I am a cultural omnivore, one whose daily commute is made possible by attachment to an iPod -- an iPod that contains Wagner and Mozart, pop diva Christina Aguilera, country singer Josh Turner, gangsta rap artist Kirk Franklin, concerti, symphonies and more and more. I'm a voracious reader, a reader who deals with Ian McEwan down to Stephanie Meyer. I have read the Twilight tetralogy. And one who lives for my home theater, a home theater where I devour DVDs, video on demand and a lot of television. For me, "Law & Order: SVU," Tina Fey and "30 Rock" and "Judge Judy" -- "The people are real, the cases are real, the rulings are final."
我喜歡各種類型的文化 每天上下班 我幾乎都戴著iPod 聽瓦格納、莫札特歌劇或古典音樂 流行樂天後克莉絲蒂娜•阿奎萊拉 鄉村歌手喬什•特納 還有,說唱歌手柯克•佛蘭克林的歌 以及協奏曲、交響樂等等 我也廣泛涉獵各類讀物 比如,伊恩•麥克尤恩、斯蒂芬妮•梅爾的作品 梅爾的《暮光之城》四部曲我都讀過呢~ 而且,我也喜歡和家庭影院泡在一起 有了家庭影院,我就能看各種各樣的DVD、視頻點播節目 及電視節目 尤其喜歡《法律與秩序:特殊受害者》 喜歡蒂娜•費和她的《我為喜劇狂》(30 Rock) 還有《朱蒂法官》(Judge Judy)
(Laughter)
"人沒錯,案子沒錯,就這麼判了"(《朱蒂法官》臺詞)
Now, I'm convinced a lot of you probably share my passions, especially my passion for "Judge Judy," and you'd fight anybody who attempted to take her away from us, but I'm a little less convinced that you share the central passion of my life, a passion for the live professional performing arts, performing arts that represent the orchestral repertoire, yes, but jazz as well, modern dance, opera, theater and more and more and more.
現在,我可確定,你們當中的許多人 或許都和我有同樣的感受 尤其是對“朱蒂法官”的感受 因為,我看得出來 倘若誰要把她給搶走了,你們會和這個傢伙拼了老命的 但有一點我還不能肯定,即你我生命中是否都有一份非常重要的感情 一份對現場職業表演藝術的感情 這種現場表演藝術包括管弦樂 當然,也包括爵士、現代舞、歌劇 戲劇等等
Frankly, it's a sector that many of us who work in the field worry is being endangered and possibly dismantled by technology. While we initially heralded the Internet as the fantastic new marketing device that was going to solve all our problems, we now realize that the Internet is, if anything, too effective in that regard. Depending on who you read, an arts organization or an artist, who tries to attract the attention of a potential single ticket buyer, now competes with between three and 5,000 different marketing messages a typical citizen sees every single day. We now know, in fact, that technology is our biggest competitor for leisure time. Five years ago, Gen Xers spent 20.7 hours online and TV, the majority on TV. Gen Yers spent even more -- 23.8 hours, the majority online. And now, a typical university-entering student arrives at college already having spent 20,000 hours online and an additional 10,000 hours playing video games -- a stark reminder that we operate in a cultural context where video games now outsell music and movie recordings combined.
然而 很多在這一行工作的人都擔心 這一領域有滅絕的危險 有遭到現代技術瓦解的危險 最初,我們把互聯網視為 神奇、新型的行銷工具 認為互聯網能解決所有問題 現在,我們意識到,互聯網在這方面的效力 似乎有些過頭了 藝術組織或藝術家 努力工作、表演來吸引 那些有可能買票的消費者 然而,他們現在卻要和各種各樣(網路)行銷資訊競爭 這些資訊每天少則幾條 多則幾千條 充斥著人們的日常生活 現在我們知道了 科技才是奪走我們休閒生活最主要的因素 五年前的資料顯示 新生第一代(X代)花在上網和電視上的時間達到20.7小時(每天) 以電視為主 而新生第二代(Y代),他們所花的時間更多 達到23.8小時(每天),主要是上網 如今 大學新生 一般都會 花上 兩萬小時(每年)的時間來上網 再花另外一萬小時(每年)的時間 玩電子遊戲 這讓我們看清 我們現在的文化環境裏 電子遊戲大賣 而音樂、電影產品加起來都趕不上電子遊戲
Moreover, we're afraid that technology has altered our very assumptions of cultural consumption. Thanks to the Internet, we believe we can get anything we want whenever we want it, delivered to our own doorstep. We can shop at three in the morning or eight at night, ordering jeans tailor-made for our unique body types. Expectations of personalization and customization that the live performing arts -- which have set curtain times, set venues, attendant inconveniences of travel, parking and the like -- simply cannot meet. And we're all acutely aware: what's it going to mean in the future when we ask someone to pay a hundred dollars for a symphony, opera or ballet ticket, when that cultural consumer is used to downloading on the internet 24 hours a day for 99 cents a song or for free? These are enormous questions for those of us that work in this terrain. But as particular as they feel to us, we know we're not alone.
而且我們還擔心 科技已經改變了我們的文化消費模式 有了互聯網 我們就認為,我們可以隨時獲取我們想得到的東西 還會送貨上門 我們可以在淩晨三點或者晚上八點 選購量身定制的牛仔褲 然而,對於個性化 定制化的要求 現場表演藝術是無法滿足的 因為現場表演藝術有固定的開演時間,固定的場地 去看表演的路上、停車等等都可能會有不便 所以說,現場表演藝術無法滿足部份人的要求 我們已經在想 這種情況,在未來意味著什麽 尤其是我們叫別人花一百塊 去看場交響樂、歌劇或者芭蕾舞表演時 尤其是人們已經習慣全天候地 在上網下載文化產品,而且一首歌花不到一塊錢,甚至還可以免費下載時 這對現場表演藝術的未來意味著什麽? 這裡面有很多問題 需要在這一領域工作的我們去解決 但是這些問題也有其特殊性 我們知道,我們並非孤立無助
All of us are engaged in a seismic, fundamental realignment of culture and communications, a realignment that is shaking and decimating the newspaper industry, the magazine industry, the book and publishing industry and more. Saddled in the performing arts as we are, by antiquated union agreements that inhibit and often prohibit mechanical reproduction and streaming, locked into large facilities that were designed to ossify the ideal relationship between artist and audience most appropriate to the 19th century and locked into a business model dependent on high ticket revenues, where we charge exorbitant prices. Many of us shudder in the wake of the collapse of Tower Records and ask ourselves, "Are we next?" Everyone I talk to in performing arts resonates to the words of Adrienne Rich, who, in "Dreams of a Common Language," wrote, "We are out in a country that has no language, no laws. Whatever we do together is pure invention. The maps they gave us are out of date by years." And for those of you who love the arts, aren't you glad you invited me here to brighten your day?
所有人都一起努力 實現根本性的改變 即重組我們的文化形式,重組我們的交流方式 這些改變正動搖、削弱 報刊業 出版業,等等 我們對現場藝術負有責任 陳舊的聯盟協議,規定了我們對此的責任 機械的複製、下載 我們被困在這些龐大的機構裏 這些機構束縛了 藝術家與觀眾之間 完美的關係 這在19世紀就有所體現 我們也被困在唯高票房收入是好的商業模式當中 在這個模式下,我們收取過高的票價 “淘兒唱片”(Tower Records)倒閉後,許多人都害怕了 不禁自問,下一個崩潰的,會不會是我們? 和現場表演藝術工作的人交談時 他們都會對艾德裏安娜•裏奇的一句話產生共鳴 在她《一種共同語言的夢想》裏寫到 “我們所處的國度 沒有語言,沒有法律。 我們在活在一個虛構的世界裏。 給我們的地圖 都是非常過時的。 對於在座喜歡藝術的朋友 你們邀請我來到這兒,照亮你們的生活,是不是很高興啊?
(Laughter)
(笑聲)
(Applause)
(掌聲)
Now, rather than saying that we're on the brink of our own annihilation, I prefer to believe that we are engaged in a fundamental reformation, a reformation like the religious Reformation of the 16th century. The arts reformation, like the religious Reformation, is spurred in part by technology, with indeed, the printing press really leading the charge on the religious Reformation. Both reformations were predicated on fractious discussion, internal self-doubt and massive realignment of antiquated business models. And at heart, both reformations, I think, were asking the questions: who's entitled to practice? How are they entitled to practice? And indeed, do we need anyone to intermediate for us in order to have an experience with a spiritual divine?
現在,與其說我們處在滅絕的邊緣 我更認同,我們要進行一次根本的改革 就像宗教改革那樣 即16世紀的宗教改革 與宗教改革一樣,我們的藝術改革 也或多或少受到了技術的推動 因為,印刷術的發明 實際上就推動了當時的宗教改革 富有爭議的討論 內部自我懷疑 及對陳舊商業模式大範圍的調整都預示這兩項改革的出現 而且,我認為,這兩項不同的改革 實際都提出了幾個問題 即,誰去改革? 如何去改革? 以及需不需要找一個人 來其媒介的作用? 即我們和神靈之間的媒介
Chris Anderson, someone I trust you all know, editor in chief of Wired magazine and author of The Long Tail, really was the first, for me, to nail a lot of this. He wrote a long time ago, you know, thanks to the invention of the Internet, web technology, minicams and more, the means of artistic production have been democratized for the first time in all of human history. In the 1930s, if any of you wanted to make a movie, you had to work for Warner Brothers or RKO, because who could afford a movie set and lighting equipment and editing equipment and scoring, and more? And now who in this room doesn't know a 14 year-old hard at work on her second, third, or fourth movie?
克裏斯•安德森,我很信賴的一個人 他是美國《聯機》雜誌的總編,《長尾理論》的作者 在我看來,他是第一個在這方面做了很多的人 很久之前,他就寫到過 由於互聯網 網路技術 迷你攝像頭及其它技術的發明 藝術作品創作 出現平民化 這是人類歷史上首次出現這種情況 世紀30年代,想要製作一部電影 你必須找華納兄弟或者雷電華公司 試想,那個時候誰能用得起電影場地 燈光設施、編輯 配音這些設備? 而現在,在座的各位或許都不知道,一個14歲的孩子 已經在抓緊製作她的第二部、第三部、第四部電影了……?
(Laughter)
(笑聲)
Similarly, the means of artistic distribution have been democratized for the first time in human history. Again, in the '30s, Warner Brothers, RKO did that for you. Now, go to YouTube, Facebook; you have worldwide distribution without leaving the privacy of your own bedroom.
同樣,藝術作品的傳播方式 也首次在人類歷史上平民化 依然是在上世紀30年代,藝術作品的傳播也是靠華納兄弟和雷電華 而現在,你只需登入YouTube, Facebook 你能足不出戶 欣賞世界各地的藝術作品
This double impact is occasioning a massive redefinition of the cultural market, a time when anyone is a potential author. Frankly, what we're seeing now in this environment is a massive time, when the entire world is changing as we move from a time when audience numbers are plummeting. But the number of arts participants, people who write poetry, who sing songs, who perform in church choirs, is exploding beyond our wildest imaginations. This group, others have called the pro-ams, amateur artists doing work at a professional level. You see them on YouTube, in dance competitions, film festivals and more. They are radically expanding our notions of the potential of an aesthetic vocabulary, while they are challenging and undermining the cultural autonomy of our traditional institutions. Ultimately, we now live in a world defined not by consumption, but by participation.
上述的雙重影響, 使得人們對文化市場的定義做了重大的調整 這個時代,任何人都有可能成為作家 坦言說,在這種環境下 我們現在所處的整個世界 不斷變化著 觀眾數量下滑的時代早已漸遠 但是,藝術創作者 即那些寫詩歌的人、唱歌的人 及唱詩班的 人 他們的數量在激增,超出我們的想像 這個群體被人們稱為“專業餘者”(“pro am”/ “professional–amateur”) 即有著專業水準的業餘藝術家 你可以在YouTube,,舞蹈比賽,電影節這些地方 看到他們的身影 這一群體迫使我們 對美學的概念有了更多的理解 但同時,他們也挑戰、削弱著 傳統機構的文化獨立性 最終,這個世界 不再是觀眾為主的世界 而是參與者為主的世界
But I want to be clear, just as the religious Reformation did not spell the end to the formal Church or to the priesthood; I believe that our artistic institutions will continue to have importance. They currently are the best opportunities for artists to have lives of economic dignity -- not opulence, of dignity. And they are the places where artists who deserve and want to work at a certain scale of resources will find a home. But to view them as synonymous with the entirety of the arts community is, by far, too shortsighted. And indeed, while we've tended to polarize the amateur from the professional, the single most exciting development in the last five to 10 years has been the rise of the professional hybrid artist, the professional artist who works, not primarily in the concert hall or on the stage; but most frequently around women's rights, or human rights, or on global warming issues or AIDS relief for more -- not out of economic necessity, but out of a deep, organic conviction that the work that she or he is called to do cannot be accomplished in the traditional hermetic arts environment.
但有一點很明確 就如宗教改革並未終結 正規的教堂和神職一樣 我相信,我們這些藝術機構 依舊會發揮重要作用 就目前,這些機構仍是 藝術家保障經濟來源的最好途徑 注意,不是賺大錢,而只是保證經濟上還有尊嚴 而且,這些地方 既屬於他們,也是他們想去的 在那,他們的才華才有歸屬 但是,將他們等同於 整個藝術界 顯然是錯誤的 即使我們習慣 將業餘和專業兩極化 但在過去5年到10年的時間裏 唯一讓人倍感興奮的 就是造詣極高的專業藝術家 他们的影響力有了提升 这些專業藝術家 最開始並不在音樂廳或舞臺上表演 而是經常圍繞 女權、人權 全球氣候變暖、愛滋病援助等問題表演 不是為了賺錢 而是因為,他們內心深信 這些號召他們去做的工作 無法在一個傳統的、 封閉的藝術環境下完成。
Today's dance world is not defined solely by the Royal Winnipeg Ballet or the National Ballet of Canada, but by Liz Lerman's Dance Exchange -- a multi-generational, professional dance company, whose dancers range in age from 18 to 82, and who work with genomic scientists to embody the DNA strand and with nuclear physicists at CERN. Today's professional theater community is defined, not only the Shaw and Stratford Festivals, but by the Cornerstone Theater of Los Angeles -- a collective of artists that after 9/11, brought together 10 different religious communities -- the Baha'i, the Catholic, the Muslim, the Jewish, even the Native American and the gay and lesbian communities of faith, helping them create their own individual plays and one massive play, where they explored the differences in their faith and found commonality as an important first step toward cross-community healing. Today's performers, like Rhodessa Jones, work in women's prisons, helping women prisoners articulate the pain of incarceration, while today's playwrights and directors work with youth gangs to find alternate channels to violence and more and more and more. And indeed, I think, rather than being annihilated, the performing arts are poised on the brink of a time when we will be more important than we have ever been.
如今的舞蹈世界 不再只由皇家溫尼伯芭蕾舞團(即加拿大國家芭蕾舞團)來詮釋了 而是由LLDE(Liz Lerman’s Dance Exchange)公司來詮釋 這是一家專業的舞蹈公司 該公司的舞蹈家年齡跨度很大,最小的只有18歲,最大的有82歲高齡 LLDE與基因學科學家合作 研究基因與舞蹈的關係 此外,還與歐洲原子核研究委員會(CERN)的核子物理學家有所合作。 如今,專業劇場 也非只由蕭伯納戲劇節及斯特拉福德戲劇節來詮釋 而是由“洛杉磯基石戲劇公司”(the Cornerstone Theater of Los Angeles)來詮釋 它也是一家藝術家公司 時間之後,該公司將10類不同的宗教團體集中起來 -- 這些團體除了巴伊亞、天主教 穆斯林、猶太教外 甚至還有印第安人 和同性戀者 該公司幫助這些人創作自己獨特的、 龐大的戲劇 在這個龐大的戲劇裏,他們探尋各信仰間的不同 並找到共同點, 邁出促進跨群體藝術健康發展 重要的一步 今天的表演家,比如Rhodessa Jones 他在女子監獄工作 幫助女囚犯輕鬆地吐露監禁的痛苦 如今,劇作家和導演和青年惡勢力合作 以發現不同的犯罪形式 此外,還有很多很多这样的例子 實際上,我認為,與其說現場表演藝術正走向滅亡 不如說它處在一個時代的邊緣。 在這個時代,我們這些人的作用,比起以前 會更為重要
You know, we've said for a long time, we are critical to the health of the economic communities in your town. And absolutely -- I hope you know that every dollar spent on a performing arts ticket in a community generates five to seven additional dollars for the local economy, dollars spent in restaurants or on parking, at the fabric stores where we buy fabric for costumes, the piano tuner who tunes the instruments, and more. But the arts are going to be more important to economies as we go forward, especially in industries we can't even imagine yet, just as they have been central to the iPod and the computer game industries, which few, if any of us, could have foreseen 10 to 15 years ago. Business leadership will depend more and more on emotional intelligence, the ability to listen deeply, to have empathy, to articulate change, to motivate others -- the very capacities that the arts cultivate with every encounter.
我們一直都在強調 我們對城鎮社區經濟的作用極其重要 或者說,絕對重要 我想告訴大家,在現場藝術門票花的每一塊錢, 都會給地方經濟帶來額外的7塊錢的收入 例如,會帶來餐廳或停車場的收入 帶來綢布店的生意,因為我們要從那購買戲裝的布料 我們還要雇傭調音師給鋼琴調音等等 而且,我們不斷前進的話, 現場藝術對經濟起到越來越重要的作用 尤其是對一些我們想都沒想過的行業 就像我們已經對電子音樂、 電腦遊戲所起的關鍵作用那樣 在十多年前, 我們都未曾預見 商業領導能力越來越取決於 情商 以及傾聽 分享情感 清楚表達細微變化、激發他人鬥志的能力 -- 不管你所處的是什麼領域 現場藝術都能培養你這些方面的能力
Especially now, as we all must confront the fallacy of a market-only orientation, uninformed by social conscience; we must seize and celebrate the power of the arts to shape our individual and national characters, and especially characters of the young people, who all too often are subjected to bombardment of sensation, rather than digested experience. Ultimately, especially now in this world, where we live in a context of regressive and onerous immigration laws, in reality TV that thrives on humiliation, and in a context of analysis, where the thing we hear most repeatedly, day in, day out in the United States, in every train station, every bus station, every plane station is, "Ladies and gentlemen, please report any suspicious behavior or suspicious individuals to the authorities nearest to you," when all of these ways we are encouraged to view our fellow human being with hostility and fear and contempt and suspicion.
尤其是現在 尤其是我們面對的是 “市場為唯一導向”的謬論 一個不提倡社會良知的謬論時 我們必須利用、宣揚藝術的力量 以此來塑造我們個人及國家的特性 尤其是年輕人的特性 因為年輕人過於感性 而且缺乏已被自己消化了的經驗 歸根結底 我們的世界 存在著倒退、複雜的移民法令 電視節目也大肆播放讓人蒙羞的節目 此外 在美國 我們每天都要反反復複 在各個火車站、汽車站、飛機場,聽到: 女士們、先生們 若您發現可疑行為 或可疑人物 請您協助我們向離您最近的警察局舉報,謝謝合作。” 就因為這樣,我們受到鼓動, 用敵意 恐懼、輕視、懷疑的眼光去看待身邊的人
The arts, whatever they do, whenever they call us together, invite us to look at our fellow human being with generosity and curiosity. God knows, if we ever needed that capacity in human history, we need it now. You know, we're bound together, not, I think by technology, entertainment and design, but by common cause. We work to promote healthy vibrant societies, to ameliorate human suffering, to promote a more thoughtful, substantive, empathic world order.
藝術,不管如何起作用,何時將我們召集起來, 它都會讓我們用寬巨集、好奇的心態 去看待我們的同胞 倘若,我們在過往的人類史上, 曾有過這種能力 我們現在也需要這樣的能力 我想,我們能夠相互依存 不是因為技術、娛樂及設計 而是常識 我們一起努力,推動建設健康、有活力的社會 減輕人類的痛苦 構建一個更為周全 實質、情感分享世界秩序。
I salute all of you as activists in that quest and urge you to embrace and hold dear the arts in your work, whatever your purpose may be. I promise you the hand of the Doris Duke Charitable Foundation is stretched out in friendship for now and years to come. And I thank you for your kindness and your patience in listening to me this afternoon.
我要向各位在這一領域努力的人表示讚賞 也強烈希望你們能支持、重視你們所從事的藝術活動 即使大家的目的不盡相同 我向大家保證,現在及將來 桃莉絲•杜克慈善基金會(DDCF)會伸出其友誼之手 最後,感謝各位的捧場。 謝謝,願諸位安好!
Thank you, and Godspeed.