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  • (Music)

    譯者: SF Huang 審譯者: Will Hung

  • (Applause)

    (音樂)

  • Trevor Copp: When "Dancing With the Stars" first hit the airwaves,

    (掌聲)

  • that is not what it looked like.

    崔佛‧卡普:當《與星共舞》 在電視上首播時,

  • (Laughter)

    並不是像你現在看到的那樣。

  • Jeff and I were full-time ballroom dance instructors

    (笑聲)

  • when the big TV ballroom revival hit,

    當電視上的國標舞 再度引爆熱潮時,

  • and this was incredible.

    傑夫和我還是全職的 國標舞老師,

  • I mean, one day we would say "foxtrot,"

    這太令人不可置信了。

  • and people were like "Foxes trotting."

    我是指,某天當我們說:「狐步舞。」

  • (Laughter)

    人們一付:「狐狸在慢跑?」

  • And the next day they were telling us

    (笑聲)

  • the finer points of a good feather step.

    然後,隔天他們竟會告訴我們

  • And this blew our minds.

    跳好羽步的微小細節。

  • I mean, all of the ballroom dance geeking out that we had always done

    這令我們感到不可思議。

  • on why salsa worked differently than the competitive rumba

    對我們來說習以為常的,如

  • and why tango traveled unlike the waltz,

    為什麼騷莎舞和競技倫巴舞不同?

  • all of that just hit the public consciousness,

    為什麼探戈的舞步與華爾茲不同?

  • and it changed everything.

    這些國標舞的種種一切, 突然間引起人們的關注和過度興奮,

  • But running parallel to this excitement,

    這改變了一切。

  • the excitement that suddenly, somehow, we were cool --

    伴隨著人們國標舞瘋潮而來的,

  • (Laughter)

    就是突然間,不知為何, 我們變得很酷 !

  • there was also this reservation.

    (笑聲)

  • Why this and why now?

    我們也有這樣的猶疑,

  • Jeff Fox: When Trevor and I would get together for training seminars

    為何是國標舞?為何是現在?

  • or just for fun,

    傑夫‧福克斯:當崔佛和我 因為訓練課程

  • we'd toss each other around, mix it up,

    或好玩而聚在一起練舞時,

  • take a break from having to lead all the time.

    我們將對方拋出去、接回來, 輪流交換,

  • We even came up with a system for switching lead and follow

    這可讓我們相互喘口氣, 不用從頭領舞到尾。

  • while we were dancing,

    我們甚至在跳舞當中,

  • as a way of taking turns and playing fair.

    想出了一套可以相互輪流、公平地

  • It wasn't until we used that system as part of a performance

    領舞與跟舞的方法。

  • in a small festival

    直到有次在一個小型活動中,

  • that we got an important tap on the shoulder.

    我們將輪流領舞的方法帶入演出中,

  • Lisa O'Connell, a dramaturge and director of a playwright center,

    這套方法才受到重量級的關注。

  • pulled us aside after the show and said,

    麗莎‧歐康乃爾-戲劇家兼 劇作中心主任,

  • "Do you have any idea how political that was?"

    於演出後把我們拉到一旁說道:

  • (Laughter)

    「你們知道這有多具政治意涵嗎」

  • So that began an eight-year collaboration to create a play

    (笑聲)

  • which not only further developed our system for switching

    從此我們展開了8年的合作, 並打造了一齣戲劇,

  • but also explored the impact of being locked into a single role,

    這不僅進一步開發了輪流領舞的系統,

  • and what's worse,

    而且也能探究被侷限在單一角色,

  • being defined by that single role.

    更甚者,

  • TC: Because, of course,

    被單一角色畫地自限所帶來的影響。

  • classic Latin and ballroom dancing isn't just a system of dancing;

    崔佛:當然,因為

  • it's a way of thinking, of being,

    傳統的拉丁和國標舞 不僅只是一套舞蹈系統;

  • of relating to each other

    它是一種思維、存在、

  • that captured a whole period's values.

    人際間互動連結的展現方式,

  • There's one thing that stayed consistent, though:

    記錄了整個時期的價值觀。

  • the man leads

    然而,有一件事卻始終不變:

  • and the woman follows.

    男士領舞,

  • So street salsa, championship tango, it's all the same --

    女士跟舞。

  • he leads, she follows.

    所以,從街邊的騷莎舞 到探戈舞錦標賽,全都一樣,

  • So this was gender training.

    他領舞,她跟舞。

  • You weren't just learning to dance --

    這是性別的訓練,

  • you were learning to "man" and to "woman."

    你不只是學習跳舞,

  • It's a relic.

    你還要學習「男性」與「女性」,

  • And in the way of relics, you don't throw it out,

    這是傳統的遺風。

  • but you need to know that this is the past.

    傳統的遺風, 不代表我們要將之捨棄,

  • This isn't the present.

    但,我們要知道那是過去式了。

  • It's like Shakespeare: respect it, revive it -- great!

    並不適合現在。

  • But know that this is history.

    就像莎士比亞: 尊重它,復興它 ── 很好!

  • This doesn't represent how we think today.

    但是,這是歷史。

  • So we asked ourselves:

    它不代表現代人們的思維。

  • If you strip it all down,

    所以我們捫心自問:

  • what is at the core of partner dancing?

    假如你追根究底,

  • JF: Well, the core principle of partner dancing

    雙人舞的核心特質是什麼?

  • is that one person leads, the other one follows.

    傑夫:雙人舞的核心原則是

  • The machine works the same, regardless of who's playing which role.

    一個人領舞,另一個人跟舞。

  • The physics of movement doesn't really give a crap about your gender.

    機器的運作亦同,不管是誰在操作它。

  • (Laughter)

    物理的運動現象也不會 因為你的性別而有所改變。

  • So if we were to update the existing form,

    (笑聲)

  • we would need to make it more representative

    假如我們要讓現有的模式 更合乎時代,

  • of how we interact here, now, in 2015.

    我們就要讓之間的互動 更具代表性,

  • When you watch ballroom, don't just watch what's there.

    在2015年的現在。

  • Watch what's not.

    當你們觀賞國標舞時, 不要只是看那裡有什麼,

  • The couple is always only a man and a woman.

    而是要看那裡少了什麼。

  • Together.

    雙人舞的搭檔,總是一男一女。

  • Only.

    一起。

  • Ever.

    就這樣。

  • So, same-sex and gender nonconformist couples just disappear.

    一成不變。

  • In most mainstream international ballroom competitions,

    相同性別、不落俗套的搭檔 卻不存在。

  • same-sex couples are rarely recognized on the floor,

    絕大多數主流的世界國標舞競賽中,

  • and in many cases,

    同性的舞伴極少在舞池上被認可,

  • the rules prohibit them completely.

    從多數的例子來看,

  • TC: Try this: Google-image, "professional Latin dancer,"

    大會的規則是完全禁止的。

  • and then look for an actual Latino person.

    崔佛:試著在估狗--圖片搜尋 "專業拉丁舞者",

  • (Laughter)

    然後尋找一位真正的拉丁裔舞者。

  • You'll be there for days.

    (笑聲)

  • What you will get is page after page of white, straight Russian couples

    你將會花上好幾天。

  • spray-tanned to the point of mahogany.

    因為,你看到的會是一頁接著一頁的 白皮膚、純正的俄國舞者,

  • (Laughter)

    全身使用定色噴霧噴成小麥色。

  • There are no black people, there are no Asians,

    (笑聲)

  • no mixed-race couples,

    沒有黑人、沒有亞洲人、

  • so basically, non-white people just disappeared.

    沒有跨種族的搭檔,

  • Even within the white-straight- couple-only paradigm --

    所以基本上,沒有非白人的舞者。

  • she can't be taller,

    即便是在只有純白人搭檔的 唯一制式範例中,

  • he can't be shorter.

    她不能比較高,

  • She can't be bolder,

    他不能比較矮。

  • he can't be gentler.

    她不能大膽些,

  • If you were to take a ballroom dance

    他不能溫柔些。

  • and translate that into a conversation

    假如將那刻板範例的國標舞,

  • and drop that into a movie,

    轉化成對話

  • we, as a culture, would never stand for this.

    演繹成電影,

  • He dictates, she reacts.

    在文化層面上, 我們絕不會容許這樣的現象。

  • No relationship -- gay, straight or anything --

    他命令主導,她回應跟隨。

  • that we would regard as remotely healthy or functional looks like that,

    這樣的互動,不管在任何關係上── 同性戀、異性戀或其他關係──

  • and yet somehow,

    我們都會認為是不健康、不可行的。

  • you put it on prime time, you slap some makeup on it,

    然而,不知何故,

  • throw the glitter on, put it out there as movement, not as text,

    你把它放在黃金時段, 妝點上胭脂彩粉,

  • and we, as a culture,

    灑上晶亮的五顏六色, 以動作的形式而非本質內涵來展現,

  • tune in and clap.

    在文化上,

  • We are applauding our own absence.

    我們觀賞它並給予掌聲。

  • Too many people have disappeared from partner dancing.

    我們在為自己的缺席而鼓掌。

  • (Music)

    有太多人在雙人舞中缺席。

  • (Applause)

    (音樂)

  • JF: Now, you just saw two men dancing together.

    (掌聲)

  • (Laughter)

    傑夫:現在,你看到 兩個男人在跳舞。

  • And you thought it looked ...

    (笑聲)

  • a little strange.

    你覺得它看起來......

  • Interesting -- appealing, even --

    有點奇怪。

  • but a little bit odd.

    有趣、甚至有魅力......

  • Even avid followers of the same-sex ballroom circuit can attest

    但是有點古怪。

  • that while same-sex partner dancing can be dynamic and strong and exciting,

    即便同性國標舞聯合會的 狂熱追隨者,可以證明

  • it just doesn't quite seem to fit.

    與同性舞伴共舞是充滿活力、 張力和令人振奮的,

  • Aesthetically speaking,

    但看起來就是不怎麼搭。

  • if Alida and I take the classic closed ballroom hold ...

    以美學的角度來看,

  • this is considered beautiful.

    假如婀麗達和我做出貼身握抱...

  • (Laughter)

    大家會覺得很美。

  • But why not this?

    (笑聲)

  • (Laughter)

    但,為什麼這個就不美了呢?

  • See, the standard image that the leader must be larger and masculine

    (笑聲)

  • and the follower smaller and feminine --

    看吧,領舞者必須身材高大些、 具男子氣概,

  • this is a stumbling point.

    跟舞者則須嬌小些、具女人味的 制式印象──

  • TC: So we wanted to look at this from a totally different angle.

    這就是障礙點。

  • So, what if we could keep the idea of lead and follow

    崔佛:我們想從全然不同的角度 來審視這件事。

  • but toss the idea that this was connected to gender?

    如果我們保留住領舞和跟舞的觀念,

  • Further, what if a couple could lead and follow each other

    但是捨棄掉性別的概念, 會是如何呢?

  • and then switch?

    更甚者,如果舞伴間可以

  • And then switch back?

    交替領舞和跟舞,又會如何呢?

  • What if it could be like a conversation,

    然後再互換?

  • taking turns listening and speaking, just like we do in life?

    如果可以將它變成一種溝通、對話,

  • What if we could dance like that?

    就像日常生活中彼此相互地 傾聽與訴說呢?

  • We call it "Liquid Lead Dancing."

    如果我們能夠像那樣地跳著舞呢?

  • JF: Let's try this with a Latin dance,

    我們稱它做「流動領舞」。

  • salsa.

    傑夫:讓我們試著用這方法 來跳拉丁舞,

  • In salsa, there's a key transitional step, called the cross-body lead.

    騷莎。

  • We use it as punctuation to break up the improvisation.

    騷莎中有一個重要的過渡舞步, 稱為身體交錯引導。

  • It can be a little tricky to spot if you're not used to looking for it,

    我們把它當成標點符號 來分解即興發揮。

  • so here it is.

    如果你不習慣去注意它的話, 會比較難看出來。

  • One more time for the cheap seats.

    就像這樣。

  • (Laughter)

    再一次,給坐在後面的觀眾。

  • And here's the action one more time,

    (笑聲)

  • nice and slow.

    再做一次動作給大家看,

  • Now, if we apply liquid-lead thinking to this transitional step,

    放慢步調。

  • the cross-body lead becomes a point

    現在,如果我們將流動領舞的思維 應用在過渡舞步的話,

  • where the lead and the follow can switch.

    身體交錯引導,

  • The person following can elect to take over the lead,

    將會是領舞與跟舞的關鍵轉換點。

  • or the person leading can choose to surrender it,

    跟舞者可以成為領舞者,

  • essentially making it a counter-cross-body lead.

    而領舞者換位成為跟舞者,

  • Here's how that looks in slow motion.

    實際上就是相對的身體交錯引導。

  • And here's how it looked when we danced it in the opening dance.

    慢動作看起來是這樣的。

  • With this simple tweak, the dance moves from being a dictation

    在開場舞中,它看起是這樣的。

  • to a negotiation.

    一個簡單的扭轉動作, 舞蹈就從主導

  • Anyone can lead. Anyone can follow.

    變成了協商。

  • And more importantly, you can change your mind.

    任何人都可以領舞; 任何人都可以跟舞。

  • Now, this is only one example of how this applies,

    更重要的是, 你可以改變心意。

  • but once the blinkers come off, anything can happen.

    這只是其中的一個例子,

  • TC: Let's look at how Liquid Lead thinking could apply to a classic waltz.

    一旦燈光熄滅, 任何事都可能發生。