Diamanda Galás个人资料简介_Diamanda Galás档案信息内容详情

一、个人资料简介

diamanda

Diamanda Galás

二、简介

Diamanda Galás (born August 29, 1955) is an American-born avant-garde performance artist, vocalist, keyboardist, and composer of Greek heritage.

Known for her expert piano as well as her distinctive, operatic voice, which has a three and a half octave range, Galás has been described as "capable of the most unnerving vocal terror". Galás often shrieks, howls, and seems to imitate glossolalia in her performances. Her works largely concentrate on the topics of suffering, despair, condemnation, injustice and loss of dignity. Critic Robert Conroy has said that she is "unquestionably one of the greatest singers America has ever produced", and comparisons are frequently made between her and another singer of Greek origin, Maria Callas.

She has worked with many avant-garde composers, including Iannis Xenakis, Vinko Globokar and John Zorn. She made her performance debut at the Festival d’Avignon in France as the lead in Globokar’s opera, Un Jour Comme Un Autre. The work was sponsored by Amnesty International.

Diamanda Galás（1955年8月29日出生）是一个在美国出生的实验派表演艺术家、歌唱家、电子钢琴演奏家与希腊文化作曲家。因为她的精湛的钢琴技艺与极富特色、有三个半八度的唱腔，DG被称为“最令人惊悚的天才音魅”。DG经常在她的表演中使用尖叫、低嚎与圣徒舌语等技艺，她作品题材大多与痛苦、绝望、控罪、不公和失去尊严有关。乐评家罗伯特·康罗伊曾称她为“无可置疑的美国史上最出色的歌唱家之一”，而DG也频繁的被拿来和美籍希腊女高音歌唱家玛丽亚·卡拉斯比较。DG曾与伊安尼斯·西恩亚奇斯、文高·格博加和约翰·祖恩等实验先锋派作曲家合作。她的首次演出是在法国亚维农艺术节上主演格博加的歌剧《另一天》。

三、传记

Galás was born to Greek Orthodox parents. Raised in San Diego, California, she studied both jazz and classical music from an early age, training which reveals itself throughout all her work. She studied a wide range of musical forms, as well as visual-art performance, before moving to Europe. There she made her performance debut at the Festival d’Avignon in France in 1979, performing the lead in the opera, "Un Jour comme un autre," by composer Vinko Globokar, based upon the Amnesty International documentation of the arrest and torture of a Turkish woman for alleged treason.

DG的父母都是希腊东正教徒。她在加利福尼亚州的圣地亚哥长大并从小接受爵士音乐和古典音乐的教育。她在前往欧洲之前研究了包括视觉艺术表演在内的各种音乐形式，在那里她进行了个人的首次登场演出——在1979年的法国亚维农艺术节上主演文高·格博加的歌剧《另一天》。

Her work first garnered widespread attention with the controversial 1991 live recording of the album Plague Mass (1984 - End of the Epidemic) in the Cathedral of Saint John the Divine in New York. With it, Galás attacked the Roman Catholic Church (ande society in general) for its indifference to AIDS using biblical texts. In the words of Terrorizer Magazine, "The church was made to burn with sound, not fire.". Plague Mass was a live rendition of excerpts from her Masque Of The Red Death trilogy which began as a response to and indictment of the effects of AIDS on th "silent class". After production of the trilogy’s first volume began, Galás’ brother, playwright Philip-Dimitri Galás, contracted HIV. It is important to note that Galás did not begin this work due to her brother’s illness. However, this tragic situation inspired the artist to redouble her efforts, resulting in the development of the aforementioned performance. During the period of these recordings, Galás had we are all HIV+ tattooed upon her knuckles; an artistic expression of disillusionment and disgust with the ignorance and apathy surrounding the AIDS epidemic. Her brother, who died during the trilogy’s final production, reportedly appreciated her efforts.

她1991年颇具争议性的在纽约神圣约翰大教堂的现场演出（也出了唱片）《瘟疫弥撒》引起了社会的广泛关注，DG在演出中引用圣经条文来抨击了罗马天主教会（同时也是社会普遍现象）的歧视艾滋病患者的行为。用“恐怖主义者”杂志的话说，“教堂被这音乐点燃了。”《瘟疫弥撒》是她反映人们对艾滋病患的歧视的唱片《红死魔的假面》三部曲中精彩片段的现场演绎。当《红死魔的假面》三部曲中的第一部制作完成时，DG的哥哥剧作者菲利普德米特里·格拉斯感染了艾滋病毒。值得一提的是虽然DG并不是因为她的哥哥的疾病而开始制作《红死魔的假面》，但是这不幸的事使得这位艺术家加倍努力并最终在上述的演出中获得了发展。在录音期间，DG在肘部纹上了“我们都感染了艾滋病”字样的纹身来艺术化地表达对艾滋病患者所遭到的无视与冷漠的厌恶。她的哥哥在三部曲的最后一部的制作过程中逝世，据报导他死前十分感激DG付出的努力。

In 1994, Galás collaborated with Led Zeppelin bassist John Paul Jones, a longtime admirer of the singer. The resultant record, The Sporting Life, while containing much of Galás’s trademark vocal gymnastics, is probably the closest she has ever come to rock music, and is comprised of nearly all original material.

1994年，DG与齐柏林飞艇的贝斯手（同时也崇拜她已久）约翰·保尔·琼斯合作并制作了唱片《运动着的生命》。虽然《运动着的生命》中一如既往地充满了DG的招牌人声试验，但它可以说是DG有史以来与摇滚乐进行的最亲近的一次接触，里面收录的几乎所有都是原创的材料。

Galás also performs as a blues artist interpreting a wide range of songs into her unique piano and vocal styles, beginning with Let My People Go, from volume 3 of the Masque trilogy, You Must Be Certain of the Devil. This aspect of her work is perhaps best represented by her 1992 album, The Singer, where she covered the likes of Willie Dixon, Roy Acuff, and Screamin’ Jay Hawkins while accompanying herself on piano. For that album, she also recorded several traditional songs as well as the rarely heard Desmond Carter-penned version of Gloomy Sunday. Many of the traditionals recorded for The Singer were historically sung by the black slaves of the southern United States. Galás, however, sung these songs for the daily struggle of People With AIDS (PWAs). Galás used many of her selections both within and outside of blues repertoire resulting in numerous song cycles: Reap What You Sow, Malediction and Prayer: Concert for the Damned, Frenzy: Concert for Aileen Wuornos, Burning Hell, La Serpenta Canta, Songs of Exile, Guilty Guilty Guilty, Les chansons malheureuses, Valentine’s Day Massacre, and You’re My Thrill. Some song selections have sometimes been categorized as "homicidal love songs". She also focuses on the death penalty. The above mentioned "Frenzy: Concert for Aileen Wuornos," was dedicated to the executed serial killer, and features cover versions of Phil Ochs’s "Iron Lady" and Hank Williams’ "I’m So Lonesome I Could Cry".

DG也作为一个蓝调艺术家表演，从假面三部曲第三部《你要相信有恶魔》中的《让我的人民走》开始，她用她独一无二的钢琴风格和唱腔重新演绎了一大批歌曲，1992年的唱片《歌者》或许最好地表现了她这方面的工作成果。在该唱片中DG也录制了几首古典歌曲例如鲜为人知的迪斯门得·卡特版本的《黑色星期天》.《歌者》中的许多古典歌曲都曾历史上被美国南部黑奴广为传唱，然而DG却是为了艾滋病患者们日常生活所付出的艰辛而演绎这些歌曲。DG不管是不是蓝调地选择了某一特定类别的歌曲：《收割你的耕耘》、《咒与祈》、《为被诅咒者的音乐会，狂热》、《艾莲·乌尔诺之歌》、《炼狱》、《流亡之歌》、《罪》、《情人节大屠杀》和《你使我兴奋》等，一些经常会被分类为“杀人狂情歌”的曲目。DG也相当关注死刑，上面提到的》《艾莲·乌尔诺之歌》就是为被处死的连环杀手所作的。另外她还翻唱了菲尔·奥克斯的《铁女士》和汉克·威廉斯的《寂寞使我掉泪》。

Galás has published one book, 1996’s The Shit of God (ISBN 185242432X). It contains many of her original writings, and was published because, she says, many people cannot understand her on the records.

DG在1996年出版了一本书《上帝的垃圾》。书中收录了许多她的原创文章，她说出版这书的原因是许多人并不理解她的音乐。

In 1997, Galás contributed her voice to the CD Closed on Account of Rabies, a double disc tribute to Edgar Allan Poe with various musicians, including Iggy Pop, Debbie Harry and Marianne Faithfull lending their voice to the tales of the legendary horror author. Galás read "The Black Cat" which became the longest recording on the compilation, reaching 36 minutes and 58 seconds.

1997年DG参与了《阖上雷碧思的账本》的录制，这是一张由多个音乐家通过朗诵埃德加·爱伦·坡的故事来向这位传奇的恐怖小说作者致敬的双碟CD。DG朗诵了其中最长的故事《黑猫》（长达36分58秒）。

In 2000, Galás worked with Recoil (former Depeche Mode member Alan Wilder’s solo project), contributing her voice to the Liquid album. She’s the leading vocalist on the album’s first single "Strange Hours" for which she also wrote the lyrics, but she can be heard on the entire album as a backing vocalist.

In 2005, she was awarded Italyu2019s prestigious Demetrio Stratos International Career Award.

2000年，DG与瑞柯尔合作录制了唱片《液体》。她是唱片的首支单曲《奇怪的时间》的主唱兼作词人，但是唱片的其余部分她都只担当和声。2005年她被颁发意大利著名的“德氏国际职业奖”。

In late 2003, Galás released the album "Defixiones, Will and Testament: Orders from the Dead," an 80-minute memorial tribute to the Armenian, Greek, Assyrian and Hellenic victims of the Turkish genocide. "Defixiones" refers to the warnings on Greek gravestones against removing the remains of the dead.

As of July 2007, Galás continues to tour her latest song cycles. Her newest record, Guilty Guilty Guilty, was released on Mute records on April 1, 2008. You’re My Thrill is also set for release on Mute; however, a firm release date has not been made available.

2003年底，DG发行了唱片《诅咒、意志与旧约：逝者的命令》，这张80分钟的唱片悼念了土耳其种族屠杀中受害的亚美尼亚人、格里克人、亚述人和古希腊人。“诅咒”指格里克石碑上对惊扰死者的警告。2007年6月，DG又开始了她的新曲巡演。她最近的专辑《罪》由“哑巴唱片公司”在2008年4月1日发行，《你使我兴奋》也预定由它发行，但是尚未公布确定的发行日期。

Galás has interpreted poetry by Charles Baudelaire (on The Litanies of Satan), Paul Celan, Pier Paolo Pasolini, Henri Michaux, Gerard de Nerval, César Vallejo, Siamanto, and Adonis (on Defixiones).

DG还演绎了查理斯·保德莱（在《撒旦祷文》中）、保尔·西莲、皮耶尔·保罗·帕索里尼、恒瑞·米乔治、杰哈德内瓦、巴列霍、希亚曼多和安东尼斯（在《诅咒》中）等的诗歌。

四、电影作品

She was the voice of the dead in The Serpent and the Rainbow. "Le treizième revient" appears on the soundtrack to Derek Jarman’s The Last of England. She also contributed her voice to Francis Ford Coppola’s film Dracula (1992) and appeared on the film’s soundtrack. Excerpts from Galás’ "I Put a Spell On You" and Jane’s Addiction’s "Ted Just Admit It" appear on Oliver Stone’s Natural Born Killers soundtrack, as "Sex Is Violent."

DG在《蛇与彩虹》中给死亡配音，在弗朗西斯·福特·科波拉的《惊情四百年》中配音和制作音乐。她的《我在你身上施加了魔咒》的截曲和“简的嗜好”乐队的《承认它吧泰迪》合在一起作为乐曲《性是暴力的》出现在奥利弗·斯通的《天生杀人狂》的电影原声带中。

五、评论

Susan McClary (1991) writes that Galás, "heralds a new moment in the history of musical representation," after describing her thus: "Galás emerged within the post-modern performance art scene in the seventies... protesting... the treatment of victims of the Greek junta, attitudes towards victims of AIDS... Her pieces are constructed from the ululation of traditional Mediterranean keening...whispers, shrieks, and moans."

苏珊·麦凯丽写DG“宣告了音乐表演史上的一个新的时期的到来，”后面又这样地描述她：“她在70年代推动了后现代表演艺术的发展……抗议……希腊军党对待受害者的措施，（人们）对艾滋病患者的态度……她模仿传统地中海人恸哭的音乐作品……轻语，尖叫和呜咽。”