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  • You're sitting there,

    譯者: Lilian Chiu 審譯者: Yanyan Hong

  • and it's incredibly frustrating.

    你坐在那裡,

  • It's maddening.

    感到非常挫折。

  • You've been sitting there for hours,

    這實在讓人抓狂。 你在那裡坐了數個小時,

  • filling in those little tiny circles with your No. 2 pencil --

    用你的二號鉛筆 把那些小圓圈塗滿——

  • this is a standardized test.

    這是學測。

  • You look up, half-erased chalkboard,

    你抬頭看,黑板上的字

  • you can see that perfectly written cursive alphabet,

    擦掉了一半,

  • the pull-down maps,

    你可以看見寫得很完美的草寫字母,

  • you can hear, tick, tick, tick, ticking on the wall, that industrial clock.

    下拉地圖,

  • But most importantly, you can feel that oppressive fluorescent light,

    你能聽到牆上的工業風格時鐘

  • that death ray over your head.

    不停地滴答、滴答、滴答。

  • Bzzzzzz.

    但,最重要的是,你能感受到

  • And you can't take it anymore, but you don't have to,

    很有壓迫感的日光燈,

  • because Miss Darling says, "OK, boys and girls, you're done."

    你頭頂上的死亡光線。

  • So you jump up -- I mean, there is nothing left of you but a vapor trail.

    滋滋滋滋滋。

  • You move so quickly, you slam that little molded plastic chair,

    你無法再忍受了, 但你也不用再忍受,

  • and you sprint down the hallway;

    因為達林老師說: 「好了,各位,到此為止。」

  • you go past the Lysol smell and the BO smell and the cubbies,

    你跳起來——我是指,你已經 什麼都不剩,只留下雲霧狀尾跡。

  • and you push the door --

    你的動作超快,猛然推開 那張模壓塑膠小椅子,

  • (Inhales deeply)

    你立馬衝向走廊;

  • and finally, you're outside.

    你經過了消毒藥水味、 汗臭味,和置物櫃,

  • Oh, you can feel the wind on your face,

    你推開門——

  • then the sun on your skin

    (深吸氣)

  • and most importantly, the big blue sky.

    終於,你到了室外。

  • That is a revelation of space.

    喔,你能感受到吹拂在臉上的風,

  • Making revelations of space is what I do; I'm a designer and creative director,

    照射在皮膚上的陽光,

  • and that's what I do for a living.

    最重要的,還有那廣闊的藍天。

  • I do it for all sorts of people in all kinds of different ways,

    那是空間的揭示。

  • and it might seem complicated, but it's not.

    我的工作就是在做空間的揭示。

  • And over the next couple of minutes, I'm going to give you three ways

    我是設計師和創意總監, 那是我的工作。

  • that I think you can move through your world

    我用各式各樣的方式, 為各式各樣的人做空間的揭示,

  • so that you, too, can make revelations of space, or at least reveal them.

    聽起來似乎很複雜,但其實不然。

  • Step one: therapy.

    在接下來的幾分鐘, 我會告訴各位三種方法,

  • I know, I know, I know: blah, blah, blah, New Yorker, blah, blah, blah, therapy.

    讓你能在你的世界中穿梭,

  • But seriously, therapy -- you have to know why you're doing these things, right?

    這麼一來,你也能做空間的揭示,

  • When I got the job of designing "Hamilton,"

    或至少展示它們。

  • I sat with Lin-Manuel Miranda, writer,

    步驟一:治療。

  • Tommy Kail, director, and I said,

    我知道,我知道,有的沒的, 紐約客,有的沒的,治療。

  • "Why are we telling this 246-year-old story?

    但,說真的,治療——你得要 知道你為什麼要做這些事,對吧?

  • What is it about the story that you want to say,

    當我拿到設計 《漢密爾頓》的工作時,

  • and what do you want people to feel like when they experience the show?"

    我和編劇林曼努爾米蘭達

  • It's important. When we get that, we move into step two: the design phase.

    及導演托馬斯凱爾坐下來談,我說:

  • And I'll give you some little tricks about that,

    「我們為什麼要說 這個已經 246 歲的故事?

  • but the design phase is important because we get to make these cool toys.

    關於這個故事, 你們想說的是什麼?

  • I reach into Lin's brain, he reaches into mine,

    當觀眾體驗這齣劇的時候, 你們希望他們有什麼感覺?

  • this monologue becomes a dialogue.

    這很重要。這步驟完成了, 我們就要進行步驟二:設計階段。

  • And I make these cool toys,

    我會告訴你們一些密技,

  • and I say, "Does this world look like the world

    但設計階段之所以重要,

  • that you think could be a place where we could house your show?"

    是因為我們能做出很酷的玩具。

  • If the answer is yes -- and when the answer is yes --

    我進入林的腦袋裡, 他進入我的腦袋裡,

  • we move into what I think is the most terrifying part,

    這段獨白變成了對話。

  • which is the execution phase.

    我做出這些很酷的玩具, 我說:「這個世界看起來

  • The execution phase is when we get to build this thing,

    是你們認為能夠把你們的劇 給呈現出來的地方嗎?」

  • and when this conversation goes from a few people to a few hundred people

    若答案是「是」—— 且當答案是「是」——

  • now translating this idea.

    我們就要進入我認為 最讓人害怕的部分,

  • We put it in this beautiful little thing,

    執行階段。

  • put it in the "Honey, I Shrunk the Kids" super-sizer machine

    執行階段就要開始把它打造出來了,

  • and blow it up full-scale,

    對話的人數也從只有幾個人, 變成幾百個人,

  • and we never know if we did it right

    把想法實際呈現出來。

  • until we show up onstage and go, "Is it OK? Is it OK?"

    我們把這個美麗的小東西放進來,

  • Here's the thing:

    把它放在《親愛的,我把孩子縮小了》

  • you don't have to be Lin,

    戲裡的放大縮小機裡,

  • you don't have to have a book that you want to turn into a show

    再把它放大成原尺寸, 我們不會知道是否做對了,

  • in order to do this in your real life.

    直到我們出現在舞台上, 說:「可以嗎?可以嗎?」

  • You're already starring in a show, by the way. It's called your life.

    重點來了:你不需要是林,

  • Congratulations. (Laughter)

    你不需要有一本書, 然後想要把它變成一齣劇,

  • But seriously, Shakespeare said it: "All the world's a stage."

    一樣能在你的真實人生中這樣做。

  • He nailed that part.

    你已經在一齣劇中演出了, 這齣劇叫做「你的人生」。恭喜。

  • What he screwed up royally was that part where he said,

    (笑聲)

  • "And we are merely players."

    但,說真的,莎士比亞說過: 「全世界就是舞台。」

  • It's ridiculous. We're not merely players.

    那個部分他說得很好。 他很莊嚴地搞砸的部分,

  • We are the costume designers and the lighting designers

    是他說:「而我們只是演員。」

  • and the makeup artists in our own world,

    這太荒唐了。我們不只是演員。

  • and I want to get you to think about being the set designer in your world.

    我們也是我們自己世界中的

  • Because I think you can leave here if you do these three steps

    服裝設計師、燈光師,和化妝師,

  • and a couple of little tricks, as I said, I'm going to tell you,

    我想要讓你思考去擔任 你的世界中的舞台設計師。

  • and you can begin to change the world

    因為我認為,離開這裡之後, 如果你能做這三個步驟,

  • the way you want to.

    還有一些我剛說過我等下 會告訴你們的小技倆,

  • You want to do it?

    那麼你就能開始 依你想要的方式改變世界,

  • OK. Everybody write a show.

    你們想做嗎? 好,大家去寫一齣劇。

  • (Laughter)

    (笑聲)沒啦,開玩笑。

  • No. Just kidding.

    好。步驟一:治療。對吧?

  • OK. Step one: therapy. Right?

    你們感覺如何?

  • How are you feeling?

    治療師都這樣說: 「你今天感覺如何?」

  • That's what the therapist says: "How are you feeling today?"

    記住這一點是很重要的,因為

  • It's important to remember that, because when we design the world for you,

    當我們為你設計世界場景的時候,

  • the therapy is important.

    治療很重要。

  • It tells you that emotion is going to become light and color.

    它告訴你,情緒會變成光線和顏色。

  • A good example of that light and color

    關於那種光線,有一個很好的例子,

  • is a show I designed called "Dear Evan Hansen."

    就是我設計的劇 《致埃文漢森》。(歡呼)

  • (Cheers)

    《致埃文漢森》——喔,天——

  • "Dear Evan Hansen" exists -- oh my God --

    《致埃文漢森》所處的世界,

  • "Dear Evan Hansen" exists in a world of almost all light and color.

    是個幾乎有所有光線和顏色的世界。

  • So I chose a color: inky-black darkness.

    所以我選擇了一個顏色: 墨黑的黑暗色。(笑聲)

  • (Laughter)

    在墨黑的黑暗色中的情緒是悲傷。

  • Inky-black darkness is a color the way that sadness is an emotion.

    這齣劇會改變人, 但在這之前會先給人挫折。

  • And this show transforms people, but not before it wrecks people.

    我打賭你們在納悶:

  • I bet you're wondering, "How expensive could the set possibly be to transform you

    「舞台場景要多貴才能 爲你帶來煥然一新的體驗?

  • if you sit for two hours and 20 minutes

    畢竟你是在墨黑的黑暗色中 坐了兩小時二十分鐘。」

  • in inky-black darkness?"

    答案是:很便宜!

  • The answer is: cheap!

    墨黑的黑暗色,

  • Inky-black darkness,

    在對的時間點把燈打開。

  • turn the lights on at the right time.

    說真的,想想看離開 達林老師的教室時,

  • Seriously, think about leaving Miss Darling's class.

    墨黑的黑暗色在對的時刻退去,

  • Inky-black darkness gives way at the right moment,

    我們遠離那道牆,揭示出

  • we fly away that wall and reveal a beautiful blue sky.

    美麗的藍天。

  • It blows people away and it transports them,

    它能讓人驚訝,

  • and it makes them feel hopeful.

    帶他們去不同的地方, 給予他們希望。

  • And we know this because color is emotion,

    我們知道這一點, 因為顏色就是情緒,

  • and when you paint with color, you're painting with feelings.

    當你用顏色來作畫, 你就是用感受來作畫。

  • So think about that emotion, the one I had you file away in your mental Rolodex.

    所以,想想我讓你歸檔到 你的心理名片盒中的那種情緒。

  • What color is it?

    它是什麼顏色的? 它在你衣櫥裡的哪個地方?

  • Where in your wardrobe does it exist, and where in your home does it exist?

    它在你家裡的哪個地方?

  • When we design the show for you,

    當我們為你設計一齣劇時,

  • we're going to use that color to tell you how you feel in certain times.

    我們會使用那種顏色來告訴你 在某些時候你要有什麼感覺。

  • But also, you know this exists because you put the hero in white,

    但,你也知道它存在, 因為你讓英雄穿白色,

  • you put the lead character in red, you put the villain in all black.

    讓主角穿紅色,讓壞蛋穿全黑。

  • It's typecasting. You know that.

    你知道演員會定型。所以,想想它。

  • So think about it.

    但世界上還有其他的事物在發生,

  • But there's also something else that happens in the world

    能協助我們以安全的方式 在世界中穿梭。

  • that helps us move through the world in a safe way.

    它們叫做建築標準。

  • They're called architectural standards.

    它們讓我們不會掉下去而搞砸。

  • They make us not fall down and go boom.

    門把都設在同樣的高度。 燈光開關都設在同樣的高度。

  • Doorknobs are all at the same height. Light switches are all at the same height.

    小便斗都——謝天謝地—— 設在同樣的高度,

  • Toilet bowls are always -- thank God -- at the same height,

    因為大家用小便斗時都能命中。

  • because no one ever misses the toilet bowl.

    但,說真的,

  • But seriously,

    如果我們開始微調那些建築標準, 來得到我們想要的,會如何?

  • what would happen if we started to tweak those architectural standards

    這讓我想起我為 皮威赫爾曼製作的樓梯。

  • to get what we wanted?

    皮威赫爾曼是個孩子,

  • It reminds me of the stairs I made for Pee-Wee Herman.

    他的整個世界被創造出來的方式,

  • Pee-Wee Herman is a child,

    讓我們覺得皮威是個孩子。

  • and his entire world is created so that we perceive Pee-Wee as a child.

    建築、家具,一切都活了過來,

  • The architecture and the furniture and everything come to life,

    但沒有什麼比那樓梯更重要。

  • but nothing more important than those stairs.

    那樓梯每階有十二英吋高,

  • Those stairs are 12 inches high,

    當皮威沉重地爬上爬下那樓梯,

  • so when Pee-Wee clomps up and down those stairs,

    他以孩子的方式和樓梯互動。

  • he interacts with them like a kid.

    那種互動是無法假造的,

  • You can't fake that kind of interaction,

    這和我們要求歌劇中的人

  • and that's the exact opposite of what we ask people in opera to do.

    所做的完全相反。

  • In opera, we shrink those stairs

    在歌劇中,我們把那樓梯縮小,

  • so that our main characters can glide up and down effortlessly

    讓主要的角色能

  • without ever breaking their voice.

    毫不費力地滑上滑下,

  • You could never put an opera singer in Pee-Wee's Playhouse,

    聲音完全不受影響。

  • (Sings in Pee-Wee's voice) or they wouldn't be able to do their job.

    把歌劇中的演唱者放到 皮威的劇場中是不可能的,

  • (Laughter)

    (皮威的唱法)他們不可能 唱好他們的歌。(笑聲)

  • But you couldn't put Pee-Wee in an opera set.

    但你也不能把皮威放到歌劇場景。

  • He couldn't climb up and down those stairs.

    他不能爬上爬下那種樓梯。 那就不是皮威了。

  • There'd be no Pee-Wee.

    他會像詹姆士龐德很優雅地 上下樓梯。(笑聲)

  • He'd be like James Bond slinking elegantly up and down the stairs.

    那是行不通的。 想想你的場景、你的家、

  • It wouldn't work.

    你每天生活的環境。

  • (Laughter)

    如果你跟我很像,垃圾筒總是太小,

  • Now think of your set, your home, what you exist in every single day.

    裝不下你每天晚上 買回家的外帶食物,對吧?

  • If you're anything like me, the trash can is just too small

    我會不斷在擠壓, 好像我在比薩店捏麵團一樣,

  • for the amount of takeout that you buy every night, right?

    我要把東西壓進去,因為我不了解。

  • And I find myself jamming like I'm kneading dough at a pizza place,

    喔,也許你門廳的燈光開關

  • I'm jamming it in because I don't understand.

    被一大堆亂放的外套擋住,

  • Or, maybe the light switch in your foyer

    所以你甚至不會去動它。

  • is just stashed behind too many precariously placed coats,

    因此,一天又一天,

  • and so you don't even go for it.

    你就只是在黑暗中進進出出。

  • Therefore, day after day,

    (笑聲)這是真的。

  • you wind up walking in and out of a chasm of darkness.

    但如果空間能揭示出 關於你自己的一些事,

  • (Laughter)

    連你自己都不知道的事呢?

  • It's true.

    肯伊從來沒有明確 告訴我他想要當上帝。

  • But what would happen if the space revealed something about yourself

    但——(笑聲)

  • that you didn't even know?

    當我們開始合作,

  • Kanye never told me specifically that he wanted to be God.

    我們之間來來回回傳著影像,

  • But --

    他給了我一張北極光的照片,

  • (Laughter)

    有一道閃電穿過它。

  • when we started working together, we were sending images back and forth,

    他也給我一些從上頂向下看的照片,

  • and he sent me a picture of the aurora borealis

    那是個滿是雲霧的峽谷,

  • with lightning strikes through it.

    或是水面之下有煙霧——

  • And he sent me pictures from a mountaintop looking down

    都是史詩般的景。

  • at a smoke-filled canyon,

    所以我為他設計的第一個場景

  • or smoke underneath the surface of water --

    是一個大型的光箱, 上面有他唱片公司的名字。

  • like, epic stuff.

    他要耀武揚威地站在前面, 它會閃光,就像雷電。

  • So the first set I designed for him was a huge light box

    史詩般的畫面, 卻像入門工具包的史詩。

  • with the name of his record label.

    我們接著用了一天片天空, 中間有一道裂痕,

  • He would stand triumphantly in front of it,

    透過裂痕,你能看見

  • and it would flash lights like a lightning bolt.

    宇宙深處的某些部分。

  • And it was epic, but, like, starter-kit epic.

    越來越靠近。

  • We moved on to a large swath of sky with a tear down the middle,

    我們演進成站在方尖塔的上面,

  • and through the tear, you could see deep parts of the cosmos.

    站在山腰的上面,站在箱子的上面。

  • Getting closer.

    他身為藝術家,透過空間不斷演進,

  • We evolved to standing on top of an obelisk,

    我的工作就是要試著跟上去。

  • standing on top of a mountainside, standing on top of boxes.

    我們合作科切拉音樂節時,

  • You know, he was evolving as an artist through space,

    他就站在八十英呎寬,

  • and it was my job to try and keep up.

    四十英呎高的古老工藝品前面,

  • When we did Coachella,

    真的是從神變成了人。

  • there he was,

    他在演進,我們都是見證人。

  • standing in front of an 80-foot-wide by 40-foot-tall ancient artifact,

    他的最後一場演出不是我 設計的,我只是見證,

  • literally handed down from God to man.

    在劇中,他完成了自我實現。

  • He was evolving, and we were all witness to it.

    他真的就站在漂浮的 塑膠玻璃甲板上,

  • And in his last show, which I didn't design but I witnessed,

    下面是愛慕他的粉絲,

  • he had self-actualized.

    他們沒有選擇,

  • He was literally standing on a floating plexiglass deck

    只能讚頌上面的伊穌基督。

  • over his adoring fans,

    (笑聲)他神話了他自己。

  • who had no choice but to praise to Yeezus up above.

    你不能在你的客廳裡變成伊穌基督。

  • (Laughter)

    空間告訴了他他是誰,

  • He had deified himself.

    接著他把那訊息傳遞給我們。

  • You can't become Yeezus in your living room.

    我二十歲時,

  • The space told him who he was about himself,

    我開車穿過停車場,

  • and then he delivered that to us.

    看見一個水坑時,我心想: 「我要左轉,不——壓過它。」

  • When I was 20 years old,

    我直駛向那水坑, 接著——噗噗噗——

  • I was driving through a parking lot, and I saw a puddle.

    水在我的車底下飛濺,

  • I thought, "I'm going to veer to the left. No -- I'm going through it."

    馬上,我也有了一個 「啊哈」的時刻。

  • And I hit the puddle, and -- ffftt! -- all the water underneath my car,

    車燈熄了。

  • and instantly, I have an aha moment.

    世界上的一切都需要好好設計。

  • Light bulb goes off.

    我是指,我確定我當時在想:

  • Everything in the world needs to be designed.

    「這停車場的排水需要好好設計。」

  • I mean, I'm sure I was thinking, "The drainage needs to be designed

    但接著,我說:「世界上的一切 都需要好好設計。」

  • in this parking lot."

    那是真的:如果讓大自然自己來,

  • But then I was like, "Everything in the world needs to be designed."

    它不會為你刻出一條有趣

  • And it's true: left to its own devices,

    或有幫助的路徑。

  • Mother Nature isn't going to carve an interesting or necessarily helpful path

    我把我的職涯都投入在 接觸人們的心靈,

  • for you.

    在外頭創造出能與我們互動的世界。

  • I've spent my career reaching into people's minds

    是的,你可能無法找到很炫的 合作者一起做這件事,

  • and creating worlds out here that we can all interact with.

    但我想,離開這裡之後, 那三個簡單的步驟——

  • And yeah, you might not get to do this with fancy collaborators,

    治療,我想要成為誰?

  • but I think if you leave here, those three easy steps --

    我為什麼要做我所做的事?

  • therapy, who do I want to be, why do I do the things that I do;

    設計,創造出一個計畫,

  • design, create a plan and try and follow through with it,

    試著把它實現,

  • what can I do;

    我能做什麼?

  • execute it --

    執行它——

  • I think if you add that with a little color theory --

    我想如果你能再加上 一點顏色理論——

  • (Laughter)

    (笑聲)

  • some cool design choices and a general disrespect for architectural standards,

    一些很酷的設計選擇,

  • you can go out

    及對建築標準有一般性的不尊重,

  • and create the world that you want to live in,

    你就能走出去,

  • and I am going to go home and buy a new trash can.

    創造一個你會想要住在其中的世界,

  • Thank you.

    而我要回家去買一個新的垃圾筒。

  • (Applause)

    謝謝。

You're sitting there,

譯者: Lilian Chiu 審譯者: Yanyan Hong

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