You're sitting there, and it's incredibly frustrating. It's maddening. You've been sitting there for hours, filling in those little tiny circles with your No. 2 pencil -- this is a standardized test. You look up, half-erased chalkboard, you can see that perfectly written cursive alphabet, the pull-down maps, you can hear, tick, tick, tick, ticking on the wall, that industrial clock. But most importantly, you can feel that oppressive fluorescent light, that death ray over your head. Bzzzzzz. 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, and you sprint down the hallway; you go past the Lysol smell and the BO smell and the cubbies, and you push the door --
你正坐在那里, 无比烦躁。 简直令人抓狂。 你已经坐在那几个小时了, 用你的2B铅笔涂写那些小圆圈—— 这是一场标准化考试。 你抬起头,看见擦了一半的黑板, 看见笔体完美的草书, 下拉的地图, 你能听到嘀嗒、嘀嗒、嘀嗒, 墙上的时钟发出的声音。 但最重要的是,你能 感觉到那压抑的荧光灯, 你头上的死亡之光。 嗡嗡嗡。 你无法继续忍受了, 但也不需要忍受了, 因为考官姐姐说,“好了, 孩子们,交卷了。” 于是你跳起来——一溜烟地消失。 你动作迅速,砰的一声 推进那把塑料椅子, 在走廊狂奔, 身边飘过消毒水味儿, 臭鞋味儿,还有柜子, 你推开那扇门——
(Inhales deeply)
(深深吸入)
and finally, you're outside. Oh, you can feel the wind on your face, then the sun on your skin and most importantly, the big blue sky.
终于,你到外面了。 哦,你可以感受到清风拂面, 和煦的阳光洒满每一个毛孔, 最重要的是,还有又大又蓝的天空。
That is a revelation of space. Making revelations of space is what I do; I'm a designer and creative director, and that's what I do for a living. I do it for all sorts of people in all kinds of different ways, and it might seem complicated, but it's not. And over the next couple of minutes, I'm going to give you three ways that I think you can move through your world so that you, too, can make revelations of space, or at least reveal them.
这就是空间展示。 我的工作就是设计空间展示; 我是设计师和创意总监, 这是我谋生的本领。 我用各种方式为各色人群做设计, 它可能看起来很复杂,但其实不然。 在接下来几分钟, 我会告诉你们三个方法, 应该可以把它们用在你们的世界里, 这样你们也可以设计 空间展示,或者至少看懂它。
Step one: therapy. 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? When I got the job of designing "Hamilton," I sat with Lin-Manuel Miranda, writer, Tommy Kail, director, and I said, "Why are we telling this 246-year-old story? What is it about the story that you want to say, 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. And I'll give you some little tricks about that, but the design phase is important because we get to make these cool toys. I reach into Lin's brain, he reaches into mine, this monologue becomes a dialogue. And I make these cool toys, and I say, "Does this world look like the world that you think could be a place where we could house your show?" If the answer is yes -- and when the answer is yes -- we move into what I think is the most terrifying part, which is the execution phase. The execution phase is when we get to build this thing, and when this conversation goes from a few people to a few hundred people now translating this idea. We put it in this beautiful little thing, put it in the "Honey, I Shrunk the Kids" super-sizer machine and blow it up full-scale, and we never know if we did it right until we show up onstage and go, "Is it OK? Is it OK?"
第一步:问诊。 我知道我知道:巴拉巴拉, 纽约客,巴拉巴拉,诊疗。 但真的,问诊——你得知道 你为什么做这些东西,对吧? 当我接到设计《汉密尔顿》的工作时, 我和作家林-马努艾尔 · 米兰达 及汤米 · 凯尔导演坐在一起,我说, “为什么我们要讲述 这个246年前的老故事? 你想讲这个故事的哪些方面, 你希望人们在观看演出时 有什么样的感受?” 这很重要,当我们理解了, 就可以进入第二步:设计阶段。 我会给你们一些这方面的小技巧, 但设计阶段之所以重要,是因为 我们可以做这些很酷的玩具。 我去理解林的想法, 他也来理解我的想法, 这段独白变成对白。 我做出这些很酷的玩具, 然后说,“这个世界看起来像是 能为你的戏剧提供舞台的世界吗?” 如果他回答“是”——与答案相同—— 我们就进入我认为最可怕的环节, 执行阶段。 执行阶段是我们去 建造这些东西的时候, 几个人之间的沟通变成了 几百个人在诠释 这个创意。 我们把这个美丽的小东西放进 “亲爱的,我把孩子们缩小了” 里的那部放大缩小机器, 把它放大到实际尺寸, 我们永远不知道我们是否做对了, 直到自己站在舞台上,问 “这样可以吗,这样好吗?”
Here's the thing: you don't have to be Lin, you don't have to have a book that you want to turn into a show in order to do this in your real life. You're already starring in a show, by the way. It's called your life. Congratulations. (Laughter)
关键在于: 你不必成为作家林, 要在现实生活中做到这些, 你并不需要一个想搬上舞台的剧本。 你已经在开始表演了, 剧名叫你的人生。 恭喜。 (笑声)
But seriously, Shakespeare said it: "All the world's a stage." He nailed that part. What he screwed up royally was that part where he said, "And we are merely players." It's ridiculous. We're not merely players. We are the costume designers and the lighting designers and the makeup artists in our own world, 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 and a couple of little tricks, as I said, I'm going to tell you, and you can begin to change the world the way you want to. You want to do it? OK. Everybody write a show.
但严肃地说,莎士比亚说过: “世界是个大舞台。” 那部分他说得很对。 他搞错的是他说的另一部分: “男男女女只是演员。” 这很荒谬,我们不仅是演员。 我们是服装设计师和灯光设计师, 还是我们自己世界的化妆师, 我想让你们想象自己是 你们世界的布景设计师。 因为我认为在离开这里后, 假如你们做了这三个步骤, 再加上一些我马上就要 告诉你的小技巧, 你们就可以按自己的方式开始 改变你的世界。 准备好了吗? 好,每人写个剧本。
(Laughter)
(笑声)
No. Just kidding.
不用,开玩笑的。
OK. Step one: therapy. Right? How are you feeling? 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, the therapy is important. It tells you that emotion is going to become light and color. A good example of that light and color is a show I designed called "Dear Evan Hansen."
好,第一步:问诊,对吗? 你感觉怎样? 诊疗师往往会说:“你今天感觉怎样?” 记住这点很重要,因为 当我们为你设计世界时, 问诊是很重要的。 它会告诉你,情绪 会变得明亮和有色彩。 关于这种光亮和色彩有个很好的例子, 是一部叫《致埃文 · 汉森》的音乐剧。
(欢呼)
(Cheers)
《致埃文 · 汉森》在——哦老天——
"Dear Evan Hansen" exists -- oh my God -- "Dear Evan Hansen" exists in a world of almost all light and color. So I chose a color: inky-black darkness.
《致埃文 · 汉森》存在于一个 几乎全是光和色彩的世界里。 所以我选择了一种颜色:漆黑。 (笑声)
(Laughter)
漆黑是悲伤的情绪色彩。
Inky-black darkness is a color the way that sadness is an emotion. 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 if you sit for two hours and 20 minutes in inky-black darkness?" The answer is: cheap! Inky-black darkness, turn the lights on at the right time. Seriously, think about leaving Miss Darling's class. Inky-black darkness gives way at the right moment, we fly away that wall and reveal a beautiful blue sky. It blows people away and it transports them, and it makes them feel hopeful. And we know this because color is emotion, and when you paint with color, you're painting with feelings.
这个演出让观众动情, 但在动情之前还要受点小折磨。 我打赌你在想,“如果在漆黑的黑暗中 坐了2小时20分钟, 得多贵的布景才能打动你?” 答案是:花小钱就能办大事儿! 漆黑的黑暗, 在合适的时候打开灯光。 说真的,想象一下 从考官姐姐的教室跑出来。 漆黑在适当的时候让位, 我们飞跃那片墙,找到美丽的蓝天。 它让观众豁然开朗,思绪飞扬, 让他们感受到希望。 我们知道这一点,因为颜色就是情绪, 你用颜色作画时,你是在用情绪作画。
So think about that emotion, the one I had you file away in your mental Rolodex. What color is it? Where in your wardrobe does it exist, and where in your home does it exist? When we design the show for you, we're going to use that color to tell you how you feel in certain times. But also, you know this exists because you put the hero in white, you put the lead character in red, you put the villain in all black. It's typecasting. You know that. So think about it.
那么想想你的情绪,刚才我让你 放在一边的那个情绪。 它是什么颜色? 它在你衣柜的什么地方, 在你家中的什么位置? 当我们为你们设计这部剧时, 我们会用那个颜色来告诉你 在特定的时刻会有什么感受。 但同样,你也知道这些, 因为英雄都是白色, 主角都是红色,反派都是黑色。 这是惯常做法,你知道这点。 所以考虑一下。
But there's also something else that happens in the world that helps us move through the world in a safe way. They're called architectural standards. They make us not fall down and go boom. Doorknobs are all at the same height. Light switches are all at the same height. Toilet bowls are always -- thank God -- at the same height, because no one ever misses the toilet bowl. But seriously, what would happen if we started to tweak those architectural standards to get what we wanted?
但也出现了其他一些事情 来帮助我们安全地体验这个世界。 它们叫做建筑标准。 它们让我们不会跌倒和踩雷。 门把手都在同一高度。 灯光开关都在同一高度。 抽水马桶总是—— 感谢上帝——在同一高度, 因为大家都够的着。 但说真的, 如果我们调整那些建筑标准 去获得我们想要的, 会发生什么?
It reminds me of the stairs I made for Pee-Wee Herman. Pee-Wee Herman is a child, and his entire world is created so that we perceive Pee-Wee as a child. The architecture and the furniture and everything come to life, but nothing more important than those stairs. Those stairs are 12 inches high, so when Pee-Wee clomps up and down those stairs, he interacts with them like a kid. You can't fake that kind of interaction, and that's the exact opposite of what we ask people in opera to do. In opera, we shrink those stairs so that our main characters can glide up and down effortlessly without ever breaking their voice. You could never put an opera singer in Pee-Wee's Playhouse,
这让我想起我为 皮威 · 赫尔曼做的楼梯。 皮威 · 赫尔曼是个孩子, 他的整个世界都打造成能让 我们把皮威看作孩子的风格。 建筑、家具和一切都栩栩如生, 但都没有这些楼梯重要。 这些楼梯有12英寸高, 所以当皮威在楼梯上爬上爬下时, 他就像孩子般与楼梯互动。 你不能假装出那种互动的效果, 这和我们对歌剧演员的要求完全相反。 在歌剧中,我们把楼梯的高度缩小, 这样主角可以毫不费力地上上下下, 而不会干扰他们的歌喉。 你永远不可能把一个歌剧演唱家 放在皮威的剧场里,
(Sings in Pee-Wee's voice) or they wouldn't be able to do their job.
(爬楼梯的皮威在唱歌) 那样歌剧演员就无法正常演出。
(笑声)
(Laughter)
但你不能把皮威放在歌剧布景里。
But you couldn't put Pee-Wee in an opera set. He couldn't climb up and down those stairs. There'd be no Pee-Wee. He'd be like James Bond slinking elegantly up and down the stairs.
如果他不能在那些楼梯上爬上爬下, 就不是皮威了。 他会像詹姆斯 · 邦德一样 优雅地上下楼梯。 那根本行不通。
It wouldn't work.
(笑声) 现在想想你的布景,你的家, 你每天都在怎样的地方。
(Laughter)
Now think of your set, your home, what you exist in every single day. If you're anything like me, the trash can is just too small for the amount of takeout that you buy every night, right? And I find myself jamming like I'm kneading dough at a pizza place, I'm jamming it in because I don't understand. Or, maybe the light switch in your foyer is just stashed behind too many precariously placed coats, and so you don't even go for it. Therefore, day after day, you wind up walking in and out of a chasm of darkness.
如果你和我一样,会觉得垃圾桶太小, 都装不下你每晚叫的 那些外卖包装,对吗? 我发现自己需要像揉面团 一样使劲儿塞那个垃圾桶, 我一直往里塞,是因为我不明白。 或者,也许是你门厅的电灯开关 就藏在太多随意丢放的衣服后面, 以致你都不想去够它。 因此,一天天过去, 你只能在黑暗的深渊里进进出出。 (笑声)
(Laughter)
这是真的。
It's true. But what would happen if the space revealed something about yourself that you didn't even know?
但如果这个空间揭示了某些 连你自己都不了解的自我, 会怎样?
Kanye never told me specifically that he wanted to be God. But --
坎耶从未明确告诉过我他想成为上帝。 但——
(Laughter)
(笑声)
when we started working together, we were sending images back and forth, and he sent me a picture of the aurora borealis with lightning strikes through it. And he sent me pictures from a mountaintop looking down at a smoke-filled canyon, or smoke underneath the surface of water -- like, epic stuff. So the first set I designed for him was a huge light box with the name of his record label. He would stand triumphantly in front of it, and it would flash lights like a lightning bolt. And it was epic, but, like, starter-kit epic. We moved on to a large swath of sky with a tear down the middle, and through the tear, you could see deep parts of the cosmos. Getting closer. We evolved to standing on top of an obelisk, standing on top of a mountainside, standing on top of boxes. You know, he was evolving as an artist through space, and it was my job to try and keep up. When we did Coachella, there he was, standing in front of an 80-foot-wide by 40-foot-tall ancient artifact, literally handed down from God to man. He was evolving, and we were all witness to it. And in his last show, which I didn't design but I witnessed, he had self-actualized. He was literally standing on a floating plexiglass deck over his adoring fans, who had no choice but to praise to Yeezus up above.
当我们开始一起工作时, 我们开始来回发送图片, 他给我发了一张北极光的照片, 里面有闪电穿过。 还有些照片是从山顶上 俯瞰着烟雾弥漫的峡谷, 或雾气腾腾的水面—— 诸如史诗般的东西。 所以我为他设计的第一套布景 是一个巨大的灯箱, 上面写着他唱片公司的名字。 他会志得意满地站在前面, 它会像闪电一样发出闪光。 很震撼,但是,只能算是初级震撼。 我们继续前进,变成一大片天空, 天空中间有一条裂缝, 通过裂缝,你可以看到宇宙的深处。 我就快说完了。 我们进化到站在方尖碑上, 站在山腰上,站在盒子上。 他作为艺术家在空间中进化, 我的工作就是努力跟上。 当我们做柯契拉音乐节时, 他现身了, 站在一个80尺宽、 40尺高的古风工艺品前, 毫不夸张,是上帝 把他亲手交给人类的。 他在进化,我们都见证了这点。 在他的上一次演出中, 我没有参与设计,但见证了 他实现了自我。 他站在一个浮动的有机玻璃甲板上, 下面是崇拜他的粉丝, 粉丝没得选,只能 仰头赞美上方的“耶酥”。
(Laughter)
(笑声)
He had deified himself. You can't become Yeezus in your living room. The space told him who he was about himself, and then he delivered that to us.
他把自己神化了。 你在家里的客厅是变不成耶稣的。 那个空间告诉了他关于自己的一切, 然后他向我们传达了这点。
When I was 20 years old, I was driving through a parking lot, and I saw a puddle. I thought, "I'm going to veer to the left. No -- I'm going through it." And I hit the puddle, and -- ffftt! -- all the water underneath my car, and instantly, I have an aha moment. Light bulb goes off. Everything in the world needs to be designed. I mean, I'm sure I was thinking, "The drainage needs to be designed in this parking lot." But then I was like, "Everything in the world needs to be designed." And it's true: left to its own devices, Mother Nature isn't going to carve an interesting or necessarily helpful path for you.
当我20岁时, 我开车经过一个停车场,看到一个水坑, 心想,“我从左边绕一下吧。 不——我要直着开过去。” 我开进了水坑,于是——哗!—— 所有的水都飞溅到了我的车底, 突然,我的顿悟时刻来了, 脑中灵光一现。 世间的一切都需要设计。 当然,我确定当时想的是, “这个停车场的排水系统 需要设计。” 但很快我就想到, “世间的一切都需要设计。” 这是真的,因为如果顺其自然, 大自然不会为你开辟出 一条有趣的,或一定有用的 人生道路。
I've spent my career reaching into people's minds and creating worlds out here that we can all interact with. And yeah, you might not get to do this with fancy collaborators, but I think if you leave here, those three easy steps -- therapy, who do I want to be, why do I do the things that I do; design, create a plan and try and follow through with it, what can I do; execute it -- I think if you add that with a little color theory --
我在整个职业生涯中 都在了解人们的想法, 去创建我们都能与之互动的世界。 当然,你的合作伙伴可能没那么出名, 但我认为你今天可以学到 这三个简单的步骤—— 问诊,我想要成为什么人, 我为什么要做这样的事; 设计,制定一个计划并坚持到底, 我能做什么; 执行—— 我觉得如果你能在这其中 增加一点色彩理论——
(Laughter) some cool design choices and a general disrespect for architectural standards, you can go out and create the world that you want to live in, and I am going to go home and buy a new trash can.
(笑声) 做些比较酷的设计选择, 打破一些建筑标准的约束, 你就可以放开手脚 去创造你想要生活的世界, 而我,打算回家买个新的垃圾桶。
Thank you.
谢谢。
(Applause)
(鼓掌)