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  • Transcriber: Ivana Korom Reviewer: Camille Martínez

    謄寫員:Ivana Korom 審稿人:Camille Martínez。Camille Martínez

  • (Music: "La Vie en Rose")

    (音樂:"La Vie en Rose")

  • Cecily: Ah, well, I feel rather frightened.

    塞西莉:啊,好吧,我覺得挺害怕的。

  • I'm so afraid he will look just like everyone else.

    我好怕他看起來和別人一樣。

  • (Algernon sniffs)

    (Algernon sniffs)

  • C: He does.

    C:他是這樣的。

  • Algernon: You are my little cousin Cecily, I'm sure.

    阿爾傑農你是我的小表妹塞西莉,我敢肯定。

  • C: You are under some grave mistake.

    丙:你是犯了什麼嚴重的錯誤。

  • I'm not little.

    我不小。

  • In fact, I do believe I'm actually more than usually tall for my age.

    事實上,我相信我的年齡其實比一般人要高。

  • But I am your cousin Cecily,

    但我是你的表妹塞西莉。

  • and you, I see, are also here helping Jo Michael Rezes

    而你也在這裡幫助喬-邁克爾-雷澤。

  • with their TEDx talk.

    與他們的TEDx演講。

  • And you are my cousin Ernest, my wicked cousin Ernest.

    而你是我的表哥歐內斯特,我邪惡的表哥歐內斯特。

  • A: Oh! Well, I'm not really wicked at all, cousin Cecily.

    A:哦!好吧,我真的一點也不邪惡,塞西莉表姐。

  • You mustn't think that I am wicked.

    你千萬不要以為我是惡人。

  • C: Well, I hope you haven't been leading a double life,

    C:嗯,我希望你沒有過雙重生活。

  • pretending to be good and being really wicked all the time.

    假裝自己很優秀,一直都很邪惡。

  • That would be hypocrisy.

    那就是虛偽了。

  • A: Well, of course, I have been rather reckless.

    答:嗯,當然,我一直比較魯莽。

  • C: I am glad to hear it.

    C:我很高興聽到這個消息。

  • A: But the world is good enough for me, cousin Cecily.

    A:但是這個世界對我來說已經很好了,西西表姐。

  • C: Yes, but are you good enough for it?

    C:是的,但你夠格嗎?

  • A: I'm afraid I am not that.

    答:我恐怕不是那樣的人。

  • That's why I want you to reform me.

    所以我才想讓你改造我。

  • C: Well, I'm afraid I have no time this afternoon.

    C:好吧,恐怕我今天下午沒有時間。

  • The TED talk and all.

    TED演講和所有。

  • (Laughter)

    (笑聲)

  • A: Well, would you mind my reforming myself this afternoon?

    答:那你介意我下午改過自新嗎?

  • C: Oh, that's rather quixotic of you,

    C:哦,你這話說得挺古怪的。

  • but I think you should try.

    但我覺得你應該試試。

  • A: Good. I feel better already.

    A:好。我感覺已經好多了。

  • C: You're looking a little worse.

    C:你的臉色有點不好。

  • A: Well, might I have that pink rose?

    答:好吧,我可以要那朵粉紅色的玫瑰嗎?

  • C: Why?

    C:為什麼?

  • A: Because you are like a pink rose, cousin Cecily.

    答:因為你就像一朵粉紅色的玫瑰,西西表姐。

  • C: Well, I don't think it could be right for you

    C:好吧,我覺得這不可能適合你

  • to talk to me like that.

    和我這樣說話。

  • A: You are the prettiest girl I ever saw.

    答:你是我見過的最漂亮的女孩。

  • C: But -- well, I -- I --

    C:但是--嗯,我--

  • A: And, and ahem --

    答:而且,而且嗯--

  • C: All good looks are a snare and --

    C:一切美好的外表都是陷阱,而且--。

  • A: Well, it's a snare that every sensible man

    答:嗯,這是一個陷阱,每個理智的人都會這樣做

  • would like to be caught in, and ...

    願意被抓進去,並...

  • Jo Michael Rezes: (Sighs)

    喬-麥克-雷澤。(嘆氣)

  • I'm so sorry, I um --

    我很抱歉,我...

  • I didn't finish rehearsing.

    我沒有完成排練。

  • Um, well it's not because I can't walk in heels,

    嗯,好吧,這不是因為我不能走在高跟鞋。

  • I'm actually really good at that,

    其實我真的很擅長這個。

  • and I can prove it to you, too, but I really am sorry.

    我也可以向你證明,但我真的很抱歉。

  • Hold on.

    等一下

  • Uh, um.

    呃,嗯。

  • No matter.

    沒有關係。

  • No matter.

    沒有關係。

  • Right.

    好吧,我知道了

  • Right, introductions.

    對,介紹一下。

  • It's a TEDx talk. Right.

    這是一個TEDx演講。是啊

  • Hi, there! (Laughs) Um.

    嗨,有! (笑)嗯。(笑)嗯。

  • My name is Jo Michael Rezes,

    我叫喬-麥克-雷澤

  • and I'm a PhD student here in theater and performance studies.

    我是一個博士生在這裡 在戲劇和表演研究。

  • And I specialize in the study of queer identities

    而我的專業是研究同志身份的。

  • as they maneuver and affect the perceptions of time

    當他們操縱和影響時間觀念的時候。

  • in the performance of camp.

    在營的表現。

  • You know camp?

    你知道營地嗎?

  • Sincerity in irony's clothing?

    穿著諷刺衣服的誠意?

  • Making the kitsch feel like home?

    讓土特產有家的感覺?

  • No?

    沒有嗎?

  • The Met Gala theme from 2019

    2019年起,Met Gala主題

  • that was thoroughly misunderstood by over 95 percent of its attendees?

    徹底被95%以上的與會者誤解了?

  • (Laughter)

    (笑聲)

  • No? OK, anyway.

    沒有嗎?好吧,反正。

  • I'm also an actor-director and theater educator at large

    我同時也是一名演員導演和戲劇教育工作者,逍遙自在。

  • in the greater Boston area.

    在大波士頓地區。

  • Oh, and where are my manners?

    哦,我的禮貌呢?

  • The friends I brought with me today are Algernon and Cecily

    我今天帶來的朋友是阿爾傑農和塞西莉。

  • from Oscar Wilde's famously well-known play,

    從奧斯卡-王爾德的著名戲劇。

  • "The Importance of Being Earnest."

    "認真的重要性。"

  • And they'll be back, don't worry.

    他們會回來的,別擔心。

  • I've only scared them off a bit.

    我只是嚇唬了他們一下。

  • And let's be honest,

    說實話

  • it wouldn't be a TEDx talk

    就不是TEDx演講了

  • without things wrapping up nicely at the end, would it?

    沒有事情在最後很好的收尾,是嗎?

  • (Laughter)

    (笑聲)

  • You know, I hope that wasn't too awful, though.

    你知道,我希望這不是太可怕,雖然。

  • It was awkward, I know, to watch me fail.

    我知道,看著我失敗,很尷尬。

  • To fail at what, exactly, though?

    不過,到底在什麼地方失敗了呢?

  • To play a man and a woman at the same time?

    要同時扮演一個男人和一個女人?

  • I mean, to play a man and a woman when I'm actually neither?

    我的意思是,要扮演一個男人和一個女人,而我其實都不是?

  • Why does it feel so awkward when we see someone fail at gender,

    為什麼當我們看到有人在性別上失敗的時候,會覺得很尷尬。

  • and why do we care?

    我們為什麼要關心?

  • I mean, obviously, me screwing this up was done on purpose.

    我的意思是,很明顯,我把這個事情搞砸了是故意的。

  • Obviously, I had this all perfectly memorized

    很明顯,我已經把這一切都記在心裡了。

  • and rehearsed for today, right?

    併為今天排練,對嗎?

  • Right?

    對吧?

  • (Laughter)

    (笑聲)

  • Well, I'm here today to talk about gender performativity

    好吧,我今天來這裡是想談談性別表演性的問題

  • and the ways in which I've used my acting classroom

    以及我利用演藝課堂的方式。

  • as a space to disrupt the finality of gender performance,

    作為打破性別表現最終性的空間。

  • to open up a looser space for thinking about gender identity

    為思考性別認同問題開闢更寬鬆的空間;

  • through supportive failure,

    通過支持性失敗。

  • generous mistakes and honest communication.

    慷慨的錯誤和誠實的溝通。

  • We all, actors or otherwise,

    我們所有人,不管是演員還是其他。

  • can play with gender in our everyday lives.

    可以在我們的日常生活中玩弄性別。

  • And I call this "gender rehearsativity."

    我把這叫做 "性別排練"。

  • Now, before all of the queer theorists and women's studies degree holders

    現在,在所有的同志理論家和婦女研究學位持有者面前

  • and Judith Butler fanatics in the audience

    和朱迪思-巴特勒的狂熱者在觀眾席上。

  • start to tear the half-and-half, hyperbinary costume off of my body,

    開始從身上撕下半截半截的超次元服裝。

  • let me first explain where popular culture

    先說明一下流行文化

  • has already begun to misunderstand gender performativity,

    已經開始誤解性別表演性。

  • before I move into the rehearsativity I hold so dear.

    在我進入我所珍視的排練之前。

  • Now, as an educator

    現在,作為一名教育工作者

  • and as a youngish 20-something-year-old trans person,

    而作為一個20多歲的年輕變性人。

  • I'm constantly hearing from my 20-something-year-old students,

    我不斷聽到20多歲的學生說。

  • friends and colleagues

    朋儕

  • that gender is "over" --

    性別已經 "結束"----

  • that gender is so fluid and carefree

    男女授受不親

  • and that society, film and television are so inclusive of transgender people,

    以及社會、電影和電視對變性人的包容。

  • that it's basically over.

    基本上已經結束了。

  • Now, I don't ascribe to the binary, as a nonbinary person myself.

    現在,我不歸於二元,作為一個非二元的人自己。

  • But gender definitely isn't over.

    但性別絕對沒有結束。

  • Or, at least I don't think it is.

    或者說,至少我認為不是。

  • And maybe, just maybe, gender is always beginning.

    也許,只是也許,性別總是開始。

  • This last semester,

    這上學期。

  • at roughly 10:23am,

    大約在上午10點23分。

  • two of my acting students,

    我的兩個表演學生。

  • while embodying delicious caricatures of fraternity brothers --

    同時體現出兄弟會兄弟的美味漫畫----。

  • forgive me, I don't remember his or his name --

    原諒我,我不記得他或他的名字 --

  • well, they rounded up the class,

    好了,他們圓了班。

  • and these two women in snapbacks and baggy clothing

    和這兩個女人的 snapbacks和寬鬆的衣服

  • slacked their mouths to reveal lax jaws and lax bro mentalities.

    嘴巴鬆弛,露出鬆弛的下巴和鬆弛的兄弟心理。

  • And, astounding as it was to watch,

    而且,驚天動地,因為它是看。

  • these women fluctuated between irony and satire,

    這些女人在反諷和諷刺之間波動。

  • the uncanny and the ruthlessly so, pain and joy, until ultimately

    匪夷所思,無情無義,痛苦與歡樂,直至最終的。

  • they failed to be the men they were choosing to embody.

    他們未能成為他們選擇體現的人。

  • They simply stopped talking.

    他們乾脆不說話了。

  • Silence.

    沉默。

  • A lull hit the class,

    一陣沉悶襲來,全班同學。

  • and time seemed to be sucked clean out of the room.

    而時間似乎被吸得乾乾淨淨。

  • And in this moment of loud stillness,

    而在這吵吵鬧鬧的靜止時刻。

  • one of the women,

    其中一個女人。

  • still using her frat bro voice though fully out of character,

    仍然使用她的兄弟會兄弟的聲音,雖然完全不符合角色。

  • said, nearly in a whisper,

    幾乎是小聲地說道。

  • (In frat bro voice) "Gender is a social construct."

    "性別是一個社會結構。"

  • (Laughter)

    (笑聲)

  • I'll admit: I laughed along with my students that morning,

    我承認:那天上午我和同學們一起笑了。

  • partially at the comedic timing that my student had in her delivery

    部分原因是我的學生在她的演講中表現出的喜劇性時機

  • but also at the fact that society has turned gender performativity

    但同時也對社會將性別表演化的事實感到擔憂。

  • into gender as social construct.

    作為社會結構的性別問題;

  • Now, listen to this:

    現在,聽這個。

  • I think that this idea has come from renowned queer studies scholar

    我認為這個觀點來自於著名的同志研究學者。

  • Judith Butler,

    Judith Butler,

  • whose seminal work in the performativity of gender

    其在性別表演性方面的開創性工作。

  • has gone on to be a staple

    已成為主旋律

  • in undergraduate classrooms at liberal arts institutions.

    在文科院校的大學課堂上。

  • Now, this SparkNotes version of Butler's work

    現在,這個SparkNotes版本的巴特勒的作品。

  • is found in the idea that gender exists in repeated words and actions.

    存在於性別存在於重複的言行中的觀念中。

  • And these performatives create and are created

    而這些表演者創造和被創造

  • by the bodies of real human beings.

    由真人的身體。

  • Now, listen to this:

    現在,聽這個。

  • "Moreover, in a 1988 essay,

    "此外,在1988年的一篇文章中。

  • Butler claims that gender is an act which has been rehearsed.

    巴特勒稱,性別是一種已經排練過的行為。

  • In this way,

    這樣一來。

  • gender through repetition becomes a recognizable script,

    性別通過重複成為一種可識別的文字。

  • which requires actors to reproduce it."

    這就需要行為人去重現它"。

  • Huh.

    咦。

  • Much like my attempt at "The Importance of Being Earnest."

    就像我在 "認真的重要性 "的嘗試一樣。

  • Ooh, I mean -- look at my costume.

    哦,我是說... ... 看看我的服裝。

  • (In a deep voice) Why does this half make me feel manly, masculine, suave,

    (沉聲)為什麼這一半讓我感覺到男子漢、陽剛、倜儻。

  • (In a high voice) and this half makes me feel girly, fabulous and feminine?

    (高聲)而這一半讓我覺得自己很娘,很美妙,很有女人味?

  • I mean, some of us even forget that gender is there,

    我是說,我們有些人甚至忘記了性別的存在。

  • because it is so well-rehearsed into our bodies.

    因為它已經很好地排練到我們的身體裡了。

  • But there's always an ideal of gender that we can never quite achieve.

    但總有一種性別理想是我們永遠無法完全實現的。

  • But it's up to us to play with it.

    但這要靠我們自己去玩。

  • Now, I've played with gender throughout my own career as an actor,

    現在,我在自己的演員生涯中一直在玩弄性別。

  • and in one semester as an undergraduate student,

    並在一個學期內成為大學生。

  • I was cast in two roles simultaneously:

    我同時被選為兩個角色。

  • Brad Majors in "The Rocky Horror Show,"

    布拉德-梅傑斯在 "洛基恐怖秀 "中,

  • and Charlotte Ivanovna in "The Cherry Orchard."

    和夏洛特-伊萬諾夫娜在 "櫻桃園"。

  • One man, one woman and one me.

    一男一女一我。

  • I would go from one rehearsal,

    我會從一次排練。

  • playing the manly, aggressive Brad,

    玩的男子氣概,咄咄逼人的布拉德。

  • only to be pulled, moments later, into a wig

    卻在瞬間被拉到假髮裡去了

  • and delicately blended eyeliner as Charlotte, a German governess.

    和精緻的混合眼線,飾演德國女教師夏洛特。

  • The constant push and pull of these identities

    這些身份的不斷推拉

  • was not only invaluable to my work as an actor,

    不僅對我的演員工作非常寶貴。

  • attempting to span the spectrum of gender in my work,

    試圖在我的工作中跨越性別的範圍。

  • but it also revealed to me

    但它也向我揭示了

  • that my own queer identities

    我自己的同志身份

  • are deeply indebted to embodying the extremes of gender.

    是深深地虧欠體現性別的極端。

  • These characters held important facets of my identities,

    這些角色承載了我身份的重要方面。

  • of my body,

    我的身體的。

  • my daily pain,

    我每天的痛苦。

  • of my social interactions, of my memories,

    我的社會交往,我的記憶。

  • and rehearsing these characters allowed me to explore those identities,

    並排練這些角色,讓我能夠探索這些身份。

  • which has opened up my need as an acting teacher

    這開啟了我作為一個表演老師的需求。

  • to show the importance of playing with gender in rehearsal.

    以表明在排練中發揮性別的重要性。

  • So when I present to you all

    所以當我向大家介紹

  • (In a high voice) Cecily

    (高聲)塞西莉

  • and (In a deep voice) Algernon,

    和(沉聲)阿爾傑農。

  • there are these parts of these two characters that I respect,

    這兩個角色有我尊敬的部分。

  • understand implicitly,

    潛移默化的理解。

  • oppressions I can relate to, fears I can embody,

    我可以感受到的壓迫,我可以體現的恐懼。

  • aggressive tendencies that I try to forget.

    侵略性的傾向,我試圖忘記。

  • But there are also plenty of characteristics

    但也有很多特點

  • with which I have no personal experience,

    我沒有個人經驗。

  • nothing I can draw from.

    我沒有什麼可以借鏡的。

  • And sometimes in a flurry of rehearsal,

    有時還在一窩蜂地排練。

  • of reading a script,

    讀劇本的。

  • of creating a character,

    的創造一個角色。

  • well ... we make a mistake.

    好吧... ... 我們犯了一個錯誤。

  • Algernon's aggressive flirtation towards Cecily

    阿爾傑農對塞西莉的咄咄逼人的調情。

  • doesn't sit well in my body,

    不坐好在我的身體。

  • or Cecily's calm demeanor as written by Oscar Wilde,

    還是奧斯卡-王爾德筆下的塞西莉冷靜的神態。

  • just doesn't sit right,

    只是不坐的權利。

  • and I literally trip up.

    我真的絆倒了。

  • Now, this TEDx talk is a performance

    現在,這個TEDx的演講是一個表演。

  • in front of so many people.

    當著這麼多人的面。

  • And it differs quite drastically from my classrooms in that regard.

    而在這方面與我的課堂有很大的不同。

  • But there is such a recognizable pressure in our daily lives

    但是,在我們的日常生活中,有這樣一種公認的壓力

  • to perform our gender,

    來表現我們的性別。

  • our selves,

    我們的自我。

  • on a stage like this.

    在這樣的舞臺上。

  • Quite frankly,

    坦白說

  • failure to pass as a man or a woman effectively

    男扮女裝失敗

  • is still dangerous for transgender and gender nonconforming people.

    對於變性人和不符合性別的人來說,仍然是危險的。

  • And listen to this:

    聽聽這個。

  • according to the 2015 US Transgender Survey,

    根據2015年美國跨性別調查。

  • nearly half of respondents voiced

    近一半的受訪者表示

  • that they had been verbally harassed in the past year

    他們在過去的一年中曾受到口頭騷擾

  • because of their gender identity or expression.

    因為他們的性別認同或表達方式。

  • And that number is shown only to increase in communities of color.

    而這一數字在有色人種社區中只顯示為增加。

  • Many of us now claim to view gender on a spectrum -- and that's great --

    我們許多人現在聲稱要在一個範圍內看待性別問題 -- -- 這很好 -- -- 。

  • including 60 percent of Generation Z individuals

    包括60%的Z世代個人

  • who reported to the Pew Research Center in 2019

    誰在2019年向皮尤研究中心報到?

  • that they believe forms with boxes for "male" or "female"

    他們認為表格上有 "男 "或 "女 "的框框

  • should include more gender options.

    應包括更多的性別選擇。

  • But in spite of this,

    但儘管如此。

  • there is still latent fear of making gender mistakes

    杞人憂天

  • in offices, in classrooms,

    在辦公室裡,在教室裡。

  • in the eyes of the government,

    在政府眼中,。

  • in romantic situations,

    在浪漫的情況下。

  • and for some of us,

    而對於我們中的一些人來說。

  • even in the mirror when we wake up in the morning.

    甚至在鏡子裡,當我們早上醒來的時候。

  • But our gender mistakes have the potential for something good.

    但我們的性別錯誤有可能成為好事。

  • Even in the binary,

    即使在二進制中。

  • approaching life on the stage as a man or a woman,

    作為一個男人或女人在舞臺上接近生活;

  • we can support each other in experimentation,

    我們可以在實驗中互相支持。

  • trips and stumbles,

    跌跌撞撞,跌跌撞撞。

  • two-hour-long meditations on

    長達兩小時的冥想

  • or five-second costume changes with gender.

    或隨著性別的變化而變化的五秒服裝。

  • And failure is a key part

    而失敗是一個關鍵部分