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A moment of dance is like 1)droplets of water thrown on a very hot grill. There’s a bounce and a 2)hiss and then the water has evaporated, leaving no 3)imprint of its existence.
Dance is a 4)one-off art form; no two performances of the same 5)choreography will ever be exactly the same. All that’s left for the watcher is the memory of a feeling the dancers aroused in you. Dance is not like a poem or a painting or a book that one can return to, and a video can never capture the magic of a live performance that touched the heart.
A piece of music can evoke, in 6)Proustian fashion, the moving images of a dance and the feeling that it inspired. A touchstone moment in dance comes back for me every time I hear [1]Ray Charles singing 7)Ruby. It was to this song that 8)David Earle created a modern dance 9)pas de deux, a waltz really, for Barry Smith and Helen Jones in his Ray Charles 10) Suite, first performed in 1973.
I saw them perform it in about 1976, at the 11)MacMillan Theatre. She wore a long 12)satin gown. He wore white tie and tails. It was, and is, a perfect 13)invocation of pure, mutual adoration.
In memory, they danced beneath a dark blue evening sky dotted with sparkling stars. To a young person very much in love, the dance expressed everything that romance could be. The vision of that idealized couple went down deep and remained in the subconscious, the way dance does. A 14)kinetic art, providing a 15)vicarious physical pleasure, dance is received in a more 16)visceral way than a picture or a piece of music.
The couple is the essential unit in Western forms of dance, whether it be ballet or modern, social dance or competitive ballroom activity.
Much begins with the waltz (from the Italian “volver” to turn or revolve), a dance that came out of Vienna in the 18th century and for a long time retained its power to 17)scandalize with its 18)sensuality and the fact that couples embraced while doing it.
The waltz, like much of 19th-century ballet, has always been about romantic love. Waltz music could never be used, except ironically, as the 19)soundtrack to a conflict.
Many years after the first hearing, [2]Leonard Cohen’s lyrics—after [3]Federico García Lorca’s poem Little Viennese Waltz—can still set couples to 20)swooning or make one 21)ache for a 22)spin round the room. “And I’ll dance with you in Vienna/I’ll be wearing a river’s disguise/The 23)hyacinth wild on my shoulder,/My mouth on the dew of your thighs.”
On that indelible night long ago at 24)Toronto Dance Theatre, Barry and Helen 25)instilled in me a passion for dance, especially dance about 26)passion. [4]Fred Astaire and [5]Ginger Rogers, [6]Gene Kelly and [7]Leslie Caron, tango couples and 27)Kathak couples, salsa couples and ice-dancing pairs: they are all inspired by 28)Eros.
When 29)Peggy Baker and 30)Michael Sean Marye performed 31)James Kudelka’s duet A Woman By a Man a few months ago, they brought back that feeling that David Earle projected with his Ruby dance. There’s nothing quite so thrilling as two bodies moving in total 32)synch with each other and with the music.
On that same MacMillan stage last month, 33)Mark Morris Dance Group paid glorious tribute to the waltz and to couples of all kinds—male/female, male/male and female/female—with his 34)Liebeslieder-Walzer, set to the music of Romantic composer [8]Johannes Brahms.
Morris seemed to have taken his cue from Cohen: “Take this waltz, take this waltz/It’s yours now. It’s all that there is.”
舞蹈中的瞬间就宛如被甩到炙热的烤架上的水滴，猛地一下，嘶嘶一响，水滴就蒸发了，丝毫没有留下它曾经存在过的痕迹。
舞蹈是一次性的艺术形式——就算是同一种舞蹈编排也不会有两次完全相同的表演。惟独观者会铭记舞者在自己心里激起的那种情感。舞蹈不像诗歌、绘画、书籍那样可以查找、翻看，即使录像也永远无法捕捉现场表演那触动心灵的魅力。
一段音乐能让人生动地回想起一段舞蹈的动态画面，并感受到随舞而至的情感。每次我听到雷·查尔斯唱的《鲁比》，舞蹈那瞬间的触动就会重现于我的脑海。大卫·厄尔就是根据这首歌为巴里·史密斯和海伦·琼斯编排了双人现代舞《雷·查尔斯组曲》——应该说是一段华尔兹，这段舞蹈在1973年首次上演。
我于1976年在麦克米伦剧院看到了他们的演出。当时，她身穿缎面长裙，他则穿着燕尾服，系着白色蝴蝶领结。那段舞蹈在当时是对纯洁的相互爱慕的完美祈求，直到今天依然如此。
在我记忆中，他们在繁星满天的深蓝色夜空下起舞。对一个沐浴在爱河中的年轻人来说，这段舞蹈是浪漫的终极表达。那天设地造的一对，其舞影给我留下深深的印记，并一直留在我的脑海深处，如同舞蹈本身给我的触动一样。舞蹈是一种用自己的舞姿让他人陶醉的动感艺术。与一幅画或一段音乐相比，欣赏舞蹈更需要从内心深处开始。
在西方的舞蹈形式里，不管是芭蕾、现代舞、社交舞，还是竞技性交谊舞，双人舞是必不可少的元素。
华尔兹（华尔兹一词来自意大利语“旋转”一词）是舞蹈的起源，也是18世纪维也纳的产物，此后舞蹈的变化可谓大矣。在相当长的时间里，它提供的感官享受，及两人相拥而舞的举动被视为一种冒犯道德的行为。
华尔兹与19世纪的芭蕾一样，一直与浪漫的爱恋紧密相连。除非是用来讽刺，不然，华尔兹音乐是从来不会被用作冲突场面的背景音乐的。
从第一次听到伦纳德·科恩改编自费德里科·加西亚·洛尔迦诗歌《维也纳华尔兹》的歌词到多年后，重听此段还是可以让一对对爱人在房间里欣喜狂舞，或者说至少让他们蠢蠢欲动，想旋舞一番。“我将在维也纳与你共舞/我会披上河流的伪装/风信子在我的肩上飞舞/我的唇贴着你腿上的露珠。”
那是一个永远难忘的夜晚——很久以前在多伦多舞蹈剧院里，我被巴里和海伦注入了对舞蹈的热情，尤其是情爱之舞。弗雷德·阿斯泰尔与琴吉·罗杰斯、吉恩·凯利与莱斯利·卡伦，还有探戈舞伴和卡塔克舞伴、萨尔萨舞伴与冰舞舞伴：他们都得到爱神的灵启。
当佩吉·贝克与迈克尔·肖恩·玛尔数月前表演詹姆斯·库德拉的双人舞《男人创造女人》时，他们让人们回味了大卫·厄尔依据歌曲《鲁比》编排的双人舞所唤起的情感。没有什么比看到两人身体的移动彼此完全同步，并与音乐配合得天衣无缝更让人兴奋的了。
上个月就在麦克米伦剧院的同一个舞台上，马克·莫里斯舞团以根据浪漫作曲家约翰内斯·勃拉姆斯的作品改编的《爱之歌圆舞曲》向华尔兹以及舞蹈中所有的双人舞伴——男女、男双和女双——呈献了一段无与伦比的赞颂之舞。
莫里斯似乎从科恩那里得到了启发：“跳上一段华尔兹，跳上一段华尔兹/现在它是你的了。这就是全部。”
Dance is a 4)one-off art form; no two performances of the same 5)choreography will ever be exactly the same. All that’s left for the watcher is the memory of a feeling the dancers aroused in you. Dance is not like a poem or a painting or a book that one can return to, and a video can never capture the magic of a live performance that touched the heart.
A piece of music can evoke, in 6)Proustian fashion, the moving images of a dance and the feeling that it inspired. A touchstone moment in dance comes back for me every time I hear [1]Ray Charles singing 7)Ruby. It was to this song that 8)David Earle created a modern dance 9)pas de deux, a waltz really, for Barry Smith and Helen Jones in his Ray Charles 10) Suite, first performed in 1973.
I saw them perform it in about 1976, at the 11)MacMillan Theatre. She wore a long 12)satin gown. He wore white tie and tails. It was, and is, a perfect 13)invocation of pure, mutual adoration.
In memory, they danced beneath a dark blue evening sky dotted with sparkling stars. To a young person very much in love, the dance expressed everything that romance could be. The vision of that idealized couple went down deep and remained in the subconscious, the way dance does. A 14)kinetic art, providing a 15)vicarious physical pleasure, dance is received in a more 16)visceral way than a picture or a piece of music.
The couple is the essential unit in Western forms of dance, whether it be ballet or modern, social dance or competitive ballroom activity.
Much begins with the waltz (from the Italian “volver” to turn or revolve), a dance that came out of Vienna in the 18th century and for a long time retained its power to 17)scandalize with its 18)sensuality and the fact that couples embraced while doing it.
The waltz, like much of 19th-century ballet, has always been about romantic love. Waltz music could never be used, except ironically, as the 19)soundtrack to a conflict.
Many years after the first hearing, [2]Leonard Cohen’s lyrics—after [3]Federico García Lorca’s poem Little Viennese Waltz—can still set couples to 20)swooning or make one 21)ache for a 22)spin round the room. “And I’ll dance with you in Vienna/I’ll be wearing a river’s disguise/The 23)hyacinth wild on my shoulder,/My mouth on the dew of your thighs.”
On that indelible night long ago at 24)Toronto Dance Theatre, Barry and Helen 25)instilled in me a passion for dance, especially dance about 26)passion. [4]Fred Astaire and [5]Ginger Rogers, [6]Gene Kelly and [7]Leslie Caron, tango couples and 27)Kathak couples, salsa couples and ice-dancing pairs: they are all inspired by 28)Eros.
When 29)Peggy Baker and 30)Michael Sean Marye performed 31)James Kudelka’s duet A Woman By a Man a few months ago, they brought back that feeling that David Earle projected with his Ruby dance. There’s nothing quite so thrilling as two bodies moving in total 32)synch with each other and with the music.
On that same MacMillan stage last month, 33)Mark Morris Dance Group paid glorious tribute to the waltz and to couples of all kinds—male/female, male/male and female/female—with his 34)Liebeslieder-Walzer, set to the music of Romantic composer [8]Johannes Brahms.
Morris seemed to have taken his cue from Cohen: “Take this waltz, take this waltz/It’s yours now. It’s all that there is.”
舞蹈中的瞬间就宛如被甩到炙热的烤架上的水滴，猛地一下，嘶嘶一响，水滴就蒸发了，丝毫没有留下它曾经存在过的痕迹。
舞蹈是一次性的艺术形式——就算是同一种舞蹈编排也不会有两次完全相同的表演。惟独观者会铭记舞者在自己心里激起的那种情感。舞蹈不像诗歌、绘画、书籍那样可以查找、翻看，即使录像也永远无法捕捉现场表演那触动心灵的魅力。
一段音乐能让人生动地回想起一段舞蹈的动态画面，并感受到随舞而至的情感。每次我听到雷·查尔斯唱的《鲁比》，舞蹈那瞬间的触动就会重现于我的脑海。大卫·厄尔就是根据这首歌为巴里·史密斯和海伦·琼斯编排了双人现代舞《雷·查尔斯组曲》——应该说是一段华尔兹，这段舞蹈在1973年首次上演。
我于1976年在麦克米伦剧院看到了他们的演出。当时，她身穿缎面长裙，他则穿着燕尾服，系着白色蝴蝶领结。那段舞蹈在当时是对纯洁的相互爱慕的完美祈求，直到今天依然如此。
在我记忆中，他们在繁星满天的深蓝色夜空下起舞。对一个沐浴在爱河中的年轻人来说，这段舞蹈是浪漫的终极表达。那天设地造的一对，其舞影给我留下深深的印记，并一直留在我的脑海深处，如同舞蹈本身给我的触动一样。舞蹈是一种用自己的舞姿让他人陶醉的动感艺术。与一幅画或一段音乐相比，欣赏舞蹈更需要从内心深处开始。
在西方的舞蹈形式里，不管是芭蕾、现代舞、社交舞，还是竞技性交谊舞，双人舞是必不可少的元素。
华尔兹（华尔兹一词来自意大利语“旋转”一词）是舞蹈的起源，也是18世纪维也纳的产物，此后舞蹈的变化可谓大矣。在相当长的时间里，它提供的感官享受，及两人相拥而舞的举动被视为一种冒犯道德的行为。
华尔兹与19世纪的芭蕾一样，一直与浪漫的爱恋紧密相连。除非是用来讽刺，不然，华尔兹音乐是从来不会被用作冲突场面的背景音乐的。
从第一次听到伦纳德·科恩改编自费德里科·加西亚·洛尔迦诗歌《维也纳华尔兹》的歌词到多年后，重听此段还是可以让一对对爱人在房间里欣喜狂舞，或者说至少让他们蠢蠢欲动，想旋舞一番。“我将在维也纳与你共舞/我会披上河流的伪装/风信子在我的肩上飞舞/我的唇贴着你腿上的露珠。”
那是一个永远难忘的夜晚——很久以前在多伦多舞蹈剧院里，我被巴里和海伦注入了对舞蹈的热情，尤其是情爱之舞。弗雷德·阿斯泰尔与琴吉·罗杰斯、吉恩·凯利与莱斯利·卡伦，还有探戈舞伴和卡塔克舞伴、萨尔萨舞伴与冰舞舞伴：他们都得到爱神的灵启。
当佩吉·贝克与迈克尔·肖恩·玛尔数月前表演詹姆斯·库德拉的双人舞《男人创造女人》时，他们让人们回味了大卫·厄尔依据歌曲《鲁比》编排的双人舞所唤起的情感。没有什么比看到两人身体的移动彼此完全同步，并与音乐配合得天衣无缝更让人兴奋的了。
上个月就在麦克米伦剧院的同一个舞台上，马克·莫里斯舞团以根据浪漫作曲家约翰内斯·勃拉姆斯的作品改编的《爱之歌圆舞曲》向华尔兹以及舞蹈中所有的双人舞伴——男女、男双和女双——呈献了一段无与伦比的赞颂之舞。
莫里斯似乎从科恩那里得到了启发：“跳上一段华尔兹，跳上一段华尔兹/现在它是你的了。这就是全部。”