Name: 【驚爆】2000年代恐慌！它預言了網路將助長陰謀論！ (Tracy Letts's 1990s Play "Bug" Predicted The Internet Would Fuel Conspiracy Theories)
Uploaded: 2026-01-07T16:57:06.000Z
Duration: 8 min 35 s

Ladies and gentlemen, my next guest tonight is the Pulitzer Prize winning playwright of August, Osage County.

各位女士們先生們，我今晚的下一位嘉賓，是《八月：奧色治郡》的普立茲獎編劇。

His play, Bug opens on Broadway this Thursday.

他的劇作《Bug》將於本週四在百老匯首演。

Please welcome to the late show, Tracy Letts.

請歡迎來到晚間秀，Tracy Letts。

我們都是從芝加哥劇場開始的。

So you and I traveled in the same circles.

所以你我當時都在同一個圈子裡。

I met you at a party and I was delighted to meet you.

我在一個派對上認識你，很高興認識你。

And then I met you at another party and it was a new experience for you.

然後我在另一個派對上又遇到你，對你來說是個新的體驗。

And then I met you at a third party and it was a new experience for you.

然後我在第三個派對上又遇到你，對你來說是個新的體驗。

And the fourth time I met you, probably in an 18 month span.

然後第四次遇到你，大概是在十八個月內。

I remember this time it was at Romaine's Theater.

我記得這次是在 Romaine's 劇場。

I believe it was the opening of the Day Room with Bill Peterson.

我記得那時候是 Day Room 的首演，跟 Bill Peterson 一起。

And I was there with my wife, who was the director of development for Remains at the time.

我當時跟我太太在一起，她那時候是 Remains 的發展總監。

This was still in my drinking days, and I had, in fact, had a little too much sake.

那時候我還在喝酒，其實喝了有點太多清酒了。

And I said, you know, I've met you three times before, and

我說，你知道嗎，我之前遇過你三次了，

the next time I meet you, if you don't remember me, I'm going to punch you in the nose.

下次再見到你，如果你還不記得我，我就要揍你鼻子。

I would say, please accept my apology, but I know what happened next.

我會說，請接受我的道歉，但我知道接下來發生了什麼。

So a couple of weeks later, I'm running errands in Chicago, Lincoln Avenue, and

所以幾週後，我在芝加哥的林肯大道辦事，

And I turn and you are a full block away and you are going, tracy, Tracy.

我轉過身，你離我一個街區遠，你正在喊，Tracy，Tracy。

So you just really didn't want to get punched in the nose, big guy.

所以你真的不想被打鼻子，大塊頭。

You know, you didn't necessarily know that I'm not a guy who punches people in the nose.

你知道，你其實不知道我不是那種會打人鼻子的人。

First staged in the 90s and now, 30 years after its debut was on Broadway for the very first time.

90年代首次上演，現在，距離它的首演 30 年後，終於登上百老匯了。

這不是你第一次登上百老匯，但

to have a play that you've husbanded for so long make the Broadway is lovely.

能有一齣你栽培這麼久的劇登上百老匯，真的很棒。

There's your lovely wife, Carrie Coon on the front right there.

你的美麗妻子 Carrie Coon 就出現在封面上了。

And who's the gentleman playing with Carrie?

那和 Carrie 對戲的這位男士是誰呢？

What is it about this moment that Made you want to bring Bug back.

為什麼這個時刻讓你想要讓 Bug 重新登場？

I wrote the play originally 30 years ago in response to Timothy McVeigh bombing the Murrah Federal Building.

我 30 年前寫這齣戲，是為了回應 Timothy McVeigh 炸毀穆拉聯邦大樓的事件。

It felt at the time was such a kick in the stomach for all Americans, this act of domestic terrorism.

那時候，這種國內恐怖主義的行為，對所有美國人來說都像是一記重擊。

And it was especially hard because a lot of us became aware for the first time that there was a whole strata of society harboring these conspiratorial ideas about our government and the world, conspiracy theory.

當時特別難受，因為我們很多人第一次意識到，社會上有一整個階層對我們的政府和世界懷抱著陰謀論想法。

And I started to research it in the mid-90s when you went on the Internet, the early days of the Internet, and

然後我從 90 年代中期開始研究，那時候你開始上網，網際網路的早期。

all that was on there was porn and conspiracy theory.

網路上只有色情內容和陰謀論。

And you became aware that conspiracy theory, and now they've added recipes.

你意識到陰謀論，現在他們還加上了食譜。

You became aware that this was going to provide a kind of oxygen, the Internet was going to provide oxygen for conspiracy theory, that it was just going to.

你意識到這會提供一種氧氣，網際網路會為陰謀論提供氧氣，它就會。

Just going to spread like a brush fire, that the Internet was tinder for conspiracy theory.

就像野火一樣蔓延，網際網路就是陰謀論的火種。

So 30 years later, what seemed at the time, when we premiered the play in London in the mid-90s, a lot of the reviews were like, well, this is a weird kind of science fiction play.

所以 30 年後，當我們在 90 年代中期於倫敦首演這齣戲時，當時很多人覺得這是一齣很奇怪的科幻劇。

It doesn't feel like science fiction at all anymore.

So that was a reason for us to bring it back.

所以這也是我們決定重新搬演的原因。

現在我們活在一個這樣的世界。

This is sort of another conspiracy thing, you know, AI People perceive as AI as a way to sort of establish, establish domination over the mind of man by these tech companies.

這有點像是另一種陰謀論，你知道的，人們認為 AI 是科技公司用來建立、建立對人類思想的統治的一種方式。

And I don't think that's necessarily a crazy thing to do.

而且我認為這倒也不是什麼瘋狂的想法。

Not because they want to dominate, it's because they want to make money.

不是因為他們想統治，而是因為他們想賺錢。

You've, you know, you have created things for people to watch and people to listen to and people to absorb and process with their mind and their soul for years now.

你已經為人們創造了許多可以觀看、聆聽、吸收和用心靈去處理的東西，這已經持續很多年了。

What do you think the effect of AI is going to be on those of us who create things for performance?

你認為 AI 對我們這些為表演創作的人會有什麼影響？

I don't think there's going to be much impact on us at all.

I mean, I think we're wise to keep watch over what it might do in the entertainment business.

我的意思是，我認為我們應該謹慎觀察它在娛樂產業中可能做些什麼。

But the truth is that in the theater, which is where I primarily work, we're live people in a room with each other.

但事實是，在劇場裡，這是我主要工作的領域，我們是活生生的人們在同一個空間裡。

One of the reasons you love doing the show, I mean, I'm sure you love television, but

你熱愛演出的一個原因，我是說，我確定你熱愛電視，但是

you wouldn't love it nearly as much if all these people weren't in this room with you right now.

如果現在沒有這些人在你身邊，你就不會那麼熱愛了。

That's why I took the G. Yeah, I agree with you.

這就是為什麼我選擇 G。對，我同意你。

I actually think that paradoxically, AI might actually be good for live performance because people are going to be craving real human beings with other real human beings performing things written by humans about what it's like to be human for human beings.

我其實覺得，諷刺的是，AI 可能對現場表演有好處，因為人們會渴望真實的人類，與其他真實的人類一起表演人類寫的、關於身為人類是什麼樣子的東西，給人類看。

And then the only way to know that it's not AI is to go to live performance.

然後，唯一知道這不是 AI 的方法就是去看現場表演。

If you come see Bug, you will see Carrie Coon going through real experiences in real time on stage.

如果你來看 Bug，你會看到 Carrie Coon 在舞臺上經歷真實的體驗，即時演出。

There's a reason this art form is thousands of years old, because people crave that.

這個藝術形式之所以存在了數千年是有原因的，因為人們渴望那種連結。

They crave seeing their stories enacted for them face to face.

他們渴望親眼看到他們的故事被演繹出來。