莫妮·雅基姆在訓(xùn)練演員的肢體動(dòng)作上造詣?lì)H深

莫妮·雅基姆在訓(xùn)練演員的肢體動(dòng)作上造詣?lì)H深

Moni Yakim has taught movement at the Juilliard School for more than half a century. His students include Oscar Isaac, Jessica Chastain, Adam Driver, Anthony Mackie and Kevin Kline. In the documentary Creating a Character, all of those actors describe Yakim as one of their formative influences.

莫妮·亞基姆在茱莉亞音樂(lè)學(xué)院教授動(dòng)作已有半個(gè)多世紀(jì)了。他的學(xué)生包括奧斯卡·艾薩克、杰西卡·查斯坦、亞當(dāng)·德雷弗、安東尼·麥基和凱文·克萊恩。在這部創(chuàng)造人物的紀(jì)錄片中，所有這些演員都將雅基姆描述為他們的影響因素之一。

"Everyone who takes his class is forever changed by it," says Isaac, who still consults with Yakim when he takes on seminal roles. He credits his former teacher with helping him prepare to play the lead in Hamlet, which ran at the Public Theater in New York City in 2017. and the titular role in the Coen Brothers' Inside Llewyn Davis. When he was cast in that breakout part, he spent an afternoon with Yakim considering how to embody a destitute folk singer from the early 1960s.

艾薩克說(shuō)：“每個(gè)上過(guò)這門(mén)課的人都會(huì)永遠(yuǎn)被它改變。”當(dāng)他擔(dān)任開(kāi)創(chuàng)性的角色時(shí)，他仍在向雅基姆咨詢。他將此歸功于他以前的老師幫助他準(zhǔn)備在2017年在紐約市公共劇院上演的《哈姆雷特》以及科恩兄弟的《醉鄉(xiāng)民謠》中的名義角色。當(dāng)他出演那個(gè)突破性的角色時(shí)，他和雅基姆一起花了一個(gè)下午的時(shí)間考慮如何體現(xiàn)一位20世紀(jì)60年代初貧窮的民謠歌手。

They decided that Isaac's character moved like someone "walking against the wind, someone who has a lot of weight on them." The work with Yakim was vital to his award-nominated performance, Isaac says: "For me, that was a major part of playing that character, holding onto those physical things."

他們認(rèn)為艾薩克的角色行動(dòng)起來(lái)就像“逆風(fēng)而行，身負(fù)重任的人”。與雅基姆的合作對(duì)他獲得提名的表演至關(guān)重要，艾薩克說(shuō):“對(duì)我來(lái)說(shuō)，那是扮演那個(gè)角色的主要部分，抓住那些有形的東西。”

Yakim began acting in his native Israel longer ago than he cares to admit. In the 1950s, he moved to Paris and studied mime under French masters Etienne Decroux and Marcel Marceau. "I loved how the story was told exclusively through movement," he says.

雅基姆在他的祖國(guó)以色列開(kāi)始表演的時(shí)間比他愿意承認(rèn)的還要早。20世紀(jì)50年代，他搬到巴黎，師從法國(guó)大師艾蒂安·德克魯和馬塞爾·馬叟學(xué)習(xí)啞劇。“我喜歡這個(gè)故事完全通過(guò)動(dòng)作來(lái)講述，”他說(shuō)。

He moved to the United States, where he founded his own company, and in 1968. John Houseman tapped him to join the faculty at the nascent Juilliard school. He is now the longest-serving member of the faculty.

他搬到了美國(guó)，在那里他成立了自己的公司，1968年，約翰·豪斯曼邀請(qǐng)他加入新成立的茱莉亞音樂(lè)學(xué)院的教職。他現(xiàn)在是教員中任職時(shí)間最長(zhǎng)的成員。

Students do not take Yakim's class until their second years, when their jam-packed schedules include instruction in speech and textual analysis. Those disciplines provide important background for budding actors, but as Yakim points out, the body is one of an actor's most essential tools.

學(xué)生們直到二年級(jí)才開(kāi)始上雅基姆的課，那時(shí)他們的課程表排得滿滿的，包括演講和文本分析。這些訓(xùn)練為嶄露頭角的演員提供了重要的背景，但正如雅基姆所指出的，身體是演員最基本的工具之一。

A lot of Yakim's class is physical training. Students run, stretch and lift themselves up as Yakim urges them on. But there is playfulness as well. In one exercise, a student will do a small, contained movement, like slapping her palms together. Then his classmates riff off it. It's like improv without the words.

雅基姆的很多課程都是體能訓(xùn)練。學(xué)生們?cè)谘呕返亩酱傧卤寂?、伸展、提升自己。但也有好玩的地方。在一?xiàng)練習(xí)中，學(xué)生要做一個(gè)小的、有節(jié)制的動(dòng)作，比如拍手。然后他的同學(xué)們開(kāi)始即興表演。這就像沒(méi)有臺(tái)詞的即興表演。

Yakim says this creative exercise is an important part of an artist's training. "In acting you have to use a lot your imagination," he says. "And the imagination does not go naturally to places where the body cannot go there. The more you free the body, the freer the imagination is to go wherever it needs to go."

雅基姆說(shuō)，這種創(chuàng)造性練習(xí)是藝術(shù)家訓(xùn)練的重要部分。“在表演中，你必須充分發(fā)揮你的想象力，”他說(shuō)。“想象力不會(huì)自然而然地去身體不能去的地方。你越是釋放身體，想象力就越能自由地去它需要去的任何地方。”

Some of his students have used that training to become marquee names. Oscar Isaac's Star Wars co-star Adam Driver also studied under Yakim.

他的一些學(xué)生利用這種訓(xùn)練成為了大名鼎鼎的人物。奧斯卡·伊薩克在《星球大戰(zhàn)》中的搭檔亞當(dāng)·德賴弗也曾在雅基姆手下學(xué)習(xí)。

Yakim's class is also part of the challenging audition process at Juilliard's drama program. Every year, 1.800-2.000 people apply in person in San Francisco, Chicago and New York, ultimately, just 18 are selected.

雅基姆的課程也是茱莉亞學(xué)院戲劇項(xiàng)目富有挑戰(zhàn)性的試鏡過(guò)程的一部分。每年有1800 - 2000人在舊金山、芝加哥和紐約親自申請(qǐng)，最終，只有18人被選中。

One of them is Arianna Gayle Stucki, a native of Utah who studied at New York University as an undergraduate and is pursuing her MFA at Juilliard. "It was [Yakim's] class that made me say: I need to come to this school," she says. "Because it was so intense and also so joyful."

其中一位是阿里安娜·蓋爾·斯圖奇，猶他州人，本科就讀于紐約大學(xué)，目前正在茱莉亞音樂(lè)學(xué)院攻讀藝術(shù)碩士學(xué)位。她說(shuō):“正是(雅基姆的)課讓我說(shuō):我需要來(lái)這所學(xué)校。”“因?yàn)樗侨绱司o張，也如此快樂(lè)。”

Her classmate, Gabriela Saker, is from Cuba. She says that because Yakim keeps a quick tempo in class, she doesn't have the opportunity to overthink. It's made her less self-conscious. "You get rid of your inhibitions, you can make a fool of yourself, but also you take the work seriously," she says.

她的同學(xué)格比拉斯科來(lái)自古巴。她說(shuō)，因?yàn)檠呕吩谡n堂上節(jié)奏很快，她沒(méi)有機(jī)會(huì)想太多。這讓她不那么害羞了。她說(shuō):“你可以擺脫自己的顧慮，可以讓自己出丑，但也可以認(rèn)真對(duì)待工作。”