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  • When I arrived in Kiev,

    譯者: Adrienne Lin 審譯者: Marssi Draw

  • on February 1 this year,

    我在今年二月一日抵達基輔時,

  • Independence Square was under siege,

    獨立廣場被佔領,

  • surrounded by police loyal to the government.

    由對政府效忠的警察包圍。

  • The protesters who occupied Maidan,

    佔領獨立廣場的抗議者

  • as the square is known,

    都已備戰,

  • prepared for battle,

    儲備自製武器

  • stockpiling homemade weapons

    和大量臨時製造的盔甲。

  • and mass-producing improvised body armor.

    烏克蘭親歐盟示威 在 2013 年底和平展開,

  • The Euromaidan protests began peacefully at the end of 2013,

    就在烏克蘭總統 維克多‧亞努科維奇

  • after the president of Ukraine, Viktor Yanukovych,

    拒絕與歐盟簽署影響極大的協議,

  • rejected a far-reaching accord with the European Union

    以強化和俄羅斯的關係之後。

  • in favor of stronger ties with Russia.

    為了回應這項做法,上萬名不滿的民眾

  • In response, tens of thousands of dissatisfied citizens

    湧進基輔市中心表達抗議。

  • poured into central Kiev to demonstrate against this allegiance.

    經過幾個月,

  • As the months passed,

    警民的對峙加深。

  • confrontations between police and civilians intensified.

    我臨時在赫雪司基街的 護欄邊搭了攝影棚,

  • I set up a makeshift portrait studio by the barricades on Hrushevsky Street.

    以黑簾為背景拍攝示威者,

  • There, I photographed the fighters against a black curtain,

    黑簾遮蔽了視覺性強 且引人注意的背景:

  • a curtain that obscured the highly seductive and visual backdrop

    槍火、白雪與黑煙。

  • of fire, ice and smoke.

    為了述說每個人的故事,

  • In order to tell the individual human stories here,

    我覺得有必要移除 這些引人注目的背景,

  • I felt that I needed to remove the dramatic visuals

    那些在主流媒體裡不停重覆 人們熟悉的景象。

  • that had become so familiar and repetitive within the mainstream media.

    我所目睹的不只是新聞,還有歷史。

  • What I was witnessing was not only news, but also history.

    有了這項體認,

  • With this realization,

    我便不受傳統攝影新聞拘束,

  • I was free from the photojournalistic conventions

    有別於其他報紙雜誌。

  • of the newspaper and the magazine.

    歐雷格、瓦西里和邁可森都是平凡人,

  • Oleg, Vasiliy and Maxim were all ordinary men,

    住在平凡的小鎮過著平凡的生活。

  • with ordinary lives from ordinary towns.

    但他們穿上的精緻服裝

  • But the elaborate costumes that they had bedecked themselves in

    非常特別。

  • were quite extraordinary.

    我用服裝這個詞

  • I say the word "costume"

    是因為這些衣服並不是 有人負責協調或統一發放的,

  • because these were not clothes that had been issued

    而是臨時的制服,

  • or coordinated by anyone.

    用退役的軍用裝備改製,

  • They were improvised uniforms

    配上淘汰的軍備

  • made up of decommissioned military equipment,

    跟向警方取得的戰利品。

  • irregular combat fatigues and trophies taken from the police.

    我對於他們選擇 呈現的樣子很感興趣,

  • I became interested in the way they were choosing to represent themselves,

    他們這種非常具男子氣概的表現

  • this outward expression of masculinity,

    就是戰士的樣子。

  • the ideal of the warrior.

    我慢慢地用底片相機拍攝,

  • I worked slowly, using an analog film camera

    用手動對焦與手持式曝光錶。

  • with a manual focusing loop and a handheld light meter.

    這種拍攝方式過時了,

  • The process is old-fashioned.

    但讓我有時間跟每個人對話,

  • It gives me time to speak with each person

    在他們回望我的同時, 安靜地與他們對看。

  • and to look at them, in silence, while they look back at me.

    雙方對峙的緊張情勢

  • Rising tensions culminated in the worst day of violence

    在充滿暴力的二月二十日這天爆發,

  • on February 20,

    也是後來為人所知的血腥星期四。

  • which became known as Bloody Thursday.

    效忠政府的狙擊手

  • Snipers, loyal to the government,

    開始在學院街上對著平民和抗議者開槍,

  • started firing on the civilians and protesters on Institutskaya Street.

    短時間內造成很多人死亡。

  • Many were killed in a very short space of time.

    烏克蘭飯店的大廳變成臨時停屍間。

  • The reception of the Hotel Ukraine became a makeshift morgue.

    街上滿是一排排屍體;

  • There were lines of bodies laid in the street.

    行道上充滿斑斑血跡。

  • And there was blood all over the pavements.

    隔天,亞努科維奇總統逃離烏克蘭。

  • The following day, President Yanukovych fled Ukraine.

    簡言之,三個月的抗爭

  • In all, three months of protests

    導致超過 120 人死亡,

  • resulted in more than 120 confirmed dead

    許多人失蹤。

  • and many more missing.

    事件很快就結束,

  • History unfolded quickly,

    但獨立廣場上絲毫不見欣喜之情。

  • but celebration remained elusive in Maidan.

    隨著日子過去,

  • As the days passed in Kiev's central square,

    基輔的中央廣場除了武裝鬥士,

  • streams of armed fighters

    更有成千上萬名平民參與,

  • were joined by tens of thousands of ordinary people,

    湧上街頭集體哀悼逝者。

  • filling the streets in an act of collective mourning.

    很多女性帶著鮮花

  • Many were women who often carried flowers

    放在地上向逝者致敬。

  • that they had brought to lay as marks of respect for the dead.

    他們每天上街頭,

  • They came day after day

    在廣場內擺滿了上百萬朵花。

  • and they covered the square with millions of flowers.

    廣場被悲傷掩沒,

  • Sadness enveloped Maidan.

    安靜到我能聽見鳥鳴,

  • It was quiet and I could hear the birds singing.

    這是前所未有的景象。

  • I hadn't heard that before.

    我叫住那些走到柵欄前

  • I stopped women as they approached the barricades

    要向逝者致意的人,

  • to lay their tributes

    問她們是否願意讓我拍照。

  • and asked to make their picture.

    我拍照時,很多女性都哭了。

  • Most women cried when I photographed them.

    第一天,我和助理艾密內

  • On the first day, my fixer, Emine, and I cried

    都跟每位來拍照的女人一起哭。

  • with almost every woman who visited our studio.

    女性顯然缺席了許久,

  • There had been such a noticeable absence of women

    直到這一刻才現身。

  • up until that point.

    她們淺色的大衣、

  • And the color of their pastel coats,

    鮮艷的手提包,

  • their shiny handbags,

    手上一束束的紅色康乃馨、

  • and the bunches of red carnations,

    白色鬱金香與黃色玫瑰花

  • white tulips and yellow roses that they carried

    和滿是黑色的廣場

  • jarred with the blackened square

    以及被困在此的陰鬱男子 顯得格格不入。

  • and the blackened men who were encamped there.

    我很清楚這兩組照片

  • It is clear to me that these two sets of pictures

    單獨看來不太合理。

  • don't make much sense without the other.

    照片上的是男人與女人本身的體現,

  • They are about men and women and the way we are --

    不是外表,而是本質。

  • not the way we look, but the way we are.

    照片述說著不同性別在衝突中的角色,

  • They speak about different gender roles in conflict,

    不只在獨立廣場,不只在烏克蘭而已。

  • not only in Maidan, and not only in Ukraine.

    男人披掛上陣;女人獻花哀悼。

  • Men fight most wars and women mourn them.

    如果說男人展現了勇士的樣貌,

  • If the men showed the ideal of the warrior,

    那女人正是這種暴力的體現。

  • then the women showed the implications of such violence.

    拍攝這些照片時,

  • When I made these pictures,

    我相信我在記錄 烏克蘭暴力事件的結束。

  • I believed that I was documenting the end of violent events in Ukraine.

    但現在我相信這是記錄一種開始。

  • But now I understand that it is a record of the beginning.

    今天,死亡人數達到約三千人,

  • Today, the death toll stands around 3,000,

    還有數十萬人流離失所。

  • while hundreds of thousands have been displaced.

    我六週前又回到烏克蘭。

  • I was in Ukraine again six weeks ago.

    獨立廣場的護欄已經拆卸完畢,

  • In Maidan, the barricades have been dismantled,

    抗議時用來當武器的 鋪路石也都不見了,

  • and the paving stones which were used as weapons during the protests replaced,

    所以現在廣場的交通又恢復正常。

  • so that traffic flows freely through the center of the square.

    抗議者、女人和鮮花都不見了。

  • The fighters, the women and the flowers are gone.

    一片巨大廣告牆上畫的是 一隻鵝飛過麥田,

  • A huge billboard depicting geese flying over a wheat field

    遮蓋了工會大樓外牆的斑駁痕跡,

  • covers the burned-out shell of the trade union's building

    上頭寫著:

  • and proclaims,

    「烏克蘭萬歲;

  • "Glory to Ukraine.

    英雄萬歲。」

  • Glory to heroes."

    謝謝。

  • Thank you.

    (掌聲)

  • (Applause).

When I arrived in Kiev,

譯者: Adrienne Lin 審譯者: Marssi Draw

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B2 中高級 中文 美國腔 TED 烏克蘭 廣場 抗議 獨立 女人

泰德】阿納斯塔西婭-泰勒-林德:烏克蘭革命的戰士和哀悼者》(阿納斯塔西婭-泰勒-林德:烏克蘭革命的戰士和哀悼者)。 (【TED】Anastasia Taylor-Lind: Fighters and mourners of the Ukrainian revolution (Anastasia Taylor-Lind: Fighters and mourners of the Ukrainian revolution))

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    Zenn 發佈於 2021 年 01 月 14 日
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