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  • Translator: Thu-Huong Ha Reviewer: Morton Bast

    譯者: Ho-chung Chou 審譯者: Jui-Hsin Chen

  • Sydney. I had been waiting my whole life to get to Sydney.

    雪梨,我想去雪梨已經想了一輩子

  • I got to the airport, to the hotel, checked in,

    我到了機場,到了酒店,到櫃檯登記了

  • and, sitting there in the lobby, was a brochure

    然後,坐在酒店大廳,看到一本有關

  • for the Sydney Festival. I thumbed through it,

    ''雪梨藝術節'' 的小冊子,我翻了一下

  • and I came across a show called "Minto: Live."

    然後我看到一個叫 "明托:即時秀"的節目

  • The description read: "The suburban streets of Minto

    上面的介紹是:'' 明托郊區的街道

  • become the stage for performances

    變成表演者的舞台

  • created by international artists

    由國際藝術家

  • in collaboration with the people of Minto."

    與明托居民合力完成的創作

  • What was this place called Minto?

    這個明托 是個甚麼樣地方呢

  • Sydney, as I would learn, is a city of suburbs,

    據我所知,雪梨周遭有許多郊區城市

  • and Minto lies southwest, about an hour away.

    還有明托位於西南方,車程大概一小時

  • I have to say, it wasn't exactly what I had in mind

    說實話 我第一天抵達Down Under (澳洲的俗稱) 時

  • for my first day down under.

    覺得這地方和我想的不一樣

  • I mean, I'd thought about the Harbour Bridge or Bondi Beach,

    我是說 我原本以為像雪梨港灣大橋,或是邦迪海灘那樣

  • but Minto? But still, I'm a producer,

    而明托呢?沒錯 我是個製作人

  • and the lure of a site-specific theater project

    而我對環境劇場這種企劃

  • was more than I could resist. (Laughter)

    幾乎是沒有抵抗力的 (笑聲)

  • So, off I went into Friday afternoon traffic,

    所以 我就跟假期尾聲的車潮一樣瘋了

  • and I'll never forget what I saw when I got there.

    我永遠也忘不了當初第一眼看到的景象

  • For the performance, the audience walked

    說說表演形式吧,社區裡的觀眾

  • around the neighborhood from house to house,

    漫步在鄰里之間的房子

  • and the residents, who were the performers,

    還有那些居民,他們同時也是表演者

  • they came out of their houses, and they performed

    他們走出家門,他們在自家草坪上

  • these autobiographical dances on their lawns,

    表演那些展現自我意識的舞蹈

  • on their driveways. (Laughter)

    在自家車道上 (笑聲)

  • The show is a collaboration with a U.K.-based

    這場表演是和一間來自英國的表演公司

  • performance company called Lone Twin.

    合力製作的,這間公司叫做" 孤獨孿生子"

  • Lone Twin had come to Minto and worked

    "孤獨孿生子" 來到明托,然後和當地

  • with the residents, and they had created these dances.

    居民合作,然後他們就創造出這些舞蹈了

  • This Australian-Indian girl, she came out and started

    這位是澳印混血的女孩,她走出來然後

  • to dance on her front lawn,

    在自家草坪上跳起舞來

  • and her father peered out the window to see

    然後她父親從窗戶後面探出頭來

  • what all the noise and commotion was about,

    看看外面那些噪音和騷動是怎麼回事

  • and he soon joined her.

    然後他就加入她

  • And he was followed by her little sister.

    然後她妹妹跟在他後面

  • And soon they were all dancing this joyous,

    過沒多久 他們就開心地一起跳舞

  • exuberant dance right there on their lawn. (Laughter)

    就在自家草坪 生氣勃勃的舞蹈 (笑聲)

  • And as I walked through the neighborhood,

    當我走進這個社區時

  • I was amazed and I was moved by the incredible

    我深感驚喜,而居民們用這樣的舉止

  • sense of ownership this community clearly felt

    清楚地表達自己是這個社區的所有人,也讓我

  • about this event.

    感到不可思議

  • "Minto: Live" brought Sydneysiders into dialogue

    "明托:即時秀’’ 讓雪梨週圍的居民和國際藝術家

  • with international artists, and really celebrated

    建立起聯繫,並用自己的方式

  • the diversity of Sydney on its own terms.

    誠心歡慶雪梨擁有的多樣性

  • The Sydney Festival which produced "Minto: Live" I think

    雪莉藝術節創造了''明托:即時秀'' 這個節目,我認為

  • represents a new kind of 21st-century arts festival.

    這代表的是21世紀藝術慶典的新風貌

  • These festivals are radically open.

    這些慶典極為開明

  • They can transform cities and communities.

    能使城市和社區轉型

  • To understand this, I think it kind of makes sense

    為了深入瞭解 我覺得尋找自身的源頭

  • to look where we've come from.

    是滿合理的作法

  • Modern arts festivals were born

    當代的藝術節誕生於

  • in the rubble of World War II.

    第二次世界大戰的廢墟之中

  • Civic leaders created these annual events

    市政領導者率先舉辦了這些年度慶典

  • to celebrate culture as the highest

    目的是為了慶祝文化成為

  • expression of the human spirit.

    人類精神最高的表徵

  • In 1947, the Edinburgh Festival was born

    1947年,愛丁堡藝術節誕生了

  • and Avignon was born and hundreds of others

    然後亞維儂 (藝術節) 誕生了 接著數以百計的藝術節

  • would follow in their wake.

    相繼崛起

  • The work they did was very, very high art,

    他們的作品是非常非常前衛的藝術

  • and stars came along like Laurie Anderson

    還有像是羅瑞安德森 (知名前衛音樂家) 這種明星的參與

  • and Merce Cunningham and Robert Lepage

    以及摩斯康寧漢 (現代舞蹈之父) 和羅勃勒帕奇 (知名劇場導演)

  • who made work for this circuit,

    都在這個領域發表過作品

  • and you had these seminal shows like "The Mahabharata"

    然後你們會看到以藝術濫觴為題材的 " 摩訶婆羅達 (印度史詩)"

  • and the monumental "Einstein on the Beach."

    還有留名青史的 "沙灘上的愛因斯坦"

  • But as the decades passed,

    而十年過去了

  • these festivals, they really became the establishment,

    這些藝術節真的成就非凡

  • and as the culture and capital accelerated,

    隨著文化水準的提升、規模的擴大

  • the Internet brought us all together,

    還有網路縮短了我們之間的距離

  • high and low kind of disappeared,

    階級的界線可說是消失了

  • a new kind of festival emerged.

    一種新型態的藝術節出現了

  • The old festivals, they continued to thrive, but

    舊型態的藝術節持續成長發展

  • from Brighton to Rio to Perth, something new was emerging,

    但是在英國、里約 (巴西) 和伯斯 (澳洲) 出現了新的東西

  • and these festivals were really different.

    這些藝術節真的很不一樣

  • They're open, these festivals, because, like in Minto,

    他們很開明,因為這些藝術節,例如明托的

  • they understand that the dialogue

    他們了解,在地與全球之間

  • between the local and the global is essential.

    必須有溝通管道

  • They're open because they ask the audience to be a player,

    為什麼說他們開明?因為他們邀請觀眾擔當演員、

  • a protagonist, a partner, rather than a passive spectator,

    當主角、當夥伴,而不是當個被動的旁觀者

  • and they're open because they know that imagination

    說他們開明,因為他們知道

  • cannot be contained in buildings,

    想像力不能侷限在室內

  • and so much of the work they do

    他們的創造有許多都是

  • is site-specific or outdoor work.

    場地限定藝術或是戶外演出

  • So, the new festival, it asks the audience to play

    所以,新的藝術節邀請觀眾扮演

  • an essential role in shaping the performance.

    關鍵角色,改變了表演的風貌

  • Companies like De La Guarda, which I produce, and Punchdrunk

    像是 "守護者" ,也就是我負責的公司,還有 "七暈八素"也是

  • create these completely immersive experiences

    讓觀眾產生全然沉浸其中的體驗,

  • that put the audience at the center of the action,

    因為他們將觀眾放在表演的中心

  • but the German performance company Rimini Protokoll

    但是德國表演公司,"里米尼協議"

  • takes this all to a whole new level.

    將之提升到全新的層次

  • In a series of shows that includes "100 Percent Vancouver,"

    連 "百分百加拿大人"在內,還有

  • "100 Percent Berlin," Rimini Protokoll makes shows

    "百分百柏林人" , 里米尼協議製作的一連串的戲劇

  • that actually reflect society.

    都反映出實際的社會現象

  • Rimini Protokoll chooses 100 people that represent that city

    里米尼協議劇團選出了一百人來代表一座城市

  • at that moment in terms of race and gender and class,

    正值種族、性別、階級等議題紛爭之時

  • through a careful process that begins three months before,

    準備活動在三個月前就開始警慎地進行

  • and then those 100 people share stories about

    然後這一百人跟大家分享故事

  • themselves and their lives, and the whole thing

    分享自己和自己的生活 整齣戲

  • becomes a snapshot of that city at that moment.

    在此刻變成了這座城市的快照

  • LIFT has always been a pioneer in the use of venues.

    左派份子一直都是抗議現場的先驅者

  • They understand that theater and performance

    他們了解劇院和表演

  • can happen anywhere.

    其實是無所不在的

  • You can do a show in a schoolroom,

    你可以在教室表演

  • in an airport, — (Laughter) —

    在機場 — — (笑聲) — —

  • in a department store window.

    在百貨公司的櫥窗

  • Artists are explorers. Who better to show us the city anew?

    藝術家是探險家,誰比他們 更能適合展示我們城市的新風貌?

  • Artists can take us to a far-flung part of the city

    藝術家能帶我們到城市遙遠的那一端

  • that we haven't explored, or they can take us into

    我們沒見識過的地方,他們也能帶我們去

  • that building that we pass every day but we never went into.

    我們每天經過,卻永遠不會走進去的建築

  • An artist, I think, can really show us people

    我認為,藝術家真的能帶我們看到

  • that we might overlook in our lives.

    自己生命中被忽略的部分

  • Back to Back is an Australian company of people

    "背對背" 是一家澳洲公司,他們的

  • with intellectual disabilities. I saw their amazing show

    成員都有智力障礙。我看過他們驚人的表演

  • in New York at the Staten Island Ferry Terminal

    在紐約的斯塔騰島渡輪碼頭

  • at rush hour.

    時間是尖峰時刻

  • We, the audience, were given headsets and seated

    我們這些觀眾拿到耳機之後

  • on one side of the terminal.

    坐在碼頭邊

  • The actors were right there in front of us,

    表演者就在我們面前

  • right there among the commuters,

    就坐在那些通勤者之中

  • and we could hear them,

    我們能聽到他們

  • but we might not have otherwise seen them.

    可是我們不一定能看到他們

  • So Back to Back takes site-specific theater and uses it

    所以背對背劇團選擇了場域特地藝術這種形式

  • to gently remind us about who and what we choose

    他們輕輕的點醒了,我們選擇了誰,選擇了甚麼

  • to edit out of our daily lives.

    來剪輯自己的日常生活

  • So, the dialogue with the local and the global,

    如此一來,本地和全球之間對上話了

  • the audience as participant and player and protagonist,

    觀眾是其中一份子,是演員也是主角

  • the innovative use of site, all of these things

    創新的表演場地 ,所有這些東西

  • come to play in the amazing work

    都包含在這場令人驚異的表演

  • of the fantastic French company Royal de Luxe.

    由奇妙的法國公司" 皇家德陸仕"製作

  • Royal de Luxe's giant puppets come into a city

    皇家德陸仕劇團的巨型木偶走進一座城市

  • and they live there for a few days.

    他們在那裡待了幾天。

  • For "The Sultan's Elephant," Royal de Luxe

    為了" 蘇丹的大象" 這場表演,皇家德陸仕

  • came to central London and brought it to a standstill

    來到倫敦市中心,然後讓玩偶停在那兒

  • with their story of a giant little girl and her friend,

    帶著他們的故事,一個巨大的小女孩和她朋友、

  • a time-traveling elephant.

    一隻時間旅行的大象

  • For a few days, they transformed a massive city

    短短幾天 他們就改變了一座大城市

  • into a community where endless possibility reigned.

    使其變成一個社群,讓到處都充滿著可能性

  • The Guardian wrote, "If art is about transformation,

    衛報寫道:" 如果藝術是種變形

  • then there can be no more transformative experience.

    那藝術就再也無法體驗改革了

  • What 'The Sultan's Elephant' represents is no less

    " 蘇丹的大象" 代表的意義

  • than an artistic occupation of the city

    不只是藝術佔領了一座城市

  • and a reclamation of the streets for the people."

    或是替居民開拓街道

  • We can talk about the economic impacts of these festivals

    我們可以聊聊這些表演在當地發揮的

  • on their cities, but I'm much [more] interested in many more things,

    經濟影響力,但我更關心的是,更多其他的事情

  • like how a festival helps a city to express itself,

    像是藝術節如何幫助一座城市表達自己

  • how it lets it come into its own.

    如何使城市能承先啟後

  • Festivals promote diversity,

    藝術節提倡多元性

  • they bring neighbors into dialogue,

    他們讓社區加入討論的行列

  • they increase creativity,

    他們提升創造力

  • they offer opportunities for civic pride,

    他們提供機會,使公民得以凝聚認同感

  • they improve our general psychological well-being.

    他們改善我們整體的心理幸福感

  • In short, they make cities better places to live.

    總之,他們讓城市更適合人們生活

  • Case in point:

    舉個貼切的例子:

  • When "The Sultan's Elephant" came to London

    當" 蘇丹的大象" 來到倫敦

  • just nine months after 7/7, a Londoner wrote,

    在7/7 (倫敦地鐵爆炸事件) 的九個月後 ,一位倫敦人寫道

  • "For the first time since the London bombings,

    " 自從發生倫敦爆炸事件,這是第一次

  • my daughter called up with that sparkle back in her voice.

    我女兒說話時的聲音重現活力了

  • She had gathered with others

    她和其他人一起

  • to watch 'The Sultan's Elephant,' and, you know,

    去看 "蘇丹的大象",你知道嗎

  • it just made all the difference."

    它讓一切都不一樣了

  • Lyn Gardner in The Guardian has written

    林賈德 (劇評家) 在衛報上寫著

  • that a great festival can show us a map of the world,

    偉大的藝術節能展開全世界, 讓我們看到

  • a map of the city and a map of ourselves,

    一張城市的地圖,一張我們自己的地圖

  • but there is no one fixed festival model.

    但是藝術節沒有固定模式

  • I think what's so brilliant about the festivals,

    我認為藝術節聰明之處

  • the new festivals, is that they are really fully capturing

    我的意思是新型態的藝術節,是他們真正捕捉到

  • the complexity and the excitement

    那些我們生活方式的

  • of the way we all live today.

    複雜性和刺激性的全貌

  • Thank you very much. (Applause)

    非常謝謝大家(掌聲)

Translator: Thu-Huong Ha Reviewer: Morton Bast

譯者: Ho-chung Chou 審譯者: Jui-Hsin Chen

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B1 中級 中文 美國腔 TED 表演 雪梨 城市 大象 藝術

【TED】大衛-賓德:藝術節革命(大衛-賓德:藝術節革命)。 (【TED】David Binder: The arts festival revolution (David Binder: The arts festival revolution))

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