Probably a lot of you know the story of the two salesmen who went down to Africa in the 1900s. They were sent down to find if there was any opportunity for selling shoes, and they wrote telegrams back to Manchester. And one of them wrote, "Situation hopeless. Stop. They don't wear shoes." And the other one wrote, "Glorious opportunity. They don't have any shoes yet."
Asi väčšina z vás pozná príbeh o dvoch obchodníkoch, ktorí v 20-tom storočí odišli do Afriky. Boli vyslaní, aby zistili, či sa tam dajú predávať topánky. Potom telegramovali späť do Menčestru, a jeden napísal: "Situácia je beznádejná. Stop. Oni nenosia topánky. A druhý napísal: "Úžasná možnosť. Oni ešte nemajú topánky."
(Laughter)
(Smiech)
Now, there's a similar situation in the classical music world, because there are some people who think that classical music is dying. And there are some of us who think you ain't seen nothing yet. And rather than go into statistics and trends, and tell you about all the orchestras that are closing, and the record companies that are folding, I thought we should do an experiment tonight. Actually, it's not really an experiment, because I know the outcome.
Podobná situácia nastala vo svete klasickej hudby, pretože niektorí si myslia, že klasická hudba vymiera. A niektorí si myslia, že ste zatiaľ nič nevideli. Namiesto štatistík a trendov vám vymenujú všetky orchestri, ktoré sa rušia a nahrávacie spoločnosti, ktoré skladajú karty. Dnes večer by sme mali spraviť experiment. Vlastne to nie je skutočný experiment, lebo viem jeho výsledok.
(Laughter)
But it's like an experiment. Now, before we start --
Ale je to ako experiment. (Smiech)
(Laughter)
Before we start, I need to do two things. One is I want to remind you of what a seven-year-old child sounds like when he plays the piano. Maybe you have this child at home. He sounds something like this.
Skôr než začnem, musím urobiť dve veci. Najprv vám chcem pripomenúť, ako znie sedemročné dieťa, keď hrá na klavíri. Možno toto dieťa máte doma. Znie asi takto.
(Music)
(Klavír)
(Music ends)
Vidím, že niektorí toto dieťa spoznávate.
I see some of you recognize this child. Now, if he practices for a year and takes lessons, he's now eight and he sounds like this.
Ak cvičí rok a chodí na hodiny, má teraz osem a znie takto.
(Music)
(Klavír)
(Music ends)
Potom cvičí ďalší rok a chodí na hodiny, a teraz má deväť.
He practices for another year and takes lessons -- he's nine.
(Music)
(Klavír)
(Music ends)
Potom cvičí ďalší rok, a teraz má desať.
Then he practices for another year and takes lessons -- now he's 10.
(Klavír)
(Music)
(Music ends)
At that point, they usually give up.
Tu sa väčšinou vzdajú.
(Laughter)
(Smiech)
(Applause)
(Potlesk)
Now, if you'd waited for one more year, you would have heard this.
Ak by ste počkali, ak by ste počkali ďalší rok,
(Music)
počuli by ste toto:
(Music ends)
(Klavír)
Now, what happened was not maybe what you thought, which is, he suddenly became passionate, engaged, involved, got a new teacher, he hit puberty, or whatever it is. What actually happened was the impulses were reduced. You see, the first time, he was playing with an impulse on every note.
Nestalo sa to, čo si asi myslíte. Nestal sa náhle vášnivým, zaujatým. Nedostal nového učiteľa, nenastala uňho puberta alebo čokoľvek iné. Stalo sa to, že zredukoval dôrazy. Prvýkrát hral s dôrazom na každú notu.
(Music)
(Klavír)
And the second, with an impulse every other note.
A druhýkrát na každú druhú notu.
(Music)
(Klavír)
You can see it by looking at my head.
Len sa dívajte na moju hlavu.
(Laughter)
(Smiech)
The nine-year-old put an impulse on every four notes.
Deväťročný dával dôraz na každú štvrtú notu.
(Music)
(Klavír)
The 10-year-old, on every eight notes.
A desaťročný na každú ôsmu.
(Music)
(Klavír)
And the 11-year-old, one impulse on the whole phrase.
A jedenásťročný dal jeden dôraz na celú frázu.
(Music)
(Klavír)
I don't know how we got into this position.
Neviem, ako som sa dostal do tejto pozície.
(Laughter)
(Smiech)
I didn't say, "I'm going to move my shoulder over, move my body." No, the music pushed me over, which is why I call it one-buttock playing.
Nepovedal som si, že takto posuniem plece a telo. Hudba ma odtlačila. Volám to hranie na polovici zadku.
(Music)
(Klavír)
It can be the other buttock.
Môže to byť aj druhá polovica.
(Music)
(Klavír)
You know, a gentleman was once watching a presentation I was doing, when I was working with a young pianist. He was the president of a corporation in Ohio. I was working with this young pianist, and said, "The trouble with you is you're a two-buttock player. You should be a one-buttock player." I moved his body while he was playing. And suddenly, the music took off. It took flight. The audience gasped when they heard the difference. Then I got a letter from this gentleman. He said, "I was so moved. I went back and I transformed my entire company into a one-buttock company."
Jeden pán raz sledoval moju prezentáciu, keď som vyučoval mladého klaviristu. Bol prezidentom korporácie v Oháju. Vyučoval som toho mladého klaviristu a povedal som: "Tvoj problém je, že hráš na celom zadku. Mal by si hrať na polovici zadku." A posunul som ho, kým hral. A zrazu sa hudba vzniesla. Obecenstvo zalapalo po dychu, keď počuli ten rozdiel. A potom mi ten pán napísal. "Bol som taký pohnutý, že som zmenil svoju celú firmu na takú na polovici zadku."
(Laughter)
(Smiech)
Now, the other thing I wanted to do is to tell you about you. There are 1,600 people, I believe. My estimation is that probably 45 of you are absolutely passionate about classical music. You adore classical music. Your FM is always on that classical dial. You have CDs in your car, and you go to the symphony, your children are playing instruments. You can't imagine your life without classical music. That's the first group, quite small. Then there's another bigger group. The people who don't mind classical music.
Ďalej som vám chcel porozprávať o vás. Je tu 1600 ľudí. Odhadujem, že asi 45 z vás má veľkú vášeň pre klasickú hudbu. Zbožňujete klasiku. Vaše rádio je stále klasicky naladené. Máte cédéčka v aute, a chodíte na symfonické koncerty. A vaše deti hrajú na hudobné nástroje. Neviete si predstaviť život bez klasickej hudby. To je prvá skupina - dosť malá. Potom máme väčšiu skupinu. Týmto ľuďom klasická hudba nevadí.
(Laughter)
(Smiech)
You know, you've come home from a long day, and you take a glass of wine, and you put your feet up. A little Vivaldi in the background doesn't do any harm. That's the second group. Now comes the third group: people who never listen to classical music. It's just simply not part of your life. You might hear it like second-hand smoke at the airport ...
Prídete domov po dlhom dni a nalejete si pohár vína, vyložíte si nohy. Trochu Vivaldiho v pozadí neuškodí. (Smiech) To je druhá skupina. A teraz tretia skupina. Títo ľudia nikdy nepočúvajú klasickú hudbu. Nie je časťou ich života. Možno sa s ňou stretnete na letisku ako s pasívnym fajčením.
(Laughter)
(Smiech)
-- and maybe a little bit of a march from "Aida" when you come into the hall. But otherwise, you never hear it. That's probably the largest group.
možno počujete trochu pochodu z Aidy, keď prídete do haly. Ale inak ju nikdy nepočujete. To je asi najväčšia skupina. A potom máme veľmi malú skupinu.
And then there's a very small group. These are the people who think they're tone-deaf. Amazing number of people think they're tone-deaf. Actually, I hear a lot, "My husband is tone-deaf."
Ľudí, ktorí si myslia, že nemajú hudobný sluch. Prekvapujúco veľa ľudí si to myslí. Veľakrát som počul: "Môj manžel nemá sluch." (Smiech)
(Laughter)
Nemôžete nemať sluch. Každý má sluch.
Actually, you cannot be tone-deaf. Nobody is tone-deaf. If you were tone-deaf, you couldn't change the gears on your car, in a stick shift car. You couldn't tell the difference between somebody from Texas and somebody from Rome. And the telephone. The telephone. If your mother calls on the miserable telephone, she calls and says, "Hello," you not only know who it is, you know what mood she's in. You have a fantastic ear. Everybody has a fantastic ear. So nobody is tone-deaf.
Bez sluchu by ste nemohli preradiť rýchlosť vo vašom aute. Nevedeli by ste rozdiel medzi niektom z Texasu a niektom z Ríma. A telefón. Ak vám zavolá matka a povie: "Ahoj," nielen že viete, kto to je, ale aj v akej je nálade. Máte skvelé ucho. Kažý má skvelé ucho. Každý má hudobný sluch.
But I tell you what. It doesn't work for me to go on with this thing, with such a wide gulf between those who understand, love and are passionate about classical music, and those who have no relationship to it at all. The tone-deaf people, they're no longer here. But even between those three categories, it's too wide a gulf. So I'm not going to go on until every single person in this room, downstairs and in Aspen, and everybody else looking, will come to love and understand classical music. So that's what we're going to do.
Ale poviem vám, že nemôžem pokračovať, kým je taký veľký rozdiel medzi tými, ktorí rozumejú, milujú a majú vášeň pre klasickú hudbu, a tými, ktorí k nej nemajú žiaden vzťah. Ľudia bez sluchu tu už nie sú. Ale aj medzi tými troma kategóriami je príliš veľká priepasť. Nebudem pokračovať, kým každý človek v tejto miestnosti, dole a v Aspene, a každý, čo sa teraz pozerá si nezamiluje a neporozumie klasickej hudbe. To teraz urobíme.
Now, you notice that there is not the slightest doubt in my mind that this is going to work, if you look at my face, right? It's one of the characteristics of a leader that he not doubt for one moment the capacity of the people he's leading to realize whatever he's dreaming. Imagine if Martin Luther King had said, "I have a dream. Of course, I'm not sure they'll be up to it."
Všimnite si, že nepochybujem, že sa to podarí, ak sa mi pozriete do tváre. Je to jedná z vlastností vodcu, že nepochybuje ani na minútu o kapacite ľudí, ktorých vedie, aby uskutočnil čokoľvek o čom sníva. Predstavte si, keby Martin Luter King povedal: "Mám sen. Samozrejme, nie som si istý, či s tým budú súhlasiť."
(Laughter)
(Smiech)
All right. So I'm going to take a piece of Chopin. This is a beautiful prelude by Chopin. Some of you will know it.
Vezmem si jednu Chopinovu skladbu. Prekrásne prelúdium od Chopina. Niektorí ho spoznáte.
(Music)
(Hudba)
Do you know what I think probably happened here? When I started, you thought, "How beautiful that sounds."
Viete, čo si myslím sa asi stalo v tejto miestnosti? Keď som začal, pomysleli ste si: "Ako krásne to znie."
(Music)
(Hudba)
"I don't think we should go to the same place for our summer holidays next year."
"Budúci rok by sme nemali ísť na dovolenku na to isté miesto."
(Laughter)
(Smiech)
It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course --
Je to zábavné, ako sa takéto myšlienky vkradnú do vašej hlavy. A samozrejme -- (Potlesk)
(Applause)
--samozrejme, ak je skladba dlhá a Vy ste mali dlhý deň,
Of course, if the piece is long and you've had a long day, you might actually drift off. Then your companion will dig you in the ribs and say, "Wake up! It's culture!" And then you feel even worse.
môžete aj zadriemať. Potom vás váš spoločník šťuchne do rebier a povie:"Zobuď sa! To je kultúra!" A vy sa cítite ešte horšie.
(Laughter)
Ale pomysleli ste si niekedy, že ste ospalí
But has it ever occurred to you that the reason you feel sleepy in classical music is not because of you, but because of us? Did anybody think while I was playing, "Why is he using so many impulses?" If I'd done this with my head you certainly would have thought it.
z klasickej hudby kvôli nám a nie vám? Pomyslel si niekto, kým som hral, "Prečo používa toľko dôrazu?" Ak by som robil toto s hlavou, určite by ste si to pomysleli.
(Music)
(Hudba)
(Music ends)
A po zvyšok života, vždy keď by ste počuli klasiku,
And for the rest of your life, every time you hear classical music, you'll always be able to know if you hear those impulses.
by ste rozoznali tie dôrazy. Pozrime sa, čo sa tu skutočne deje.
So let's see what's really going on here. We have a B. This is a B. The next note is a C. And the job of the C is to make the B sad. And it does, doesn't it?
Máme tu H. Toto je H. Ďalšia nota je C. C má na starosti zosmutniť H. A aj to robí, že? (Smiech)
(Laughter)
Skladatelia to vedia. Ak chcú smutnú hudbu,
Composers know that. If they want sad music, they just play those two notes.
len zahrajú tieto dve noty.
(Music)
(Hudba)
But basically, it's just a B, with four sads.
Ale je to len H so štyrmi smútkami.
(Laughter)
(Smiech)
Now, it goes down to A. Now to G. And then to F. So we have B, A, G, F. And if we have B, A, G, F, what do we expect next?
Teraz sa posunieme k A. Teraz G a potom F. Máme H, A, G, F. A ak máme H, A, G, F, čo očakávame? To mohla byť len náhoda.
(Music)
That might have been a fluke. Let's try it again.
Skúsme to znova. Och, TED zbor.
(Music)
Oh, the TED choir.
(Smiech)
(Laughter)
A všimnite si, že nikto nie je bez sluchu. Nikto.
And you notice nobody is tone-deaf, right? Nobody is. You know, every village in Bangladesh and every hamlet in China -- everybody knows: da, da, da, da -- da. Everybody knows, who's expecting that E.
Každá dedina v Bangladéši a každá samota v Číne. Každý to vie: dá, dá, dá, dá -- dá. Kažý očakáva E. Ale Chopin sa ešte nechcel dostať k E.
Chopin didn't want to reach the E there, because what will have happened? It will be over, like Hamlet. Do you remember? Act One, scene three, he finds out his uncle killed his father. He keeps on going up to his uncle and almost killing him. And then he backs away, he goes up to him again, almost kills him. The critics sitting in the back row there, they have to have an opinion, so they say, "Hamlet is a procrastinator." Or they say, "Hamlet has an Oedipus complex." No, otherwise the play would be over, stupid.
Lebo čo sa stane? Skončí sa to ako Hamlet. Pamätáte si Hamleta? Akt 1, Scéna 3: zistí, že mu strýko zabil otca. Pamätáte si, že príde ku strýkovi a takmer ho zabije. A potom cúvne. A podíde k nemu a takmer ho zabije. A kritici, ktorí sedia v zadnom rade, musia mať nejaký názor, tak povedia: "Hamlet je váhavec." (Smiech) Alebo povedia: "Hamlet má Oidipov komplex." Nie, inak by hra skončila, hlúpi.
(Laughter)
Preto to Shakespeare všetko dal do Hamleta.
That's why Shakespeare puts all that stuff in Hamlet -- Ophelia going mad, the play within the play, and Yorick's skull, and the gravediggers. That's in order to delay -- until Act Five, he can kill him.
Veď viete - Ofélia sa zblázni, a je tam hra v hre, a Jorikova lebka a hrobári. To kvôli zdržiavaniu -- až v Akte 5 ho môže zabiť. Tak to je aj so Chopinom. Takmer sa dostane k E
It's the same with the Chopin. He's just about to reach the E, and he says, "Oops, better go back up and do it again." So he does it again. Now, he gets excited.
a potom si povie: "Radšej sa vrátim a urobím to ešte raz." A tak to spraví ešte raz. Teraz sa rozruší -- to je vzrušenie.
(Music)
That's excitement, don't worry about it. Now, he gets to F-sharp, and finally he goes down to E, but it's the wrong chord -- because the chord he's looking for is this one, and instead he does ... Now, we call that a deceptive cadence, because it deceives us. I tell my students, "If you have a deceptive cadence, raise your eyebrows, and everybody will know."
O to sa nebojte. Dostane sa k Fis a konečne príde k E, ale to je zlý akord. Lebo akord, ktorý hľadá je tento, a namiesto toho... voláme to klamlivá kadencia, pretože nás klame. Vždy hovorím mojim študentom: "Ak máte klamlivú kadenciu, určite zdvihnite obočie, aby to každý vedel," (Smiech)
(Laughter)
(Potlesk)
(Applause)
Right. He gets to E, but it's the wrong chord. Now, he tries E again. That chord doesn't work. Now, he tries the E again. That chord doesn't work. Now, he tries E again, and that doesn't work. And then finally ... There was a gentleman in the front row who went, "Mmm."
Dostane sa k E, ale je to zlý akord. Tak znova skúša E. Ten akord neznie dobre. Znova skúsi E. Ten akord neznie dobre. Znova skúsi E, a neznie to dobre. A nakoniec... Pán v prvom rade urobil: "Hmm."
(Laughter)
To isté gesto spraví, keď príde domov
It's the same gesture he makes when he comes home after a long day, turns off the key in his car and says, "Aah, I'm home." Because we all know where home is.
po dlhom dni, otočí kľúčikom v aute a povie si: "Ach, som doma." Pretože všetci vieme, kde je domov. Táto skladba plynie z ďiaľky domov.
So this is a piece which goes from away to home. I'm going to play it all the way through and you're going to follow. B, C, B, C, B, C, B -- down to A, down to G, down to F. Almost goes to E, but otherwise the play would be over. He goes back up to B, he gets very excited. Goes to F-sharp. Goes to E. It's the wrong chord. It's the wrong chord. And finally goes to E, and it's home. And what you're going to see is one-buttock playing.
A zahrám ju celú od začiatku do konca. A vy budete sledovať: H, C, H, C, H, C, H -- dole k A, dole k G, dole k F. Takmer k E, ale inak by skladba skončila. Vráti sa k H. Rozruší sa. Ide k Fis, ide k E. Je to nesprávny akord. Zlý akord. Zlý akord. A potom konečne k E, a je doma. Uvidíte hranie na polovici zadku. (Smiech)
(Laughter)
Because for me, to join the B to the E, I have to stop thinking about every single note along the way, and start thinking about the long, long line from B to E.
Pretože ak chcem prepojiť H s E, musím prestať myslieť na každú notu, ktorú zahrám, a začať myslieť na dlhú čiaru od H k E.
You know, we were just in South Africa, and you can't go to South Africa without thinking of Mandela in jail for 27 years. What was he thinking about? Lunch? No, he was thinking about the vision for South Africa and for human beings. This is about vision. This is about the long line. Like the bird who flies over the field and doesn't care about the fences underneath, all right? So now, you're going to follow the line all the way from B to E. And I've one last request before I play this piece all the way through. Would you think of somebody who you adore, who's no longer there? A beloved grandmother, a lover -- somebody in your life who you love with all your heart, but that person is no longer with you. Bring that person into your mind, and at the same time, follow the line all the way from B to E, and you'll hear everything that Chopin had to say.
Práve sme boli v Južnej Afrike a nemôžete ísť do Južnej Afriky bez spomienky na Mandelu a jeho 27 rokov vo väzení. Nad čím rozmýšľal? Nad obedom? Nie, rozmýšľal nad víziou Južnej Afriky a ľudí. To ho udržalo - toto je o vízii. Toto je o dlhej čiare. Ako vták, ktorý preletí ponad pole, nestarajúc sa o ploty pod ním. Teraz sledujte čiaru od H po E. Mám ešte jednu požiadavku predtým, ako to celé zahrám. Myslite na niekoho, koho zbožňujete a kto tu už nie je. Milovaná stará mama, milenec, niekto koho milujete celým srdcom, ale kto už s vami nie je. Pomyslite na toho človeka a zároveň sledujte čiaru od H po E, a budete počuť všetko, čo Chopin chcel povedať.
(Music)
(Hudba)
(Music ends)
(Applause)
(Potlesk)
Now, you may be wondering --
Možno sa čudujete,
(Applause)
prečo tlieskam.
(Applause ends)
You may be wondering why I'm clapping. Well, I did this at a school in Boston with about 70 seventh graders, 12-year-olds. I did exactly what I did with you, and I explained the whole thing. At the end, they went crazy, clapping. I was clapping. They were clapping. Finally, I said, "Why am I clapping?" And one of them said, "Because we were listening."
Spravil som to v škole v Bostone s asi 70-timi siedmakmi - dvanásť ročnými. A urobil som presne to isté čo s vami, a vysvetlil som im to celé. A na konci zbesilo tlieskali. Oni tlieskali, ja som tlieskal. Oni tlieskali. Nakoniec som povedal: "Prečo ja tlieskam?" A jedno dieťa povedalo: "Lebo sme počúvali."
(Laughter)
(Smiech)
Think of it. 1,600 people, busy people, involved in all sorts of different things, listening, understanding and being moved by a piece by Chopin. Now, that is something. Am I sure that every single person followed that, understood it, was moved by it? Of course, I can't be sure.
Len si pomyslite. 1600 zaneprázdnených ľudí, zaoberajúcimi sa mnohými rozličnými vecami. Počúvajú, chápu a sú pohnutí skladbou od Chopina. Tak to je niečo. Ale som si istý, že každý to nasledoval, chápal a bol pohnutý? Samozrejme si nemôžem byť istý. Ale poviem vám, čo sa mi stalo.
But I'll tell you what happened to me in Ireland during the Troubles, 10 years ago, and I was working with some Catholic and Protestant kids on conflict resolution. And I did this with them -- a risky thing to do, because they were street kids. And one of them came to me the next morning and he said, "You know, I've never listened to classical music in my life, but when you played that shopping piece ..."
Bol som v Írsku počas nepokojov pred desiatimi rokmi, a pracoval som s katolíckymi a protestantskými deťmi na riešení konfliktov. A toto som s nimi spravil. Bolo to riskantné, pretože to boli deti z ulice. Jeden z nich ku mne prišiel nasledujúce ráno a povedal: "Nikdy predtým som nepočúval klasickú hudbu, ale keď ste hrali tú skladbu, (Smiech)
(Laughter)
môjho brata minulý rok zastrelili a neplakal som za ním.
He said, "My brother was shot last year and I didn't cry for him. But last night, when you played that piece, he was the one I was thinking about. And I felt the tears streaming down my face. And it felt really good to cry for my brother." So I made up my mind at that moment that classical music is for everybody. Everybody.
Ale keď ste včera hrali tú skladbu, on bol ten, na ktorého som myslel. Cítil som, ako mi slzy stekajú po tvári. Bol to skutočne dobrý pocit plakať za mojím bratom." V tej chvíli som sa rozhodol, že klasická hudba je pre každého. Každého.
Now, how would you walk -- my profession, the music profession doesn't see it that way. They say three percent of the population likes classical music. If only we could move it to four percent, our problems would be over.
Ako by ste kráčali -- pretože moja profesia, hudobná profesia to tak nevidí. Hovoria, že tri percentá populácie majú radi klasiku. Ak by sme to mohli zvýšiť na štyri percentá, naše problémy by sa skončili.
(Laughter)
Hovorím: "Ako by ste kráčali? Ako by ste rozprávali? Akí by ste boli,
How would you walk? How would you talk? How would you be? If you thought, "Three percent of the population likes classical music, if only we could move it to four percent." How would you walk or talk? How would you be? If you thought, "Everybody loves classical music -- they just haven't found out about it yet." See, these are totally different worlds.
keby ste si mysleli, že tri percentá populácie majú radi klasiku? Ak by sme to mohli zvýšiť na štyri percentá, ako by ste kráčali? Ako by ste rozprávali? Akí by ste boli, keby ste si mysleli, že každý má rád klasiku -- len o tom ešte nevedia." (Smiech) To sú úplne odlišné svety.
Now, I had an amazing experience. I was 45 years old, I'd been conducting for 20 years, and I suddenly had a realization. The conductor of an orchestra doesn't make a sound. My picture appears on the front of the CD --
Mal som úžasný zážitok. Mal som 45 rokov, už som dirigoval 20 rokov, a náhle som si niečo uvedomil. Dirigent nevydáva žiaden zvuk. Moja fotka je na obale cédéčka --
(Laughter)
(Smiech)
But the conductor doesn't make a sound. He depends, for his power, on his ability to make other people powerful. And that changed everything for me. It was totally life-changing. People in my orchestra said, "Ben, what happened?" That's what happened. I realized my job was to awaken possibility in other people. And of course, I wanted to know whether I was doing that. How do you find out? You look at their eyes. If their eyes are shining, you know you're doing it. You could light up a village with this guy's eyes.
-- ale dirigent nevydáva zvuk. Jeho moc závisí na jeho schopnosti urobiť iných mocnými. Všetko to pre mňa zmenilo. Zmenilo mi to život. Ľudia z môjho orchestra ku mne prišli a povedali: "Ben, čo sa stalo?" To sa stalo. Uvedomil som si, že mojou prácou bolo prebudiť možnosti v iných ľuďoch. Samozrejme, chcel som vedieť, či som to dokázal. Viete, ako som to zistil? Musíte sa pozrieť na ich oči. Ak sa im oči ligocú, viete, že to robíte. Očami tohto pána by ste mohli rozjasniť dedinu.
(Laughter)
(Smiech)
Right. So if the eyes are shining, you know you're doing it. If the eyes are not shining, you get to ask a question. And this is the question: who am I being that my players' eyes are not shining? We can do that with our children, too. Who am I being, that my children's eyes are not shining? That's a totally different world.
Ak sa im oči ligocú, viete, že to robíte. Ak sa neligocú, musíte si položiť otázku. Takúto: Kým som, že sa môjmu hudobníkovi neligocú oči? Môžeme to spraviť aj s deťmi. Kým som, že sa mojím deťom neligocú oči? Je to úplne iný svet.
Now, we're all about to end this magical, on-the-mountain week, we're going back into the world. And I say, it's appropriate for us to ask the question, who are we being as we go back out into the world? And you know, I have a definition of success. For me, it's very simple. It's not about wealth and fame and power. It's about how many shining eyes I have around me.
Teraz končíme tento čarovný týždeň a vraciame sa do sveta. Je vhodné spýtať sa: Kým sme, keď sa vraciame do sveta? Mám definíciu úspechu. Pre mňa je to jednoduché. Nie je to o bohatstve a sláve a moci. Je to o množstve ligotajúcich sa očí okolo mňa.
So now, I have one last thought, which is that it really makes a difference what we say -- the words that come out of our mouth. I learned this from a woman who survived Auschwitz, one of the rare survivors. She went to Auschwitz when she was 15 years old. And ... And her brother was eight, and the parents were lost. And she told me this, she said, "We were in the train going to Auschwitz, and I looked down and saw my brother's shoes were missing. I said, 'Why are you so stupid, can't you keep your things together for goodness' sake?'" The way an elder sister might speak to a younger brother. Unfortunately, it was the last thing she ever said to him, because she never saw him again. He did not survive. And so when she came out of Auschwitz, she made a vow. She told me this. She said, "I walked out of Auschwitz into life and I made a vow. And the vow was, "I will never say anything that couldn't stand as the last thing I ever say." Now, can we do that? No. And we'll make ourselves wrong and others wrong. But it is a possibility to live into.
Mám poslednú myšlienku. Naše slová urobia rozdiel. Slová, ktoré vypustíte z úst. Naučil som sa to od ženy, ktorá prežila Auschwitz, jedna z mála. Išla do Auschwitzu, keď mala 15 rokov. Jej brat mal osem, a ich rodičia boli v nenávratne. Povedala mi: "Boli sme vo vlaku, idúc do Auschwitzu, a ja som sa pozrela dole a videla som, že môj brat nemal topánky. Povedala som mu: "Prečo si taký hlúpy -- nemôžeš si dať pozor na veci preboha? -- tak ako staršie sestry zvyknú hovoriť mladším bratom. Nanešťastie, to bolo posledné, čo mu kedy povedala, pretože ho už nikdy viac nevidela. Neprežil. A tak keď opustila Auschwitz, dala si sľub. Povedala mi: "Vyšla som z Auschwitzu do života a dala som si sľub. Ten sľub bol, že už nikdy nepoviem nič, čo by neobstálo ako to posledné, čo kedy poviem." Môžeme to dokázať? Nie. Pomýlime sa a pomýlime iných. Ale je to možnosť, ktorou žiť. Ďakujem.
Thank you.
(Applause)
(Potlesk)
Shining eyes.
Ligotajúce sa oči, ligotajúce sa oči.
(Applause)
Shining eyes.
(Applause)
Thank you, thank you.
Ďakujem.