OnYourToes Interview

毎日1人に2000ポイントが当たる楽天ブログラッキーくじ

An Interview with Adam Cooper about the musical"On Your Toes" by BBC　Radio3
2002年5月頃
URL →　ttp://www.bbc.co.uk/radio3/classical/ssonyourtoes.shtml

Q ;OK，So，A dancer coming to the brave move coming to the firsttime to play，a dancer ，but a performer in a musical，singing，acting，performing.Have you actually done， apart from the dancing carrier， done any a straight roles before?
Adam ;No，I haven’t.This is the first time for me.I’ve done a couples of cameo roles in films.This is the first big straight thing I’ve done that’s not been dancing. So，I’ve thrown myself to the deep in tier.

OYT

On Your Toes ， Adam Cooper as Junior Dolan

Q ;One of the reason why， I think， the shows haven’t been revived since the 80’s， the last rivival of Makarova and Tim Fravin， was because of the difficulty of casting in fact，it embraces as you say both as well bordbill，broadway taps，and ballet.And for choreographer，fantastic challenge to create something new，when the oridginal choreography is so well known?
Adam ;Yeah. Luckily，I don’t know it
Q;Ha-ha-ha
Adam ;So，I haven’t got that problem. And obviously ，inevitably，--people are gonna compare it to Balanchine’s especially to the Slaughter on Tenth Avenue--It’s a ballet still performed today，Birmingham Royal Ballet performed it， I think last year or the year before--So it’s still fresh in people’s minds--but you know --when we talked about doing this-- I thought it would be such a great idea to re-look at it　um　choreographically -- ’cause ，you know，we are in a new century now， --- why not have a new look at it and try something new with it. Because I had no kind of idea about what it was like before . You know， I’ve seen the odd picture， Marguelete，who plays Vera， she had seen that Macalova revival many times， she has images in her head from it. But apart from it， I　know nothing of it. I’m kind of glad of that. Because nobody can accuse me of copying.
Q ;When you approach a big sequence like On Your Toes，a number of kazassa(?)-- something like 8 minutes’ sequences in the show---It’s very eventful we’ve just been watching the run through，of an early stage run through choreagraphy， How did you piece all out together-- I mean.--Do you have a picture of the whole in your mind? Do you look at it bar by bar? How did you go about it?
Adam ;Initially，basically--I have basic idea I want to happen in a number. So， I had a idea of which bit I want to be ballet section，in which bit I want to be a tap section， and then how to match them， and towards the end. Then listening to the music a number of times，It took me a few goods to work out ， best way to do it musicly， because I hear a music in a seperate way，that is a boogie-woogie on the piano ，I think，to the ballet rather than taps，Things like that.There’re，for me， there are always sign in music what to do.In an oldest pieces I’ve ever choreographed but it means specially on this， in pieces like Zenobia and Slaughter， the score is so narrative， it tells you what to do， as far as I concerned，and go against that， it would be daft，’cause it’s narrative piece of music，not just，you know--- it’s about the drama what’s going on stage---that’s why I love the music --’cause ---but--it felt so natural to do what something else to do.

Q ;You must be absorbed about earlier Slaughter sequence ---，how he has come to completely fresh---
Marguerite Porter ; Exactly，
Q ; with absolutely enormous concerption ， no-preconception at all，but those of us who saw that，how hard it must be--for you ? a sort of best pictures at your mind.
Marguerite ;Well， of course it is hard. It was a very， very strong vision.Very -- you have the images of Natasha in a backbend to doing this---course，course，course，--
Q ;What’s substitution for the famous backbend sequences --Are you allowed to give away trade secrets?
Marguerite ;Ah，No，You have to just come along and see it(Laugh)
Q ;Absolutely.
Marguerite ; It’s nice，great，it’s very exciting.

Adam ;First time I heard Slaughter，The order of things and the narrative things started for me in my mind--very very quickly ， I had a clear idea what I wanted，what’s happen in here，here， and here，and then I got the score and there’re few marking from the old，I don’t know from the revival or from the oridginal --- not many much to mind ， I thought very interesting that Balanchine heard in such a different way ， because I thought to my ears ，it was so obvious what was happening that point-- but it’s no obviously.
Q ;That’s interesting ，’cause a big moment in the Slaughter，I remenber most of all，from I can say because you developed the version，and you phedra(?)phenomenal of the syeju(?)
Adam ;huuum huum huum
Q ;--from the oridginal production--revival production--that position，what do you call the ballet taps?
Adam ;That’s kind of split.but she the woman’s tops upside down--supported by him--
Q ;They did that ，you probably heard from Marguerite told you--
Adam ; Q ;Cross the stage，Yeah.
Q ; eight times.
Adam ; That’s right，yeah.
Q ;I remember the audiences going absolutely delirious. It’s that the point of choreography ---I’m interested to what you have done
Adam ;I’ve done similarty to the Balanchines’.That’s is the basicly hotting up of the relationship between the stripper and the hoofer and so，it is the duet again， and I have a kind of pay homage to the Balanchine’s way -- a certain picture of I’ve seen of it，maybe a hint of that position， but it’s not the same at all it’s stunning in my way of moving which is very different and， but there’re some kind of link to the old-- I developed to the different direction --it’s basically the same that section is more as the same it was，as in what’s happening on stage is same as what happening，then.

Marguerite ; He came into the rehearsal，he knew exactly what he want me to do every single step，he had all completely worked out and I have to say ，I don’t know what it looks like，but it is one of the most exciting I have ever danced in my life.It’s thrilling，completely thrilling.
Q ; I gather he’s been very，very physical.
Marguerite ; Very，very physical
Q ; And you are flung around
Marguerite ; I am flung ar-r-round，no，no. It’s some exciting.It has to be，with the music，because it is so powerful and wonderful.

　　tier=層
　　delirious=無我夢中の　興奮した
　　initially=最初に
　　daft=馬鹿な､気違いじみた
concerption =概念
preconception=先入観　偏見
pay homage to =～に敬意を払う
flung=flingの過去分詞　荒々しく振り回される

　stageを「スターイジ」todayを｢トゥダーイ」と発音するアダムのロンドン訛りがキュート！！　ちなみにベッカムもそう。
　アダムは結構気が強いというか､バランシンと比較されることへの意地を見せている。そういえばパリ・オペの「ラ・バヤ」にも挑戦的だったし。
　このインタビュアーは女性には優しく男性には皮肉屋の英国人の典型のようだ。

　このインタビューは ROSECUT に全訳があります。sara様､そりさま､素晴らしいお仕事ありがとうございました。
あつかましくもそりさまに聞き取れない単語やいいまわしをお聞きしたところ、ご親切にも教えていただきました。ただ全てを完璧にチェックしていただいたわけではなく、断片的に、私が伺った部分などを中心に、上記のように修正させていただきました。そりさま、ホントにありがとうございました
　まだわからない単語が多数あるので､わかった人BBSの方に教えていただけるとありがたいです。(?)の部分です。お願いいたします。

＜そりさまからのご指摘＞

ついでというか　（？）部分の他にも　いわゆる時勢の一致とかを
含む基本的な文法、あるいは前後の文脈的に、当然こう言ってると
考えるのが正しいだろう（あと、私の耳にはこう聴こえます…）
というところを僭越ながら指摘させて頂きました…ご参考まで。

Adam ;So，I haven’t got the problem. → I haven’t got that problem
And obviously ，inevitably
--people today gonna compare to the Balanchine’s　→ people are gonna compare it to Balanchine’s
especially to the Slaughter on the Tenth Avenue-- → ... Slaughter on Tenth Avenue
it’s still performed ballet today，→ It’s a ballet still performed today
Birmingham Royal Ballet performed before → ...Royal Ballet performed it
I think last year -- → I think last year or the year before
so， it’s so fresh in people’s mind-- → So it’s still fresh in people’s minds
but you know
--let me talk about doing this →　when we talked about doing this
-- I thought it would be such a great idea to real look(?) at it → ... such a great idea to re-look at it
and choreographiclly -- ’cause ，you know，we’re new century now　→ um， choreographically ... we are in a new century now
--- why not have a new look at it and try something new with it.
Because I had no kind of idea for what is like before → ... I had no kind of idea about what it was like before
You know， I’ve seen the picture，old → ... I have seen the odd picture
Margalete，plays Vera， she had seen that ... →　Marguerite， who plays Vera， she had seen that Macarova revival many times

she has images in her head from it. But powerful of it，→ ...But apart from it，
I’m nothing of it.　→ I know nothing of it.
I’m kind of gratified. →　I’m kind of glad of that
(?) Nobody gonna acuse me for copying? →　Because nobody can accuse me of copying.
Q ;When you approach big sequence like On Your Toes → a big sequence...
a number of kazassa(?) →　？
-- someone like 8 minutes sequences in the show → something like 8 minutes’ sequences ...
---It’s very eventful .
we’ve just been watching the run through，of an early stage run through choreagraph (y)
How did you pieces all out together-- → How did you piece all that together
I mean.--Do you have a picture of --holding your mind? → Do you have a picture of the whole in your mind?
by and by(?) bra and bra (?) → Do you look at it bar by bar （一小節ごと）
How did you get out? → How did you go about it?

Q ;It must be ---Slaughter sequence ---come to completely fresh--
Marguerite Porter ; Exactly，
Q ; no -- at all-- saw that.How hard it must be--for you ?
a sort of best pictures at your mind. →　？
Marguerite ;Well， of course it is hard. It was a very， very strong vision.Very -- you have to say，
images of Natacia ---- -- Natacia --　→　ここは Natalia Macarova のことを愛称の Natasha で呼んでるみたい。
famous bag band (?)to doing this---course，course，course，--
Q ;What’s substitution for the famous bag band (?)sequences

→　バック何とかは私も確信がなく、敢えて訳出しなかったのですが（問題のお写真も見てないし）
backbend じゃないかと。でも、だとすると　どんな格好なのか想像つきません。

--you allowed to give away any trait?　→ Are you allowed to give away trade secrets?
Marguerite ;Ah，No，You have to just come along and see it(Laugh)
Q ;Absolutely.
Marguerite ; It’s nice，great，it’s very exciting.

私が「音楽のそういう流れに逆らおうとするのは
愚かなこと」とかって訳したところは、duff じゃなくて
’daft’ って言ってる。

あと、ストリッパー（これが、どの役の人のこと指すのか
私もわからないんですけど…やっぱり Vera?）と
フォトグラファーのあいだの、じゃなくて　…例の、
驚愕のポジションのシーンですが（笑）

’supporting by ...’ →　supported by ...

おっともっと重要なのは hotting up of the relationship
between the stripper and the hoofer と言ってること。
Rosecut へ載せていただいた私の訳では、hoofer がまだ
「踊り手」となってますが。

私実は、管理人の Sara 様に↓の訂正メール出して
掲載にまにあわなかったという。

＞＞元来、ストリッパーと踊り手との関係が加熱していく、
＞＞あれもデュエットでしょ。ある意味、バランシンへ
＞＞ぼくからの尊敬の意を表したというか。写真をいくつか
＞＞見せてもらってね。

＞　↑　ここで「ストリッパー」と聴こえるのは多分
＞まちがいないと思うのだが「踊り手」と訳したのは
＞ hoofer という単語で。もともとアメリカのスラングで、
＞さっき辞書ひいたら特にタップ・ダンサーのことを指す
＞みたい。

＞というわけで、ただの「踊り手」でなくよろしければ
＞「タップ・ダンサー」にしてください。当然、アダム
＞演じるジュニアのことだね。

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