Name: 【TED】大衛科林斯: 百老匯劇場設計師教你三種方式，創造出能感動你的空間 (3 ways to create a space that moves you, from a Broadway set designer | David Korins)
Uploaded: 2018-10-31T17:08:35.000Z
Duration: 10 min 37 s

譯者: Lilian Chiu 審譯者: Yanyan Hong

程度副詞

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——

you can see that perfectly written cursive alphabet,

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.

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

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

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

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

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，

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。

你的動作超快，猛然推開 那張模壓塑膠小椅子，

你經過了消毒藥水味、 汗臭味，和置物櫃，

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,

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,

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。

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.

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,"

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?"

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？

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 say, "Does this world look like the world

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,

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」——

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,

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，

對話的人數也從只有幾個人， 變成幾百個人，

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，

把它放在《親愛的，我把孩子縮小了》

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，

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.

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。

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,

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。」

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.

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。

因為我認為，離開這裡之後， 如果你能做這三個步驟，

還有一些我剛說過我等下 會告訴你們的小技倆，

那麼你就能開始 依你想要的方式改變世界，

你們想做嗎？ 好，大家去寫一齣劇。

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?"

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，

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。

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）

《致埃文漢森》——喔，天——

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

"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。

所以我選擇了一個顏色： 墨黑的黑暗色。（笑聲）

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.

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？

畢竟你是在墨黑的黑暗色中 坐了兩小時二十分鐘。」

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【TED】大衛科林斯: 百老匯劇場設計師教你三種方式，創造出能感動你的空間 (3 ways to create a space that moves you, from a Broadway set designer | David Korins)

literally

reveal

therapy

evolve