【導讀】werebothpoormusichallperformers.YoumayfinditastonishingthatCharliewastaughttosingassoonashecouldspeakanddanceassoonashecouldwalk.Suchtrainingwasmoninactingfamilesatthattime,especialywhenthefamilyinewasoftenuncertain.Unfortunatelyhisfatherdied,leavingthefamilyevenworseoff,soCharliespenthischildhodlokingafterhissickmotherandhisbrother.Byhistens,Charliehad,throughhishumour,beeoneofthemostpopularchild

　　

【正文】 he first person to arive was Tony Garcia from Col um bi a, closel y fol owed by Juli a Smi th from Bri tai n. After I met them and then i ntroduced them to each other, I was very surpri sed. Tony aproached Juli a, touched her shoulder and ki sed her on the cheek! She steped back appeari ng surprised and put up her hands, as i f i n defence. I guessed that there was probabl y a m ajor mi sunderstandi ng. Then Aki ra Nagata from Japan came i n sm il ng, together with Gee Cok from Canada. As they were i ntroduced, Gee reached his hand out to the Japanese student. Just at that m om ent, however, Akira bowed so his nose touched Gee’s m oving hand. They both apol ogized another cultural mi stake! Ahm ed Azi z, another i nternati onal student, was from Jordan. When we m et yesterday, he moved very cl ose to m e as I introduced m ysel f. I m oved back a bi t, but he cam e closer to ask a question and then shook m y hand. When Darlene Coulon from France cam e dashi ng through the door, she recognized Tony Garci a39。 s smi li ng face. They shook hand and then ki sed each other twi ce on each cheek, si nce that i s the France custom when adul ts m eet people they know. Ahmed Aziz, on the contrary, simply nodded at the gi rl s. Men from Mi ddl e Eastern and other Muslim countri es wi l often stand quite cl ose to other men to tal k but wil usual y not touch women. As I get to know m ore international friends, I l earn m ore about this cul tural “body language”. Not al cul tures greet each other the same way, nor are they fortabl e i n the sam e way wi th touchi ng or distance between peopl e. In the sam e way that peopl e muni cate wi th spoken language, they also expres their feelings using unspoken “l(fā)anguage” through physical distance, actions or posture. English peopl e, for exam pl e, do not usual ly stand very close to others or touch strangers as soon as they m eet. H owever, peopl e from pl aces l i ke Spai n, Ital y or South Am eri can countries approach others cl osel y and are more l ikely to touch them . Most peopl e around the worl d now gret each other by shaking hands, but some cul tures use other greti ngs as wel l, such as the Japanese, who prefer to bow. These acti ons are not good or bad, but are sim ply ways i n whi ch cul tures have devel oped. I have sen, however, that cultural customs for body l anguage are very general not al m em bers of a cul ture behave i n the sam e way. In general , though, studyi ng i nternati onal customs can certainl y help avoid difficul ties in today’s world cultural crosroads! Showi ng our feel ings Body l anguage is one of the most powerful s of m unicati on, often even m ore powerful than spoken language. Peopl e around the worl d show al knds of feel ings, wishes and atitudes that they mi ght never speak al oud. It i s posible to “read” others around us, even if they do not i ntend for us to catch their unspoken m unicati on. O f course, body l anguage can be mi sread, but many gestures and acti ons are universal . The most uni versal faci al expressi on i s, of course, the sm il e – it ’s functi on i s to show hapi ness and to peopl e at ease. It does not al ways means that we are truly happy, however. Smil es around the worl d can be fal se, hi ding other feli ngs l ike anger, fear or wory. There are unhappy smil es, such as when som eone “l(fā) oses face” and smiles to hide it. However, the general purpose of smil ing is to show good feeli ngs. From the ti me we are babi e, we show unhapiness or anger by frowning. In most pl aces around the world, frowning and turning one’s back to someone show anger. Maki ng a fi st and shaking it alomost means that someone were both poor m usic hal l perform ers. You may find i t astonishi ng that Charli e was taught to si ng as soon as he could speak and dance as soon as he coul d wal k. Such training was mon in acti ng fam il es at that tim e, especi al y when the fam il y ine was often uncertai n. Unfortunatel y hi s father di ed, leavi ng the famil y even worse off, so Charli e spent hi s chil dhod l oki ng after hi s si ck m other and hi s brother. By hi s tens, Charli e had, through his hum our, be e one of the m ost popular chil d actors i n Engl and. H e could mim e and act the fool doi ng ordinary everyday tasks. N o one was ever bored watchi ng him hi s subtl e acting made everythi ng entertai ni ng. As time went by, he began m aki ng film s. He grew m ore and m ore popul ar as his charm ing character, the l ittl e tram p, becam e known throughout the world. The tram p, a poor, hom eless m an wi th a m oustache, wore l arge trousers, wornout shoes and a smal l round bl ack hat. He wal ked around sti fly caryi ng a wal ki ng stick. Thi s character was a social fail ure but was l oved for hi s optim ism and determi nation to over e al diffi cul ti es. H e was the underdog who was ki nd even when others were unki nd to him. How di d the li tl e tram p m ake a sad si tuati on entertai ni ng? Here is an example from one of his m ost famous fil ms, The Gold Rush. It is the m idni eenth century and gold has just ben discovered i n Cali forni a. Li ke so many others, the li tl e tram p and his fri end have rushed there i n search of gol d, but without suces. Instead they are hi di ng i n a sm al l hut on the edge of a m ountai n during a snowstorm with nothing to eat. They are so hungry that they try boil ing a pai r of l eather shoes for their di ner. Charli e fi rst picks out the l aces and eats them as i f they were spaghetti . Then he cuts off the l eather top of the shoes as i f it were the finest steak. Fi nal y he tri es cuting and chewing the bottom of the shoe. H e eats each m outhful with great enjoyment. The acting is so convinci ng that it makes you bel ieve that it i s one of the best m eals he has ever tasted! Charl i e Chapl in wrote, di rected and produced the fil ms the stared in. In 1972 he was gi ven a special O sca