Question

哪位高手帮我翻译一下这些英文～

Individually the posters also tend to reflect what is going on culturally at the time, for example posters for the 1995 performances of The Tempest and Troilus and Cressida carried the political and promotional message “Free Will” that was not only an advertisement for the free performances, but also as rallying cry to arts supporters to exercise their public influence as that year a conservative Republican Congress was threatening federal funding of the arts.
The 1996 poster for the productions of Henry V and Timon of Athens afforded Scher some of the most playful typography of the series. "I call this poster simply 'The Vee,' because the big V held the whole poster together," she says.
Scher combined her trademark handwriting with wood type in the 1997 poster for On the Town and Henry VIII. The season represented the culmination of Papp's ambition to produce all of Shakespeare's plays at the Delacorte. The marathon took ten years and its success is noted on the left side of the poster.
The typography of the 1998 poster emphasized the melodrama of the two plays featured, Shakespeare's Cymbeline and Thornton Wilder's Skin of Our Teeth.
While winking at news headlines during the Clinton-Lewinsky scandal, the posters for The Taming of the Shrew and Tartuffe singled out the words "lust," "shrew" and "tart" in a degraded fluorescent red.
For the 2000 design of the poster for Winter’s Tale and Julius Caesar, Scher reversed form and did a deliberately pastel poster. The design also subtly related the state of print in the millennium—on the Web.
The 2001 poster for Measure for Measure and The Seagull doubled as a map of Central Park. "It took me seven years to realize that the park is the same proportion as the posters," says Scher.
In 2003, after the invasion of Iraq, a poster for Henry V featured a quote from the play (“We doubt not of a fair and lucky war…”). Due to budget constraints from the weakened economy, only one play is produced for the next two years.
The 2004 poster for Much Ado About Nothing was the only photography based poster and "the one I like the least," says Scher. But the lush image of the park at night perfectly captured the romanticism of the play.
Posters for the 2005 plays As You Like It and Two Gentlemen of Verona ushered in Akzidenz Grotesk as the identity's new principal font.
In 2006 the Akzidenz Grotesk was extended and “War” was declared for productions of Macbeth and Mother Courage and Her Children
A corrective slate of the romantic comedies Romeo and Juliet and A Midsummer Night’s Dream in 2007 led to “Free Love" in the park and an Akzidenz Grotesk that was ardently italicized and provocatively rounded.
不要用翻译器翻的～

Answer 1

Individually the posters also tend to reflect what is going on culturally at the time, for example posters for the 1995 performances of The Tempest and Troilus and Cressida carried the political and promotional message “Free Will” that was not only an advertisement for the free performances, but also as rallying cry to arts supporters to exercise their public influence as that year a conservative Republican Congress was threatening federal funding of the arts.
在特别情况下，海报也倾向于反映在文化方面发生的事情。比如，为1995年《暴风雨》和《科利奥兰纳斯》表演制作的海报就携带着“自由意志”的政治推销信息。这一信息不仅是为“自由演出”刊登的广告，也是在当保守共和国会威胁到艺术联邦基金时， 艺术支持者用来运用它们政治影响的强有力的战斗口号。

The 1996 poster for the productions of Henry V and Timon of Athens afforded Scher some of the most playful typography of the series. "I call this poster simply 'The Vee,' because the big V held the whole poster together," she says.
1996年《亨利五世》和《雅典的泰门》的海报给Scher提供了这一系列剧集一些最好玩的印刷艺术。她说，“因为这个巨大的V把整张海报容纳在一起，所以我称这它为‘字母V’海报。”

Scher combined her trademark handwriting with wood type in the 1997 poster for On the Town and Henry VIII. The season represented the culmination of Papp's ambition to produce all of Shakespeare's plays at the Delacorte. The marathon took ten years and its success is noted on the left side of the poster.
Scher把她的商标笔迹和木质铅字融合在1997年《锦城春色》和《亨利八世》的海报制作中。那个时期反映了Papp的终极野心：在戴拉寇特剧院上演所有莎士比亚剧本。这场马拉松花了十年的时间，它的成功表现在这张海报的左边。

The typography of the 1998 poster emphasized the melodrama of the two plays featured, Shakespeare's Cymbeline and Thornton Wilder's Skin of Our Teeth.
1998年的印刷海报强调了莎士比亚的《席穆贝莲》和桑顿王尔德的《九死一生》中的情节字眼。

While winking at news headlines during the Clinton-Lewinsky scandal, the posters for The Taming of the Shrew and Tartuffe singled out the words "lust," "shrew" and "tart" in a degraded fluorescent red.
在克林顿和莱温斯基丑闻时期，当大家都在对新闻标题使眼色时，《驯悍记》和《塔突弗》的海报以堕落的荧光红突出了“淫欲”“泼妇”和“妓女”三个词。

For the 2000 design of the poster for Winter’s Tale and Julius Caesar, Scher reversed form and did a deliberately pastel poster. The design also subtly related the state of print in the millennium—on the Web.
为了制作2000年的《冬天的童话》和《尤利乌斯•凯撒》的海报，Scher一反常态故意制作了粉蜡笔海报。这一设计巧妙的联系了千禧年的印刷状态——使用网络。

The 2001 poster for Measure for Measure and The Seagull doubled as a map of Central Park. "It took me seven years to realize that the park is the same proportion as the posters," says Scher.
2001年的《一报还一报》和《海鸥》的海报联合在一起以中央公园地图的形式出现。Scher说道，“我花了七年的时间才意识到中央公园的尺寸比例和海报的比例一模一样。”

In 2003, after the invasion of Iraq, a poster for Henry V featured a quote from the play (“We doubt not of a fair and lucky war…”). Due to budget constraints from the weakened economy, only one play is produced for the next two years.
2003年，在入侵伊拉克以后，《亨利五世》的海报中引用了剧中的一句话。（“我们怀疑那不是一场公平和幸运的战争。。。”）由于衰弱经济导致的预算紧缩，在接下来的两年中，只公演了一部剧。

The 2004 poster for Much Ado About Nothing was the only photography based poster and "the one I like the least," says Scher. But the lush image of the park at night perfectly captured the romanticism of the play.
2004年《无事生非》的海报是唯一一张基于摄影的海报，“我最不喜欢这张海报”Scher如是说。但是公园晚上的繁茂的景色完美的抓住了这部戏剧的浪漫主义精髓。

Posters for the 2005 plays As You Like It and Two Gentlemen of Verona ushered in Akzidenz Grotesk as the identity's new principal font.
2005年的《皆大欢喜》和《维罗纳二绅士》海报开创了使用Akzidenz Grotesk作为标题的新的主要字体的先河。

In 2006 the Akzidenz Grotesk was extended and “War” was declared for productions of Macbeth and Mother Courage and Her Children
2006年，Akzidenz Grotesk字体继续被使用。这一年，“战争”环绕在《麦克白》和《勇敢妈妈和她的孩子》的海报中。

A corrective slate of the romantic comedies Romeo and Juliet and A Midsummer Night’s Dream in 2007 led to “Free Love" in the park and an Akzidenz Grotesk that was ardently italicized and provocatively rounded.
2007年，浪漫剧《罗密欧与朱丽叶》和《仲夏夜之梦》的修正后的石板色海报在公园里倡导着“自由恋爱”。在这张海报中，Akzidenz Grotesk被排成斜体字，并被很强烈的圆形化了。

里面的剧本全是莎士比亚的作品。
如若觉得翻译有不妥之处，欢迎交流。O(∩_∩)O

Answer 2

你直接在线翻译不就行了

Answer 3

海报也单独地倾向于反射怎么回事文化上当时，例如海报为暴风雨的1995表现和Troilus和Cressida运载了政治和是不仅一个广告为自由表现，而且的增进消息“自愿”，战斗口号到行使他们的公开影响的艺术支持者作为那年保守的共和党国会威胁艺术的联邦资助。
1996年海报为亨利五世的雅典生产和Timon买得起Scher某些系列的最嬉戏的印刷术。 “我简单地称这张海报‘Vee’，因为大V结合在一起使整体海报”，她说。
Scher与木类型在1997年海报结合了她的商标手写为在镇和亨利VIII。 季节代表Papp的志向的顶点导致所有莎士比亚的戏剧在Delacorte。 马拉松需要了十年，并且它的成功是着名在左边海报。
1998年海报的印刷术强调了特色的二戏剧的情节剧，莎士比亚的Cymbeline和我们的牙Thornton更加狂放的皮肤。
当挤眼对新闻标题在克林顿Lewinsky丑闻期间时，海报为驯服泼妇和Tartuffe挑选了词“情热”， “泼妇”和“妓女”在被贬低的萤光红色。
为海报的2000设计为冬天的传说和Julius Caesar， Scher扭转了形式并且做了一张故意地淡色海报。 设计在微妙地也关系了印刷品状态千年在网。
2001年海报为措施为措施和海鸥被加倍作为中央公园地图。 “需要我七年意识到公园是比例和海报一样”，说Scher。
2003年，在伊拉克的入侵以后，一张海报为亨利五世以行情为特色从戏剧(“我们怀疑不一场公平和幸运的战争…”)。 由于预算限制从被减弱的经济，仅一戏剧导致以后二年。
2004年海报为骚扰关于没什么是唯一的摄影基于海报，并且“那个我喜欢最少”， Scher说。 但公园的豪华的图象在晚上完全夺取了戏剧的浪漫主义。
海报为2005戏剧，您喜欢在Akzidenz和维罗纳的二先生们迎接的Grotesk作为身分的新的主要字体。
在2006 Akzidenz Grotesk是延长的，并且“战争”为Macbeth的生产被宣称，并且母亲勇气和她的
浪漫喜剧罗密欧和Juliet的儿童A矫正板岩和一个盛夏夜晚的梦想在2007导致了“自由性爱”在公园和热心用斜体字印刷和诱惑被环绕的Akzidenz Grotesk。 .

Answer 4

你把人家当高手了吗？还是免费劳动力呀？