在艾薇塔第一次去克斯特亚家的那天晚上，他们开着不同的车离开了餐厅。
The night that Ivetta finally went home with Kostya, they left the restaurant in separate cars.
克斯特亚把这句话看做是让他开快点的一个信号，但是当他加速时，艾薇塔却告诉他慢下来。
Kostya interpreted this as a signal to drive faster, but when he accelerated Ivetta told him to slow down.
克斯特亚平稳地把车开上街头，艾薇塔抬头看着她妈妈在芭蕾舞学院二楼的办公室。
As Kostya eased the van onto the street, Ivetta looked up at her mother's office, on the second floor of the Ballet Academy.
如果是在私下里，克斯特亚觉得自己也许能够安抚艾薇塔的愤怒，但在公开场合，他感到自己被耻辱紧紧地束缚住了。
In private, Kostya thought that he might have been able to contend with Ivetta's anger, but in public he felt inhibited by shame.
克斯特亚伸手去安慰她，艾薇塔跟他倾诉了她与柳妲之间令人痛苦的争论详情。
When Kostya laid his hand on her, Ivetta related the painful details of her argument with Luda.
在此之前，克斯特亚基本上没跟舞蹈演员和音乐演员打过交道。他们大多数在自己的小圈子内交往，但他注意到了艾薇塔。
Until then, Kostya hadn't had much interaction with the dancers and musicians, who socialized mainly with one another, but he had taken notice of Ivetta.
当她妈妈质问她时，艾薇塔哭着逃到克斯特亚的公寓。
When Ivetta's mother confronted her, Ivetta fled to Kostya's apartment in tears.
即使在艾薇塔被克斯特亚带回家之前，人们就已开始对此评头论足。
Even before Ivetta went home with Kostya, people had started to comment.
从俄罗斯海滨酒家出来，克斯特亚开车去了“首席”芭蕾舞学院，给艾薇塔去送她忘在他公寓里的上衣。
From the Russian Riviera, Kostya drove to the Prima Donna Ballet Academy to return a blouse that Ivetta had forgotten at his apartment.
本次展览展出了油画《绿色中的艾达》（2009）和两件蚀刻铜版《薇薇恩》（1994，文森特的夫人）以及《蓝衣（文森特）》（1993）。
In the current exhibition the painting Ada in Green (2009) and the two aquatint prints Vivien (1994), Vincent Katz's wife, and Blue Coat (Vincent) from 1993 are on view.
本次展览展出了油画《绿色中的艾达》（2009）和两件蚀刻铜版《薇薇恩》（1994，文森特的夫人）以及《蓝衣（文森特）》（1993）。
In the current exhibition the painting Ada in Green (2009) and the two aquatint prints Vivien (1994), Vincent Katz's wife, and Blue Coat (Vincent) from 1993 are on view.
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