(单词翻译:单击)
听力文本
I'm Faith Lapidus. And I'm Steve Ember with People in America in VOA Special English. Today, we tell about Diane Arbus, a revolutionary modern photographer.
Diane Arbus is known for creating intense black and white photographs of very unusual people. She used a special camera that produced square shaped images. Often her subjects look sad, conflicted or physically abnormal. But they do not try to hide their insecurities. They openly stare at the camera. One art expert said Diane Arbus turned photography inside out. Instead of looking at her subjects, she made them look at her.
Arbus learned to mix the realistic nature of photography with its expressive possibilities. She explored how people live with sameness and difference as well as acceptance and rejection. These combinations created very interesting art that was often disputed.
Diane Arbus was born in nineteen twenty-three to a wealthy family in New York City. Her father David Nemerov, owned a large clothing store in a costly area near Fifth Avenue. Her parents collected art and were part of the "high society" of New York. The family traveled often to Europe. They helped their children express their artistic goals. Diane's brother was the famous poet, Howard Nemerov. Her sister became a sculptor.
After finishing high school at the age of eighteen, Diane married Allan Arbus. Mister Arbus worked in the advertising department of her father's store.
It was Mister Arbus who gave Diane her first camera. Diane soon decided to take a class with the famous photographer Berenice Abbott. The Arbuses eventually started taking photographs of clothing. These images were used as advertisements for Diane's father's store. After the birth of their daughter, Doon, the Arbuses started a business together. Their purpose was to photograph clothing fashions. Diane Arbus was the stylist. She would prepare the hair and faces of the fashion models who wore the clothing being photographed. Allan Arbus took the pictures.
The couple soon had jobs from important fashion magazines such as "Vogue" and "Harper's Bazaar". Their work was very successful during the nineteen fifties. They became part of a group of artists that were helping to redefine visual culture. They were breaking with past traditions to create a new look for a new decade, the sixties.
But Diane was not satisfied with her secondary role. She wanted a more active part in making photographs. She wanted to explore her own artistic expression and freedom. To do this, she stopped working with her husband. Then she started taking photography classes at the New School in New York City.
Arbus' teacher, Lisette Model, influenced her in many ways. She showed Diane how to use a camera like an expert. She also taught Diane to use her art to face her doubts and fears. Miss Model once said that Diane soon started "not listening to me but suddenly listening to herself."
Diane Arbus chose her subjects very carefully. She photographed many of these people in or near New York City. She often chose to photograph unusual people living on the edge of acceptable society. But she showed the common and recognizable side of such unusual people. For example, she took pictures of extremely short and extremely tall people. She photographed men dressed as women, circus performers, and even patients with severe mental limitations. She once said: "My favorite thing is to go where I've never been."
One of her famous photographs was taken in nineteen sixty-six. It is of a young transvestite. A transvestite is a man who dresses and acts like a woman. This man is wearing plastic objects in his hair to curl and shape it. He is also wearing makeup on his face to make it look more like a woman. The picture is taken from close up with severe lighting effects. In the dark centers of his eyes you can see the light from Arbus' camera. You can see every detail and imperfection of his pale skin. He looks directly at you as though he has nothing to hide. His look is one of interest and acceptance.
Another photograph like this is called "Mexican Dwarf in His Hotel Room in N.Y.C." It was taken in nineteen seventy. Here, Arbus uses similar dramatic lighting. She shows a close-up view of the upper body and face of this extremely small man. He looks directly at the camera with the suggestion of a smile. You can see all the lines on his small short fingers. The hair on his chest and face seems very close. You can almost smell the alcohol on the table beside him. You can almost feel the smooth cloth sheets on his bed. It is as though you have entered the personal world of this small stranger.
The expressions of these men are so honest that it is almost unpleasant to observe. Diane Arbus explored this tension in her work. She caught her subjects in positions where they show themselves completely. They do not seem afraid to show their imperfections and strangeness. They do not hide the parts of themselves that are not beautiful. They openly show their bodies and souls. Seeing the pictures, you sometimes feel you are interfering in the private lives of these strange people. You feel like maybe you are not supposed to be looking.
Some art critics believe Diane Arbus photographed such unusual people as a result of her background. She grew up in a safe and wealthy environment. In photographing the strange and imperfect people in society, she rejected her own social group. She revolted against her upbringing to prove that she was artistically independent. She chose to explore the unusual sides of society instead of accepting common subjects to photograph.
Arbus also photographed everyday people in a way that made them look very unusual. She was able to take the most recognizable people and environments and make them seem strange. For example, she took pictures of couples and families and even of female twins, sisters born at the same time.
One of her most famous photographs is called "Identical Twins." It was taken in nineteen sixty-seven in Roselle, New Jersey. Two little girls take up the entire center of the photograph. Their faces and bodies are exactly alike. They are wearing the same dark dresses and white bands in their hair. The girls look calmly at the camera with large, pale eyes. Although they are young, they look very wise, like they are intense little adults.
This image of the twins became the cover of an important book of photography titled "Diane Arbus." The book was published in nineteen seventy-two. It became one of the best-selling photography books in history. The photograph of the twins was also part of a major exhibition of Arbus' work at the Museum of Modern Art in New York City that same year.
This show set new records in attendance numbers. Sadly, Diane Arbus did not live to see this show. She had killed herself the year before. She was forty-eight years old.
The photographs of Diane Arbus remain very popular in America. In March of two thousand five, the Metropolitan Museum in New York had a major exhibit of her work. The museum curators gathered many of her important photographs for the show. They also exhibited many less well-known works. But they also tried to show the personal side of this famous woman. They showed her letters, cameras and books. The book "Diane Arbus Revelations" documents this special exhibition.
Diane Arbus once said: "A photograph is a secret about a secret. The more it tells you the less you know." This comment helps explain what is so powerful about Diane Arbus's work. The people in her photographs show themselves, but a great deal about them remains hidden as well. Her images make you ask what you might show about yourself -- and what you might try to hide.
Today, Diane Arbus' images remain as fresh and intense as they were forty years ago. Experts say her revolutionary way of capturing people on film has produced some of the most important images in twentieth century photography.
重点解析
1.stare at凝视；盯住
She was such a beautiful girl that we all stopped to stare at her.
她是个如此之美的姑娘，以致我们都驻足凝视她。
2.instead of代替；而不是
Second, we should go to work by bus or on foot instead of driving.
第二，我们应该去工作乘公共汽车或步行代替开车。
3.break with决裂；结束
For this he decided to break with his feudalistic family .
为此他决定和他的封建主义家庭决裂。
4.on the edge of...的边缘
But unlike America, Spain is on the edge of a debt crisis.
但是，跟美国不同的是，西班牙正处于债务危机的边缘。
5.act like举止像
If you want to be an artist, you have to look and act like an artist.
如果你想成为一名艺术家，你要的外观和行为像一个艺术家。
6.be supposed to应该
It tells us to be supposed to maintain the innocent childlike innocence, selfless dauntless, dares to tell the truth.
它告诉我们应该保持天真烂漫的童心、无私无畏，敢于说真话。
参考译文
我是费丝·拉皮德斯，我是史蒂夫·恩贝尔，这里是VOA慢速英语栏目《美国人物志》。今天我们讲述革命性的现代摄影家黛安娜·阿勃丝的故事。
黛安娜·阿勃丝以为不同寻常的人拍摄强烈的黑白照片而著称。她使用了一种可以拍摄方形的图像的特殊的照相机。她的拍摄对象通常看起来悲伤、矛盾或身体不正常。但是他们并不试图隐藏他们的不安全感。他们公然地盯着摄像机。一位艺术专家称，戴安娜·阿勃丝彻底颠覆了摄影。她没有看着她的拍照对象，而是让他们看着她。
阿勃丝学会了将摄影的真实感与表达的可能性结合起来。她探索了人们如何生活在相同和不同之中，以及接受和拒绝之中。这些组合创造了非常有趣的艺术，这往往是有争议的。
黛安娜·阿勃丝于1923年出生于纽约市的一个富裕家庭。她的父亲大卫·内梅罗夫在第五大道附近一个高档地段拥有一家大型服装店。她的父母收集艺术品，是纽约上流社会的一份子。这家人经常去欧洲旅行。他们帮助孩子们表达他们的艺术目标。黛安娜的哥哥是著名诗人霍华德·内梅罗夫。她姐姐成了雕刻家。18岁高中毕业后，戴安娜嫁给了阿兰·阿勃丝。阿勃丝先生在她父亲商店的广告部工作。
是阿勃丝先生给了戴安娜第一个照相机。戴安娜很快决定和著名摄影师贝蕾妮丝·阿伯特一起上课。阿勃丝一家最终开始拍摄服装。这些图片用作戴安娜父亲的商店。在他们的女儿杜恩出生后，阿勃丝一家开始一起做生意。他们的目的是拍摄服装时尚。黛安娜·阿勃丝是造型师。她会为穿着拍照服装的时装模特们准备发型和妆容。阿兰·阿勃丝负责拍照。
这对夫妇很快就在《时尚》和《时尚芭莎》等重要时尚杂志找到了工作。他们的工作在20世纪50年代非常成功。他们成为帮助重新定义视觉文化的艺术家群体的一部分。他们和过去的传统告别，为一个新的十年创造一个新的风貌，60年代。
但是戴安娜并不满足于她的次要角色。她想要在摄影中扮演更积极的角色。她想要探索她自己的艺术表达和自由。为了做到这一点，她停止了与丈夫的合作。然后她开始在纽约新学院上摄影课。
阿勃丝的老师，塞特·莫德尔在很多方面都影响了她。她向戴安娜展示如何像专家一样使用摄像机。她也教戴安娜通过艺术来面对自己的疑惑和恐惧。莫德尔女士曾说，很快戴安娜不再倾听我所说的东西，而是突然倾听她自己的内心。
黛安娜·阿勃丝非常谨慎地选择她的拍摄对象。她拍摄了很多纽约或纽约附近的人的照片。她经常选择拍摄生活在可接受的社会边缘的不寻常的人。但是，她展示了这些不同寻常的人的共同和可识别的一面。比如说，她会拍摄很矮和很高的人。她拍摄男扮女装的人，杂技表演者，甚至是患有严重心理障碍的人。她曾表示：“我最喜欢的事就是去我从未去过的地方。
她最有名的照片之一拍摄于1966年。对象是一个年轻的异装癖者。这个异装癖者男扮女装，举止像一个女人。这个男人在他的头发上戴着塑料制品来卷曲和定型。他脸上也化了妆，以让他更像一个女人。这张照片是近距离拍摄的，带有强烈的灯光效果。在他眼睛的黑暗中心，你可以看到阿勃丝的相机。你可以看到他苍白的皮肤上每一个细节和瑕疵。他直视着你，好像他没什么好隐藏的。他的表情充满了兴趣和接纳。
另外一张照片名为“一个墨西哥侏儒在他纽约旅馆的房间里”。这张照片拍摄于1970年。这张照片中阿勃丝也使用了夸张的灯光。她展示了这个非常小的男人的上身和面部特写。他直视着镜头，露出一丝微笑。你可以看到他短小的手指上的所有纹路。他胸前和脸上的头发似乎很接近。你几乎可以闻到他旁边桌子上的酒精。你几乎可以感觉到他床上的平滑的床单。仿佛你进到了这个小小的陌生人的私人世界。
这些人的表情太实诚了，看到这些照片让人感到不愉快。黛安娜·阿勃丝在她的作品中探索了这种不安。她让她的拍摄对象站在他们完全展现自己的位置。他们似乎并不害怕展示他们的瑕疵和奇怪。他们不隐藏自己不美丽的部分。他们公然地展示他们的身体和灵魂。看到这些照片，你有时会觉得你在干涉这些陌生人的私生活。你会感觉也许你不应该去看。
一些艺术评论家认为，黛安·阿勃丝拍摄这些不同寻常的人是因为她的背景。她在一个安全富裕的环境中长大。在拍摄社会上奇怪而不完美的人时，她排斥自己的社会群体。她对自己的教养感到反感，以证明她在艺术上是独立的。她选择探索社会不寻常的一面，而不是接受普通的拍摄对象。
阿勃丝也以一种使普通人看起来不寻常的方式拍摄他们。她能够把最容易辨认的人和环境都拍下来，让它们看起来很奇怪。比如，她拍摄夫妇和家庭的照片，甚至还有同时出生的双胞胎的照片。
她最著名的照片之一是《同卵双胞胎》。照片拍摄于1967年，地点是新泽西州的罗塞尔。两个小女孩占据了整张照片的中心。他们的脸和身体完全一样。他们穿着同样的黑裙子，头上戴着白色的发带。女孩们用苍白的大眼睛平静地看着摄像机。尽管他们很小，他们看起来很睿智，就像是强大的小成年人。
这对双胞胎的照片成为了一本名为重要的摄影书《黛安娜·阿勃丝》的封面。这本书出版于1972年。此书成为了历史上最畅销的摄影书籍之一。同年，这对双胞胎的照片也出现在纽约现代艺术博物馆阿勃丝作品的大型展览中。这次演出的出席人数创下了新纪录。遗憾的是，黛安娜·阿勃丝没能活着看到这个展览。她在前一年自杀了。享年48岁。
黛安娜·阿勃丝的照片在美国仍旧很受欢迎。2005年3月，纽约大都会博物馆为她的作品举办了一个大型展览。博物馆馆长为这次展览聚集了很多阿勃丝重要的作品。他们也展出了很多不知名的作品。但是他们也尝试展示这位有名的女性的私人的一面。他们展示了她的信件，相机和书。《黛安娜·阿勃丝启示录》这本书记录了这次特别的展览。
黛安娜·阿勃丝曾说：“照片是关于秘密的秘密。它告诉你的越多，你知道的就越少。”这一评论有助于解释黛安娜·阿布斯的作品为何如此强大。她照片中的人们展示了他们自己，但是但是关于他们的很多东西扔然隐藏着。她的照片让你不禁要问，你可能会展示关于自己的什么东西，你可能试图隐藏什么东西。
今天，黛安娜·阿勃丝拍摄的照片仍然和四十年前一样新鲜强烈。专家表示，她用革命性的方式在胶片上捕捉人物，拍出了20世纪摄影史上一些最重要的照片。
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