It's really, really great to be here. You have the power to change the world. I’m not saying that to be cliché, you really have the power to change the world. Deep inside of you, every single one of you has the most powerful device known to man. And that's an idea.
É realmente xenial estar aquí. Vostedes teñen o poder de cambiar o mundo. Non o digo como un cliché, Teñen de verdade o poder de cambiar o mundo. Moi dentro de vostedes, de cada un de vostedes atópase o dispositivo máis poderoso coñecido polo ser home. Unha idea.
So a single idea, from the human mind, it could start a groundswell, it could be a flash point for a movement and it can actually rewrite our future.
Unha soa idea, dende a mente humana, podería comezar unha onda, que podería ser un punto de inflexión para un movemento e pode realmente reescribir o noso futuro.
But an idea is powerless if it stays inside of you. If you never pull that idea out for others to contend with, it will die with you. Now, maybe some of you guys have tried to convey your idea and it wasn't adopted, it was rejected, and some other mediocre or average idea was adopted. And the only difference between those two is in the way it was communicated. Because if you communicate an idea in a way that resonates, change will happen, and you can change the world.
Pero unha idea non ten forza se fica dentro de nós. Se nunca a expoñen para que outros a discutan, morrerá con vostedes. Talvez algúns de vostedes tentaron transmitir a súa idea e non foi adoptada, foi rexeitada, mentres que si se aceptou outra mediocre. E a única diferenza entre ambas é a forma en que se comunicaron. Porque se se comunica unha idea de modo que teña repercusión, o cambio producirase, e poderán cambiar o mundo.
In my family, we collect these vintage European posters. Every time we go to Maui, we go to the dealer there, and he turns these great big posters. I love them. They all have one idea and one really clear visual that conveys the idea. They are about the size of a mattress. They're really big. They're not as thick as a mattress, but they're big. And the guy will tell the story as he turns the pages. And this one time I was flanked by my two kids and he turns the page and this poster is underneath, and right when I lean forward and say, "Oh my God, I love this poster," both of my kids jumped back and they are like, "Oh my God, mom, it's you." And this is the poster.
Na miña familia coleccionamos eses carteis europeos <i>vintage</i>. Cada vez que imos a Maui, imos xunta o vendedor, e el amósanos eses grandes carteis. Encántanme. Todos teñen unha idea e elementos visuais moi claros que a transmiten. Son case do tamaño dun colchón. Son moi grandes. Non son tan grosos coma un colchón, pero son enormes. E o tipo conta a historia mentres pasa as páxinas. E unha vez que estaba cos meus dous fillos el pasou a páxina e este cartel estaba debaixo, e xusto cando me inclino cara a diante e digo: "Mi madriña, encántame este cartel!" os meus dous fillos saltan cara a atrás e din: "Mamá, es ti! Velaquí o cartel.
(Laughter)
(Risas)
See, I'm like "Fire it up!"
Parece que estou dicindo: "Acéndeo!"
The thing I loved about this poster was the irony. Here's this chick all fired up, headed into battle -- as the standard bearer -- and she's holding these little Suavitos baking spices, like something so seemingly insignificant, though she's willing to risk, you know, life and limb to promote this thing.
O que me encantou deste cartel foi a ironía. Aquí está esta rapaza toda acesa, camiño da batalla, a portadora do estandarte, termando deses <i>Suavitos</i>; unhas especias de cociña, algo tan insignificante, como se estivese disposta a arriscar a súa vida para publicitalos.
So if you are to swap out those little Suavitos baking spices with a presentation -- Yeah, it's me, pretty fired up. I was fired up about presentations back when it wasn't cool to be fired up about presentations. I really think they have the power to change the world when you communicate effectively through them. And changing the world is hard. It won't happen with just one person with one single idea. That idea has got to spread, or it won't be effective. So it has to come out of you and out into the open for people to see. And the way that ideas are conveyed the most effectively is through story.
Se queren substitúan esas especias de cociña por unha presentación... Si, son eu, moi entusiasmada. Estaba apaixonada polas presentacións cando aínda non estaba de moda apaixonarse por elas. Pero creo realmente que teñen o poder de cambiar o mundo se un se comunica con efectividade a través delas. E cambiar o mundo é difícil. Non vai pasar cunha soa persoa e cunha única idea. Esa idea debe difundirse ou non producirá efectos. Ten que saír de vostedes e ir cara ao exterior para que a xente a vexa. E a forma máis efectiva de transmitir ideas é usar historias.
You know, for thousands of years, illiterate generations would pass on their values and their culture from generation to generation, and they would stay intact. So there's something kind of magical about a story structure that makes it so that when it's assembled, it can be ingested and then recalled by the person who's receiving it.
Durante milleiros de anos as xeracións iletradas transmitían mediante historias os seus valores e a súa cultura de xeración en xeración, e estas mantíñanse intactas. Hai algo máxico na estrutura dunha historia que fai que cando está ensamblada, poida ser asimilada e despois difundida pola persoa que a escoita.
So basically a story, you get a physical reaction; your heart can race, your eyes can dilate, you could talk about, "Oh, I got a chill down my spine" or, "I could feel it in the pit of my stomach." We actually physically react when someone is telling us a story. So even though the stage is the same, a story can be told, but once a presentation is told, it completely flatlines. And I wanted to figure out why.
Así que, basicamente, cunha historia obtense unha reacción física; o corazón pode acelerarse e os ollos dilatarse. Pódese dicir: "Teño arreguizos no espiñazo." ou: "Podo sentila na boca do estómago". En verdade, reaccionamos fisicamente cando nos contan unha historia. E, aínda sendo a mesma situación, pódese contar como historia, pero contada como presentación, vólvese totalmente plana. E quería descubrir por que.
Why is it that we physically sit with rapt attention during a story, but it just dies for a presentation. So I wanted to figure out, how do you incorporate story into presentations. So we've had thousands of presentations back at the shop -- hundreds of thousands of presentations, actually, so I knew the context of a really bad presentation. I decided to study cinema and literature, and really dig in and figure out what was going on and why it was broken.
Por que nos sentimos fisicamente cativados por unha historia, pero morremos nunha presentación? Por iso quería saber como engadir unha historia ás presentacións. Tivemos miles de presentacións na tenda, centos de miles, en realidade, así que sabía o contexto dunha presentación moi mala. Decidín estudar cine e literatura, e realmente afondar e descubrir que acontecía e por que non funcionaban.
So, I want to show you some of the findings that led up to what I've uncovered as a presentation form.
Quero amosarlles algúns resultados que nos levan ao que poderiamos chamar un modelo de presentación.
So it was obvious to start with Aristotle, he had a three-act structure, a beginning, a middle and an end. We studied poetics and rhetoric, and a lot of presentations don't even have that in its most simple form. And then when I moved on to studying hero archetypes, I thought, "OK, the presenter is the hero, they're up on the stage, they're the star of the show." It's easy to feel, as the presenter, that you're the star of the show. I realized right away, that that's really broken. Because I have an idea, I can put it out there, but if you guys don't grab that idea and hold it as dear, the idea goes nowhere and the world is never changed. So in reality, the presenter isn't the hero, the audience is the hero of our idea.
Era obvio comezar con Aristóteles, que tiña una estrutura en tres actos: comezo, corpo e final. Estudamos poética e retórica, e moitas presentacións nin sequera teñen iso na súa forma máis sinxela. E logo, cando pasei a estudar arquetipos de heroes, pensei: "Vale, quen presenta é o heroe, está no escenario, é a estrela do espectáculo". Se es quen presenta, é doado véreste como a estrela do espectáculo. Pero axiña me decatei de que iso non funciona. Porque se teño unha idea, podo poñérllela diante, pero se non a collen e a asumen, a idea non vai a ningures e o mundo non cambia. Así que, en realidade, quen presenta non é o heroe, é o público o heroe da nosa idea.
So if you look at Joseph Campbell's hero's journey, just in the front part, there were some really interesting insights there. So there is this likable hero in an ordinary world, and they get this call to adventure. So the world is kind of brought out of balance. And at first they're resistant. They're like, "I don't know if I want to jump into this," and then a mentor comes along and helps them move from their ordinary world into a special world. And that's the role of the presenter. It's to be the mentor. You're not Luke Skywalker, you're Yoda. You're the one that actually helps the audience move from one thing and into your new special idea, and that's the power of a story. So in its most simple structure, it's a three-part structure of a story. You have a likable hero who has a desire, they encounter a roadblock and ultimately they emerge, transform, and that's the basic structure.
Se se fixan en <i>A viaxe do heroe</i> de Joseph Campbell, na primeira parte había algunhas ideas verdadeiramente interesantes. Está este simpático heroe nun mundo común, e chégalle esa chamada á aventura. Entón, o mundo desequilíbrase. E ao principio resístense. Pensan: "Non sei se quero meterme nisto" e daquela aparece un mentor que lles axuda a pasar do seu mundo común a un mundo especial. Velaquí o papel de quen presenta. Ser o mentor. Vostedes non son Luke Skywalker, son Yoda. Son os que realmente lle axudan á audiencia a pasar dun punto á súa nova idea especial, e ese é o poder dunha historia. Na súa estrutura máis sinxela, consta de tres partes. Hai un heroe agradable que ten un desexo, atópanse cun obstáculo e finalmente emerxen, transfórmanse. Esa é a estrutura básica.
But it wasn't until I came across a Gustav Freytag's pyramid -- he drew this shape in 1863. Now, he was a German dramatist ... he was a German dramatist and he believed there is a five-act structure, which has an exposition, a rising action, a climax, a falling action and a denouement, which is the unraveling or the resolution of the story. I love this shape. So we talk about shapes. A story has an arc -- well, an arc is a shape. We talk about classical music having a shapeliness to it. So I thought, hey, if presentations had a shape, what would that shape be? And how did the greatest communicators use that shape, or do they use a shape?
Pero non foi ata que atopei a pirámide de Gustav Freytag: el debuxouna en 1863. Era un dramaturgo alemán... un dramaturgo alemán que cría que hai unha estrutura de cinco actos, cunha exposición, un aumento da acción, un clímax, un descenso da acción e un desenlace, que é o desenredo ou a resolución da historia. Encántame esta forma. Así que falemos de formas. Unha historia ten un arco, ben, un arco é unha forma. Falamos de música clásica que ten unha beleza de formas. Así que pensei, se as presentacións tiveran forma, cal sería? E como usaron esa forma os mellores comunicadores, ou como a seguen usando?
So I'll never forget, it was a Saturday morning. After all this study -- it was a couple of years of study -- I drew a shape. And I was like, "Oh my gosh, if this shape is real, I should be able to take two completely different presentations and overlay it, and it should be true."
Nunca o esquecerei, era sábado pola mañá. Despois de todo este estudo, --foran un par de anos-- debuxei unha forma. E pensei: "Mi madriña, se esta forma é real, debería poder coller dúas presentacións totalmente diferentes e superpoñelas, e a forma debería ser correcta".
So I took the obvious, I took Martin Luther King's "I Have a Dream" speech, and I took Steve Jobs' 2007 iPhone launch speech, I overlaid it over it, and it worked. I sat in my office, just astounded. I actually cried a little, because I was like, "I've been given this gift," and here it is, this is the shape of a great presentation. Isn't it amazing?
Así que fun ao obvio: o discurso de Martin Luther King "Teño un soño", e o discurso de lanzamento do iPhone de Steve Jobs en 2007, superpúxenos e funcionou. Senteime no meu despacho, asombrada. En realidade, chorei un pouco, porque pensaba: "Déronme este regalo", e velaquí está, a forma dunha gran presentación. Non é asombroso?
(Laughter)
(Risas)
I was crying. I want to walk you through it, it's pretty astounding. There is a beginning, a middle and an end, and I want to walk you through it. Because the greatest communicators -- I went through speeches, everything -- I can overlay the shape. Even the Gettysburg Address follows the shape.
Estiven chorando. Quero guialos a través dela, é bastante sorprendente. Hai un comezo, un corpo e un final. E quero guialos a través deles. Porque os mellores comunicadores --analiceino todo dos discursos, e podo solapar a forma: incluso o discurso de Gettysburg segue esta forma.
At the beginning of any presentation, you need to establish what is. You know, here's the status quo, here's what's going on. And then you need to compare that to what could be. You need to make that gap as big as possible, because there is this commonplace of the status quo, and you need to contrast that with the loftiness of your idea. So it's like, you know, here's the past, here's the present, but look at our future. Here's a problem, but look at that problem removed. Here's a roadblock, let's annihilate the roadblock. You need to really amplify that gap. This would be like the inciting incident in a movie. That's when suddenly the audience has to contend with what you just put out there: "Wow, do I want to agree with this and align with it or not?" And in the rest of your presentation should support that.
Ao comezo de calquera presentación, deben establecer o que é. É dicir, o <i>statu quo</i>, o que está pasando. E logo hai que comparalo co que podería ser. Deben agrandar esa fenda todo o posíbel, porque existe este lugar común do <i>statu quo</i>, e cómpre que o contrasten coa excelencia da súa idea. É dicir, velaquí o pasado, e velaquí o presente, pero ollen o noso futuro. Aquí hai un problema, pero mira como o resolvemos. Aquí hai un obstáculo, imos eliminalo. Deben ampliar esa fenda. Isto sería como o incidente incitador dunha película. Daquela, a audiencia debe enfrontarse de súpeto co que se lle acaba de presentar: "Quero estar de acordo con isto e aliñarme con el, ou non?" E o resto da súa presentación debe apoiar iso.
So the middle goes back and forth, it traverses between what is and what could be, what is and what could be. Because what you are trying to do is make the status quo and the normal unappealing, and you're wanting to draw them towards what could be in the future with your idea adopted.
E o corpo da presentación vai dun lado ao outro, cruza desde o que é ao que podería ser, o que é e o que podería ser. Porque o que se trata de facer é converter o <i>statu quo</i> e o normal en pouco atractivo, e conducir ao público ao que podería ser o futuro se asumen esa idea.
Now, on your way to change the world, people are going to resist. They're not going to be excited, they may love the world the way it is. So you'll encounter resistance. That's why you have to move back and forth. It's similar to sailing. When you're sailing against the wind and there is wind resistance, you have to move your boat back and forth, and back and forth. That's so you can capture the wind. You have to actually capture the resistance coming against you when you're sailing. Now interesting, if you capture the wind just right and you set your sail just right, your ship will actually sail faster than the wind itself. It is a physics phenomenon. So by planting in there the way they're going to resist between what is and what can be, is actually going to draw them towards your idea quicker than should you not do that.
Na súa ruta para cambiar o mundo, a xente vaise resistir. Non se entusiasmarán, se cadra gústalles o mundo como é. Así que haberá resistencia. Por iso cómpre ir dun lado ao outro. É como navegar. Cando se navega contra o vento e hai resistencia, hai que mover o barco dun lado ao outro. Faise para coller o vento. Vostedes deben coller a resistencia que vén en contra súa cando están a navegar. É interesante, se se colle o vento adecuado e se pon a vela axeitadamente, entón o barco navegará máis rápido ca o propio vento. É un fenómeno físico. Así que, facendo iso, o xeito en que se van resistir entre o que é e o que pode ser, en realidade vainos atraer cara á súa idea máis rápido ca se non o fixeran.
So after you've moved back and forth between what is and what could be, the last turning point is a call to action, which every presentation should have, but at the very end. You need to describe the world as a new bliss. "This is utopia with my idea adopted." "This is the way the world is going to look, when we join together and we solve this big problem." You need to use that as your ending, in a very poetic and dramatic way. So, interestingly, when I was done, I was like, "You know what? I could use this as an analysis tool."
Despois de navegar dun lado a outro entre o que é e o que podería ser, o último punto de inflexión é unha chamada á acción, algo que toda presentación debería ter, pero ao final. Cómpre describir o mundo coma unha nova bendición. "Esta é a utopía, cando se adopte a miña idea". "Este é o aspecto que terá o mundo, cando nos unamos e resolvamos este gran problema". Hai que usar isto como remate, dun xeito moi poético e dramático. Así que, curiosamente, cando rematei, pensei: "Podería usar isto como unha ferramenta de análise".
I actually transcribe speeches, and I would actually map out, how much they map to this tool. So I want to show you some of that today, and I want to start with the very two people that I used when I first did.
Agora transcribo discursos, e quería verificar ata que punto encaixan con esta ferramenta. Así que quero amosarlles algúns hoxe, e quero comezar coas dúas persoas con que o fixen por primeira vez.
Here's Mr. Jobs, has completely changed the world. Changed the world of personal computing, changed the music industry and now he's on his way to change the mobile device industry. So he's definitely changed the world. And this is the shape of his iPhone launch 2007, when he launched his iPhone.
Velaquí o Sr. Jobs, que cambiou completamente o mundo. Cambiou o mundo da informática persoal, a industria da música e leva camiño de cambiar a industria dos dispositivos móbiles. Sen dúbida, cambiou o mundo. E esta é a forma do seu lanzamento do iPhone en 2007, cando lanzou o seu iPhone.
It's a 90-minute talk and you can see he starts with what is, traverses back and forth and ends with what could be. So I want to zoom in on this: the white line is him speaking, he's talking. The next color line you'll see popped up there, that's when he cuts to video. So he's adding some variety and he cuts to demo. So it's not just him talking the whole time. And these lines are representative there. And then towards the end you'll see a blue line, which will be the guest speaker.
É unha charla de 90 minutos que comeza co que é, segue indo dun lado ao outro, e remata co que podería ser. Quero centrarme nisto: A liña branca é el falando, contando. A seguinte liña de cor que ven alí, é cando amosa vídeos. Está engadindo algo de variedade e corta a demostración. Non está falando todo o tempo. E estas liñas de alí son a representación. E logo cara ao final vese unha liña azul, que é o orador invitado.
So this is where it gets kind of interesting: every tick mark here is when he made them laugh. And every tick mark here is when he made them clap. They are so involved physically, they are physically reacting to what he is saying, which is actually fantastic, because then you know you have the audience in your hand. So he kicks off what could be with, "This is a day I've been looking forward to for two and a half years." So he is launching a product that he's known about already for a couple of years. So this is not a new product to him.
E aquí é onde se pon interesante: cada marca destas sinala cando lles fixo rir. E cada unha destas cando lles fixo aplaudir. Están tan implicados fisicamente, están reaccionando fisicamente ao que el está dicindo, o que é realmente fantástico, porque entón sabes que tes a audiencia nas túas mans. E entón comeza co que podería ser, "Levo agardando por este día dous anos e medio". Está lanzando un produto que xa se coñece dende hai un par de anos. Non é un produto novo para el.
But look at this, he does this other thing: he marvels. He marvels at his own product. He marvels himself more than the audience laughs or claps. So he is like, "Isn't this awesome? Isn't this beautiful?" He is modeling for the audience what he wants them to feel. So he is actually doing a job of compelling them to feel a certain way. So he kicks off with what could be with, "Every once in a while, a revolutionary product comes along that changes everything." So he starts to kick in and talk about his new product.
Pero miren isto, fai tamén isto outro: marabíllase. Marabíllase co seu propio produto. Marabíllase aínda máis do que a audiencia ri ou aplaude. E entón di: "Non é impresionante? Non é fermoso? Está modelando a audiencia para sinta o que el quere. Fai o traballo de obrigalos a sentirse dun xeito determinado. Entón comeza co que podería ser: "De cando en vez, aparece un produto revolucionario que o cambia todo". E dá en falar e falar do seu novo produto.
Now, at the beginning of it, he actually keeps the phone off. You'll see that the line is pretty white up until this point, so he goes off between, "Here's this new phone, and here's the sucky competitors. Here's this new phone, and here's the sucky competitors." And then, right about here, he has the star moment -- and that something we'll always remember. He turns the phone on. The audience sees scrolling for the first time, you can hear the oxygen sucked out of the room. They gasped. You can actually hear it. So he creates a moment that they'll always remember.
Ao inicio, en realidade ten o teléfono apagado. Verán que a liña é bastante branca ata este punto, e entón vai entre "Velaquí este novo teléfono e velaquí os malos competidores. Velaquí este novo teléfono e velaquí os malos competidores”. E logo, xusto aquí, ten o seu momento estelar, ese algo que sempre lembraremos. Acende o teléfono. A pantalla desprázase por primeira vez, pódese escoitar como se inspira o aire na sala. A xente arfaba. Pódese escoitar. E entón crea un momento que sempre lembrarán.
So if we move along this model, you can see the blue, where the external speakers are going, and towards the bottom right, the line breaks. That's because his clicker broke. He wants to keep this heightened sense of excitement. He tells a personal story, right there, where the technology didn't work. So he's the master communicator, and he turns to story to keep the audience involved.
E se nos movemos neste esquema, pódese ver o azul, onde van os oradores externos, e na parte inferior dereita, a liña rompe. É porque lle rompeu o mando. El quere manter esa sensación de emoción. E conta unha historia persoal, xusto alí onde a tecnoloxía non funcionou. É o mestre de comunicadores e recorre á historia para manter a audiencia implicada.
So the top right he ends with the new bliss. He leaves them with the promise that Apple will continue to build revolutionary new products. And he says, "There's an old Wayne Gretzky quote that I love: 'I skate to where the puck is going to be, not to where it has been.' We've always tried to do that at Apple since the very beginning and we always will." So he ends with the new bliss.
E arriba á dereita acaba coa nova bendición. Déixanos coa promesa de que Apple seguirá construíndo novos produtos revolucionarios. E di: "Hai unha vella cita de Wayne Gretzky que me encanta: `Patino cara a onde o disco vai estar, non cara a onde xa estivo´. En Apple sempre tentamos facer iso dende os comezos e sempre o faremos". E así remata coa nova bendición.
So let's look at Mr. King. He was an amazing visionary, a clergyman who spent his life working hard for equality. And this is the shape of the "I Have a Dream" speech.
Vexamos agora ao Sr. King. Era un visionario incrible, un clérigo que pasou a vida pelexando pola igualdade. E esta é a forma do discurso "Teño un soño".
You can see he starts with what is, moves back and forth between what is and what could be, and ends with a very poetic new bliss, which is the famous part we all know. So I'm going to spread it out a little bit here, stretch it for you, and what I'm doing here is I put the actual transcript there along with the text. I know you can't read it. But at the end of every line break, I broke the line, because he took a breath and he paused.
Poden ver que comeza co que é, móvese dun lado ao outro entre o que é e o que podería ser, e remata cunha bendición moi poética, a parte famosa que todos coñecemos. Así que vou estendelo un pouco aquí, descompoñelo para vostedes, e poño a transcrición real canda o texto. Sei que non poden lelo. Pero ao final de cada salto de liña, cortei a liña, porque colleu aire e fixo unha pausa.
Now he was a Southern Baptist preacher, most people hadn't heard that, so he had a real cadence and a rhythm that was really new for people there. So I want to cover up these lines of text with a bar because I want to use this bar as an information device here.
Era un predicador baptista do sur, moita xente non o sabía, así que tiña unha cadencia e un ritmo realmente novo para a xente de alí. Quero cubrir esas liñas de texto cunha barra porque quero usala como dispositivo de información.
So let's walk through how he actually spoke to the people. The blue bars here are going to be when he used the actual rhetorical device of repetition. So he was repeating himself, he was using the same words and phrases, so people could remember and recall them. But then he also used a lot of metaphors and visual words. This was a way to take really complicated ideas and make them memorable and knowledgeable, so people got it. He actually created very -- almost like scenes with his words to make it so they could envision what he was saying.
Vexamos como lle falou á xente. Aquí, as barras azuis amosan os momentos en que usou a figura retórica da repetición. Estábase repetindo, usaba as mesmas palabras e frases, para que a xente puidera lembralas. Pero tamén usou moitas metáforas e palabras visuais. Era un xeito de expresar ideas moi complexas e facelas doadas de recoñecer e lembrar, para que a xente as entendera. En realidade, case creou escenas a través das súas palabras para que a xente puidera imaxinar o que dicía.
And then there were also a lot of familiar songs and scriptures that he used. This is just the front end of it that you're seeing. And then he also made a lot of political references of the promises that were made to the people.
E logo tamén usou moitas cancións familiares e pasaxes relixiosas. Isto é só a parte máis visible. E logo tamén fixo moitas referencias políticas das promesas que lle fixeron á xente.
So if we look at the very first end of what is, at the very end of what is was the very first time that people actually clapped and roared really loud. So the end of what is what he did is he said, "America has given the Negro people a bad check, a check which has come back marked insufficient funds." Well, everyone knows what it's like to not have money in your account. So he used the metaphor people were very familiar with. But when they really charged up, the very first time they really screamed was: "So we have come to cash this check, a check that will give us upon demand the riches of freedom and the security of justice." That's when they really clapped. It was when he compared what currently is to what could be.
E se ollamos o extremo final do que é, foi esa a primeira vez que a xente aplaudiu e ruxiu realmente forte. E ao final dixo: "EE.UU deulle un cheque sen fondos aos negros, un cheque devolto por falta de fondos". Todos saben o que é non ter cartos na conta. E usou a metáfora coa que a xente estaba moi familiarizada. Pero cando estouparon de verdade, a primeira vez que realmente gritaron foi cando dixo: "Así que viñemos cobrar ese cheque, un cheque que nos dará acceso á riqueza da liberdade e á seguridade da xustiza". Foi entón cando aplaudiron de verdade. Cando comparou o que actualmente é, co que podería ser.
So when we move along a little farther in the model, you'll see it goes back and forth at a more frenzied pace. And this is when he goes back and forth, and back and forth. Now the audience was in a frenzy. They were all excited, and so you can actually do this to keep them in a heightened sense of excitement. So he says, "I have a dream that one day this nation will rise up and live out the meaning of its creed. 'We hold these truths to be self-evident, that all men are created equal.'" So he uses the little orange text there to remind them of the promise that the politicians had made to him or that this country had made. Then he moves back and forth between "I have a dream that one day, I have a dream that one day, I have a dream that one day," and at the end, it gets really interesting. Because he uses -- you can look at the four shades of green, there's a lot of blue there, which was a lot of repetition -- he had a heightened sense of repetition.
Ao avanzar un pouco máis no modelo, verán que vai e vén a un ritmo máis frenético. E aquí é cando vai e vén, e vai e vén. Agora a audiencia vivía nun frenesí. Estaban todos emocionados, e así pódese facer algo de verdade para conservar esa gran sensación de emoción. E entón dixo: "Teño un soño, que un día esta nación se erga e viva o significado das súas crenzas. Sostemos como certeza evidente que todas as persoas foron creadas iguais. Entón usa o pequeno texto laranxa para recordarlles a promesa que os políticos lles fixeran ou que este país lles fixera. Logo vai e vén entre: "Teño o soño de que un día, teño o soño de que un día, teño o soño de que un día", e ao final, vólvese realmente interesante. Porque usa --poden ver os catro tons de verde, hai moito azul alí, que amosa moita repetición-- tiña un gran sentido da repetición.
And the green was a heightened sense of songs and scriptures. So the first batch of green was the actual scripture from the Book of Isaiah. The second batch of green was "My Country, 'Tis of Thee." Now, that's a familiar song that was specifically very significant for the black people at the time, because this song was the song they chose to change the words to as an outcry, saying that promises had not been kept. So the third batch of green was actually a stanza from "My Country, 'Tis of Thee." And then the fourth was a Negro spiritual. "Free at last! Free at last! Thank God Almighty, I'm free at last!"
E o verde representa un uso elevado de cancións e escrituras. Así que o primeiro lote verde era a escritura do <i>Libro de Isaías</i>. O segundo lote de verde era <i>My Country, 'Tis of Thee</i>". Unha canción familiar que era particularmente significativa para os negros daquela época, porque a esa canción cambiáranlle a letra como forma de protesta, para dicir que as promesas non se cumpriran. O terceiro lote de verde era en realidade unha estrofa de <i>My Country, 'Tis of Thee</i>. E o cuarto era un espiritual negro. "¡Ceibe ó fin! ¡Ceibe ó fin! ¡Grazas Deus todopoderoso, son ceibe ó fin!"
So what he did is he actually reached inside of the hearts of the audience. He pulled from scriptures, which is important. He pulled from songs that they'd sung together as an outcry against this outrage, and he used those as a device to connect and resonate with the audience. Ending -- painting a picture of this new bliss, using the very things inside of them that they already held as sacred.
E ao facelo acadou o fondo dos corazóns da audiencia. Sacou cousas das escrituras, algo relevante. Sacou cousas das cancións que cantaran xuntos en protesta contra esta ultraxe, e usounas como ferramenta para conectarse co público. E o remate, debuxando unha imaxe desta nova bendición, usando cousas xa queridas para o público, que xa consideraban sagradas.
So he was a great man. He had a big, big dream. There's a lot of people here, you guys have really big dreams. You have really big ideas inside of you that you need to get out. But you know what? We encounter hardships. It's not easy to change the world; it's a big job. You know he was -- his house was bombed, he was stabbed with a letter opener, ultimately, he lost his life, you know, for what he cared about. But a lot of us aren't going to be required to pay that kind of sacrifice. But what happens is that it basically is a little bit like that basic story structure. Life can be like that.
Era un gran home. Tivo un gran, gran soño. Hai moita xente aquí, vostedes, que ten grandes soños. Teñen no seu interior ideas realmente grandes que deben expresar. Pero, saben que? Atopamos dificultades. Non é doado cambiar o mundo; é un gran traballo. vostedes saben que el foi... puxéronlle bombas na casa, apuñalárono cun abrecartas, e ao final, perdeu a vida polo que lle importaba. Pero a moitos de nós non se nos esixe facer ese sacrificio. Mais, en esencia, parécese un pouco á estrutura básica da historia. A vida pode ser así.
You know, you guys are all likable people, you have a desire, you encounter roadblocks, and we stop there. We're just like, you know, "I had this idea, but I'm not going to put it out there. It's been rejected." You know, we self-sabotage our own ideas, we just butt up against the roadblocks and butt up against the roadblocks instead of choosing to let the struggle transform us and choosing to go ahead and have a dream and make it real. And you know, if anyone -- if I can do this, anybody can do this.
Todos vostedes son persoas agradábeis. teñen un desexo, atópanse con obstáculos, e parámonos aí. É como dicirnos: "Tiven esta idea, pero non vou expoñela. Rexeitárona". Ben saben, autosabotamos as nosas propias ideas, simplemente chocamos contra as barricadas unha e outra vez no canto de optar por deixar que a loita nos transforme e elixir seguir adiante, ter un soño e facelo realidade. E xa saben, se eu poido facelo, calquera pode.
I was raised in an economically and emotionally starved environment. First time I got to go to a camp with my sister, I was abused. Wasn't the first time I was abused, it was just the most aggressive. And my mom and dad -- they married each other three times,
Medrei nun ambiente famento económica e emocionalmente. A primeira vez que fun a un campamento coa miña irmá, maltratáronme. Non foi a primeira vez que mo fixeron, soamente foi a máis agresiva. E miña nai e meu pai casaron tres veces,
(Audience murmurs)
(A audiencia murmura.)
Yeah, that was tumultuous, and when they weren't fighting they were helping sober up some alcoholic that was living with us because they were both sober alcoholics. So my mom abandoned us when I was sixteen years old. And I took on a role of caretaker of my home and of my siblings. And I married. I met a man. Fell in love. I went to a year of college. I did what every single, bright, young girl should do -- I got married when I was eighteen years old.
Si, aquilo era moi movido, e cando non estaban pelexando estaban axudando a acougar a un alcohólico que vivía con nós porque os dous eran alcohólicos sobrios. A miña nai abandonounos cando eu tiña 16 anos. E asumín o rol de encargada da casa e dos meus irmáns. E caseime. Coñecín un home. Namoreime. Fun un ano á universidade. Fixen o que todas a rapazas novas e brillantes deberían facer: Casei cando tiña 18 anos.
And you know what? I knew, I knew that I was born for more than this. And right at the point in the story of my life I had a choice. I could let all these things push me down and I could let all my ideas die inside of me. I could just say, you know, life is too hard to change the world. It's just too tough. But I chose a different story for my life.
E saben que? Sabíao, sabía que nacera para algo máis que para isto. E xusto nese momento da historia da miña vida, tiven que elixir. Podía deixar que todas estas cousas me superasen e que todas as miñas ideas morreran dentro de min. Puiden dicir, a vida é difícil de máis como para cambiar o mundo. Dura de máis. Pero elixín unha historia diferente para a miña vida.
(Laughter)
(Risas)
Don't you know it? And so I feel like there's people in this room -- you got those little Suavitos baking spices and you're just like, "You know, It's not that big a deal." "It's really not the whole world I can change." But you know, you can change your world. You can change your life. You can change the world that you have control over, you can change your sphere. I want to encourage you to do that. Because you know what? The future isn't a place that we're going to go. It's a place that you get to create.
Non o saben? E sinto que hai xente nesta sala que ten esas especias de cociña e pensa: "Boh, non é gran cousa". "En realidade, non podo cambiar o mundo". Pero si que poden cambiar o seu mundo. Poden cambiar a súa vida. Poden cambiar o mundo sobre o que teñen control, poden cambiar a súa esfera. Quero animalos a facelo. Porque, saben que? O futuro non é un lugar ao que vaiamos ir. É un lugar que podemos crear.
I want to thank you. Bless you. God bless you.
Quero darlles as grazas. Que Deus os bendiga.
(Applause)
(Aplausos)