Theater is the essential art form of democracy,

戲院很重要是因為民主很重要。

and we know this because they were born in the same city.

戲院是民主的根本藝術形式，

In the late 6th century BC,

我們知道這一點， 是因為它們在同一個城市誕生。

the idea of Western democracy was born.

在西元六世紀末期，

It was, of course,

西方民主的想法誕生了。

a very partial and flawed democracy,

當然，在那時，

but the idea that power should stem from the consent of the governed,

它只是個很不完全、 有瑕疵的民主，

that power should flow from below to above,

但，權力應該來自於 被治理者的同意，

not the other way around,

權力的流動方向應該是由下而上，

was born in that decade.

而非由上而下，

And in that same decade, somebody -- legend has it, somebody named Thespis --

此想法在那十年中誕生。

invented the idea of dialogue.

在同樣那十年某個人—— 據傳說，他叫做狄斯比斯——

What does that mean, to invent dialogue?

發明了關於對話的想法。

Well, we know that the Festival of Dionysus gathered

發明對話，那是什麼意思？

the entire citizenry of Athens

嗯，我們知道，在戴歐尼修斯節，

on the side of the Acropolis,

雅典所有的市民

and they would listen to music, they would watch dancing,

會聚集在雅典衛城旁，

and they would have stories told as part of the Festival of Dionysus.

他們會聽音樂，他們會看舞蹈，

And storytelling is much like what's happening right now:

他們會說故事， 這都是戴歐尼修斯節的一部分。

I'm standing up here,

說故事就很像現在的情境：

the unitary authority,

我站在台上這裡，

and I am talking to you.

我是單一的權威，

And you are sitting back, and you are receiving what I have to say.

我在對你們說話。

And you may disagree with it, you may think I'm an insufferable fool,

你們只是坐著，接收我要說的內容。

you may be bored to death,

你們可能會不同意我說的， 可能會認為我是個惱人的傻子，

but that dialogue is mostly taking place inside your own head.

你們可能無聊到極點，

But what happens if, instead of me talking to you --

但那對話大部分都是 發生在你們自己的腦袋裡。

and Thespis thought of this --

但，如果改一下， 不再是由我對你們說話——

I just shift 90 degrees to the left,

這是狄斯比斯想出來的——

and I talk to another person onstage with me?

我只要向左轉九十度，

Everything changes,

我對台上的另一個人說話，會如何？

because at that moment, I'm not the possessor of truth;

一切都改變了，

I'm a guy with an opinion.

因為在那時刻， 我就不是「真相擁有者」；

And I'm talking to somebody else.

我只是個有意見的人。

And you know what?

我是在跟別人說話。

That other person has an opinion too,

你們知道嗎？

and it's drama, remember, conflict -- they disagree with me.

那個「別人」也有他自己的意見，

There's a conflict between two points of view.

這是戲劇，記得要有衝突—— 他們不認同我說的。

And the thesis of that is that the truth can only emerge

在兩種觀點之間有衝突存在。

in the conflict of different points of view.

而那麼做的論點在於， 唯一會有真相浮現的地方，

It's not the possession of any one person.

就是兩種不同觀點衝突的地方。

And if you believe in democracy, you have to believe that.

真相並非任何人所擁有的。

If you don't believe that, you're an autocrat

如果你相信民主，你就會相信這點。

who is putting up with democracy.

如果你不相信這點，你就是獨裁者，

But that's the basic thesis of democracy,

只是在忍受民主。

that the conflict of different points of views leads to the truth.

但那就是民主的基本論點，

What's the other thing that's happening?

不同觀點的衝突會導出真相。

I'm not asking you to sit back and listen to me.

另外，還會發生另一件事。

I'm asking you to lean forward

我並沒有請你們坐好聽我說。

and imagine my point of view --

我是在請你們向前傾，

what this looks like and feels like to me as a character.

想像我的觀點——

And then I'm asking you to switch your mind

當我是個「角色」的時候， 看起來跟感覺起來就是這樣子的。

and imagine what it feels like to the other person talking.

接著我會請你們轉換一下頭腦，

I'm asking you to exercise empathy.

想像一下身為另一位 在說話的人，感覺是什麼。

And the idea that truth comes from the collision of different ideas

我是在請你們行使「同理心」。

and the emotional muscle of empathy

「真相來自不同想法的碰撞」 這個概念，

are the necessary tools for democratic citizenship.

以及同理心的情緒肌肉，

What else happens?

都是民主公民權所必要的工具。

The third thing really is you,

還會發生什麼？

is the community itself, is the audience.

會發生的第三件事其實就是你，

And you know from personal experience that when you go to the movies,

是共同體本身，是觀眾。

you walk into a movie theater, and if it's empty, you're delighted,

你們從自己的個人經驗 都知道，去看電影時，

because nothing's going to be between you and the movie.

當走進電影戲院， 發現影廳中都沒人，你會很開心，

You can spread out, put your legs over the top of the stadium seats,

因為你和電影之間不會有任何阻礙。

eat your popcorn and just enjoy it.

你可以大方伸展開來， 把腳放到前排的椅子上，

But if you walk into a live theater

吃你的爆米花，好好享受。

and you see that the theater is half full,

但當你走入現場演出的戲院，

your heart sinks.

看到觀眾席已經半滿，

You're disappointed immediately,

你的心會沉下來。

because whether you knew it or not,

你馬上會感到失望，

you were coming to that theater

因為不論你是否知道，

to be part of an audience.

你去到那間戲院，

You were coming to have the collective experience

就是成為觀眾的一部分。

of laughing together, crying together, holding your breath together

你是來取得集體經驗的，

to see what's going to happen next.

大家一起笑、一起哭、一起摒息，

You may have walked into that theater as an individual consumer,

等著看接下來會發生什麼。

but if the theater does its job,

你走入那間戲院時， 或許只是一個個體的客人，

you've walked out with a sense of yourself as part of a whole,

但如果戲院有做好它的工作，

as part of a community.

當你走出戲院時， 你會覺得你自己是整體的一部分，

That's built into the DNA of my art form.

共同體的一部分，

Twenty-five hundred years later, Joe Papp decided

內建在我藝術形式的 DNA 當中。

that the culture should belong to everybody in the United States of America,

2500 年後，約瑟夫帕普決定，

and that it was his job to try to deliver on that promise.

文化應該屬於美國的每一個人，

He created Free Shakespeare in the Park.

而他的工作就是要實現這項承諾。

And Free Shakespeare in the Park is based on a very simple idea,

他創建了「公園中的 免費莎士比亞」戲院。

the idea that the best theater, the best art that we can produce,

「公園中的免費莎士比亞」 根據很簡單的想法，

should go to everybody and belong to everybody,

這個想法就是：最好的戲院， 我們所能產出最好的藝術，

and to this day,

應該要接觸到每個人， 應該屬於每個人，

every summer night in Central Park,

而至今，

2,000 people are lining up

在中央公園，每個夏日晚上，

to see the best theater we can provide for free.

會有 2000 人排隊，

It's not a commercial transaction.

要看我們能提供的最好的戲劇。

In 1967, 13 years after he figured that out,

那不是商業交易。

he figured out something else,

1967 年，在他想通了 這件事的 13 年後，

which is that the democratic circle was not complete

他又想通了另一件事，

by just giving the people the classics.

那就是，只把經典給予人民，

We had to actually let the people create their own classics

還不夠讓民主圓圈變完整。

and take the stage.

我們得要真正讓人民 去創作他們自己的經典，

And so in 1967,

站上舞台。

Joe opened the Public Theater downtown on Astor Place,

所以，在 1967 年，

and the first show he ever produced was the world premiere of "Hair."

喬瑟夫在阿斯托廣場鬧區 開了一間公眾劇院，

That's the first thing he ever did that wasn't Shakespeare.

他所製作的第一場演出， 就是《毛髮》的首演。

Clive Barnes in The Times said that it was as if Mr. Papp took a broom

這也是他第一次做 不是莎士比亞的戲劇。

and swept up all the refuse from the East Village streets

《紐約時報》的克萊夫巴恩斯說， 那彷彿就是帕普拿了一支掃帚，

onto the stage at the Public.

把東村街道上的 所有拒絕，通通掃到

(Laughter)

公眾劇院的舞台上。

He didn't mean it complementarily,

（笑聲）

but Joe put it up in the lobby, he was so proud of it.

他並沒有讚美的意思，

(Laughter) (Applause)

但喬瑟夫把這篇報導 陳列在大廳，他感到好驕傲。

And what the Public Theater did over the next years with amazing shows like

（笑聲）（掌聲）

"For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf,"

在接下來的幾年， 公眾劇院有許多出色的節目，

"A Chorus Line,"

像是《給那些當彩虹出現， 就要考慮自殺的有色女孩》、

and -- here's the most extraordinary example I can think of:

《歌舞線上》，

Larry Kramer's savage cry of rage about the AIDS crisis,

以及——這是我所能想出 最不凡的例子：

"The Normal Heart."

拉里克萊默出於愛滋病的憤怒 而發出野性吶喊的作品，

Because when Joe produced that play in 1985,

《血熱之心》。

there was more information about AIDS

因為當喬瑟夫在 1985 年 製作那齣劇作的時候，

in Frank Rich's review in the New York Times

在《紐約時報》上 法蘭克瑞奇的評論中，

than the New York Times had published in the previous four years.

關於愛滋病的資訊量比《紐約時報》

Larry was actually changing the dialogue about AIDS

前四年所出版的所有資訊 加起來都還要多。

through writing this play,

拉里透過撰寫這部作品的方式，

and Joe was by producing it.

來改變關於愛滋病的對話，

I was blessed to commission and work on Tony Kushner's "Angels in America,"

而喬瑟夫是製作人。

and when doing that play and along with "Normal Heart,"

我很有福氣，受到委任做了 東尼庫許納的《天使在美國》，

we could see that the culture was actually shifting,

在做那齣戲和《血熱之心》的時候，

and it wasn't caused by the theater,

我們可以看出，文化真的在轉變，

but the theater was doing its part

並不是由戲院所造成的，

to change what it meant to be gay in the United States.

但戲院有扮演好它的角色，

And I'm incredibly proud of that.

改變了在美國被認為很娘的定義。

(Applause)

對此我感到非常驕傲。

When I took over Joe's old job at the Public in 2005,

（掌聲）

I realized one of the problems we had was a victim of our own success,

2005 年，我接下了 喬瑟夫在公眾劇院的工作，

which is: Shakespeare in the Park had been founded as a program for access,

我了解到我們的問題之一， 其實是由我們自己的成功所造成，

and it was now the hardest ticket to get in New York City.

就是：公園中的莎士比亞成立時 是要成為大家都可使用的計畫，

People slept out for two nights to get those tickets.

而它現在是紐約市中最難取得的票。

What was that doing?

大家要在門外過夜排隊 兩個晚上，才能買到票。

That was eliminating 98 percent of the population

那是怎麼回事？

from even considering going to it.

那會讓 98% 的人

So we refounded the mobile unit

完全不考慮要去那裡了。

and took Shakespeare to prisons, to homeless shelters,

所以我們重新成立了一個行動組，

to community centers in all five boroughs

把莎士比亞帶到監獄、遊民收容所、

and even in New Jersey and Westchester County.

所有五個行政區，甚至紐澤西

And that program proved something to us that we knew intuitively:

和威斯特徹斯特郡的社區中心。

people's need for theater is as powerful as their desire for food

該計畫向我們證明了一件事， 和我們本來的直覺相符：

or for drink.

大家對於戲院的需求， 和他們對食物或飲水的慾望

It's been an extraordinary success, and we've continued it.

一樣強大。

And then there was yet another barrier that we realized we weren't crossing,

這計畫一直非常成功， 我們還在持繼進行。

which is a barrier of participation.

接著，還有一個障礙， 我們一直都還沒跨越，

And the idea, we said, is:

那就是參與的障礙。

How can we turn theater from being a commodity, an object,

我們說，這個想法是：

back into what it really is --

我們要如何將戲院 從一種商品、一個物體，

a set of relationships among people?

轉變回它真正的本質——

And under the guidance of the amazing Lear deBessonet,

人之間的一組關係？

we started the Public Works program,

在李爾戴本森奈特 很了不起的指導之下，

which now every summer produces

我們開始了「公眾作品」計畫，

these immense Shakespearean musical pageants,

現在，每年夏天，這個計畫

where Tony Award-winning actors and musicians

都會製作這些超棒的音樂盛會，

are side by side with nannies and domestic workers

在盛會中，得過東尼獎的演員

and military veterans and recently incarcerated prisoners,

和音樂家會與褓姆、 國內的工人、退伍軍人、

amateurs and professionals,

剛出獄的犯人、 業餘玩家，以及職業專家

performing together on the same stage.

肩並肩攜手合作，

And it's not just a great social program,

一起同台演出。

it's the best art that we do.

它不只是個很棒的社會計畫，

And the thesis of it is that artistry is not something

它是我們所能做出最棒的藝術。

that is the possession of a few.

它的論點是：藝術才能並不是

Artistry is inherent in being a human being.

少數人所擁有的。

Some of us just get to spend a lot more of our lives practicing it.

身為人，天生就有藝術才能。

And then occasionally --

只是我們當中有些人 花了更多時間在練習它。

(Applause)

然後，偶爾——

you get a miracle like "Hamilton,"

（掌聲）

Lin-Manuel's extraordinary retelling of the foundational story of this country

就會出現奇蹟，像《漢密爾頓》，

through the eyes of the only Founding Father who was a bastard immigrant orphan

林曼努爾重新訴說這個國家 開國故事的不凡之作，

from the West Indies.

透過開國先驅的視角來呈現， 而他是來自西印度群島的

And what Lin was doing

私生子移民孤兒。

is exactly what Shakespeare was doing.

林所做的，

He was taking the voice of the people, the language of the people,

就是莎士比亞所做的。

elevating it into verse,

他將人民的聲音、人民的語言

and by doing so,

提升成為詩節，

ennobling the language

藉由這麼做，

and ennobling the people who spoke the language.

讓那語言變得更尊貴，

And by casting that show entirely with a cast of black and brown people,

也讓說那語言的人民變得更尊貴。

what Lin was saying to us,

全劇的卡司用的 全部都是黑色和褐色皮膚的人，

he was reviving in us

林想要對我們說的是，

our greatest aspirations for the United States,

他要喚醒我們心中

our better angels of America,

美國最偉大的熱望，

our sense of what this country could be,

我們更好的美國天使，

the inclusion that was at the heart of the American Dream.

我們對於這個國家 能夠成為什麼樣子的看法，

And it unleashed a wave of patriotism in me

位在美國夢核心位置的包容。

and in our audience,

它在我體內、我們觀眾體內，

the appetite for which is proving to be insatiable.

釋放出一波愛國主義，

But there was another side to that, and it's where I want to end,

已經證明，對此的胃口 是不會被滿足的。

and it's the last story I want to talk about.

但還有另一個面向， 我想用這個面向來作結，

Some of you may have heard that Vice President-elect Pence

這是我想要談的最後一個故事。

came to see "Hamilton" in New York.

在座有些人可能聽過 當選而尚未就任的副總統彭斯

And when he came in, some of my fellow New Yorkers booed him.

來紐約看《漢密爾頓》。

And beautifully, he said,

當他進來時，一些紐約人 對他發出噓聲。

"That's what freedom sounds like."

他說了句很棒的話：

And at the end of the show,

「那就是自由的聲音。」

we read what I feel was a very respectful statement from the stage,

在節目的最後，

and Vice President-elect Pence listened to it,

我們在舞台上讀了 我認為非常有敬意的聲明，

but it sparked a certain amount of outrage, a tweetstorm,

而彭斯副總統聽了它，

and also an internet boycott of "Hamilton"

但它點燃了某些怒火和推特風暴，

from outraged people who had felt we had treated him with disrespect.

還有針對《漢密爾頓》的 一項網路抵制活動，

I looked at that boycott and I said, we're getting something wrong here.

發動者是憤怒的人， 他們覺得我們不尊重他。

All of these people who have signed this boycott petition,

我看著那抵制，我說， 我們有什麼地方出了差錯。

they were never going to see "Hamilton" anyway.

所有這些簽署了抵制請願的人，

It was never going to come to a city near them.

反正他們永遠不會去看《漢密爾頓》。

If it could come, they couldn't afford a ticket,

該劇永遠不會到 他們鄰近的城市演出。

and if they could afford a ticket, they didn't have the connections

就算有，他們也買不起票，

to get that ticket.

就算買得起票，他們也沒有人脈

They weren't boycotting us;

可以取得票。

we had boycotted them.

他們不是在抵制我們；

And if you look at the red and blue electoral map of the United States,

我們已經先抵制了他們。

and if I were to tell you,

如果你看看標上藍色 和紅色的美國選舉地圖，

"Oh, the blue is what designates

如果我告訴你：

all of the major nonprofit cultural institutions,"

「喔，藍色標記代表

I'd be telling you the truth.

所有主要的非營利文化機構。」

You'd believe me.

那我告訴你的是真相。

We in the culture have done exactly what the economy,

你會相信我。

what the educational system, what technology has done,

在文化上，我們所做的事， 完全和在經濟上、

which is turn our back on a large part of the country.

教育體制上、科技上所做的一樣，

So this idea of inclusion, it has to keep going.

那就是背棄了這個國家大部分的人。

Next fall, we are sending out on tour

所以，這個包容的概念 得要持續下去。

a production of Lynn Nottage's brilliant, Pulitzer Prize-winning play "Sweat."

明年秋天，我們有一場巡迴演出，

Years of research in Redding, Pennsylvania led her to write this play

演出作品是讓林恩諾塔吉得了 普立茲獎的出色劇作《汗水》。

about the deindustrialization of Pennsylvania:

她花了數年時間 在賓州的雷丁做研究，

what happened when steel left,

寫下這齣關於賓州去工業化的劇作：

the rage that was unleashed,

如果鋼鐵工業外移會是怎樣的情況，

the tensions that were unleashed,

被釋放出來的怒火，

the racism that was unleashed