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| On a sleepy summer morning recently, a group of about 50 dancers from New York City Ballet gathered inside a sunny rehearsal studio at Lincoln Center and stretched. They had come from three weeks of rest and were back in company class, preparing for a tour in upstate New York. Some carried energy drinks and bottles of hand sanitizer; others brought their dogs, who settled into naps under the barre as the dancers began a series of exercises — pliés, tendus, jumps and pirouettes. | 前不久一个让人昏昏欲睡的夏日早晨，纽约城市芭蕾舞团的约50名舞者聚集在林肯中心一个阳光明媚的排练室，舒展身体。他们休息了三周，回到舞团排练，为在纽约州北部的巡演做准备。一些人带了能量饮料和瓶装洗手液；还有一些人带着自己的狗，当舞者们开始练习下蹲、脚外伸展、跳跃和旋转时，它们就在栏杆下打起了盹。 |
| Tall and stately, Chun Wai Chan stood near the center of the studio. In May, he became the first principal dancer of Chinese descent in City Ballet’s 74-year history, only the fourth Asian to hold that rank. At the studio that morning, some dancers were still easing into their routines. But he brimmed with energy, vowing to use class time to exercise each muscle. | 身材高大挺拔的陈镇威站在排练室中央。今年5月，他成为城市芭蕾舞团74年历史上第一位华裔首席舞者，也是第四位拿到该位置的亚裔。那天早上，在排练室里，一些舞者还在慢慢热身。但是陈镇威已经进入状态，决心利用排练时间活动每一块肌肉。 |
| “I need to focus,” Chan, 30, said. “I really need to push myself.” | “我需要集中精力，”30岁的陈镇威说。“我真的需要鞭策自己。” |
| Born in Huizhou, an industrial city in southeastern China, Chan has a loyal fan base in his home country. (During the pandemic, he competed on “Dance Smash,” a popular Chinese television show.) While he joined City Ballet only last year, after a decade at Houston Ballet, he has already emerged as one of its rising stars. In performances of Jerome Robbins’s “The Cage” and Justin Peck’s “Partita” last season, he won praise as an elegant and agile artist. He has also developed a large following on social media, where he posts clips of dancing, as well as tutorials on topics including building abdominal muscles and applying makeup. | 陈镇威出生于中国东南部的工业城市惠州，在祖国拥有一批忠实的粉丝。（疫情期间，他参加了中国热门电视节目《舞蹈风暴》的比赛。）虽然他去年才加入城市芭蕾舞团，但曾在休斯敦芭蕾舞团工作10年的他已成为该舞团的新星之一。在上一季参演杰罗姆·罗宾斯的《牢笼》和贾斯汀·派克的《帕蒂塔》后，他被誉为优雅、敏捷的艺术家。他还在社交媒体上发布舞蹈视频，以及锻炼腹肌和化妆等话题的教程，获得了大量粉丝。 |
| Chan has embraced the history of his City Ballet appointment, speaking out about the struggles of Asian dancers to win recognition and the stereotypes about Asians that persist in classics like “The Nutcracker.” At the company, where nine of the 96 dancers are of Asian descent, his colleagues and teachers have celebrated his promotion. | 陈镇威满腔热情地面对城市芭蕾舞团的任命所创下的历史，对于亚裔舞者为赢得认可所做的努力以及《胡桃夹子》等经典作品中对亚裔的长期刻板印象，他也直言不讳。城市芭蕾舞团的96名舞者中有九人是亚裔，舞团同事和他的老师们都为他的晋升感到高兴。 |
| “It’s an amazing moment not only for him, but for the institution,” said Georgina Pazcoguin, a fellow dancer who, as an activist, has worked to eliminate degrading depictions of Asian people in ballet. “I can’t underline enough how wonderfully joyous this is and how proud I am — and, in the same breath, also know that we have still more to do.” | “这不仅对他来说是一个了不起的时刻，对于这个机构来说也是如此，”同为城市芭蕾舞团舞者的乔治娜·帕兹科金说。作为一名活动人士，她一直致力于消除芭蕾舞中对亚裔有侮辱性的描绘。“我无法用语言来强调这是多么美妙的喜悦，以及我是多么的骄傲——同时，我也知道我们还有很多的事情要做。” |
| Chan wants to help reinvent an art form whose main lineage is from Europe, and to change perceptions about ballet dancers. “I’m the first one, but I really hope it’s not going to take another 70 years to have another,” he said. “Princes can be Asian, too.” | 陈镇威希望参与重塑一种主要来自欧洲的艺术形式，并改变人们对芭蕾舞者的看法。 “我是第一个，但我真的希望不要再过70年才有第二个，”他说。“王子也可以是亚裔。” |
| At a young age, Chan’s parents, with Olympic aspirations in mind, enrolled him in swimming lessons. But after he accompanied his sister to ballet classes, he had other ideas. | 在他很小的时候，陈镇威的父母憧憬儿子能够参加奥运会，给他报了游泳班。但在陪姐姐去上芭蕾课之后，他有了其他想法。 |
| At 6, he began his own ballet studies and was one of only a few boys in his class. His parents were skeptical of his passion, and they encouraged him to pursue a career as a lawyer, doctor or accountant instead. | 六岁时，他开始学习芭蕾，是班上为数不多的男孩之一。父母对他的热情持怀疑态度，他们希望他长大后成为律师、医生或会计。 |
| When he was 12, he wrote a letter to his parents describing his determination to study dance and perform on the world’s biggest stages. They agreed to send him to a boarding school for the performing arts in Guangzhou, a city about 90 miles away. | 12岁时，他给父母写了一封信，描述了自己学习舞蹈，想登上世界最大舞台的决心。父母同意把他送到大约140公里外的广州一所寄宿制艺校。 |
| Chan’s break came at 18, when he was a finalist in the 2010 Prix de Lausanne in Switzerland and won a scholarship to study at Houston Ballet. He joined that company as a dancer two years later and became a principal in 2017. | 陈镇威在18岁那年取得了突破，进入了2010年瑞士洛桑大奖赛的决赛，并获得了在休斯敦芭蕾舞团学习的奖学金。两年后，他以舞蹈演员的身份加入该舞团，并于2017年成为首席。 |
| There, he garnered a reputation as a confident and sensitive performer. He also worked with Peck, the resident choreographer of City Ballet, who in 2019 created “Reflections” for Houston Ballet. | 在那里，他的表演获得了自信而敏感的声誉。他还与城市芭蕾舞团的常驻编舞派克合作，派克于2019年为休斯敦芭蕾舞团创作了《反思》。 |
| Peck was impressed by Chan’s curiosity. “He’s always keen to dig a little bit more, to digest specifics, to understand the intent behind a movement or a step,” Peck said. “After working together on ‘Reflections,’ it was completely evident to me that Chun Wai had a tremendous work ethic, focus and onstage presence.” | 陈镇威的好奇心给派克留下了深刻印象。“他总是热衷于挖掘更多的东西，消化细节，理解一个动作或一个步子背后的意图，”派克说。“在合作《反思》之后，我完全可以看出，镇威有着极高的职业道德、专注力和舞台表现力。” |
| The two had dinner in Houston, where Chan expressed interest in dancing in New York one day. In early 2020, he was invited to participate in a class at City Ballet and was offered a position there as a soloist, beginning in the fall of 2020. | 两人在休斯敦共进晚餐，陈镇威表示将来有兴趣去纽约跳舞。2020年初，他受邀参加了城市芭蕾舞团的一个班，并拿到了舞团独舞的位置，从2020年秋季开始。 |
| But he would have to wait. The pandemic hit, and as cultural life across the country came to a halt, Houston Ballet canceled dozens of performances. During the shutdown, Chan taught online classes and recorded dance videos with friends. | 但他不得不等待。疫情来袭，随着全国各地的文化生活陷入停顿，休斯敦芭蕾舞团取消了几十场演出。在停摆期间，陈镇威在线授课，与朋友录制舞蹈视频。 |
| In mid-2020, eager for a chance to perform before live audiences again, Chan returned to China, where coronavirus infections were low and many theaters remained open. He joined the second season of “Dance Smash,” which brought together artists from a variety of genres, including modern dance, ballet and traditional Chinese dance. | 2020年年中，由于渴望有机会再次进行现场表演，陈镇威回到中国，那里的新冠病毒感染率很低，许多剧场仍在营业。他参加了第二季的《舞蹈风暴》，该节目汇集了来自各种流派的艺术家，包括现代舞、芭蕾和中国传统舞蹈。 |
| Chan won over audiences with soulful performances of ballet and modern dance, and advanced to the final four before being eliminated. He built a following of more than 200,000 people on Weibo, a Twitter-like Chinese social media platform. His fans called him the “prince of ballet.” | 陈镇威凭借饱含深情的芭蕾和现代舞表演征服了观众，跻身四强后才遭淘汰。他在微博上拥有20多万粉丝。粉丝称他“芭蕾王子”。 |
| He returned to New York last year as something of an outsider. The majority of City Ballet’s dancers spend years together at training at the prestigious School of American Ballet. There, they develop a specialty in the choreography of George Balanchine, the company’s co-founder and longtime artistic director. | 去年回到纽约时，他感觉自己有点像一个局外人。城市芭蕾舞团的大多数舞者都在著名的美国芭蕾舞学院一起训练多年。在那里，他们对该舞团的联合创始人、长期担任其艺术总监的乔治·巴兰钦的编舞形成了独特的理解和诠释。 |
| Chan, who was trained in the Russian Vaganova method, initially struggled to master Balanchine’s choreography. | 陈镇威接受的是俄罗斯瓦加诺娃方法的训练，最初很难掌握巴兰钦的编舞。 |
| “It felt like everything I had learned was questionable — that it meant nothing,” he said. “They broke me into many pieces and rebuilt me. And after a few weeks, I felt much more comfortable, like there was more musicality and more freedom.” | “我觉得我所学到的一切都要打上问号，没有任何意义，”他说。“他们把我打碎，又重建了我。几周后，我感觉舒服多了，感觉有了更多的乐感和自由。” |
| Jonathan Stafford, City Ballet’s artistic director, said that Chan adapted quickly to the Balanchine aesthetic. “He’s got this magnetic quality onstage,” Stafford said. “He can be elegant, very naturally, but he also can be really dynamic. He just draws you in.” | 城市芭蕾舞团的艺术总监乔纳森·斯塔福德说，陈镇威很快就适应了巴兰钦的审美。“他在舞台上极具磁性，”斯塔福德说。“他可以很优雅，很自然，也可以很有活力。他就是会吸引着你。” |
| When City Ballet returned to the stage after the pandemic shutdown, Chan made several debuts, including in “George Balanchine’s The Nutcracker” and in the Black Swan pas de deux in an excerpt from Peter Martins’s version of “Swan Lake.” During this year’s spring season, Gia Kourlas, The New York Times’s dance critic, wrote that he was “a noble, generous presence in every role I’ve seen him dance.” | 城市芭蕾舞团在疫情封锁结束后回归，陈镇威在乔治·巴兰钦的《胡桃夹子》、彼得·马丁斯版《天鹅湖》选段中的黑天鹅双人舞等表演中首次亮相。在今春演出季期间，《纽约时报》的舞蹈评论家吉亚·库拉斯点评称，“在我看他跳过的每一个角色中，他的气质都是高贵而宽厚的。” |
| Chan is eager to reimagine cherished roles. He said that his Chinese identity has influenced his style. While performing the pas de deux from “Swan Lake,” for example, he said he tried to be humble and tentative while expressing his love, which he said felt more Chinese to him, rather than the role’s typical confidence and regality. | 陈镇威十分乐于对重要角色进行重新构想。他说，华人身份也影响了他的舞蹈风格。例如在表演《天鹅湖》的双人舞时，他表示，比起自信和威严那种典型的角色处理方式，他在表达爱意时尽量表现出谦逊和试探，这对他而言，更有中国味道。 |
| “I’m not only performing in a way that Western people do,” he said. “I also bring some of my Asian culture and Asian values to my body language as well.” | “我不只是像西方人一样表演，”他说。“我也把我的一些亚洲文化和亚洲价值观融入到了肢体语言中。” |
| Chan’s promotion comes at a time when cultural institutions are facing public pressure to diversify their ranks. About 27 percent of City Ballet’s dancers identify as ethnic minorities, compared with about 14 percent in 2010. A recent spike in violence against Asian people in the United States has reverberated in the dance world, prompting discussions about the lack of Asian dancers in prominent roles and the depiction of Asians in the performing arts. | 陈镇威升为首席舞者正值公众要求美国文化各领域增加多元性之际。城市芭蕾舞团的少数族裔舞者比例约有27%，相比之下，2010年这一比例约为14%。近来美国针对亚裔的暴力事件激增，这在舞蹈界也引起了反响，引发了关于亚裔舞者甚少扮演重要角色，以及表演艺术如何刻画亚裔形象的讨论。 |
| Many companies have in recent years taken steps to eliminate stereotypes, including in “The Nutcracker,” which often incorporates bamboo hats and stereotypical movements during a short routine when performers introduce tea from China. | 近年来，许多舞团都在采取措施消除刻板印象，比如在《胡桃夹子》中，演员在介绍中国茶叶时，往往会在一段简短表演中加入竹帽和一些老套的动作。 |
| Chan said he was encouraged by efforts to rethink outdated tropes. “Any time there are changes to make people more comfortable, I think it’s an improvement,” he said. | 陈镇威说，反思过时模仿的努力让他受到了鼓舞。“只要是为了让观感更舒适而做出的改变，我都觉得是一种进步，”他说。 |
| In China, Chan’s success has become a source of pride. News of his promotion to principal dancer was widely circulated, and he has been featured repeatedly in the Chinese media, under headlines like “The Ballet Knight” and “After ‘Dance Smash,’ he conquered New York.” | 在中国，陈镇威的成功已成为自豪的源泉。他晋升首席舞者的新闻广为流传，中国媒体多次报道他的事迹，使用了诸如“芭蕾骑士”和“《舞蹈风暴》后，他征服了纽约”等标题。 |
| Chan is interested in bringing back what he has learned to China — where, he said, appreciation of ballet is lacking. He also hopes to increase understanding of traditional Chinese dance in the United States. | 陈镇威愿意把自己所学带回中国，他说芭蕾在那里仍然小众。他也希望能增进美国人对中国传统舞蹈的了解。 |
| After performances, audience members sometimes tell Chan that they have never seen Asian dancers in leading roles. He has been moved to hear young dancers of color say his example has given them hope for their own careers. | 有时在演出结束后，会有观众对陈镇威说，从来没见过担任主角的亚裔舞者。听到有色人种的年轻舞者称他为榜样、让他们对舞者生涯燃起了希望时，陈镇威很受感动。 |
| “I used to think I danced just for myself,” he said. “Now I’m dancing for my family, for the audience, for the whole dance community.” | “我曾经以为我只是为自己跳舞，”他说。“现在我是为了我的家人，为了观众，也为了整个舞蹈界而跳。” |
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