 Interview with Daniel Heifetz 采访丹尼尔·海菲兹（六） By Laurie Niles 推荐阅读： FREEDOM OF EXPRESSION 自由表达 The fourth component is something Heifetz calls 'freedom of expression.''It's having a feeling of comfort in yourself and having confidence, so that you're willing to experiment, to think out of the box,' Heifetz says. 'How free can you go, to expose your creative potential? That's a hugely difficult thing, considering all the different demands. 第四个要素是海菲兹所说的“自由表达”。“自由表达就好比当你感觉良好并且充满自信，你会非常愿意尝试，打破陈规，”海菲兹说。“你能有多自由地展露你的创造潜力？考虑到你不得不需要满足来自不同人的需求，这的确是个异常困难的事情。 The teachers says this, the composer said that, the violin demands this, the cello demands that, and all of that works against the freedom to experiment and explore. Throw tradition out the window, act as if the piece was just composed yesterday and the composer just gave it to you last night. Start fresh.' 老师们讲这个，作曲家讲那个，小提琴手需要这个，大提琴手需要那个，诸如此类全都抑制了你自由尝试和探索。所以，把这些传统扔出窗外，就像作品是昨天刚刚完成的，作曲家昨晚才把它给你那样去做。重新开始。” DRAMA 表演 'Then the last thing, the most difficult, is drama,' Heifetz said. 'Can you identify an emotion and bring it to the surface? Are you willing to reveal that emotion? Husbands and wives, spouses and partners behind closed doors many times don't reveal their deepest emotions; but we have to, in front of 1,000 strangers! “最后一件，最困难的就是表演，”海菲兹讲到。“你能觉察到一种情感并让它显露出来吗？你愿意展现那种情感吗？丈夫和妻子间，配偶伴侣们情愿遮蔽他们最深层的情感；但是我们必须在成千上万陌生人面前显露自己！” Can you project that through a breathing piece of wood, your body comfortable, with what the composer is asking you to do? Then, can you project that revealed emotion with energy and shoot it to the last person in the balcony? That's when the magic happens, and most people don't do it. The ones who do are the ones everyone knows by name -- because they make that magic.' “你是否能够按作曲家的要求，用一件会呼吸的木器以及你的身体语言展示自己的情感？并且，你是否能以澎湃的活力将感情释放出来，以至于最后排的听众都能够与你共醉其中？这就是魔法表现出来的时刻，但可惜大多数人并不这么做。那些这样做的人的名字将被人熟知——因为他们勇敢地用魔法表达自己。” Teaching charisma through 'communication training' is the unique selling point of the Heifetz Institute. The first day the students arrive, they have to re-audition, and Heifetz routinely stops them and asks them to sing their piece. 'They look at me like a deer in headlights; no one in an audition has ever asked them to sing the piece.' 通过“沟通训练”教授魅力是海菲兹学院的独有卖点。学生到达的第一天，他们就得重新试音，海菲兹通常会阻止他们并要求他们唱出作品。“他们像聚光灯下的小鹿一样看着我，没有人在聆听中曾被要求唱谱。 'Mr. Heifetz, I can't sing!' is the typical response. He then asks, 'What are you expressing? Why should I buy a ticket to hear you play it? What do you want me to feel, what emotion are you feeling?' 最典型的回应是“海菲兹先生，我唱不了！”于是他问，“你表达的是什么？为什么我要买张票来听你演奏它？你想让我感受什么，你感受到什么？” 'Most of them have barely even thought about it,' Heifetz said. Then he asks them to play a two-octave scale, with a certain kind of feeling, such as 'joyous emotion.' Very often, the student freezes up. During the six weeks of the program, all performances are recorded and videotaped, and no performer -- be they student or celebrity -- can perform without first speaking to the public. In addition to taking private lessons (two per week) on their instruments, the students have required classes in all aspects of communication training. “他们中大多数都没思考过它”，海菲兹说，然后他要求他们带某种感情演奏一段两个八度音阶，比如“欢快情绪。”通常，学生都会僵住。在六个星期的项目中，所有的演奏都被录音和录像，所有的演奏者，无论是学生还是名人——没有进行公开演讲的学员都不能开始演奏。除了上（每周两次的）乐器的私人课程之外，学生还需求沟通培训的各方面课程。 'On the last day, I will re-do the same opening audition, and I'll video-tape it,' Heifetz says. By then, most are willing and able to sing their piece, most have ideas to share about the piece they are playing, and most can play that scale, 'with feeling.' If they succeed, he asks them to play it multiple ways: 'Angry scale!' 'Love scale!' 'Mysterious scale!' even, 'Sad scale, in a major key!' “最后一天，我会重做开学试音，我会录下它，”海菲兹说。通过如此，大多数愿意并且能够唱出他们的作品，大多数也都会分享他们所演奏的东西，大多数也会“带感情”地演奏那个音阶。如果他们成功了，海菲兹就要求他们用多种方式演奏：“发怒的音阶！”“爱恋的音阶！”“神秘的音阶”甚至，“悲伤的大调音阶！” 'Then the next step is: You can do it in a scale, but when you get up to play Beethoven, do the walls go back up again? What did Beethoven want? Am I doing it correctly? Is it out of tune? Is it what the teacher wanted me to do? All that stuff! When you play Mozart, are you playing that with a vibrant joy? Are you feeling joy? Or are you playing it 'well'?' Heifetz asks. 'What's being generated? Because when that stuff doesn't happen, that's what kills the classical music stage. That's why orchestras are folding: we've made it boring.' “然后，接下来的步骤是：你能够在音阶中做到，但是当你要演奏贝多芬时，围墙是否重新竖起？贝多芬想要的是什么？我做的对吗？跑调了没？这是老师想要我做的吗？所有这些东西！当你要弹奏莫扎特时，你是带着充满活力的欢乐吗？你感到快乐吗？还是你弹得‘很好’？”海菲兹问到。“产生了什么？因为当那些东西没发生时，就杀死了古典音乐舞台。这就是为什么管弦乐团要倒闭：我们已经让它变得无聊了。” 'Music needs to be inspiring. Something that's really saying something,' Heifetz said. 'I'm not interested in the comfort of the artist. I'm interested in what's going on between the artist and the audience, and my dedication is to the audience. To the music and to the audience.' “音乐要能激发灵感。是那些真实诉说着什么的东西，”海菲兹说。“我对艺术家的舒适没兴趣。我感兴趣的是在艺术家与听众之间发生着什么，以及我对听众的奉献。为了音乐和为了听众。” 'To me, music is about what is being expressed, not what is being played 'well.' To play it safe is boring,' Heifetz said. 'It's a whole attitude of what it means to be an artist, what it means to make music.' “对我来说，音乐是关乎什么被表达出来，而不是什么被弹奏得‘很好’。安稳地演奏出来是无聊的，”海菲兹说，“作一名艺术家意味着什么和创作音乐意味着什么是一个整体态度。” The problem is that all of those years of accomplishing that technique, learning to be careful and musically correct, can hold back the open, emotional connection to the music.'You've got to learn your craft,' Heifetz said. 'You've got to have command of the instrument, your intonation. You have to practice correctly.' Then once you have that high level of technique, 'then you need to forget about it, to a certain degree,' Heifetz said. 'Then you are feeling the music and you are expressing.' 问题是，完成技巧和学会仔细、正确演奏的那些岁月会阻碍与音乐的开放的情感的联系。“你已经学会了手艺，”海菲兹说。“你掌握了乐器和音调。你还得正确地练习。”然后，一旦你拥有了高水平的技巧，“于是你需要在一定程度上忘掉它，”海菲兹讲。“然后你就感受到你在表达的音乐。” · 扫描二维码打赏译者 · 欢迎新成员加入！一起发光发热！ |
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