We live in a world increasingly tyrannized by the screen, by our phones, by our tablets, by our televisions and our computers. We can have any experience that we want, but feel nothing. We can have as many friends as we want, but have nobody to shake hands with.
我們生活在一個日漸 被螢幕所主宰的世界, 手機、平板電腦、電視 及電腦充斥於日常生活。 我們可以有任何我們想要的體驗, 卻什麼也感受不到。 我們要多少朋友就有多少朋友, 卻沒有一個人可以握手。
I want to take you to a different kind of world, the world of the imagination, where, using this most powerful tool that we have, we can transform both our physical surroundings, but in doing so, we can change forever how we feel and how we feel about the people that we share the planet with.
我想要帶大家到一個不同的世界, 想像力的世界, 在那裡,我們可以用 我們最強大的工具, 徹底改變我們的周遭環境, 與此同時,也將永遠改變我們的感受, 以及我們對其他共同存在 這個地球上的人的感覺。
My company, Artichoke, which I cofounded in 2006, was set up to create moments. We all have moments in our lives, and when we're on our deathbeds, we're not going to remember the daily commute to work on the number 38 bus or our struggle to find a parking space every day when we go to the shop. We're going to remember those moments when our kid took their first step or when we got picked for the football team or when we fell in love. So Artichoke exists to create moving, ephemeral moments that transform the physical world using the imagination of the artist to show us what is possible. We create beauty amongst ruins. We reexamine our history. We create moments to which everyone is invited, either to witness or to take part.
2006 年我與朋友一起 成立了 Artichoke, 公司宗旨是要「創造時刻」。 我們一生中充滿各種時刻, 在我們臨終時, 我們記起的不會是每天上班 通勤搭的 38 路公車, 或是平常去購物時 停車位有多難找。 我們會想到的時刻應該是 我們的孩子踏出第一步, 或是我們被選入足球隊, 甚至是我們墜入愛河的那一刻。 Artichoke 的使命 是要創造出精彩動人的時刻, 用藝術家的想像力改變現實的世界, 展現各種可能性。 我們在斷垣殘壁中創造出絢爛美景。 我們重新檢視我們的歷史。 我們邀請每一個人, 來見證或參與我們所創造的時刻。
It all started for me way back in the 1990s, when I was appointed as festival director in the tiny British city of Salisbury. You'll probably have heard of it. Here's the Salisbury Cathedral, and here's the nearby Stonehenge Monument, which is world-famous. Salisbury is a city that's been dominated for hundreds of years by the Church, the Conservative Party and the army. It's a place where people really love to observe the rules. So picture me on my first year in the city, cycling the wrong way down a one-way street, late. I'm always late. It's a wonder I've even turned up today.
這一切都開始於九十年代, 我被派去英國一個很小的城市 索爾茲伯里做節慶總監。 你們可能聽過這個城市。 這是索爾茲伯里主教堂, 這是附近的巨石陣, 世界知名的景點。 數百年來,索爾茲伯里 這座城市由教會、 保守黨,以及軍隊所主導。 這裡的人真心熱愛遵守規則。 所以,想像一下 我去到那裡的第一年, 在單行道上逆向 騎腳踏車,已經遲到了。 我總是遲到。 今天我會出現在這裡真的是奇蹟。
(Laughter)
(笑聲)
A little old lady on the sidewalk helpfully shouted at me, "My dear, you're going the wrong way!"
人行道上的一個小老太婆 熱心地對我喊: 「親愛的,你在逆向!」
Charmingly -- I thought -- I said, "Yeah, I know."
我覺得她很好心,我說: 「是的,我知道。」
"I hope you die!" she screamed.
她大叫:「希望你被撞死!」
(Laughter)
(笑聲)
And I realized that this was a place where I was in trouble. And yet, a year later, persuasion, negotiation -- everything I could deploy -- saw me producing the work. Not a classical concert in a church or a poetry reading, but the work of a French street theater company who were telling the story of Faust, "Mephistomania," on stilts, complete with handheld pyrotechnics.
我知道住在這裡我的麻煩大了。 然而,一年後, 經過勸說、協商—— 使盡一切招術—— 我的作品終於完成了。 它既不是教堂的古典音樂會, 也不是詩歌朗讀, 而是一個法國街頭劇團的作品, 內容講述浮士德的故事, 「邪靈狂歡」這齣戲以踩高蹺, 搭配手提式煙火演出。
The day after, the same little old lady stopped me in the street and said, "Were you responsible for last night?"
隔天,同樣那個小老太婆 在街上攔住我說: 「昨晚那個劇是你負責的?」
I backed away.
我向後退了一點,
(Laughter)
(笑聲)
"Yes."
回答:「是的。」
"When I heard about it," she said, "I knew it wasn't for me. But Helen, my dear, it was."
「之前聽人說的時候,」她說: 「我以為我不會喜歡。 結果,海倫,親愛的,我好喜歡。」
So what had happened? Curiosity had triumphed over suspicion, and delight had banished anxiety.
所以,發生什麼事了? 好奇心戰勝了疑心, 欣喜趕走了焦慮。
So I wondered how one could transfer these ideas to a larger stage and started on a journey to do the same kind of thing to London. Imagine: it's a world city. Like all our cities, it's dedicated to toil, trade and traffic. It's a machine to get you to work on time and back, and we're all complicit in wanting the routines to be fixed and for everybody to be able to know what's going to happen next. And yet, what if this amazing city could be turned into a stage, a platform for something so unimaginable that would somehow transform people's lives? We do these things often in Britain. I'm sure you do them wherever you're from. Here's Horse Guards Parade. And here's something that we do often. It's always about winning things. It's about the marathon or winning a war or a triumphant cricket team coming home. We close the streets. Everybody claps. But for theater? Not possible.
於是, 我開始思索如何把這些點子 搬到更大的舞台上, 因而展開將計畫搬到倫敦的旅程。 想像一下:一個世界級的城市。 跟所有的城市一樣,充滿了 辛勞工作的人、生意買賣及交通。 它有點像機械裝置 讓你準時上班、回家, 因此我們都想要走固定路線, 也希望能提前知道會不會 有什麼事會影響我們的日常。 然而,是否可以將這個 了不起的城市變成一個舞台, 變成一個展現不可思議事物的平台, 以某種方式改變眾人的生活? 在英國,這其實是時而可見。 我相信你們的國家也是。 像是皇家騎兵衛隊閱兵, 還是一些常見的比賽競賽等等。 例如馬拉松或是打贏什麼戰爭, 還是獲勝的板球隊凱旋歸國。 我們會封街,大家夾道鼓掌。 但為了劇場這麼做?不可能。
Except a story told by a French company: a saga about a little girl and a giant elephant that came to visit for four days. And all I had to do was persuade the public authorities that shutting the city for four days was something completely normal.
唯一的例外是一個法國劇團 來此地的演出, 內容是一個小女孩與一隻巨象的傳說, 他們一起進城來造訪四天。 我只需要能說服各個公家單位, 讓他們覺得封城停擺四天 是完全正常的事。
(Laughter)
(笑聲)
No traffic, just people enjoying themselves, coming out to marvel and witness this extraordinary artistic endeavor by the French theater company Royal de Luxe.
路上沒有交通,只有開心的民眾, 出來讚嘆和目睹法國皇家豪華劇團 不同凡響的藝術成果。
It was a seven-year journey, with me saying to a group of men -- almost always men -- sitting in a room, "Eh, it's like a fairy story with a little girl and this giant elephant, and they come to town for four days and everybody gets to come and watch and play." And they would go, "Why would we do this? Is it for something? Is it celebrating a presidential visit? Is it the Entente Cordiale between France and England? Is it for charity? Are you trying to raise money?" And I'd say, "None of these things." And they'd say, "Why would we do this?"
這整個歷程花了我七年, 去遊說一群坐在房間裡的男人── 幾乎總是男人── 「嗯,劇情就像童話故事, 有一個小女孩和一隻巨象, 他們到鎮上停留四天, 大家都可以來看、來玩。」 他們總是說: 「為什麼要做這個活動? 有什麼特殊目的嗎? 是慶祝某國總統來訪? 跟英法友好協定有關嗎? 是慈善活動嗎? 還是你打算用來募款?」 我就說: 「都不是。」 然後他們說:「那我們為什麼要做?」
But after four years, this magic trick, this extraordinary thing happened. I was sitting in the same meeting I'd been to for four years, saying, "Please, please, may I?" Instead of which, I didn't say, "Please." I said, "This thing that we've been talking about for such a long time, it's happening on these dates, and I really need you to help me." This magic thing happened. Everybody in the room somehow decided that somebody else had said yes.
但,四年後,某件 不可思議的事發生了。 坐在每年都來的同一間會議室中, 四年來我每次都說:「拜託,拜託, 可以讓我辦嗎?」 只是這次我沒有說「拜託」。 我改說:「我們長期以來 一直在談的這個活動 已經決定就在這個時間舉辦了, 而我真的需要各位幫幫我。」 神奇的事發生了。 房間中的每個人,不知怎麼地, 都認定一定有某人說了好。
(Laughter)
(笑聲)
(Applause)
(掌聲)
They decided that they were not being asked to take responsibility, or maybe the bus planning manager was being asked to take responsibility for planning the bus diversions, and the council officer was being asked to close the roads, and the transport for London people were being asked to sort out the Underground. All these people were only being asked to do the thing that they could do that would help us. Nobody was being asked to take responsibility. And I, in my innocence, thought, "Well, I'll take responsibility," for what turned out to be a million people on the street.
他們決定他們無須為此事扛責任, 頂多就是公車處的計畫經理 負責規劃公車繞道, 而議會官員負責去封路, 而負責全倫敦運輸的人 去處理好地下鐵。 我們僅僅是請他們盡其所能, 來協助我們。 沒有人必須為整件事扛責任。 天真的我就想:「好,我來扛。」 沒想到這責任如此重大, 因為街頭人潮達到百萬人。
It was our first show.
那是我們的第一場秀。
(Applause)
(掌聲)
It was our first show, and it changed the nature of the appreciation of culture, not in a gallery, not in a theater, not in an opera house, but live and on the streets, transforming public space for the broadest possible audience, people who would never buy a ticket to see anything.
那是我們的第一場秀, 它改變了藝文欣賞的本質, 不是在畫廊,也不是戲院裡, 更不是在歌劇院裡, 而是在街頭的現場演出, 將公共空間用來容納最廣泛的觀眾, 包括那些從不買票看演出的人。
So there we were. We'd finished, and we've continued to produce work of this kind. As you can see, the company's work is astonishing, but what's also astonishing is the fact that permission was granted. And you don't see any security. And this was nine months after terrible terrorist bombings that had ripped London apart.
所以,就這樣。 任務結束後,我們繼續 製作這類的作品。 你們可以看到, 這個劇團的作品很驚人, 還有一點很驚人的是, 我們得到許可。 而且現場也沒有安全人員。 且九個月前才剛發生了 重創倫敦的恐怖炸彈攻擊。
So I began to wonder whether it was possible to do this kind of stuff in even more complicated circumstances. We turned our attention to Northern Ireland, the North of Ireland, depending on your point of view. This is a map of England, Scotland, Wales and Ireland, the island to the left. For generations, it's been a place of conflict, the largely Catholic republic in the south and the largely Protestant loyalist community -- hundreds of years of conflict, British troops on the streets for over 30 years. And now, although there is a peace process, this is today in this city, called Londonderry if you're a loyalist, called Derry if you're a Catholic. But everybody calls it home. And I began to wonder whether there was a way in which the community tribalism could be addressed through art and the imagination.
所以我又開始思索,是否可能 在更複雜的情況中辦此類活動。 我們將注意力轉向北愛爾蘭, 或者說愛爾蘭北部,各人觀點不同。 這是英格蘭、蘇格蘭、 威爾斯及愛爾蘭的地圖, 左邊這座島嶼就是愛爾蘭。 世世代代以來,始終是衝突之地, 南邊大體上是信奉天主教的共和國, 北邊則是主要信奉新教的保皇派── 數百年來一直衝突不斷。 三十多年來, 街上一直都有英國士兵。 現在,即使有和平進程, 現今的這座城市, 保皇派稱它做倫敦德里, 天主教徒則叫它德里。 無論叫甚麼,對這裡的人來說都是家。 我開始思索, 是否可能透過藝術和想像力 來探討社群部落主義。
This is what the communities do, every summer, each community. This is a bonfire filled with effigies and insignia from the people that they hate on the other side. This is the same from the loyalist community. And every summer, they burn them. They're right in the center of town.
這是當地社群每年夏天 各自所做的事。 篝火中塞滿來自另一邊 他們所痛恨的人的肖像和徽章。 保皇派社群也做一樣的事。 每年夏天,就在鎮中心 燒篝火。
So we turned to here, to the Nevada desert, to Burning Man, where people also do bonfires, but with a completely different set of values. Here you see the work of David Best and his extraordinary temples, which are built during the Burning Man event and then incinerated on the Sunday.
這讓我們想到 內華達沙漠的火人祭, 同樣是燒篝火,但價值觀完全不同。 在這裡可以看到大衛·貝斯特的作品, 以及他在火人祭期間所蓋, 隨即就在星期日被燒掉的那些 非同凡響的神廟。
So we invited him and his community to come, and we recruited from both sides of the political and religious divide: young people, unemployed people, people who would never normally come across each other or speak to each other. And out of their extraordinary work rose a temple to rival the two cathedrals that exist in the town, one Catholic and one Protestant. But this was a temple to no religion, for everyone, for no community, but for everyone. And we put it in this place where everyone told me nobody would come. It was too dangerous. It sat between two communities. I just kept saying, "But it's got such a great view."
於是我們邀請他和他的團隊, 也向政治、宗教分歧的 兩方招募人員: 年輕的、無業的、 那些平常拒絕跨界 與對方交談的人。 在他們出色的努力工作後, 一座神廟誕生了, 規模可比小鎮上 現有的兩間大教堂, 一間天主教教堂, 另一間是新教教堂。 但這間神廟不屬於任何宗教, 它是屬於所有人的, 不屬於某個社群, 而是屬於每一個人。 每個人都告訴我 蓋在這裡沒有人會來。 因為就在兩個社群的邊界,太危險。 我只是不斷地說: 「但這裡的效果最好。」
(Laughter)
(笑聲)
And again, that same old question: Why wouldn't we do this?
同樣的,還是老問題: 我們為什麼要做這件事?
What you see in the picture is the beginning of 426 primary school children who were walked up the hill by the head teacher, who didn't want them to lose this opportunity. And just as happens in the Nevada desert, though in slightly different temperatures, the people of this community, 65,000 of them, turned out to write their grief, their pain, their hope, their hopes for the future, their love. Because in the end, this is only about love.
各位看到的照片中,是當天 426 名小學生的前面幾個, 跟著校長走上山丘, 因為校長不希望他們錯過這個機會。 就跟內華達沙漠那邊差不多, 只是氣溫有點不同, 當地社群的人,一共 六萬五千人都到場了, 寫下他們的悲傷、 他們的痛苦、他們的希望、 他們對未來的期許、他們的愛。 因為,終究一切都是為了愛。
They live in a post-conflict society: lots of post-traumatic stress, high suicide. And yet, for this brief moment -- and it would be ridiculous to assume that it was more than that -- somebody like Kevin -- a Catholic whose father was shot when he was nine, upstairs in bed -- Kevin came to work as a volunteer. And he was the first person to embrace the elderly Protestant lady who came through the door on the day we opened the temple to the public. It rose up. It sat there for five days. And then we chose -- from our little tiny band of nonsectarian builders, who had given us their lives for this period of months to make this extraordinary thing -- we chose from them the people who would incinerate it.
他們住在一個衝突後的社會中: 許多創傷後的壓力,高自殺率。 但,就在這短暫的片刻── 那不多不少的片刻── 凱文── 天主教徒,他的父親 在家中被射殺時,他才九歲, 當時他在家中樓上睡覺── 他是我們的一個志工, 在我們開放神廟那一天, 他第一個上前去擁抱 前來參觀的新教徒老太太。 神廟建起來的五天後, 我們從當初挑選來的 一小群無宗教派別的人中── 他們貢獻了過去幾個月的時間, 來打造這間超凡的神廟── 我們從這當中選出點燃篝火的人。
And here you see the moment when, witnessed by 15,000 people who turned out on a dark, cold, March evening, the moment when they decided to put their enmity behind them, to inhabit this shared space, where everybody had an opportunity to say the things that had been unsayable, to say out loud, "You hurt me and my family, but I forgive you." And together, they watched as members of their community let go of this thing that was so beautiful, but was as hard to let go of as those thoughts and feelings that had gone into making it.
照片中是那當下, 現場有一萬五千人, 一個又黑又冷的三月夜晚, 在那當下, 他們將敵意拋諸腦後, 共處在這個空間中, 在這裡,每一個人都有機會 說出過去說不出口的事, 大聲地說出來: 「你傷害了我和我的家人, 但我原諒你。」 肩並肩,他們一起看著 彼此社群的代表 點燃這個美麗的作品, 卻又因為當初打造它的過程中 所投注的心力與情感, 而感到如此難以割捨。
(Music)
(音樂)
Thank you.
謝謝。
(Applause)
(掌聲)