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 --
你坐在那裡, 感到非常挫折。 這實在讓人抓狂。 你在那裡坐了數個小時, 用你的二號鉛筆 把那些小圓圈塗滿—— 這是學測。 你抬頭看,黑板上的字 擦掉了一半, 你可以看見寫得很完美的草寫字母, 下拉地圖, 你能聽到牆上的工業風格時鐘 不停地滴答、滴答、滴答。 但,最重要的是,你能感受到 很有壓迫感的日光燈, 你頭頂上的死亡光線。 滋滋滋滋滋。 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。」 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, 你立馬衝向走廊; 你經過了消毒藥水味、 汗臭味,和置物櫃, 你推開門——
(Inhales deeply)
(深吸氣)
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.
終於,你到了室外。 喔,你能感受到吹拂在臉上的風, 照射在皮膚上的陽光, 最重要的,還有那廣闊的藍天。
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.
那是空間的揭示。 我的工作就是在做空間的揭示。 我是設計師和創意總監, 那是我的工作。 我用各式各樣的方式, 為各式各樣的人做空間的揭示, 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, 讓你能在你的世界中穿梭, 這麼一來,你也能做空間的揭示, 或至少展示它們。
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?"
步驟一:治療。 我知道,我知道,有的沒的, 紐約客,有的沒的,治療。 但,說真的,治療——你得要 知道你為什麼要做這些事,對吧? 當我拿到設計 《漢密爾頓》的工作時, 我和編劇林曼努爾米蘭達 及導演托馬斯凱爾坐下來談,我說: 「我們為什麼要說 這個已經 246 歲的故事? 關於這個故事, 你們想說的是什麼? 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。 我會告訴你們一些密技, 但設計階段之所以重要, 是因為我們能做出很酷的玩具。 我進入林的腦袋裡, 他進入我的腦袋裡, 這段獨白變成了對話。 我做出這些很酷的玩具, 我說:「這個世界看起來 是你們認為能夠把你們的劇 給呈現出來的地方嗎?」 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, 執行階段。 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, 把想法實際呈現出來。 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》 戲裡的放大縮小機裡, 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?」
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)
重點來了:你不需要是林, 你不需要有一本書, 然後想要把它變成一齣劇, 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。 (笑聲)
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,說真的,莎士比亞說過: 「全世界就是舞台。」 那個部分他說得很好。 他很莊嚴地搞砸的部分, 是他說:「而我們只是演員。」 這太荒唐了。我們不只是演員。 我們也是我們自己世界中的 服裝設計師、燈光師,和化妝師, 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。
(Laughter)
(笑聲)沒啦,開玩笑。
No. Just kidding.
好。步驟一:治療。對吧?
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."
你們感覺如何? 治療師都這樣說: 「你今天感覺如何?」 記住這一點是很重要的,因為 當我們為你設計世界場景的時候, 治療很重要。 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, 就是我設計的劇 《致埃文漢森》。(歡呼)
(Cheers)
《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. So I chose a color: inky-black darkness.
《致埃文漢森》所處的世界, 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)
(Laughter)
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.
在墨黑的黑暗色中的情緒是悲傷。 這齣劇會改變人, 但在這之前會先給人挫折。 我打賭你們在納悶: 「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。」 答案是:很便宜! 墨黑的黑暗色, 在對的時間點把燈打開。 說真的,想想看離開 達林老師的教室時, 墨黑的黑暗色在對的時刻退去, 我們遠離那道牆,揭示出 美麗的藍天。 它能讓人驚訝, 帶他們去不同的地方, 給予他們希望。 我們知道這一點, 因為顏色就是情緒, 當你用顏色來作畫, 你就是用感受來作畫。
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.
所以,想想我讓你歸檔到 你的心理名片盒中的那種情緒。 它是什麼顏色的? 它在你衣櫥裡的哪個地方? 它在你家裡的哪個地方? 當我們為你設計一齣劇時, 我們會使用那種顏色來告訴你 在某些時候你要有什麼感覺。 但,你也知道它存在, 因為你讓英雄穿白色, 讓主角穿紅色,讓壞蛋穿全黑。 你知道演員會定型。所以,想想它。
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?
但世界上還有其他的事物在發生, 能協助我們以安全的方式 在世界中穿梭。 它們叫做建築標準。 它們讓我們不會掉下去而搞砸。 門把都設在同樣的高度。 燈光開關都設在同樣的高度。 小便斗都——謝天謝地—— 設在同樣的高度, 因為大家用小便斗時都能命中。 但,說真的, 如果我們開始微調那些建築標準, 來得到我們想要的,會如何?
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,
這讓我想起我為 皮威赫爾曼製作的樓梯。 皮威赫爾曼是個孩子, 他的整個世界被創造出來的方式, 讓我們覺得皮威是個孩子。 建築、家具,一切都活了過來, 但沒有什麼比那樓梯更重要。 那樓梯每階有十二英吋高, 當皮威沉重地爬上爬下那樓梯, 他以孩子的方式和樓梯互動。 那種互動是無法假造的, 這和我們要求歌劇中的人 所做的完全相反。 在歌劇中,我們把那樓梯縮小, 讓主要的角色能 毫不費力地滑上滑下, 聲音完全不受影響。 把歌劇中的演唱者放到 皮威的劇場中是不可能的,
(Sings in Pee-Wee's voice) or they wouldn't be able to do their job.
(皮威的唱法)他們不可能 唱好他們的歌。(笑聲)
(Laughter)
但你也不能把皮威放到歌劇場景。
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. It wouldn't work.
他不能爬上爬下那種樓梯。 那就不是皮威了。 他會像詹姆士龐德很優雅地 上下樓梯。(笑聲) 那是行不通的。 想想你的場景、你的家、
(Laughter)
你每天生活的環境。
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.
如果你跟我很像,垃圾筒總是太小, 裝不下你每天晚上 買回家的外帶食物,對吧? 我會不斷在擠壓, 好像我在比薩店捏麵團一樣, 我要把東西壓進去,因為我不了解。 喔,也許你門廳的燈光開關 被一大堆亂放的外套擋住, 所以你甚至不會去動它。 因此,一天又一天, 你就只是在黑暗中進進出出。
(Laughter)
(笑聲)這是真的。
It's true. But what would happen if the space revealed something about yourself that you didn't even know?
但如果空間能揭示出 關於你自己的一些事, 連你自己都不知道的事呢?
Kanye never told me specifically that he wanted to be God. But --
肯伊從來沒有明確 告訴我他想要當上帝。 但——(笑聲)
(Laughter)
當我們開始合作,
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.
我們之間來來回回傳著影像, 他給了我一張北極光的照片, 有一道閃電穿過它。 他也給我一些從上頂向下看的照片, 那是個滿是雲霧的峽谷, 或是水面之下有煙霧—— 都是史詩般的景。 所以我為他設計的第一個場景 是一個大型的光箱, 上面有他唱片公司的名字。 他要耀武揚威地站在前面, 它會閃光,就像雷電。 史詩般的畫面, 卻像入門工具包的史詩。 我們接著用了一天片天空, 中間有一道裂痕, 透過裂痕,你能看見 宇宙深處的某些部分。 越來越靠近。 我們演進成站在方尖塔的上面, 站在山腰的上面,站在箱子的上面。 他身為藝術家,透過空間不斷演進, 我的工作就是要試著跟上去。 我們合作科切拉音樂節時, 他就站在八十英呎寬, 四十英呎高的古老工藝品前面, 真的是從神變成了人。 他在演進,我們都是見證人。 他的最後一場演出不是我 設計的,我只是見證, 在劇中,他完成了自我實現。 他真的就站在漂浮的 塑膠玻璃甲板上, 下面是愛慕他的粉絲, 他們沒有選擇, 只能讚頌上面的伊穌基督。
(Laughter)
(笑聲)他神話了他自己。
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.
你不能在你的客廳裡變成伊穌基督。 空間告訴了他他是誰, 接著他把那訊息傳遞給我們。
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.
我二十歲時, 我開車穿過停車場, 看見一個水坑時,我心想: 「我要左轉,不——壓過它。」 我直駛向那水坑, 接著——噗噗噗—— 水在我的車底下飛濺, 馬上,我也有了一個 「啊哈」的時刻。 車燈熄了。 世界上的一切都需要好好設計。 我是指,我確定我當時在想: 「這停車場的排水需要好好設計。」 但接著,我說:「世界上的一切 都需要好好設計。」 那是真的:如果讓大自然自己來, 它不會為你刻出一條有趣 或有幫助的路徑。
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 --
我把我的職涯都投入在 接觸人們的心靈, 在外頭創造出能與我們互動的世界。 是的,你可能無法找到很炫的 合作者一起做這件事, 但我想,離開這裡之後, 那三個簡單的步驟—— 治療,我想要成為誰? 我為什麼要做我所做的事? 設計,創造出一個計畫, 試著把它實現, 我能做什麼? 執行它—— 我想如果你能再加上 一點顏色理論——
(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.
(笑聲) 一些很酷的設計選擇, 及對建築標準有一般性的不尊重, 你就能走出去, 創造一個你會想要住在其中的世界, 而我要回家去買一個新的垃圾筒。
Thank you.
謝謝。
(Applause)
(掌聲)