氣這樣一大 ... 他已經電影的另一個部分寫它,它是這樣的一大的電馬戲場片。 以及它是一件'無鈕女短上衣'的事實,它用一種電影的模式跟隨相同的軌道它自己 ... 但是我關於它喜歡的是你從悲劇開始,和,你知道,Satine死, 並且如果你確實坐著等信貸結束,我意思是這不是一幕純悲劇,充滿希望它確實鼓舞你並且留給你希望。 並且以便在末之前這, 快變得和快並且越來越多舉起,有點兒驅逐這死現場,留給你所謂感覺 - 我不說希望離開電影院 - 但是 ... 它帶你到信貸的在結束之際的另一個地方。 "

    Source(s): 我...個頭 Dr.eye辣
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