2010年11月30日 星期二

Keiko Mitsuhashi "the first female conductor."

In a man's world, here's a woman who wields baton with the firmest of hands



photoKeiko Mitsuhashi in front of La Scala in Milan (Shinya Minamishima)

In the male-dominated world of conducting, Keiko Mitsuhashi is often described as "the first female conductor." But she says she "has not been so conscious" about her gender in her career so far.

That may change. Mitsuhashi, 30, won second prize at the Arturo Toscanini International Conducting Competition in Parma, northern Italy, in October, becoming the first woman to receive one of the prestigious event's top two prizes.

Upon hearing she had won the award, her mentor Seiji Ozawa told her, "Now you stand at the starting point. Brace yourself and work hard."

Mitsuhashi decided to enter the world of professional music while still a third-year junior high school student.

In 1995, she and other students at a music school in Hiroshima performed in Jerusalem. On Oct. 31, they were invited to a luncheon attended by then Prime Minister Yitzhak Rabin at his official residence.

Rabin approached the piano and suddenly hit four notes, "mi, fa, so and re," Mitsuhashi said. He asked his guests, "Would you play music using these notes?"

Mitsuhashi responded with an impromptu piece. Rabin and his wife were delighted, she recalled.

"Even though I could not make myself understood in words, I got my feeling across via music," she said.

Four days later, Rabin was assassinated.

Even though the incident shocked young Mitsuhashi, her interchange with Rabin confirmed her belief that "music can be a strong means of communication," she said.

She said she decided to become a conductor because "I like the chemical reaction created by communication with musicians."

Desiring to learn more about opera, which grew out of the close connections between music and the language of its birthplace, she moved to Milan last year.

She moved to Venice, home of the Teatro la Fenice (The Phoenix opera house), this month.

"I want to help bring this great music, which developed over so many years, into the future," Mitsuhashi said.

2010年11月26日 星期五

Theodore Roosevelt

Theodore Roosevelt

The third and concluding volume of Edmund Morris's monumental biography of Theodore Roosevelt covers the nine eventful years after he departed from office.

A Headlong Life

For my paternal grandfather, born in 1884, Theodore was the Great Roose­velt. He always regretted he’d been too young to vote for him in 1904, rushed to the polls to do so when Roosevelt ran as a Bull Moose in 1912 and to the end of his long life proudly called himself a “progressive Republican” in honor of his hero. For my father, who was born in 1910 and first went to the polls in the midst of the Great Depression in 1932, Franklin was the Roosevelt to admire; to him, the younger Roosevelt’s dead fifth cousin seemed shrill and overwrought, a perpetual adolescent.


Blood lust: Theodore Roosevelt on safari in 1909.


By Edmund Morris

Illustrated. 766 pp. Random House. $35

From “Colonel Roosevelt” (Houghton Library, Harvard University)

On a river expedition in Brazil in 1913.

On the evidence offered in “Colonel Roosevelt,” the third and concluding volume of Edmund Morris’s monumental life of the 26th president, both of my forebears had a point. Morris is a stylish storyteller with an irresistible subject. The seismic personality that one White House visitor said had to be wrung from one’s clothes when leaving Roosevelt’s presence infuses every one of his trilogy’s nearly 2,500 pages.

The first volume, “The Rise of Theodore Roosevelt” (1979), traces its subject’s rocketlike rise from asthmatic infant to accidental president at 42, the youngest chief executive in our history. “Theodore Rex” (2001) chronicles Roosevelt’s seven years and 196 days at 1600 Pennsylvania Avenue, during which he redefined the president’s role at home and the United States’ role abroad, while proving himself, as Morris writes, “the most powerfully positive American leader since Abraham Lincoln.” More than a century later, polls of presidential historians continue to list him among the top five holders of that office, a fact that would have pleased Roosevelt himself but also might have surprised him: he was convinced no president could be considered great who had not met and mastered a grave national crisis. “If Lincoln had lived in a time of peace,” he once said, “no one would have known his name.”

“Colonel Roosevelt” covers the nine short years left to him after he left office. Morris has lost none of his narrative skill over the last 31 years. His new book is filled with vivid set pieces, from the train ride across the sunburned plains of East Africa with which it opens to the snowy graveside ceremony at Oyster Bay with which his story ends.

Morris sticks close to his fast-moving subject, managing to keep pace as Roosevelt blows away three giraffes and a family of rhinoceros in a single morning; attends the funeral of Edward VIII, becoming the top-hatted symbol of democracy among the crowned heads present; dashes off a brisk, entertaining autobiography in which he admits to not a single error of substance; comes close to death while exploring an unmapped river in Brazil; and defends himself against a charge of libel with such exaggerated vehemence that the plaintiff’s attorney tells him, “You need not treat me as a mass meeting.” Morris admires Roosevelt, but does not venerate him. He has written elsewhere of the flaws he considers most grievous: a “blood lust impossible to excuse, . . . a tendency to preach, a need for enemies and an almost erotic love of the personal pronoun.” All four were given free reign during Roosevelt’s last years. While power almost always became him, powerlessness did not, and in his struggle to win back what he had voluntarily relinquished, his ego was increasingly inseparable from his principles.

“When you are dealing with politics,” he told his friend the humorist Finley Peter Dunne, “you feel that you have your enemy in front of you and you must shake your fist at him and roar the Gospel of Righteousness in his deaf ear.” As he got older, he had more and more difficulty differentiating between the Gospel of Right­eousness and the Gospel of Roosevelt. The savagery with which he took out after his two successors had its roots in serious differences over policy: Taft’s belief that power was properly enshrined in the judiciary was a betrayal of everything Roose­velt had tried to do as president; Woodrow Wilson really was slow to arm the country. But Roosevelt’s animosity was also fueled by the fact, maddening to him, that each lived in the White House while he no longer did.

Morris recounts his battle first to wrest control of his party from Taft and the conservatives and, when that failed (only because of “naked robbery” by “the forces of reaction,” Roosevelt insisted), to lead a third-party campaign he understood to be doomed almost from the start. Roosevelt’s courage cannot be questioned. Who else would have insisted on delivering an 80-minute speech with a would-be assassin’s bullet freshly lodged in his chest? And the Progressive platform on which he ran was a bold, even visionary document: it recognized labor’s right to organize and promised to curtail campaign spending, promote conservation and provide federal insurance for the elderly, the jobless and the sick. But the evangelistic fervor with which he campaigned probably alienated more voters than it attracted. He had the satisfaction of swamping Taft on Election Day, but the victory went to Wilson, giving the Democrats the White House for the first time in a quarter of a century.

In 1916, Roosevelt gritted his formidable teeth and returned to the Republican Party. By then, the likelihood of war consumed him. He was proud that during his own administration “not a shot was fired at any soldier of a hostile nation by any American soldier or sailor.” But he also still believed what he had first told the Naval War College in 1897: “No triumph of peace is quite so great as the supreme triumphs of war.” Combat had made him a national hero, and he seems to have seen a return to the battlefield — almost any battlefield — alternately as a route back to power or a way of providing himself with a fittingly heroic end to his headlong life.

Twice, he volunteered to rally new regiments of Rough Riders and lead them into Mexico, only to be disappointed when border tensions eased. When the United States entered the Great War in 1917, he was half blind, overweight and already suffering from the host of ills that would combine to kill him two years later, but he nonetheless hurried to the White House without an appointment, to ask permission to raise a division of volunteers and rush them to the front in France. Wilson received him cordially enough, but his secretary of war, Newton D. Baker, issued a flinty rejection: despite whatever “sentimental value” there might be in sending a former president to the front, he wrote, command positions would be given only to regular officers who “have made a professional study of the recent changes in the art of war.”

Roosevelt wrote an 18-page protest: “My dear sir, you forget that I have commanded troops in action in the most important battle fought by the United States Army during the last half-century.” He had failed, Morris writes, to persuade Wilson to “grant him his desperate desire, . . . nothing less than death in battle: he knew he would not come back. Denied this consummation, he would have to cede it to one or more of his sons. ‘I don’t care a continental whether they fight in Yankee uniforms or British uniforms, or in their undershirts, so long as they’re fighting.’”

He tried to ensure that each of his four boys was not only in uniform but nudged as close as possible to the front line. “You and your brothers are playing your parts in the greatest of the world’s . . . crowded hours of glorious life” he told his eldest son, Ted. “You have seized the great chance, as was seized by those who fought at Gettysburg, and Waterloo, and Agincourt, and Arbela and Marathon.”

He presented a stoical public face when his youngest son, Quentin, was shot out of the sky over France: “Quentin’s mother and I are very glad that he got to the front and had a chance to render some service to his country, and to show the stuff there was in him before his fate befell him.” But privately, he was shattered; a friend came upon him “sobbing in the stable . . . with his face buried in the mane of his son’s pony: ‘Poor Quentyquee!’ ”

He never recovered. His health continued to decline. But he clung to the hope that he could regain control of his party, redirect its energies toward reform and retake the White House in 1920. When the editor William Allen White visited his hospital room in the winter of 1918 and happened to mention another potential presidential candidate, Roosevelt was quick to interrupt. “Well,” he said, “probably I shall have to get in this thing in June.” Then, Morris reports, “he produced an article he had dictated that amounted to an advance campaign platform.”

But in the end, my grandfather’s Roose­velt died, the country got Warren Harding instead, and it would be left largely to my father’s Roosevelt to make good on the promises in the Progressive platform.

Geoffrey C. Ward’s next book is “A Disposition to Be Rich,” a life of his great-grandfather, the notorious 19th-century swindler, Ferdinand Ward.

2010年11月25日 星期四

《台湾ってどんな 鄰人》酒井亨 Sakai Tōru

跳转到: 导航, 搜索

酒井亨酒井亨 Sakai Tōru,1966年2月 -),出生於日本石川縣金澤市,目前居住於台灣的日本籍自由記者作家自由撰稿人。日本神戶大學客座教授。

[编辑] 簡歷

日本早稻田大學政治系畢業,當過日本共同通信社記者,2000年離職,搬到台灣,一方面就讀台灣大學法律研究所碩士班(2005年得到法律學碩士),另一方面作為自由撰稿人對於台灣南韓中國菲律賓亞洲地區的外交國際關係、政治民主化公民社會社會運動語言等問題進行研究並撰寫文章。 最近對於以黎巴嫩為首的中東音樂、宗教文化等議題發表一些文章。 精通日語台語中文韓語等,並略懂客語。對於台語、客語等台灣本土語言的文字化、制度化等議題採取積極立場。

[编辑] 主要著作

  • 《「親日」台湾の幻想》ISBN 9784594062606扶桑社新書、2010年)
  • 《加速する「脱・中国経済」 取り残された日本の行方 ──逃げ出す台湾、そして世界》ISBN 9784863910157 (晋遊舎ブラック新書、2009年)
  • 《台湾ってどんな"国"?》 ISBN 9784817512710 (日中出版、2008年)
  • 《台湾 したたかな隣人》 集英社. 2006. 這是2010/11/25 與川賴建一先生"台大牛莊"晚餐之後在附近新開張的胡思二手書店買的




1 〔ひどく〕severely; heavily; hard
I knocked [struck] my head hard against the wall.
He was dead drunk.
2 〔手ごわい様子〕
She is a formidable woman./She is difficult to deal with.
強か者 〔手ごわい人〕a man (who is) difficult to deal with; 〔くせもの〕a rascal; a scoundrel; 〔剛の者〕a strong man

  • 《從非營利組織發展論現代憲法「市民社會」理論之界限——以台灣、日本、韓國三國之比較為主》 台灣大學法律研究所碩士班公法組論文. 2005.
  • 《哈日族 なぜ日本が好きなのか》光文社. 2004.
  • 《台湾海峡から見たニッポン》 小學館.2004.
  • 《台湾入門》 日中出版. 2001(初版), 2006(増補改訂版).
  • 「《台灣論》與近代化論」台灣『自由時報』 2001年3月10日.
  • 「日本恐懼北韓攻撃」台灣『蘋果日報』 2003年5月12日.
  • 「日本禁止台灣人入境?」台灣『蘋果日報』 2003年5月21日.
  • 「開發新能源 拒絶核電廠」(新エネルギーを開発して原発を拒否しよう、原著者・伴英幸)台湾『Taiwan News綜合週刊』 第88期(2003年7月3日)、94-96頁.
  • 「台灣會效仿韓國會選舉結果?」台灣『台灣日報』 2004年4月19日.
  • 「請台灣注重另一個海峽對岸-菲律賓」台灣『台灣日報』 2004年5月23日.
  • 「台灣必須發展中東外交」台灣『台灣日報』 2006年1月26日.
  • 「黎巴嫩是中東的要衝」台灣『台灣日報』2006年5月6日.
  • 「黎巴嫩—我們的決心還在」台灣『自由時報』2006年5月12日.
  • 「真主黨、民進黨 黄志芳秘訪真主黨幫助台灣對中東外交的擴展)」台灣『自由時報』2006年8月10日.
  • 「台灣不應盲從美國」台灣『聯合報』2006年8月11日.

[编辑] 相關條目

[编辑] 外部連結

2010年11月24日 星期三









[编辑] 生平



[编辑] 著作

  • 《石頭因為悲傷而成為玉》
  • 《新世界的零件》
  • 《火的語言》
  • 《愛撫》
  • 《嘆息筆記》
  • 《愛情筆記》
  • 《地球筆記》
  • 《人間筆記》
  • 《杜十三主義》

[编辑] 資料來源

Chalmers Johnson, contrarian scholar on Asia, dies

Chalmers Johnson, contrarian scholar on Asia, dies

American scholar Chalmers Johnson, a sharp critic of U.S. foreign policy whose views on Japan's economic rise bucked the establishment 30 years ago, has died at age 79.

The author of at least 17 books over five decades, Johnson had argued that America's heavy military presence and operations worldwide would eventually lead to retaliation. His book "Blowback: The Cost and Consequences of American Empire," predated the Sept. 11 attacks by over a year.

"'Blowback' is shorthand for saying that a nation reaps what it sows, even if it does not fully know or understand what it has sown," he wrote in the book.

Johnson rose to prominence in the 1980s, when he argued that Japan's sudden development as an economic power was carefully orchestrated by government policy and not the result of open capitalism. The view, which he detailed in books such as "MITI and the Japanese Miracle," was heavily criticized at the time but has since become widely accepted.

While the book was about Japan and its Ministry of International Trade and Industry, it led to broader study of how governments set financial policy to foster economic growth.

He was founder and president of the Japan Policy Research Institute, a think tank in San Francisco.

Johnson died at his California home Saturday, where he has been under hospice care, his wife Sheila wrote in a posting on the institute's website.

Born in Buckeye, Arizona, Johnson first visited Japan in 1953 as a Navy officer. He taught for 30 years at the University of California campuses at Berkeley and San Diego, and was a former consultant for the CIA.

His cause of death was not immediately known.

John Ashbery

John Ashbery

"There is the view that poetry should improve your life. I think people confuse it with the Salvation Army."

REPORTED SIGHTINGS: Art Chronicles, 1957-1987 by John Ashbery edited by David Bergman

REPORTED SIGHTINGS: Art Chronicles, 1957-1987 by John Ashbery edited by David Bergman (Alfred A. Knopf: $35; 417 pp.)

Reported Sightings: Art Chronicles, 1957-1987

America's great poet and art critic, John Ashbery, presents some of his most provocative essays on art. Ashbery has long been one of America's most important art critics--first for the Paris Herald Tribune and later for New York and Newsweek. Illustrated.

September 24, 1989|Elena Brunet | Column edited by Sonja Bolle

Poet John Ashbery, whose "Self-Portrait in a Convex Mirror" won the Pulitzer Prize for Poetry in 1975, is perhaps less well known for his art criticism. The best of these essays, written over the course of 30 years and ranging over such topics as Dada and Surrealism, the expatriate American art community in Paris, the careers of Jackson Pollock, Giorgio de Chirico, Henri Michaux, architecture and wallpaper, are collected in this volume.

Ashbery writes as a keen, informed, but disinterested observer. Analyses of painterly qualities and habits recombine with personal responses or musings. "A painter like (Jackson) Pollock . . . was gambling everything on the fact that he was the greatest painter in America, for if he wasn't, he was nothing, and the drips would turn out to be random splashes from the brush of a careless housepainter."

Henri Michaux

Henri Michaux

An Interview with Henri Michaux
Reported Sigtings: Art Chronicles 1957-1987. pp 396-400
為什麼畫 一次 Klee 畫展 去Osaka 問某藝妓路 她畫圖說明---東方人人畫畫

Henri Michaux

An Interview with Henri Michaux
Reported Sigtings: Art Chronicles 1957-1987. pp 396-400
為什麼畫 一次 Klee 畫展 去Osaka 問某藝妓路 她畫圖說明---東方人人畫畫

Michaux, Henri (1899-1984). A profoundly original and independent writer, Michaux was above all an explorer, by all possible means, of his own inner space, conceived not psychologically but in terms of movements, divisions, subsidences, deviations, encounters, ‘Émergences-Résurgences’ (the title of one of his collections).

Born in Belgium, educated in Flemish, he rebelled against his narrow background and in 1921 signed on as a seaman, making his way eventually to Brazil. He moved to Paris in 1924 (but did not take French nationality until 1955) and was inspired to write by the discovery of Lautréamont and the encouragement of Paulhan (Gide, another admirer, wrote an important essay on Michaux in 1941). Between 1925 and 1939 he travelled extensively in South America, India, China, and Indonesia, reporting on his journeys in Ecuador (1929) and Un barbare en Asie (1933), and at the same time transforming them into an essentially inner quest. This quest is inaugurated in Qui je fus (1927), continued in Mes propriétés (1929), Voyage en grande Garabagne (1936), and Un certain Plume (1930), where the mishaps of the eponymous hero, a Chaplinesque alter ego, are handled with a humour which was to be an important dimension of Michaux's writing. The dominant note, however, is that of an intensely emotional engagement with the minute-by-minute ebb and flow of mental and bodily feeling conveyed in a restless, staccato style which concretizes—in such figures as the ghostly Meidosems—the pockets and currents of inner life.

Writing itself becomes a particular form of experience which may aim to exorcize (Épreuves, exorcismes, 1945) or to achieve a magical serenity. Influenced by Klee, Ernst, and Chirico, and by oriental calligraphy, Michaux also used graphic means to summon up and pin down his inner world, producing a remarkable body of work, regularly exhibited from the 1950s onwards, which was to lead other artists in the direction of what became known as ‘tachisme’. Another important development was the experimentation with drugs, particularly mescalin, recorded in such works as Misérable miracle (1956), L'Infini turbulent (1957), Connaissance par les gouffres (1961), and Les Grandes Épreuves de l'esprit (1966), where drug-induced experiences are seen not as a means of escape but as extensions of a constant quest for knowledge.


Henri Michaux選集(David Ball譯選) /趙無極自畫像

Darkness Moves: An Henri Michaux Anthology, 1927-1984 - Google 圖書結果

Henri Michaux, David Ball - 1997 - Literary Criticism - 270 頁
Here are selections from nearly all of the artist's major writings: his hallucinatory visions, fantastic journeys, fables, portraits of strange people's, the ...

2010年11月23日 星期二

Elisso Virsaladze 談Robert Schumann

俄國鋼琴家薇莎拉茲(Elisso Virsaladze)。
今 年過兩百歲生日的音樂大師不止蕭邦,還有德國大作曲家舒曼(Robert Schumann,1810-1856)。他們彼此熟識,互相題獻作品,而其不同創作風格,更可說是浪漫時代的一體兩面。在蕭邦年訪談系列中,作者特別訪 問當今樂壇最富盛名,即將來台演奏的舒曼權威薇莎拉茲(Elisso Virsaladze),請這位俄國鋼琴名家為我們從蕭邦談到舒曼。


薇:這兩位作曲家處於同一個時空,在那大環境下吸取類似的養分,作品中也曾出現類似的和聲或旋律,當然有其「相像」之處——不過這只是表象。若我們細看, 就會發現這二人不但個性和寫作筆法不同,甚至連創作觀點都相差甚大。舒曼在鋼琴組曲《狂歡節》中寫了一段「蕭邦」,把他寫進自己創造出的音樂化妝舞會。從 這一曲我們就可看出,雖然舒曼用音樂來描寫蕭邦形貌,但他的筆法仍是出於自己的想像,聽起來雖有蕭邦的感覺,其實仍不是蕭邦。同樣的,我們聽蕭邦題獻給舒 曼的《第二號敘事曲》,也可發現雖然那是蕭邦非常「文學化」的寫作,但和舒曼的文學化音樂筆法仍然相去甚遠。不過有一點我想無庸置疑,那就是這兩人都是絕 世大天才,以音樂照亮整個浪漫時代。


薇:但舒曼的音樂創作仍然有其獨立性,並非文字的附屬,鋼琴組曲《兒時情景》就是一例。舒曼曾告訴妻子鋼琴家克拉拉:「我好像長了翅膀,振筆寫下三十首可 愛小曲,從中選了十三曲,附上《兒時情景》為題。沒有其他作品如這些音樂般,是真正從我內心流瀉出來。其中每一小曲的標題,其實都是事後追加,為了演奏或 了解之便而寫。」換言之,真正存在的是音樂,文字描述其實可有可無,甚至也可改變更動。




薇:這正是問題。因為演奏者常常抒發了半天,其實只抒發了自己,卻沒有表現舒曼。不是對作曲家寫在樂譜上的指示視而不見,就是以偏概全。演奏舒曼的確需要 「浪漫」,也需要個人表現,但不是大家想的那樣毫無節制、縱容情感。換個角度看,正因舒曼作品性格鮮明,充滿浪漫時代精神,那音樂中作曲家的精神其實已經 夠強了。演奏者若不能純粹表現作品,反而一味添加大量個人情感,那等於是在巧克力上澆蜂蜜,結果就是甜到難以入口,讓人根本吃不出來那是什麼。很遺憾,目 前有太多舒曼演奏,詮釋正是這樣膩死人,失去樂曲該有的格調和品味。這樣的舒曼聽多了,其實只會讓人排斥這位作曲家,覺得他是一個瘋子。


薇:然後大家就自動忘記,舒曼在絕大部分時間其實正常,而把他的作品都演奏得瘋狂、誇張、失控,彷彿他一出生就是個精神病患。其實,如果你去看舒曼在精神 病發期間的創作,那些作品也沒有世人想像的瘋狂,大家真的誇大了。舒曼作品有豐富的情境,不能一概而論。演奏者要了解音樂情境,以及聲音中的文化氛圍才 行。比方說,很多演奏者看到舒曼譜上寫「越來越快」,就一味猛衝,完全不管那音樂是否已經失去平衡,也不管前後樂段寫些什麼。我想,面對舒曼,最好的方式 仍然是回歸樂譜,從樂譜回歸本心。舒曼作品有很深的情感。那些情感不見得都顯而易見,但只要你願意認真讀譜、用心體會,你就必然感受得到,也能做出正確詮 釋。


薇:這第二樂章的確很難,但難的可不止第二樂章。像第三樂章雖是慢板,但要把那些聲音層次和多重旋律表現好,對我而言,困難度其實比第二樂章還高。蕭邦作 品中有很精采的對位旋律,舒曼也一樣。除了主旋律要掌握好,還必須兼顧其他一起進行的聲線,並且表現彼此之間的對應或對比。所以演奏舒曼和蕭邦的樂曲時, 我總是想像自己其實有四隻手,要同時開展樂曲中的多重線條。這才是最困難的演奏技巧!




本刊版主剛從中國回來 一周來未更新


鍾 漢清
Hanching Chung (or HC/ hc)
台灣戴明圈: A Taiwanese Deming Circle
電話:(02) 23650127

2010年11月12日 星期五

"Hashimoto Heihachi and Kitasono Katue: Unusual Pair of Brothers, a Sculptor and a Poet

Bold poet was so completely original that no one has come close since




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photo"Moonlight Night in a Bag" (1966) Editions VOU by Katue Kitasono

If you happen across something new in art, it's usually in works from recent artists, or so it is conventionally thought. It may surprise one to find something fresh and world-class in works from the past, forgotten by history and mostly unknown today.

Yet at a groundbreaking retrospective on now in Tokyo, be prepared to be surprised by a pair of long-dead artists, brothers who each held a supreme confidence in their creative gifts.

"Hashimoto Heihachi and Kitasono Katue: Unusual Pair of Brothers, a Sculptor and a Poet" runs through Dec. 12 at the Setagaya Art Museum.

Katue Kitasono (1902-1978) was an avant-garde poet, photographer and graphic designer who found acclaim overseas. In his poetry, he constantly strove to try new things, such as incorporating graphic design into poems.

He also used photographic images, eventually abandoning words altogether.

Attempting to leap beyond the realm of language, Kitasono transformed his imagery into Plastic Poems, visual poetry without words that he captured with photographs.

His elder brother Heihachi Hashimoto (1897-1935) was a wood sculptor in the 1920s-30s. Although his death at 38 left him less well-known, his sculptures, incorporating traditional aspects of Buddhist statues and Western philosophy, have been reevaluated in recent years for their spirituality.

Although each brother followed a different path, each respected the other's art, maintaining their relationship through the frequent exchange of letters.

Many of the Kitasono works in the exhibition are from the collection of John Solt, an associate in research at the Edwin O. Reischauer Institute of Japanese Studies at Harvard University. Solt is an authority on Kitasono's poetry and has translated works by the poet.

In a recent interview, Solt said what most attracted him to Kitasono's poetry was its freshness.

"When you eat fruit or a vegetable, sometimes it is just so fresh, you'll stop and go wow! That kind of feeling makes you feel excited. Freshness is the main quality and it's still there. I still feel freshness in his works," Solt said.

Kitasono has gained recognition internationally as a pioneer of Japanese surrealist poetry, in part thanks to his correspondence with American modernist poet Ezra Pound, who first introduced him to the Western world in 1938.

Kitasono strove for a transparent simplicity built on strong abstract imagery. However, in Japan he was too far ahead of his time. He was rejected by the mainstream.

"Kitasono believed that his work was future-oriented and a kind of sacrifice of the present," much as military avant-garde troops are sacrificed to ensure the safety of the armies that follow, Solt said. "In this sense, the exhibit we see is the flowering into the mainstream of his avant-garde spirit of sacrifice to his own time."

Both Kitasono and Hashimoto devoted their lives to creativity and originality. Hashimoto stayed with his traditional sculptures, inspired by animism and Buddhism and rebelling against the mainstream sculptural movement that emerged after 1910 and was epitomized by Rodin.

Kitasono once boldly stated, "I have written the kind of poetry that's so completely original that no one else has ever written it."

Where did their confidence come from?

"I went to their hometown, Mie Prefecture, and all I saw was hills and houses. ... I don't see how these people could have had such a world-class confidence. They didn't have any inferiority complex, all they had was an overwhelming (belief in the) superiority in their works," Solt said.

The answer may lie in this exhibition. What flows in a single thread throughout is their consciousness and belief in their artistic creativity.

* * *

"Hashimoto Heihachi and Kitasono Katue: Unusual Pair of Brothers, a Sculptor and a Poet" runs to Dec. 12 at the Setagaya Art Museum; 10 a.m.-6 p.m.; closed Mondays; near Yoga Station; visit (www.setagayaartmuseum.or.jp)




10月23日~12月12日 1階展示室


出典: フリー百科事典『ウィキペディア(Wikipedia)』

北園 克衛(きたぞの かつえ、1902年10月29日 - 1978年6月6日)とは、三重県出身の詩人写真家中央大学経済学部卒。本名は橋本健吉[1]。実兄は彫刻家の橋本平八。代表的な詩集に『白のアルバム』『黒い火』などがある。「Kitasono」と署名していたことから<きたその>と表記されることが多いが<ぞの>が正しい(ローマ字ではなくフランス語の署名)。周辺からは「ゾノさん」と呼ばれていた。



人物 [編集]



彼の生活基盤は、日本歯科大学の図書館や企画部の大学職員としての収入に拠っている。そのため彼は、安定した収入の上に、自由な創作に専念できる、 もっとも幸せな詩人と言われていた。その幸運をもたらしたのは、芸術活動を共にした、前衛画家で歯科医師、大学経営者である中原實(旧日本歯科大学理事長・学長)であった。「VOU」の出版は中原の出資に拠っている。彼にとって中原は大スポンサーであったとは、中原の口からは出ることはなかったが、北園本人からも語られることがなかったのは残念である。

自分には抒情・和風・実験の三つの詩群があると説明しているように、詩の傾向は多岐にわたる。このうち「実験」に類する詩群は、ことばの意味よりも 文字のかたちを重要視したり、一行に一語の詩、「連」が三角形になる詩など、形状やパターンに独特の視線を注いで興味深い成果を導いた。

代表作「単調な空間」(1959)はこの詩人の 空間認識が結晶したもので、折から世界を席巻していたコンクリート・ポエトリーの関係者の目にとまったが、コンクリティズムの作品とはいえない。処女詩集 『白のアルバム』(1929)に収録されている「図形説」がコンクリート・ポエトリー的な要素をもった唯一の作品である。



日本の戦後詩は戦前のモダニズムを 超克することを前提として開始されたので、1950年代以降は批評の前面に北園克衛の名前が現れる機会はきわめてまれであった。とくに生活や社会をテーマ にすることを嫌うこの詩人の詩がリアリズム的傾向から出発する戦後の詩思潮とマッチするはずもなく、没するまで公平な再評価の機会は訪れなかった。この点 については、モダニズムに通底する一種の融通性がナショナリズムを容易に透過させるワームホールになっていた、という戦争詩の一般的なメカニズム理解に留意する必要があるかもしれない。

しかし戦後はデザイン系の仕事に恵まれ、建築家やデザイナーに信奉者を多く生み、また肝心の詩作についても充実した作品をつくり続け、概して華々し い活躍を続けた。1980年代以降はアート、写真など、詩と無関係な方面から新しい世代が「発見」していくかたちで評価されはじめ、その動きは2002年 の北園克衛生誕百年イベントを経て継続している。


2007年時点においては全集がないものの、生前に刊行された詩集をまとめた『北園克衛全詩集』が沖積舎から刊行されている。造形詩については、 『カバンのなかの月夜』(国書刊行会)で見ることができる。また、彼の評論活動やエッセイは、沖積舎の『北園克衛全評論集』や『北園克衛エッセイ集』にお さめられている。

著作 [編集]

詩集 [編集]

  • 白のアルバム
  • 若いコロニイ
  • Ma Petite Maison(詩画集)
  • 円錐詩集
  • 夏の手紙
  • サボテン島
  • 火の菫
  • 固い卵
  • 風土
  • 砂の鶯
  • 黒い火
  • 真昼のレモン
  • Black Rain
  • ヴイナスの貝殻
  • ガラスの口髭
  • 青い距離
  • 煙の直線
  • 眼鏡の中の幽霊
  • 空気の箱
  • moonlight night in a bag(プラスティック・ポエム集)
  • 白の断片
  • Study of man by man(プラスティック・ポエム集)
  • BLUE
  • 色彩都市

脚注 [編集]

  1. ^ a b c読売新聞』 2010年9月28日付朝刊、13版、24面

関連文献 [編集]

外部リンク [編集]

  • 北園克衛文庫
  • 北園克衛と音楽 - 長木誠司による論文。一部は日本現代音楽協会の機関紙『NEW COMPOSER』で発表された。北園克衛の詩による音楽作品が紹介されている。

2010年11月11日 星期四


2010/11/11 是張老師成立41年紀念


關於張老師 一﹑緣起與沿革:
  去(98)年是「張老師」成立第40年頭,社會上有一群人,他們深信:今日青少年的健全成長,是明日社會安和樂利的基石。因此,他們不斷地默默耕耘這 塊青少年的成長園地,耐心地聆聽青少年們傾訴成長的心聲,為青少年們提供各種演講、座談、工作坊等活動,協助青少年們認識自我、掌握自己、規劃生命的藍 圖:他們是誰?他們就是「張老師」,也是青少年的良師益友。
  「張老師」於民國58年11月11日,由救國團所創辦,救國團有鑑於社會急遽變遷,青少年問題日益漸增,本著「今日我們為青年服務,明日青年為國家服 務」的理念,乃創辦「張老師」,希望結合專家學者及社會的整體力量,以加強推展青少年輔導工作,幫助青少年朋友成長發展。
  隨著「張老師」服務工作的不斷成長,服務成效及理念已深受社會各界所肯定及認同,加上願以實際行動參與『張老師』服務行列的熱心人士日益增加,「張老 師」於民國76年10月9日結合專家學者、熱心企業人士成立「財團法人中國青少年輔導基金會」,為青少年提供更多的服務,以擴大社會的影響力,而為了讓社 會大眾能更加了解本會的內涵,進而協助推展「張老師」業務,於87年6月更名為財團法人「張老師」基金會。

   健康青少年 、社會新希望

(七)民國91年 2002年傑出公關獎公共服務類優異獎。
(八) 民國96年榮獲法鼓山文教基金會頒發 「關懷生命獎」團體獎。


(一)在輔導工作上協助社會大眾面對成長性、預防性及治療性的問題,全 省 十個中心共服務67,399人次。
1.規劃辦理危機專業訓練分別於台北、高雄地區辦理共執行15場次共437人 次義務暨專任「張老師」參與。
2.於高雄縣、屏東縣…等災區成立「心靈關懷重建服務工作站」共服務 3,446人次;及嘉義縣阿里山鄉(山美鄉、茶山鄉)辦理兒童情緒療愈活動共 13場次共計服務228人次。
3.於嘉義、台南縣市、高雄縣市、屏東縣市辦理「安心學習、從心得力」 校園心理健康講座共59場次共計服務5,353人次,分別國中15場(1,726人 次);國小44場(3,627人次)國小、國中學校之學生。

今(99)年本會將延續去(98)年將於今年88水災災區校園心理重建工作計畫列為長期計畫,除了繼續於災區辦理安心校園入校講座120場外,將針對災區 國二和國三學生,規劃暑假期間於災區辦理「JUMP 出自信-青少年自我挑戰營」共計四梯次,由學校推薦在校適應困擾學生,營隊活動後輔導老師將繼續陪伴學生走一年,適時給予學生溫暖的支持與關懷,所需費用 新台幣200萬元左右。「張老師」基金會期待您秉持初衷繼續給我們支持雨鼓勵,也歡迎您推介您的朋友們多參與我們的活動或以定期或不定期的捐款,一同加入 「張老師」關心青少年的行列,無論您的金額為何?我們都可以感受到那份溫暖的心意。

魏清德 /魏火曜

魏篤生 先生(紹南,1862-1917)   先生之〈課子〉律詩,告誡子女「務必要以清白傳家、讀書、明理、修養、守分、安貧、問心而無愧,達於正道而無所差錯」,不但表明了家族精神的內涵,也表現了異族統治下的儒士心志。
  篤生在「啟英軒」書房授課數十年,誨人不倦,弟子多有所成。他具有生員名銜,詩文、謎學精湛。面對著鼎革後的新世界,深切感受到新舊更替的衝擊,期許 子弟「汝曹當勉事經濟,詩文特其餘爾」,「西學東漸,格致精微,覃思遠索,入於洞機,汝曹其努攻之」,鼓勵子弟致力於新式教育,為家族開創新的契機。


魏清德 先生(潤庵,1888-1964)   新竹公學校第一屆畢業生,總督府國語學校畢後,擔任五年公學校的老師,也通過了普通文官考試。自1910年 起,先後應聘為台灣日日新報記者、編輯、漢文主筆,長期主持漢文、漢詩的編審工作,是當時台灣文壇極具影響力的「先生」。戰後,其創作依然獲得肯 定,1963年獲選參加「國際桂冠詩人協會」代表,享有中華民國桂冠詩人的美譽。
  先生認為「於學術研究,視昔時尤難,聲光電氣之實驗,經濟法科之揣摩,固非囊螢照雪之徒,所必收其效果」,經由苦讀各類著述,對各國大事與文化思潮都 努力汲收,擴展新知視野,是兼通新學與舊學的「先生」。從「台灣小兒科教父」魏火曜和「台灣婦產科的舵手」魏炳炎的事業裡得到印證。

魏清壬 先生(澄川,1891-1964)   週歲時慈母去逝,與其兄清德「幼小相依倚」、「聯床共布被」,稍長,跟從其父篤生學習經書,1915年總督府 醫學校畢業,1918年在北門大街開設「鶴山醫院」,是大街早期的新式醫生,先後兼任新竹、舊港、香山、鹽水港、貓兒錠、花園町公學校校醫,戰後出任香 山、橫山及竹北鄉公所醫師兼主任,一生在新竹行醫濟世。

魏火曜 先生(先生(1908-1995)   

七歲時隨父清德遷萬華,1934年,東京帝國大學醫科畢業,1942年,取得醫學博士學位,他的一生是 台灣醫學的指標,奠立了基礎醫學的基礎,確立了臨床制度的完整。他認為「醫學既然是為了救人,就由新生命開始」,選擇小兒科為終身職志,開創兒童健康門 診,創設小兒科醫學會,促進沙賓疫苗的運用,一點一滴的建立小兒科規模,為兒童醫療奔走,被譽為「台灣小兒科教父」。
   先生認為「給醫者較完善的行醫環境,必須先投入環境的改善」,從而離開臨床走上行政,十九年的相關任期內,解決了台大醫院戰後怪異難解的困擾,讓醫院正常 運作,同時提昇醫學教育的品質,改善教學設備,推動美式醫學教育,增設科系,建立了台大醫學院享譽國際領域的地位。
  他的一生最重視醫學倫理,常說「要做良醫,不必做名醫」,要憑良心從事醫療工作,默默地關心病人,使病人保持健康的身體,在醫界走向醫療市場商業化 時,他的行止更令人欽佩。退休後,每天準時參加台大醫學的小兒科早會,從身教中,表現其一生對臨床制度的堅持。將國內的捐血事業,由血牛買賣血液的惡習, 轉為無償、現代化管理,更顯現出「先生中的先生」風範。



[编辑] 學歷

[编辑] 經歷







2010年11月10日 星期三

農試所: 柿子,李子,龍眼,酪梨.......。

Girls show white way to grow apples

溫州街 Eat Apple 餐廳開一年就收了
Girls show white way to grow apples



photoA farmer harvests white apples in Nanbu, Aomori Prefecture. (Masaru Komiyaji)





溫英杰博士領我走進屬於他管轄的果園,草長樹疏,一片與私人農園大異其趣的光景。我的腳步有點緊張,亦步亦趨地跟著他穿梭在泥土和植物的複雜氣味之 間,深怕不留神就踩踏了什麼重要的寶貝。他一邊看顧一株株果樹,一邊和我漫談他在農試所工作的點點滴滴:「這是李子,這個是龍眼,還有這棵酪梨。還有,這 一棵柿子樹是台灣引進的第一批柿子,一整片當中只有它一直活到現在。」我們站在低矮的柿子樹前,柿子樹渾厚圓滑的葉片在風中微微顫抖,時間回到民國70 年。

當年,日人中垣文頌 (Nakagaki Bunsho)先生贈送給台灣三十多株柿子樹,無奈種植效益不彰,柿子生長狀況極差,從此許多人認為柿子不適合在台灣生長。直到民國72年,剛進農試所工 作的溫博士受指派到日本崎阜縣學習,才有新的契機。歧阜縣是該種柿子的發源地,也是當時擔任日中友好協會理事長中垣文頌先生的故鄉。他負擔溫博士在日期間 所有食宿的花費,並讓他住在自己家中。溫博士回憶,當時他每天早上五點半起床,轉搭兩班電車,耗費一個半小時的時間前往農家和專家太田信義(Ohta Nobuyoshi)先生學習,直到晚間八點才能回到住處休息。他說:「夫人每天五點就起床為我煮早餐,把我當作自己的兒子一樣看待。中原文頌先生已經過 世了,他兒子前兩年還來台灣,特地到這裡看這棵他父親當時種下的柿子。」溫博士回到台灣後,憑著在日本學習的技術克服了甜柿的困境。於是,當時被認為在台 灣無法栽培的甜柿,後來竟成為市面上最高價的水果之一。

多年前的往事對照今日農業的狀況,可以看到育種人員一步一步辛勤耕耘的成績,這些付出都化為農業產值,為台灣農產品創造無限的可能性。然而即使培育 的品種廣受歡迎,在蓬勃的市場背後,育種人員的生活始終沒有改變,他們依然在尋找與發現中培育新品種,依然在開花結實的漫長週期中照料植栽,依然落實著每 一季不同的農務與研究工作。這樣的過程所追求的,沒有其他,無非就是一份驚喜與成就感。




果樹是複雜且富有多樣性的物種,要在這些豐富又突出的特質中找到具有重要經濟價值的部分,對於育種人員來說是一個非常大的挑戰。在全球環境與氣候急 遽變遷的此刻,培育出能在嚴酷條件下栽培的果樹種類,已成為農業研究的當務之急,要能完成這項任務,就必須仰賴複雜多樣的種原。

溫博士向我們介紹幾棵瘦瘦高高的紅毛丹,這些紅毛丹從種子發芽開始,歷經九年的時間才開花。溫博士觸摸著紅毛丹尖細的葉片,笑著:「我後來就跟它們 說,再不開花,我就把你砍掉!果然,隔年就紛紛開花了。」育種人員就像台灣農業的大園丁,為了選出優等的品種而鎮日與果樹們緊密相伴,也因此和果樹之間有 了獨特的情感與默契。每一個種原的選拔,都是一段必須耐心行走的旅程,歷經多年生長成熟,在渡過颱風、寒害、蟲害等不同的章節之後,參與選拔的果樹們方能 較出長短高下,決定孰去孰留。每一株種原的確定,都是好幾年的光陰。



「保存種原」指的正是保存植物的遺傳物質,這些「種質(germplasm)」材料必須保存在「活」的狀態中才能提供研究或使用。保存工作本身必須 克服許多技術上的問題,因為天候異常、人為疏失、設備不足甚至組織變動,都有可能造成種原消失或是失去生命力。尤其熱帶果樹的種子一旦脫水或溫度過低就無 法發芽,加上在人類社會經濟需求的要求下多採取無性繁殖,這樣的特殊性使得種原只能以「在果園裡種植」的方式來保存,也因此必須面對蟲病害與天候的威脅。 從民國76年起,農委會逐年推動國家作物種原中心的整建,這些難題終於獲得改善,種原作物中心使用生物技術,如以試管保存分生組織、超低溫(-196℃) 保存等等,目的就是希望能更長久的延續種質的生命力。




這些種原果實的照片是從70年代開始收集直到現在的成果,這當中有許多果樹已經從果農的農地裡消失,甚至野外也已不可見。仔細比對一筆一筆的資料, 可以看到台灣農業經濟的變化如何與一個樹種的存廢息息相關,這些果樹有的依然安住於種原保存園裡,有的卻只剩下多年前的照片提醒著人們它已消失的事實。

即便種原保存耗費大量人力物力,且是個需要整合許多不同機關共同努力的艱辛工作,溫博士仍認為廣泛地調查、收集、正確地研究、評估與利用,對於創造 新品種具有決定性的意義。「農業試驗所果樹種原標本數位化計畫」裡的每一筆種原資料,從果型、表皮絨毛、果肉質地等特徵,一直到開花期、花型、果肉與核之 粘離、平均果重、果核顏色等培育數據,都完整備齊。一旦資料庫建立完成,不僅可以加速本土遺傳物質收集與調查的速度,對於強化國際種原交流與分工更會產生 很大的助益。

溫博士時常接獲外國育種人員請求提供種原的信件,過去,他們是從研究文獻當中得知台灣擁有這些種原,但未來,世界各地的育種人員只要透過網路,利用 資料庫檢索,就可以方便又快速的得到種原資料,栽培評估與育種工作的效率勢必大幅提升。在生物多樣性已經成為生態學重點的今日,這些獨一無二的種原將成為 未來世界提升農產品與糧食品質的索引。



我們可以說,種原是一種既安定又流動的生命先質,每一株種原各自擁有遺傳基因上的意義,只要我們找到正確的組合,就能以先於自然演化的速度創造出全 新的生命樣貌。掌握這些基因密碼,讓果樹發揮創造力,正是育種人員的責任,溫博士來到農試所之後,培育、改良了桃子、櫻花、甜柿等花卉及作物,他每天都花 費漫長的時間在果園裡工作,數十年如一日。






2010年11月7日 星期日

西薇‧姬蘭 Sylvie Guillem

Guillem, Sylvie (b Paris, 23 Feb. 1965). French dancer. After early training as a gymnast she studied at the Paris Opera Ballet School (1977-80) and joined the Paris Opera Ballet in 1981. A protégée of Nureyev, she quickly came to prominence and early on created leading roles in Forsythe's France/Dance (1984), van Dantzig's No Man's Land (1984), Armitage's GV 10 (1984), Child's Premier Orage (1984), Christe's Before Nightfall (1985), and Béjart's Mouvement-Rythme-Étude (1985). She was promoted to étoile in 1984 after her first performance of Swan Lake. In 1986 she created the leading role in Nureyev's Hollywood-era Cinderella and a principal role in Béjart's Arepo; in 1987 she created a leading role in Forsythe's In the middle somewhat elevated and in Neumeier's Magnificat. But in 1989, following a disagreement with Nureyev, she moved to London's Royal Ballet, where she became a principal guest artist. Her repertoire with the Royal Ballet includes the leading roles in Giselle, La Bayadère, Sleeping Beauty, Cinderella, Swan Lake, Romeo and Juliet, Month in the Country, Manon, Don Quixote, Symphony in C, Grand Pas Classique, Herman Schmerman, and In the middle somewhat elevated. in 2000 she inherited Fonteyn's role in the first revival of Ashton's Marguerite and Armand. In 2002 she took the title role when the Royal Ballet staged Mats Ek's Carmen. She is a busy international guest artist. She is widely regarded as one of the most brilliant technicians in the world and is also much acclaimed as a powerful dance actress. Her collaboration with the choreographer Russell Maliphant resulted in two award-winning creations, Broken Fall (2003) and Push (2005). In 1998 she staged Giselle for the Finnish National Ballet. Gold medal Varna 1983. Pavlova Prize (1989).

西薇‧姬蘭 Sylvie Guillem


西 薇‧姬蘭曾經說過,她對於自己不斷前進,卻不知道終點在何處感到恐慌。矛盾的是,她不是一名單純的芭蕾舞家,而是不斷嘗試為芭蕾融入新的表演元素。是什 麼樣的力量促使這名已經年過四十的芭蕾巨星願意承擔這些風險與恐慌?這就是這部紀錄片的重點。影片從西薇‧姬蘭十二歲放棄體操,進入巴黎歌劇院舞蹈學校開 始說起。十九歲與紐瑞耶夫合作《天鵝湖》後,西薇‧姬蘭成了舞台明星,但是她不願意走眾多前輩的老路,於是離開巴黎歌劇院,自我「放逐」到倫敦,不斷探 索、學習與超越自己。

除了西薇‧姬蘭在世界各地演出《羅密歐與茱麗葉》、《唐吉訶德》、《睡美人》、《天鵝湖》等經典舞碼的片段,更重 要的是,它收錄了西薇‧姬蘭近年最重要的 新作:著名加拿大導演勒帕熱與編舞家羅素‧馬列分特、西薇‧姬蘭聯手合作的《Eonnagata》排練片段、羅素‧馬列分特、西薇‧姬蘭的雙人舞 《Push》,以及林懷民與阿喀郎為西薇‧姬蘭編舞,融合印度傳統卡達克舞蹈的《聖獸舞姬》。


Sylvie Guillem CBE (born 23 February 1965 in Paris, France[1]) is a French ballet dancer. She was the top-ranking female dancer with the Paris Opera Ballet from 1984 to 1989, before becoming a principal guest artist with the Royal Ballet in London. She is currently performing contemporary dance as an Associate Artist of London's Sadler's Wells Theatre. Her most notable performances have included those in Giselle and in Rudolf Nureyev's stagings of Swan Lake and Don Quixote.

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As a child, Guillem trained in gymnastics under the instruction of her mother, a gymnastics teacher.[1] In 1977, at age 11, she began training at the Paris Opera Ballet School, and in 1981 joined the company's corps de ballet.[1] In 1983 Guillem won the gold medal at the Varna International Ballet Competition, which later in the year earned her her first solo role, dancing the Queen of the Driads in Rudolf Nureyev's staging of Don Quixote.[1] In December 1984, after her performance in Nureyev's Swan Lake, Guillem became the Paris Opera Ballet's youngest ever etoile, the company's top-ranking female dancer.[1] In 1987 she performed the lead role in William Forsythe's contemporary ballet, In the Middle, Somewhat Elevated. In 1988 Guillem was given the title role in a production of Giselle staged by the Royal Ballet to celebrate Nureyev's 50th birthday. Her performance was a success, and in the following year she left Paris for London, to become a freelance performer and one of the Royal Ballet's principal guest artists.[1] Her desire to work independently from a company gained her the nickname Mademoiselle Non.[2]

In 1995 Guillem created the dance television program, Evidentia, which won several international awards. In 1998 she staged her own version of Giselle for the Finnish National Ballet, and in 2001 restaged the ballet for La Scala Ballet in Milan.[1] In 2001 she became the first winner of the Nijinsky Prize for the world's best ballerina, although in her acceptance speech she criticised the "supermarket culture" of such awards. In the same year, she controversially appeared nude and without make-up in a photo-shoot for French Vogue.[3] In 2003 she directed the central section of a Nureyev tribute program, but was criticised for having the dancers perform in front of a giant projected backdrop of Nureyev, which the audience found distracting.[4] By 2006 Guillem had moved from ballet to contemporary dance, working with performers such as Akram Khan as an Associate Artist of the Sadler's Wells Theatre in London. As of 2006, Guillem was in a long-term relationship with photographer Gilles Tapie.[5]

Guillem has received numerous decorations during her career. She received Médaille de Vermeil de la ville de Paris in 1993. She was made a Chevalier of the Légion d'honneur in 1994, an Officier of the Ordre national du Mérite in 1999, Gente Dame d’Honneur des Hospitaliers de Pomerol in 2000, a Commander of the Order of the British Empire in 2003.[6] , and a Officier of the Légion d'honneur in 2009.

She has now become one of the most prominent figures in the history of ballet.


Guillem's repertoire includes Giselle (Giselle), Swan Lake (Odette/Odile), Don Quixote (Kitri), In the Middle, Somewhat Elevated, Romeo and Juliet (Juliet), The Sleeping Beauty (Aurora), Boléro, Cinderella, Notre-Dame de Paris, Raymonda, La Bayadère (Nikiya and Gamzatti), Fall River Legend, Prince of the Pagodas (Princess Rose), Hermann Schmermann, Le Martyre de Saint-Sébastien, and Sacred Monsters (with Akram Khan).


  1. ^ a b c d e f g Encyclopaedia Britannica Year in Review 2002. Encyclopaedia Britannica. 2003. pp. 75–76. ISBN 0852299575.
  2. ^ Brown, Ismene (2006-09-21). "Smoking!". The First Post. http://www.thefirstpost.co.uk/795,arts,,3. Retrieved 2008-07-31.
  3. ^ Brown, Ismene (2002-03-30). "Sylvie's wake-up call". The Telegraph (London). http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2002/03/30/btisme30.xml. Retrieved 2008-07-31.
  4. ^ "Royal Ballet Guest Principals". Ballet.co. http://www.ballet.co.uk/links/dancers_rb_guest_principals.htm#sylvie_guillem. Retrieved 2008-07-31.
  5. ^ Mackrell, Judith (2006-09-14). "Fear is the drug". The Guardian (London). http://www.guardian.co.uk/stage/2006/sep/14/dance. Retrieved 2008-07-31.
  6. ^ "Sylvie Guillem Biography". Official website of Sylvie Guillem. http://sylvieguillem.com/sylvie/biography. Retrieved 2008-07-31.

External links