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  • These are sequences from a play called \"The Lehman Trilogy,\"

    譯者: Val Zhang 審譯者: SF Huang

  • which traces the origins of Western capitalism

    這是舞台劇 The Lehman Trilogy 的場景,

  • in three hours,

    此劇用 3 小時追溯了

  • with three actors and a piano.

    西方資本主義的起源,

  • And my role was to create a stage design

    透過三位演員與一架鋼琴。

  • to write a visual language for this work.

    我的任務是設計舞台,

  • The play describes Atlantic crossings,

    為這個作品建構出一種視覺語言。

  • Alabama cotton fields,

    這齣戲描繪了:橫越大西洋、

  • New York skylines,

    阿拉巴馬州的棉花田、

  • and we framed the whole thing within this single revolving cube,

    跟紐約的天際線,

  • a kind of kinetic cinema through the centuries.

    而我們所有的場景都在這 單一個旋轉的立方體中呈現,

  • It's like a musical instrument

    就像是穿越世紀的動感鏡頭。

  • played by three performers.

    就像是由三位表演者

  • And as they step their way around and through

    演奏的一種樂器。

  • the lives of the Lehman brothers,

    當他們踏上了

  • we, the audience,

    雷曼兄弟的生命旅程,

  • begin to connect with the simple, human origins

    我們作為觀眾,

  • at the root of the complex global financial systems

    開始對這場至今仍影響我們的 ——

  • that we're all still in thrall to today.

    國際複雜金融體系風暴 根源之下的簡單人性,

  • I used to play musical instruments myself when I was younger.

    產生共鳴。

  • My favorite was the violin.

    年輕時我會玩樂器。

  • It was this intimate transfer of energy.

    我最喜歡的樂器是小提琴。

  • You held this organic sculpture up to your heart,

    這是種親密的能量傳遞形式。

  • and you poured the energy of your whole body

    你握持著這個有機雕塑靠近你的心,

  • into this little piece of wood, and heard it translated into music.

    你傾注全身的精力到這個小木箱內,

  • And I was never particularly good at the violin,

    00:01:46,088 --> 00:01:49,070 我的琴藝並不是特別的精湛,

  • but I used to sit at the back of the second violin section

    但我曾經是第二小提琴的成員,

  • in the Hastings Youth Orchestra,

    在 Hastings 青年交響樂團。

  • scratching away.

    拉來拉去。

  • We were all scratching

    我們都在拉奏,

  • and marveling at this symphonic sound that we were making

    並驚嘆我們一同創造的和聲

  • that was so much more beautiful and powerful

    是多麼地美妙、具渲染力,

  • than anything we would ever have managed on our own.

    遠超過一人獨奏所能達到的境界。

  • And now, as I create large-scale performances,

    現在當我設計大型表演,

  • I am always working with teams

    我合作的團隊人數規模

  • that are at least the size of a symphony orchestra.

    也總是不小於一個交響樂團。

  • And whether we are creating

    不論我們在創造的是:

  • these revolving giant chess piece time tunnels

    理察 · 華格納歌劇中的

  • for an opera by Richard Wagner

    巨型旋轉的棋子時間通道。

  • or shark tanks and mountains for Kanye West,

    或是肯伊 · 威斯特演唱會中的 投影鯊魚缸、山景。

  • we're always seeking to create the most articulate sculpture,

    我們總是試圖創造: 能夠清楚傳達意象的雕塑,

  • the most poetic instrument of communication to an audience.

    最詩意的工具和觀眾溝通。

  • When I say poetic,

    我所指的詩意,

  • I just mean language at its most condensed,

    我指的是最精煉的語言,

  • like a song lyric,

    就像歌詞,

  • a poetic puzzle to be unlocked and unpacked.

    一個待解鎖跟拆封的詩意謎題。

  • And when we were preparing to design Beyoncé's \"Formation\" tour,

    當我們著手設計碧昂絲的 《Formation》巡迴演唱會,

  • we looked at all the lyrics,

    我們看遍了所有的歌詞,

  • and we came across this poem that Beyoncé wrote.

    然後發現了她寫的這首詩。

  • \"I saw a TV preacher when I was scared, at four or five about bad dreams

    當我約 4、5 歲因惡夢感到害怕時, 看見電視上的一位傳教士,

  • who promised he'd say a prayer if I put my hand to the TV.

    他保證如果我把手放到電視上, 他便會為我禱告。

  • That's the first time I remember prayer, an electric current running through me.\"

    那是我第一次有印象 禱告宛如一股電流穿過我。

  • And this TV that transmitted prayer to Beyoncé as a child

    而那台傳送禱告給小碧昂絲的電視,

  • became this monolithic revolving sculpture

    轉化為這個巨型旋轉裝置,

  • that broadcast Beyoncé to the back of the stadium.

    將碧昂絲轉播到體育場的每一個角落。

  • And the stadium is a mass congregation.

    而體育館就像是大群信眾的集會。

  • It's a temporary population of a hundred thousand people

    這是成千上萬人的暫時居所,

  • who have all come there to sing along with every word together,

    他們來此一字不漏地跟著唱和,

  • but they've also come there each seeking one-to-one intimacy

    但他們也來此,

  • with the performer.

    追求與表演者一對一的親密感。

  • And we, as we conceive the show, we have to provide intimacy

    當我們在構思表演,

  • on a grand scale.

    我們必須提供一種大規模的親密感。

  • It usually starts with sketches.

    這通常由草圖開始,

  • I was drawing this 60-foot-high, revolving,

    我畫了幅 60 英尺高、旋轉的、

  • broadcast-quality portrait of the artist,

    廣播級的藝人肖像,

  • and then I tore the piece of paper in half.

    然後我把這張紙從中撕開。

  • I split the mask

    我撕開了面具,

  • to try to access the human underneath it all.

    試著去接觸下方的所有人。

  • And it's one thing to do sketches, but of course translating from a sketch

    畫草圖是一回事, 要把草圖轉換成一個——

  • into a tourable revolving six-story building

    可巡迴的、旋轉的、六層樓高的建物,

  • took some exceptional engineers working around the clock for three months,

    則需要傑出的工程師 不間斷地工作三個月。

  • until finally we arrived in Miami

    直到我們終於抵達邁阿密,

  • and opened the show in April 2016.

    並在 2016 年 4 月開始演出巡迴。

  • (Video: Cheers)

    (影像聲響:歡呼聲)

  • (Music: \"Formation,\" Beyoncé)

    (背景音樂:碧昂絲的歌 〈 Formation 〉)

  • Beyoncé: Y'all haters corny with that Illuminati mess

    碧昂絲:你們這些酸民 滿口光明會的胡說八道

  • Paparazzi, catch my fly, and my cocky fresh

    狗仔隊等著捕捉我 超閃亮的女王姿態

  • I'm so reckless when I rock my Givenchy dress

    穿著我的紀凡希洋裝 我傲視一切

  • I'm so possessive so I rock his Roc necklaces

    我佔有慾超強 所以我戴著他的項鍊

  • My daddy Alabama

    我的爹地來自阿拉巴馬

  • Momma Louisiana

    媽媽來自路易斯安那

  • You mix that negro with that Creole

    多元種族背景生出我這個

  • make a Texas bama

    德州混血黑妞

  • (Music ends)

    (音樂結束)

  • I call my work --

    我稱我的工作——

  • (Cheers, applause)

    (歡呼聲與掌聲)

  • Thank you.

    謝謝。

  • (Cheers, applause)

    (歡呼聲與掌聲)

  • I call my work stage sculpture,

    我稱我的工作是舞台雕塑,

  • but of course what's really being sculpted is the experience of the audience,

    但真正被雕塑的當然是觀眾的體驗。

  • and as directors and designers,

    作為導演與設計師,

  • we have to take responsibility

    我們必須對觀眾花在

  • for every minute that the audience spend with us.

    我們身上的每一分鐘負責。

  • We're a bit like pilots

    我們有點像飛行員,

  • navigating a flight path for a hundred thousand passengers.

    為成千上萬名旅客導航。

  • And in the case of the Canadian artist The Weeknd,

    在加拿大藝人威肯的案子,

  • we translated this flight path literally

    我們實現了這個比喻,

  • into an origami paper folding airplane

    將其轉化為一架紙飛機

  • that took off over the heads of the audience,

    從觀眾的頭頂上飛過,

  • broke apart in mid-flight, complications,

    在飛行途中散開,

  • and then rose out of the ashes restored

    然後在表演尾聲時,

  • at the end of the show.

    從餘燼之中重生。

  • And like any flight,

    就像任何的飛行,

  • the most delicate part is the liftoff, the beginning,

    最需要小心處理的 就是開頭——起飛的瞬間,

  • because when you design a pop concert,

    因為當你設計流行音樂的演唱會時,

  • the prime material that you're working with

    你最主要處理的素材

  • is something that doesn't take trucks or crew to transport it.

    不是那些可以被卡車 或人員運送的東西。

  • It doesn't cost anything,

    它不花任何成本,

  • and yet it fills every atom of air in the arena, before the show starts.

    但它瀰漫在整個體育館中, 就在表演開始前。

  • It's the audience's anticipation.

    這個素材就是觀眾的期待。

  • Everyone brings with them the story of how they came to get there,

    每個人都帶著自己 如何來到這兒的故事,

  • the distances they traveled,

    他們跋山涉水了多遠、

  • the months they had to work to pay for the tickets.

    累積了幾個月薪水才買到的門票。

  • Sometimes they sleep overnight outside the arena,

    有時候他們甚至在體育館外過夜,

  • and our first task is to deliver for an audience on their anticipation,

    我們的首要任務就是 為熱切的觀眾精心設計

  • to deliver their first sight of the performer.

    那見到表演者的第一眼。

  • When I work with men,

    當我與男藝人合作時,

  • they're quite happy to have their music transformed into metaphor --

    他們很高興能將他們的 音樂轉化為隱喻,

  • spaceflights, mountains.

    像是:太空梭、山。

  • But with women, we work a lot with masks and with three-dimensional portraiture,

    但和女藝人我們則做了 許多像是面具或是立體的肖像。

  • because the fans of the female artist

    因為女藝人的粉絲

  • crave her face.

    渴慕著她的面容。

  • And when the audience arrived to see Adele's first live concert in five years,

    當聽眾進場觀賞愛黛兒 睽違五年的演唱會,

  • they were met with this image of her eyes asleep.

    他們看見的畫面是她沉睡著的雙眼。

  • If they listened carefully,

    如果他們仔細聽,

  • they would hear her sleeping breath echoing around the arena,

    他們會聽見她沉睡的呼吸聲 在體育館裡迴盪著,

  • waiting to wake up.

    等待甦醒。

  • Here's how the show began.

    表演是這樣開始的。

  • (Video: Cheers, applause)

    (歡呼聲和掌聲)

  • (Music)

    (音樂)

  • Adele: Hello.

    愛黛兒:哈囉。

  • (Cheers, applause)

    (歡呼聲和掌聲)

  • Es Devlin: With U2, we're navigating the audience

    埃斯 · 德夫林:和 U2 樂團, 我們帶領著觀眾跨越

  • over a terrain that spans three decades of politics, poetry and music.

    超過三十年政治、詩跟音樂的幅員。

  • And over many months, meeting with the band and their creative teams,

    經過數個月不停地與樂團 和他們的創意團隊開會討論,

  • this is the sketch that kept recurring,

    這個草圖反覆地出現,

  • this line, this street,

    這個線條、這個街道,

  • the street that connects the band's past with their present,

    整個街道連結了樂團的過去跟現在,

  • the tightrope that they walk as activists and artists,

    一路以來作為藝人及社會運動 參與者,如走鋼索般拿捏平衡,

  • a walk through cinema

    一個帶領觀眾穿越時間的劇場,

  • that allows the band to become protagonists

    讓樂團化身為

  • in their own poetry.

    他們的詩中的主角。

  • (Music: U2's \"Where the Streets Have No Name\")

    (音樂:U2〈Where the Streets Have No Name〉)

  • Bono: I wanna run

    波諾:我想逃出去

  • I want to hide

    或是躲起來

  • I wanna tear down the walls

    我想拆除這座高牆

  • That hold me inside

    這高牆鎖住了我

  • Es Devlin: The end of the show is like the end of a flight.

    埃斯 · 德夫林:表演的尾聲 宛如飛行的尾聲。

  • It's an arrival.

    就像抵達一般。

  • It's a transfer from the stage out to the audience.

    焦點從舞台轉到觀眾身上。

  • For the British band Take That,

    在英國偶像團體 Take That 的案子,

  • we ended the show by sending an 80-foot high mechanical human figure

    我們在表演尾聲時,

  • out to the center of the crowd.

    從觀眾中央升起高達 80 英呎高的機械人。

  • (Music)

    (音樂)

  • Like many translations from music to mechanics,

    一如許多從音樂轉譯為機械的作品,

  • this one was initially deemed entirely technically impossible.

    這個概念起初被認為 在技術上完全不可行。

  • The first three engineers we took it to said no,

    我們諮詢的前三位工程師都否決了,

  • and eventually, the way that it was achieved

    最終我們克服的方式是

  • was by keeping the entire control system together

    在它各處巡迴的同時,

  • while it toured around the country,

    保持整座控制系統的完整性,

  • so we had to fold it up onto a flatbed truck

    我們得把它收上平板卡車。

  • so it could tour around without coming apart.

    所以它可以到處巡迴, 而不至於散落。

  • And of course, what this meant was that the dimension of its head

    當然,這也意味著雕塑頭部的尺寸

  • was entirely determined

    完全取決於

  • by the lowest motorway bridge that it had to travel under on its tour.

    巡迴時會經過的公路上 限高最低的橋。

  • And I have to tell you that it turns out

    而我必須要告訴你們,結果 ......

  • there is an unavoidable and annoyingly low bridge

    有一條無法繞過、惱人的矮橋,

  • low bridge just outside Hamburg.

    就在漢堡的近郊。

  • (Laughter)

    (笑聲)

  • (Music)

    (音樂)

  • Another of the most technically complex pieces that we've worked on

    另一件技術含量極高的作品

  • is the opera \"Carmen\"

    是歌劇「卡門」,

  • at Bregenz Festival in Austria.

    在奧地利的布雷根茲藝術節。

  • We envisaged Carmen's hands rising out of Lake Constance,

    我們想像卡門的手 從康士坦茲湖中升起,

  • and throwing this deck of cards in the air

    把牌撒向空中

  • and leaving them suspended between sky and sea.

    讓牌懸浮於天空與湖面之間。

  • But this transient gesture, this flick of the wrists

    但這瞬間的姿態、

  • had to become a structure that would be strong enough

    這手腕一甩的結構,

  • to withstand two Austrian winters.

    得堅固到能撐過兩個奧地利的冬天。

  • So there's an awful lot that you don't see in this photograph

    還有很多照片裡看不到

  • that's working really hard.

    但也非常令人費神的事。

  • It's a lot of ballast and structure and support around the back,

    有許多的壓艙物、結構、支架在背後,

  • and I'm going to show you the photos that aren't on my website.

    我要跟你們分享 未曾在我網站上公開的照片。

  • They're photos of the back of a set,

    這些是舞台背面的照片。

  • the part that's not designed for the audience to see,

    這部分是觀眾看不見之處,

  • however much work it's doing.

    但也非常花人心思。

  • And you know, this is actually the dilemma

    你知道這對作為舞台設計師、

  • for an artist who is working as a stage designer,

    藝術家來說,其實是種掙扎,

  • because so much of what I make is fake,

    因為許多我的作品都是不真實的,

  • it's an illusion.

    是種幻象。

  • And yet every artist works in pursuit of communicating something that's true.

    但每位藝術家都在追求 傳遞一些真實的東西。

  • But we are always asking ourselves:

    但我們常自問:

  • \"Can we communicate truth using things that are false?\"

    「我們可以透過不真實的 事物來傳遞真理嗎?」

  • And now when I attend the shows that I've worked on,

    如今當我去看我們設計的表演時,

  • I often find I'm the only one who is not looking at the stage.

    常常發現我是唯一 不在注意舞台的人。

  • I'm looking at something that I find equally fascinating,

    我在看的是同樣迷人的,

  • and it's the audience.

    那就是——觀眾。

  • (Cheers)

    (影片中的歡呼聲)

  • I mean, where else do you witness this:

    你還能在哪看到這樣的場景呢?

  • (Cheers)

    (歡呼聲)

  • this many humans, connected, focused,

    這麼多人,如此同感齊心、專注一致、

  • undistracted and unfragmented?

    心無旁鶩和完整地投入?

  • And lately, I've begun to make work that originates here,

    最近我以此,

  • in the collective voice of the audience.

    以觀眾的和聲為靈感 設計了一個作品,

  • \"Poem Portraits\" is a collective poem.

    「肖像詩」是集體創作的詩。

  • It began at the Serpentine Gallery in London,

    它從倫敦的蛇形藝廊開始,

  • and everybody is invited to donate one word to a collective poem.

    邀請大家為集體創作的詩貢獻一個字。

  • And instead of that large single LED portrait

    取代那種在展館後方的

  • that was broadcasting to the back of the stadium,

    單片巨型 LED 肖像,

  • in this case, every member of the audience

    這次,每位觀眾

  • gets to take their own portrait home with them,

    都能帶他們各自的肖像回家,

  • and it's woven in with the words

    這肖像是由他們集體創作的詩 當中的字句所編織而成的。

  • that they've contributed to the collective poem.

    他們收藏了持續演化的 共同創作中的一部分。

  • So they keep a fragment of an ever-evolving collective work.

    明年,集體創作的詩 將以建築的形式呈現。

  • And next year, the collective poem will take architectural form.

    這是 2020 年世界博覽會 英國館的設計。

  • This is the design for the UK Pavilion at the World Expo 2020.

    英國…...

  • The UK ...

    我這輩子從未感到它是如此地分裂,

  • In my lifetime, it's never felt this divided.

    從未感到它因分裂的意見 而如此地吵雜,

  • It's never felt this noisy with divergent voices.

    從未如此感到需要一個

  • And it's never felt this much in need of places

    能讓意見交流並整合的園地。

  • where voices might connect and converge.

    我希望這個木製建築,

  • And it's my hope that this wooden sculpture,

    這個木製的樂器. 就像我以往演奏的小提琴,

  • this wooden instrument, a bit like that violin I used to play,

    人們可以在這錐型建築的一端

  • might be a place where people can play and enter their word

    播放、輸入他們的話語,

  • at one end of the cone,

    接著發現建築的另一端浮現出:

  • emerge at the other end of the building,

    以他們的話語 共同交織而成的詩和語言。

  • and find that their word has joined a collective poem, a collective voice.

    (音樂)

  • (Music)

    這些是機器學習的簡單測試。

  • These are simple experiments in machine learning.

    創造出集體創作詩的演算法

  • The algorithm that generates the collective poem is pretty simple.

    其實蠻單純,

  • It's like predictive text,

    就像是輸入預測一樣,

  • only it's trained on millions of words written by poets in the 19th century.

    只是演算法的訓練資料 是大量 19 世紀的詩。

  • So it's a sort of convergence of intelligence, past and present,

    它有點像是:過去和現在、

  • organic and inorganic.

    有機和無機的智慧集合。

  • And we were inspired by the words of Stephen Hawking.

    史蒂芬 · 霍金的話啟發了我們。

  • Towards the end of his life, he asked quite a simple question:

    晚年時,他問了一個簡單的問題:

  • If we as a species were ever to come across another advanced life-form,

    身為人類這個物種,如果有天 遇見另一種高等智慧生物、

  • an advanced civilization,

    另一個先進的文明,

  • how would we speak to them?

    我們將如何跟他們溝通?

  • What collective language would we speak as a planet?

    我們會說什麼共同語言 代表我們的星球呢?

  • The language of light reaches every audience.

    光的語言可以觸及到每一位觀眾。

  • All of us are touched by it. None of us can hold it.

    光能碰觸到我們,我們卻抓不住光。

  • And in the theater, we begin each work in a dark place, devoid of light.

    在劇院,每個表演 都從黑暗中開始,避開光線。

  • We stay up all night focusing the lights, programming the lights,

    我們熬夜討論、設定燈光,

  • trying to find new ways to sculpt and carve light.

    試圖找到新的方式去雕塑、刻劃光。

  • (Music)

    (音樂)

  • This is a portrait of our practice,

    這描繪了我們工作的本質,