بنات الله يعافيكم ساعدونى ابغى قصه مترجمه غير طويله..
يعن بس صفحتين مع الترجمه تكفون بسرعه
جناااااان
جنااااااان @gnaaaaaaan
عضوة فعالة
يلزم عليك تسجيل الدخول أولًا لكتابة تعليق.
الله يعافيك ويجزاك الجنه..
انا ابغى اي موضوع بس ياليت لو يكون بس اطول شوي يعن القصه تكون بحدود صفحتين........
انا ابغى اي موضوع بس ياليت لو يكون بس اطول شوي يعن القصه تكون بحدود صفحتين........
الله يعافيك مو شرط عن اطفال عن اي شي مثل جريمة قتل وانحلت مثل سرقه اييييييييي شي..
الله سعافيك ممكن ترجميلي هذي الظاهر انها قصه؟؟
In the spring of 1983, as part of the National Ballet of Canada's Choreographic Workshop, David Nixon wanted to create a ballet that would showcase the dramatic abilities of Yoko Ichino. A dancer of phenomenal technical prowess, she was often type cast for those skills alone and David wanted to show the other side of Yoko. David was also interested in how stories could be translated into ballet. He chose Madam Butterfly as a perfect vehicle to capture Yoko's lyric and emotional qualities and to explore storytelling. David saw in Yoko "graceful movement that captured the beauty, pain and elegance of Butterfly."
David began by determining the essential elements of the story to include in the half hour long work. Following this process he turned to Puccini’s music to select the appropriate sections to support the story line he had developed: the marriage, development of the relationship, the passing of time, the return of Pinkerton and finally the death. The cast included Yoko Ichino as Butterfly, Thomas Schramek as Pinkerton, Sabina Allemann as Suzuki and Jaques Gorrissen as Sharpless.
This same version of the ballet was presented in 1984 by Austin Ballet with David taking the part of Pinkerton opposite Yoko's Butterfly.
Again in 1990, as part of David's evening of choreography at the Hebbel Theater in Berlin, this Butterfly took flight as part of a program that included African Fantasy and the original version of David Nixon's Dangerous Liaisons.
For the opening performance of BalletMet's 1996-97 season, David chose to present a full evening version of this classic story. Needless to say, his perspective on the work had changed during the 13 years since the original production. Also, in order to create a full evening work, some of the story line had to be expanded from his original version, fuller character development was required and more music was needed.
David turned to the Kabuki theater traditions for inspiration for Butterfly's character development before she meets Pinkerton and to highlight the contrast between the two cultures that clash in Madam Butterfly. David also chose to include traditional Japanese music in the score that was re-arranged from Puccini’s original by Maestro Gary Sheldon.
Gary and David had first met to discuss the options for the music in the Spring of 1996. At that time the discussion centered on exactly what music to use. There were existing versions of Puccini's music that had been orchestrated without singers, both for ballet and concert use, and there was the option to commission a new arrangement especially for BalletMet. Following the original meeting more information was gathered regarding alternate scores, and David listened to other music of Puccini as well as some traditional Japanese music. By June they discovered that all the existing versions of the score were unsuitable for various reasons and that a new version should be created. By this point, Maestro Sheldon was very intrigued by the idea of fashioning a new arrangement of the score. It was mutually agreed that he should be the one to create BalletMet's score for Butterfly.
In between his extensive commitments to the Lancaster Festival Gary met with David to discuss an outline for the changes, including the addition of Puccini's I Crisantemi. By mid July Gary recorded his newly structured version of the music with company pianist Michael Popov and a copy was provided to David to listen to. At the beginning of August Gary and David met once again to discuss the score and to clarify many points. By this time David had begun to work on the ballet and had much clearer ideas on where he wanted to have certain types of music. In addition to I Crisantemi, David wished to include a Puccini minuet which he thought would be a good accompaniment to the scene he envisioned for Suzuki, Butterfly and Trouble. It was also agreed at this time to make the ballet in three shorter acts rather than two longer ones. A new version was recorded with Mr. Popov on August 12, the first day of company rehearsals for Butterfly.
Although the opera and Miss Saigon had already gained deserved acclaim, David believed that in ballet he could better capture the essence of the woman he imagined Butterfly to be. "Though I heard the gentle power, grace and fragility in the voice, I never once saw the ethereal creature which fluttered in my thoughts. Those many wood blocked paintings of gentle creatures whom men fantasized about from afar, belonging to an alien culture thousands of miles distant, I believed could be captured in dance."
David Nixon admits that Pinkerton's character is the hardest to deal with, a problem that has faced creators of every incarnation of Madam Butterfly since its arrival in the late 1800's. The problem centers on how to balance the sympathy one wants to have for Pinkerton with the reality that he is a truly callous person. Pinkerton personifies the former-era Western attitude toward "lesser" cultures. How strong a finger should one point at a Western audience? How many of his flaws do you forgive?
The long wait for Pinkerton in Act 2 can be successfully filled in both the play and opera with extended dialogue and beautiful music. For a dance piece, Butterfly and Suzuki alone is not the most promising material to hold an audience’s attention, but it is important to the story line to show how, especially towards the end, all that Butterfly has left is hope, however thin. She imagines Pinkerton with other women, and fears this, but she must live in hope of his return, if not for herself then for their child.
At the end of the story, first abandoned by her Western 'friends' then having her only hope in life, her child, taken from her, David sees Butterfly retreating to her Japanese traditions for such support as they can give her.
Creating a ballet, especially for an Artistic Director who must be responsible for the overall health of the company, is not just the "simple" matter of creating steps. Of course, the plot must be considered and decisions made about musical content. Another important area is the design of the sets and costumes. David enjoys his active involvement with this process as he finds the discussion of every aspect of the creation stimulating to his choreographic work. The set design is governed not only by the creative muse but also by practical reasons such as allowing enough room to dance, cost and serviceability. In the case of Butterfly, the apparent stage size is important as well. In order to achieve the intimacy of the Japanese theater, careful attention must be paid to scale as traditional Japanese theater stages are nowhere near as large as the Ohio Theatre. Although David presents an initial idea of his concepts, he is receptive to suggestions for changes from his technical staff. Through discussions with them the concept develops and is transformed to a true collaborative work. Once he can visualize the space, David feels he can then begin creating movement to fill that space.
Although the set for Butterfly is mostly muted in color - to suggest an old, hand-tinted black and white photograph - the costuming is more brightly colored, a reflection of David's idea that people bring life to a space. Butterfly's wedding dress is red with a white overlay. Although its style predates the story of Butterfly, David believes this retrospection emphasizes the deep roots of the Japanese culture. He also interprets the red as a symbol of the blood that will be shed later.
Following the premiere performances of Butterfly by BalletMet in September 1996, the ballet was performed to great acclaim by the Cincinnati Ballet in the Spring of 1999 and will be presented by Ballet Austin, the Royal Winnipeg Ballet and Dayton Ballet as part of their 2000-2001 seasons.
Return to Butterfly index
الله سعافيك ممكن ترجميلي هذي الظاهر انها قصه؟؟
In the spring of 1983, as part of the National Ballet of Canada's Choreographic Workshop, David Nixon wanted to create a ballet that would showcase the dramatic abilities of Yoko Ichino. A dancer of phenomenal technical prowess, she was often type cast for those skills alone and David wanted to show the other side of Yoko. David was also interested in how stories could be translated into ballet. He chose Madam Butterfly as a perfect vehicle to capture Yoko's lyric and emotional qualities and to explore storytelling. David saw in Yoko "graceful movement that captured the beauty, pain and elegance of Butterfly."
David began by determining the essential elements of the story to include in the half hour long work. Following this process he turned to Puccini’s music to select the appropriate sections to support the story line he had developed: the marriage, development of the relationship, the passing of time, the return of Pinkerton and finally the death. The cast included Yoko Ichino as Butterfly, Thomas Schramek as Pinkerton, Sabina Allemann as Suzuki and Jaques Gorrissen as Sharpless.
This same version of the ballet was presented in 1984 by Austin Ballet with David taking the part of Pinkerton opposite Yoko's Butterfly.
Again in 1990, as part of David's evening of choreography at the Hebbel Theater in Berlin, this Butterfly took flight as part of a program that included African Fantasy and the original version of David Nixon's Dangerous Liaisons.
For the opening performance of BalletMet's 1996-97 season, David chose to present a full evening version of this classic story. Needless to say, his perspective on the work had changed during the 13 years since the original production. Also, in order to create a full evening work, some of the story line had to be expanded from his original version, fuller character development was required and more music was needed.
David turned to the Kabuki theater traditions for inspiration for Butterfly's character development before she meets Pinkerton and to highlight the contrast between the two cultures that clash in Madam Butterfly. David also chose to include traditional Japanese music in the score that was re-arranged from Puccini’s original by Maestro Gary Sheldon.
Gary and David had first met to discuss the options for the music in the Spring of 1996. At that time the discussion centered on exactly what music to use. There were existing versions of Puccini's music that had been orchestrated without singers, both for ballet and concert use, and there was the option to commission a new arrangement especially for BalletMet. Following the original meeting more information was gathered regarding alternate scores, and David listened to other music of Puccini as well as some traditional Japanese music. By June they discovered that all the existing versions of the score were unsuitable for various reasons and that a new version should be created. By this point, Maestro Sheldon was very intrigued by the idea of fashioning a new arrangement of the score. It was mutually agreed that he should be the one to create BalletMet's score for Butterfly.
In between his extensive commitments to the Lancaster Festival Gary met with David to discuss an outline for the changes, including the addition of Puccini's I Crisantemi. By mid July Gary recorded his newly structured version of the music with company pianist Michael Popov and a copy was provided to David to listen to. At the beginning of August Gary and David met once again to discuss the score and to clarify many points. By this time David had begun to work on the ballet and had much clearer ideas on where he wanted to have certain types of music. In addition to I Crisantemi, David wished to include a Puccini minuet which he thought would be a good accompaniment to the scene he envisioned for Suzuki, Butterfly and Trouble. It was also agreed at this time to make the ballet in three shorter acts rather than two longer ones. A new version was recorded with Mr. Popov on August 12, the first day of company rehearsals for Butterfly.
Although the opera and Miss Saigon had already gained deserved acclaim, David believed that in ballet he could better capture the essence of the woman he imagined Butterfly to be. "Though I heard the gentle power, grace and fragility in the voice, I never once saw the ethereal creature which fluttered in my thoughts. Those many wood blocked paintings of gentle creatures whom men fantasized about from afar, belonging to an alien culture thousands of miles distant, I believed could be captured in dance."
David Nixon admits that Pinkerton's character is the hardest to deal with, a problem that has faced creators of every incarnation of Madam Butterfly since its arrival in the late 1800's. The problem centers on how to balance the sympathy one wants to have for Pinkerton with the reality that he is a truly callous person. Pinkerton personifies the former-era Western attitude toward "lesser" cultures. How strong a finger should one point at a Western audience? How many of his flaws do you forgive?
The long wait for Pinkerton in Act 2 can be successfully filled in both the play and opera with extended dialogue and beautiful music. For a dance piece, Butterfly and Suzuki alone is not the most promising material to hold an audience’s attention, but it is important to the story line to show how, especially towards the end, all that Butterfly has left is hope, however thin. She imagines Pinkerton with other women, and fears this, but she must live in hope of his return, if not for herself then for their child.
At the end of the story, first abandoned by her Western 'friends' then having her only hope in life, her child, taken from her, David sees Butterfly retreating to her Japanese traditions for such support as they can give her.
Creating a ballet, especially for an Artistic Director who must be responsible for the overall health of the company, is not just the "simple" matter of creating steps. Of course, the plot must be considered and decisions made about musical content. Another important area is the design of the sets and costumes. David enjoys his active involvement with this process as he finds the discussion of every aspect of the creation stimulating to his choreographic work. The set design is governed not only by the creative muse but also by practical reasons such as allowing enough room to dance, cost and serviceability. In the case of Butterfly, the apparent stage size is important as well. In order to achieve the intimacy of the Japanese theater, careful attention must be paid to scale as traditional Japanese theater stages are nowhere near as large as the Ohio Theatre. Although David presents an initial idea of his concepts, he is receptive to suggestions for changes from his technical staff. Through discussions with them the concept develops and is transformed to a true collaborative work. Once he can visualize the space, David feels he can then begin creating movement to fill that space.
Although the set for Butterfly is mostly muted in color - to suggest an old, hand-tinted black and white photograph - the costuming is more brightly colored, a reflection of David's idea that people bring life to a space. Butterfly's wedding dress is red with a white overlay. Although its style predates the story of Butterfly, David believes this retrospection emphasizes the deep roots of the Japanese culture. He also interprets the red as a symbol of the blood that will be shed later.
Following the premiere performances of Butterfly by BalletMet in September 1996, the ballet was performed to great acclaim by the Cincinnati Ballet in the Spring of 1999 and will be presented by Ballet Austin, the Royal Winnipeg Ballet and Dayton Ballet as part of their 2000-2001 seasons.
Return to Butterfly index
انا من زمان لقيت موضوع عن الفراشه..قصه تجنن حلوة مرة ومترجمه ..بس طارت مالقيتها وماادري باي موقع..
الله بجزاك الجنه تعبتك معي...
الله بجزاك الجنه تعبتك معي...
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Peek-ing Duck
When I was 5 years old, my father was invited to go duck hunting with some business associates. He asked them if I could come along. They reluctantly agreed.
After the appropriate amount of preparation and training, we started to the duck blind a little before 5am. It was a perfect day for duck hunting, cold and wet. After hours of waiting, ducks were sighted flying toward the blind. The other hunters waited anxiously and quietly for them to come into firing range, but the excitement got the best of me. I jumped up with my toy rifle and in true machine-gun style shouted "Bla-da-da-da-dow!"
The ducks veered off safely and no more were to be seen that day. My father and I never went duck hunting again
http://www.babysstory.com/StoryPages/PeekingDuck.htm
على فكره قصه للاطفال.
اسم القصه:
النظره الخاطفه.
عندما كنت بعمر 5 سنوات دعي ابي لصيد البط مع شركاء العمل طلبت منهم ان اذهب معهم
فوافقوا بعد التحضير والتدريب بدأنا بنصب الشبكه وقبل 5 صباحا وكان هناك برودة
وبعد ساعات من الانتظار اتجهت مجموعه من البطات الى الشبكه انتظر
الصيادون بقلق لاطلاق الرصاص ولكن حماسي جعلني اقفز فوق
بندقيتي اللعبه وبصوت الرشاش الحقيقي انحرفت البطات عن الشبكه
انا وابي لم نطارد البط مرة اخرى.
ان شاء اعجبتك واذا ما اعجبتك حددي رجاء نوع القصه المطلوبه .
وهذا اللي عندي.