Why theater is essential to democracy | Oskar Eustis

96,679 views ใƒป 2018-06-25

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ูŠุฑุฌู‰ ุงู„ู†ู‚ุฑ ู†ู‚ุฑู‹ุง ู…ุฒุฏูˆุฌู‹ุง ููˆู‚ ุงู„ุชุฑุฌู…ุฉ ุงู„ุฅู†ุฌู„ูŠุฒูŠุฉ ุฃุฏู†ุงู‡ ู„ุชุดุบูŠู„ ุงู„ููŠุฏูŠูˆ.

ุงู„ู…ุชุฑุฌู…: Amany Allam ุงู„ู…ุฏู‚ู‘ู‚: Riyad Almubarak
00:13
Theater matters because democracy matters.
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ุงู„ู…ุณุฑุญ ู…ู‡ู… ู„ุฃู† ุงู„ุฏูŠู…ู‚ุฑุงุทูŠุฉ ู…ู‡ู…ุฉ.
00:17
Theater is the essential art form of democracy,
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ูุงู„ู…ุณุฑุญ ู‡ูˆ ุงู„ู†ู…ูˆุฐุฌ ุงู„ูู†ูŠ ุงู„ุฃุณุงุณูŠ ู„ู„ุฏูŠู…ู‚ุฑุงุทูŠุฉุŒ
00:21
and we know this because they were born in the same city.
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ู†ุนู„ู… ุฐู„ูƒ ู„ุฃู†ู‡ู…ุง ูˆู„ุฏุง ููŠ ุงู„ู…ุฏูŠู†ุฉ ู†ูุณู‡ุง.
00:26
In the late 6th century BC,
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ูููŠ ุฃูˆุงุฎุฑ ุงู„ู‚ุฑู† ุงู„ุณุงุฏุณ ู‚ุจู„ ุงู„ู…ูŠู„ุงุฏุŒ
00:28
the idea of Western democracy was born.
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ุธู‡ุฑุช ููƒุฑุฉ ุงู„ุฏูŠู…ู‚ุฑุงุทูŠุฉ ุงู„ุบุฑุจูŠุฉ.
00:30
It was, of course,
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ูˆุจุงู„ุทุจุนุŒ ูƒุงู†ุช
00:31
a very partial and flawed democracy,
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ุฏูŠู…ู‚ุฑุงุทูŠุฉ ุฌุฒุฆูŠุฉ ูˆู…ุนูŠุจุฉ ู„ู„ุบุงูŠุฉ.
00:34
but the idea that power should stem from the consent of the governed,
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ู„ูƒู† ููƒุฑุฉ ุฃู† ุงู„ุณู„ุทุฉ ูŠุฌุจ ุฃู† ุชู†ุจุน ู…ู† ุฑุถุง ุงู„ู…ุญูƒูˆู…ูŠู†ุŒ
00:39
that power should flow from below to above,
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ูˆุฃู† ุงู„ุณู„ุทุฉ ูŠุฌุจ ุฃู† ุชุชุฏูู‚ ู…ู† ุงู„ุฃุณูู„ ุฅู„ู‰ ุงู„ุฃุนู„ู‰ุŒ
00:42
not the other way around,
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ูˆู„ูŠุณ ุงู„ุนูƒุณุŒ
00:44
was born in that decade.
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ู‚ุฏ ุธู‡ุฑุช ููŠ ู‡ุฐุง ุงู„ุนู‚ุฏ.
00:45
And in that same decade, somebody -- legend has it, somebody named Thespis --
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ูˆููŠ ู†ูุณ ุงู„ุนู‚ุฏ ู‚ุงู… ุดุฎุต ู…ุง - ุชู‚ูˆู„ ุงู„ุฃุณุทูˆุฑุฉ ุฃู†ู‡ ูŠุฏุนู‰ (ุซูŠุณุจูŠุณ) -
00:51
invented the idea of dialogue.
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ุจุงุฎุชุฑุงุน ููƒุฑุฉ ุงู„ุญูˆุงุฑ.
00:53
What does that mean, to invent dialogue?
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ู…ุง ู…ุนู†ู‰ ุฐู„ูƒุŒ ุงุฎุชุฑุงุน ุงู„ุญูˆุงุฑุŸ
00:55
Well, we know that the Festival of Dionysus gathered
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ู†ุนู„ู… ุฃู† ู…ู‡ุฑุฌุงู† (ุฏูŠูˆู†ูŠุณูˆุณ) ุฌู…ุน
00:57
the entire citizenry of Athens
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ูƒู„ ู…ูˆุงุทู†ูŠ ุฃุซูŠู†ุง
00:59
on the side of the Acropolis,
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ุนู„ู‰ ุฌุงู†ุจ (ุฃูƒุฑูˆุจูˆู„ูŠุณ)ุŒ
01:01
and they would listen to music, they would watch dancing,
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ูˆูƒุงู†ูˆุง ูŠุณุชู…ุนูˆู† ุฅู„ู‰ ุงู„ู…ูˆุณูŠู‚ู‰ ูˆูŠุดุงู‡ุฏูˆู† ุงู„ุฑู‚ุตุŒ
01:04
and they would have stories told as part of the Festival of Dionysus.
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ูˆูŠุณุฑุฏูˆู† ุงู„ู‚ุตุต ูƒุฌุฒุก ู…ู† ู…ู‡ุฑุฌุงู† (ุฏูŠูˆู†ูŠุณูˆุณ)
01:08
And storytelling is much like what's happening right now:
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ูˆุณุฑุฏ ุงู„ู‚ุตุต ูŠุดุจู‡ ูƒุซูŠุฑู‹ุง ู…ุง ูŠุญุฏุซ ุงู„ุขู†:
01:11
I'm standing up here,
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ุฃู†ุง ุฃู‚ู ู‡ู†ุงุŒ
01:12
the unitary authority,
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ุงู„ุณู„ุทุฉ ุงู„ูˆุญูŠุฏุฉุŒ
01:14
and I am talking to you.
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ูˆุฃุชุญุฏุซ ุฅู„ูŠูƒู….
01:16
And you are sitting back, and you are receiving what I have to say.
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ูˆุฃู†ุชู… ุชุฌู„ุณูˆู†ุŒ ูˆุชุชู„ู‚ูˆู† ู…ุง ุฃู‚ูˆู„ู‡.
01:19
And you may disagree with it, you may think I'm an insufferable fool,
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ูˆู‚ุฏ ุชุฎุชู„ููˆู† ู…ุนูŠุŒ ูˆู‚ุฏ ุชุนุชู‚ุฏูˆู† ุฃู†ู†ูŠ ุฃุญู…ู‚ ุจุดูƒู„ ู„ุง ูŠุทุงู‚ุŒ
01:23
you may be bored to death,
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ูˆู‚ุฏ ุชุดุนุฑูˆู† ุญุชู‰ ุจุงู„ู…ู„ู„ ุงู„ุดุฏูŠุฏุŒ
01:24
but that dialogue is mostly taking place inside your own head.
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ู„ูƒู† ู‡ุฐุง ุงู„ุญูˆุงุฑ ูŠุญุฏุซ ููŠ ุงู„ุบุงู„ุจ ุฏุงุฎู„ ุฑุคูˆุณูƒู….
01:28
But what happens if, instead of me talking to you --
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ูˆู„ูƒู† ู…ุงุฐุง ุณูŠุญุฏุซ ู„ูˆุŒ ุจุฏู„ู‹ุง ู…ู† ุงู„ุชุญุฏุซ ู…ุนูƒู… -
01:32
and Thespis thought of this --
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ูˆู‚ุฏ ููƒุฑ (ุซูŠุณุจูŠุณ) ุจุฐู„ูƒ -
01:34
I just shift 90 degrees to the left,
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ุงู„ุชูุช ุฅู„ู‰ ุงู„ูŠุณุงุฑ 90 ุฏุฑุฌุฉุŒ
01:37
and I talk to another person onstage with me?
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ูˆุชุญุฏุซุช ู…ุน ุดุฎุต ุขุฎุฑ ู…ุนูŠ ุนู„ู‰ ุงู„ู…ุณุฑุญุŸ
01:41
Everything changes,
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ุณูŠุชุบูŠู‘ุฑ ูƒู„ ุดูŠุกุŒ
01:43
because at that moment, I'm not the possessor of truth;
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ู„ุฃู†ู‡ ุญูŠู†ู‡ุงุŒ ู„ู† ุฃูƒูˆู† ู…ุงู„ูƒ ุงู„ุญู‚ูŠู‚ุฉุŒ
01:47
I'm a guy with an opinion.
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ูˆู„ูƒู† ู…ุฌุฑุฏ ุฑุฌู„ ู„ู‡ ุฑุฃูŠ.
01:50
And I'm talking to somebody else.
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ูˆุฃู†ุง ุฃุชุญุฏุซ ู…ุน ุดุฎุต ุขุฎุฑ.
01:51
And you know what?
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ูˆุชุนุฑููˆู† ู…ุงุฐุงุŸ
01:53
That other person has an opinion too,
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ู‡ุฐุง ุงู„ุดุฎุต ุงู„ุขุฎุฑ ู„ุฏูŠู‡ ุฑุฃูŠ ุฃูŠุถู‹ุงุŒ
01:55
and it's drama, remember, conflict -- they disagree with me.
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ูˆุชู„ูƒ ู‡ูŠ ุงู„ุฏุฑุงู…ุงุŒ ุฃุชุฐูƒุฑูˆู†ุŒ ู‡ูŠ ุตุฑุงุน - ู‡ู… ูŠุฎุชู„ููˆู† ู…ุนูŠ.
01:59
There's a conflict between two points of view.
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ู‡ู†ุงูƒ ุตุฑุงุน ุจูŠู† ูˆุฌู‡ุชูŠ ู†ุธุฑ.
02:02
And the thesis of that is that the truth can only emerge
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ูˆูุฑุถูŠุฉ ุฐู„ูƒ ุฃู† ุงู„ุญู‚ูŠู‚ุฉ ู„ุง ูŠู…ูƒู† ุฃู† ุชุธู‡ุฑ
02:08
in the conflict of different points of view.
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ุฅู„ุง ููŠ ุตุฑุงุน ุจูŠู† ูˆุฌู‡ุงุช ู†ุธุฑ ู…ุฎุชู„ูุฉ.
02:11
It's not the possession of any one person.
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ูู‡ูŠ ู„ูŠุณุช ุญูƒุฑู‹ุง ุนู„ู‰ ุฃุญุฏ.
02:13
And if you believe in democracy, you have to believe that.
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ูˆุฅุฐุง ูƒู†ุชู… ุชุคู…ู†ูˆู† ุจุงู„ุฏูŠู…ู‚ุฑุงุทูŠุฉุŒ ูุนู„ูŠูƒู… ุฃู† ุชุตุฏู‚ูˆุง ุฐู„ูƒ.
ูˆุฅู† ูƒู†ุชู… ู„ุง ุชุตุฏู‚ูˆู† ุฐู„ูƒุŒ ูุฅู†ูƒู… ู…ุณุชุจุฏูˆู†
02:18
If you don't believe that, you're an autocrat
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02:20
who is putting up with democracy.
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ุชุดู‚ ุนู„ูŠูƒู… ุงู„ุฏูŠู…ูˆู‚ุฑุงุทูŠุฉ.
02:22
But that's the basic thesis of democracy,
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ูˆู„ูƒู† ู‡ุฐู‡ ู‡ูŠ ุงู„ูุฑุถูŠุฉ ุงู„ุฃุณุงุณูŠุฉ ู„ู„ุฏูŠู…ูˆู‚ุฑุงุทูŠุฉุŒ
02:25
that the conflict of different points of views leads to the truth.
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ุฃู† ุงู„ุตุฑุงุน ุจูŠู† ูˆุฌู‡ุงุช ุงู„ู†ุธุฑ ุงู„ู…ุฎุชู„ูุฉ ูŠุคุฏูŠ ุฅู„ู‰ ุงู„ุญู‚ูŠู‚ุฉ.
02:28
What's the other thing that's happening?
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ู…ุง ู‡ูˆ ุงู„ุดูŠุก ุงู„ุขุฎุฑ ุงู„ุฐูŠ ูŠุญุฏุซุŸ
02:30
I'm not asking you to sit back and listen to me.
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ุฃู†ุง ู„ุง ุฃุทุงู„ุจูƒู… ุจุงู„ุฌู„ูˆุณ ูˆุงู„ุงุณุชู…ุงุน ุฅู„ูŠุŒ
02:33
I'm asking you to lean forward
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ูˆู„ูƒู†ูŠ ุฃุทู„ุจ ุฃู† ุชู‚ุชุฑุจูˆุง
02:35
and imagine my point of view --
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ูˆุชุชุฎูŠู„ูˆุง ูˆุฌู‡ุฉ ู†ุธุฑูŠ -
02:38
what this looks like and feels like to me as a character.
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ูƒูŠู ุชุดุนุฑ ุดุฎุตูŠุชูŠ ูˆุชุฑู‰ ุงู„ุฃู…ุฑ.
ุซู… ุฃุทู„ุจ ู…ู†ูƒู… ุฃู† ุชุจุฏู„ูˆุง ุนู‚ูˆู„ูƒู…
02:42
And then I'm asking you to switch your mind
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02:45
and imagine what it feels like to the other person talking.
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ูˆุชุชุฎูŠู„ูˆุง ุดุนูˆุฑ ุงู„ู…ุชุญุฏุซ ุงู„ุขุฎุฑ.
ุฃุทู„ุจ ู…ู†ูƒู… ู…ู…ุงุฑุณุฉ ุงู„ุชุนุงุทู.
02:49
I'm asking you to exercise empathy.
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02:52
And the idea that truth comes from the collision of different ideas
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ูˆููƒุฑุฉ ุฃู† ุงู„ุญู‚ูŠู‚ุฉ ุชู†ุจุน ู…ู† ุชุถุงุฑุจ ุฃููƒุงุฑ ู…ุฎุชู„ูุฉุŒ
02:56
and the emotional muscle of empathy
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ูˆุงู„ู‚ูˆุฉ ุงู„ูˆุฌุฏุงู†ูŠุฉ ู„ู„ุชุนุงุทูุŒ
02:59
are the necessary tools for democratic citizenship.
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ู‡ูŠ ุงู„ุฃุฏูˆุงุช ุงู„ุถุฑูˆุฑูŠุฉ ู„ู„ู…ูˆุงุทู†ุฉ ุงู„ุฏูŠู…ู‚ุฑุงุทูŠุฉ.
ู…ุงุฐุง ูŠุญุฏุซ ุฃูŠุถู‹ุงุŸ
03:03
What else happens?
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03:05
The third thing really is you,
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ุงู„ุฃู…ุฑ ุงู„ุซุงู„ุซ ุญู‚ู‹ุง ู‡ูˆ ุฃู†ุชู…ุŒ
03:08
is the community itself, is the audience.
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ู‡ูˆ ุงู„ู…ุฌุชู…ุน ู†ูุณู‡ ูˆุงู„ุฌู…ู‡ูˆุฑ.
03:11
And you know from personal experience that when you go to the movies,
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ูˆุฃู†ุชู… ุชุนุฑููˆู† ู…ู† ุงู„ุชุฌุฑุจุฉ ุงู„ุดุฎุตูŠุฉ ุนู†ุฏู…ุง ุชุฐู‡ุจูˆู† ู„ู…ุดุงู‡ุฏุฉ ุงู„ุฃูู„ุงู…ุŒ
03:15
you walk into a movie theater, and if it's empty, you're delighted,
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ูˆุชุฏุฎู„ูˆู† ุฅู„ู‰ ุงู„ุณูŠู†ู…ุงุŒ ูุชุฌุฏูˆู†ู‡ุง ุฎุงู„ูŠุฉุŒ ุชูƒูˆู†ูˆู† ุณุนุฏุงุกุŒ
03:18
because nothing's going to be between you and the movie.
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ู„ุฃู† ู„ุง ุดูŠุก ุณูŠุญูˆู„ ุจูŠู†ูƒู… ูˆุจูŠู† ุงู„ููŠู„ู….
ูŠู…ูƒู†ูƒู… ุงู„ุงู†ุชุดุงุฑุŒ ูˆูˆุถุน ุณุงู‚ูŠูƒู… ููˆู‚ ุงู„ู…ู‚ุงุนุฏุŒ
03:21
You can spread out, put your legs over the top of the stadium seats,
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ูˆุฃูƒู„ ุงู„ูุดุงุฑ ูˆุงู„ุชู…ุชุน.
03:24
eat your popcorn and just enjoy it.
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ู„ูƒู† ุฅุฐุง ุฏุฎู„ุชู… ุฅู„ู‰ ุงู„ู…ุณุฑุญุŒ
03:26
But if you walk into a live theater
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03:28
and you see that the theater is half full,
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ูˆูƒุงู† ุงู„ู…ุณุฑุญ ู†ุตู ู…ู…ุชู„ุฆุŒ
03:30
your heart sinks.
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ูุณุชุฐูˆู‰ ู‚ู„ูˆุจูƒู….
03:32
You're disappointed immediately,
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ุณุชุตุงุจูˆู† ุจุงู„ุฅุญุจุงุท ุนู„ู‰ ุงู„ููˆุฑุŒ
03:34
because whether you knew it or not,
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ู„ุฃู†ู‡ ุณูˆุงุก ุนู„ู…ุชู… ุฐู„ูƒ ุฃู… ู„ุงุŒ
03:36
you were coming to that theater
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ู„ู‚ุฏ ุฃุชูŠุชู… ุฅู„ู‰ ุฐู„ูƒ ุงู„ู…ุณุฑุญ
03:38
to be part of an audience.
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ู„ุชุตุจุญูˆุง ุฌุฒุกู‹ุง ู…ู† ุงู„ุฌู…ู‡ูˆุฑ.
03:40
You were coming to have the collective experience
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ุฃุชูŠุชู… ู„ุชุญุธูˆุง ุจุงู„ุชุฌุฑุจุฉ ุงู„ุฌู…ุงุนูŠุฉ
03:43
of laughing together, crying together, holding your breath together
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ู„ู„ุถุญูƒ ู…ุนู‹ุงุŒ ูˆุงู„ุจูƒุงุก ู…ุนู‹ุงุŒ ูˆุญุจุณ ุงู„ุฃู†ูุงุณ ู…ุนู‹ุง
03:46
to see what's going to happen next.
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ู„ุฑุคูŠุฉ ู…ุงุฐุง ุณูŠุญุฏุซ ุชุงู„ูŠู‹ุง.
03:48
You may have walked into that theater as an individual consumer,
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ุฑุจู…ุง ุฏุฎู„ุชู… ุฐู„ูƒ ุงู„ู…ุณุฑุญ ูƒู…ุณุชู‡ู„ูƒ ูุฑุฏู‰ุŒ
ู„ูƒู† ุฅุฐุง ูƒุงู† ุงู„ู…ุณุฑุญ ูŠู‚ูˆู… ุจุนู…ู„ู‡ุŒ
03:53
but if the theater does its job,
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03:55
you've walked out with a sense of yourself as part of a whole,
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ูู‚ุฏ ุฎุฑุฌุชู… ุจุงู„ุดุนูˆุฑ ูƒุฌุฒุก ู…ู† ูƒู„ุŒ
03:59
as part of a community.
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ูƒุฌุฒุก ู…ู† ู…ุฌุชู…ุน.
04:01
That's built into the DNA of my art form.
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ู‡ุฐุง ุฌุฒุก ู…ู† ุชูƒูˆูŠู† ู‡ุฐุง ุงู„ูู†.
04:06
Twenty-five hundred years later, Joe Papp decided
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ุจุนุฏ 125 ุณู†ุฉุŒ ู‚ุฑุฑ (ุฌูˆ ุจุงุจ)
ุฃู† ุงู„ุซู‚ุงูุฉ ูŠุฌุจ ุฃู† ุชู†ุชู…ูŠ ู„ูƒู„ ูุฑุฏ ููŠ ุงู„ูˆู„ุงูŠุงุช ุงู„ู…ุชุญุฏุฉ ุงู„ุฃู…ุฑูŠูƒูŠุฉุŒ
04:11
that the culture should belong to everybody in the United States of America,
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04:15
and that it was his job to try to deliver on that promise.
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ูˆุฃู† ุนู…ู„ู‡ ู‡ูˆ ู…ุญุงูˆู„ุฉ ุงู„ูˆูุงุก ุจู‡ุฐุง ุงู„ูˆุนุฏ.
04:19
He created Free Shakespeare in the Park.
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ูุฃู†ุดุฃ (ุดูƒุณุจูŠุฑ) ููŠ ุงู„ู…ุชู†ุฒู‡.
04:21
And Free Shakespeare in the Park is based on a very simple idea,
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ูˆู‚ุฏ ุจูู†ูŠ (ุดูƒุณุจูŠุฑ) ููŠ ุงู„ู…ุชู†ุฒู‡ ุนู„ู‰ ููƒุฑุฉ ุจุณูŠุทุฉุŒ
04:25
the idea that the best theater, the best art that we can produce,
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ููƒุฑุฉ ุฃู† ุฃูุถู„ ู…ุณุฑุญุŒ ูˆุฃูุถู„ ูู† ูŠู…ูƒู†ู†ุง ุฅู†ุชุงุฌู‡ุŒ
04:29
should go to everybody and belong to everybody,
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ูŠุฌุจ ุฃู† ูŠูˆุฌู‡ ุฅู„ู‰ ุงู„ุฌู…ูŠุนุŒ ูˆูŠู†ุชู…ูŠ ุฅู„ู‰ ุงู„ุฌู…ูŠุนุŒ
04:32
and to this day,
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ูˆุญุชู‰ ู‡ุฐุง ุงู„ูŠูˆู…ุŒ
04:34
every summer night in Central Park,
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ูƒู„ ู„ูŠู„ุฉ ุตูŠููŠุฉ ููŠ (ุณู†ุชุฑุงู„ ุจุงุฑูƒ)ุŒ
04:36
2,000 people are lining up
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ูŠุตุทู ุฃู„ููŠ ุดุฎุต
04:39
to see the best theater we can provide for free.
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ู„ูŠุดุงู‡ุฏูˆุง ุฃูุถู„ ู…ุณุฑุญ ูŠู…ูƒู†ู†ุง ุฅุชุงุญุชู‡ ู…ุฌุงู†ุงู‹.
04:42
It's not a commercial transaction.
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ุฅู†ู‡ุง ู„ูŠุณุช ุตูู‚ุฉ ุชุฌุงุฑูŠุฉ.
04:45
In 1967, 13 years after he figured that out,
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ููŠ ุนุงู… 1967ุŒ ุจุนุฏ 13 ุณู†ุฉ ู…ู† ุงูƒุชุดุงูู‡ ู„ุฐู„ูƒุŒ
ุงูƒุชุดู ุดูŠุฆู‹ุง ุขุฎุฑุŒ
04:50
he figured out something else,
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04:51
which is that the democratic circle was not complete
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ูˆู‡ูˆ ุฃู† ุฏุงุฆุฑุฉ ุงู„ุฏูŠู…ู‚ุฑุงุทูŠุฉ ู„ู… ุชูƒุชู…ู„
ุจู…ุฌุฑุฏ ุฅุชุงุญุฉ ุงู„ูƒู„ุงุณูŠูƒูŠุงุช ู„ู„ู†ุงุณ.
04:55
by just giving the people the classics.
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04:58
We had to actually let the people create their own classics
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ุนู„ูŠู†ุง ุฃู† ู†ุณู…ุญ ู„ู„ู†ุงุณ ุจุฅู†ุดุงุก ูƒู„ุงุณูŠูƒูŠุงุชู‡ู… ุงู„ุฎุงุตุฉ
05:02
and take the stage.
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ูˆุนุฑุถู‡ุง ุนู„ู‰ ุงู„ู…ุณุฑุญ.
05:03
And so in 1967,
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ูˆู‡ูƒุฐุง ููŠ ุนุงู… 1967ุŒ
05:06
Joe opened the Public Theater downtown on Astor Place,
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ุงูุชุชุญ (ุฌูˆ) ุงู„ู…ุณุฑุญ ุงู„ุนุงู… ููŠ ูˆุณุท ุงู„ู…ุฏูŠู†ุฉ ููŠ (ุฃุณุชูˆุฑ ุจู„ุงุณ)ุŒ
05:09
and the first show he ever produced was the world premiere of "Hair."
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ูˆูƒุงู† ุฃูˆู„ ุนุฑุถ ู„ู‡ ุนู„ู‰ ุงู„ุฅุทู„ุงู‚ ู‡ูˆ ุงู„ุนุฑุถ ุงู„ุฃูˆู„ ู„ููŠู„ู… "ู‡ูŠุฑ".
ูˆูƒุงู† ุฐู„ูƒ ุฃูˆู„ ุนู…ู„ ู„ู‡ ุจุฎู„ุงู (ุดูƒุณุจูŠุฑ).
05:13
That's the first thing he ever did that wasn't Shakespeare.
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ู‚ุงู„ (ูƒู„ุงูŠู ุจุงุฑู†ุฒ) ููŠ ุตุญูŠูุฉ (ุงู„ุชุงูŠู…ุฒ) ุฅู† ุงู„ุฃู…ุฑ ูŠุจุฏูˆ ูƒู…ุง ู„ูˆ ุฃุฎุฐ ุงู„ุณูŠุฏ (ุจุงุจ) ู…ูƒู†ุณุฉ
05:16
Clive Barnes in The Times said that it was as if Mr. Papp took a broom
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05:19
and swept up all the refuse from the East Village streets
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ูˆุฃุฒุงู„ ูƒู„ ุงู„ู†ูุงูŠุงุช ู…ู† ุดูˆุงุฑุน (ุฅูŠุณุช ููŠู„ุฏุฌ)
05:22
onto the stage at the Public.
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ุนู„ู‰ ุงู„ู…ุณุฑุญ ุฃู…ุงู… ุงู„ุฌู…ู‡ูˆุฑ.
05:25
(Laughter)
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(ุถุญูƒ)
05:26
He didn't mean it complimentarily,
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ู„ู… ูŠู‚ุตุฏู‡ุง ุจุดูƒู„ ู…ุฌุงู…ู„ุŒ
05:28
but Joe put it up in the lobby, he was so proud of it.
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ู„ูƒู† (ุฌูˆ) ูˆุถุนู‡ุง ููŠ ุงู„ุฑุฏู‡ุฉุŒ ูˆูƒุงู† ูุฎูˆุฑู‹ุง ุจู‡ุง.
05:31
(Laughter) (Applause)
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(ุถุญูƒ) (ุชุตููŠู‚)
05:33
And what the Public Theater did over the next years with amazing shows like
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ูˆู…ุง ูุนู„ู‡ ุงู„ู…ุณุฑุญ ุงู„ุนุงู… ุนู„ู‰ ู…ุฏุงุฑ ุงู„ุณู†ูˆุงุช ุงู„ู‚ุงุฏู…ุฉ ุจุนุฑูˆุถ ู…ุฐู‡ู„ุฉ ู…ุซู„
(ููˆุฑ ูƒู„ุฑุฏ ุบูŠุฑู„ุฒ ู‡ูˆ ู‡ุงู ูƒูˆู†ุณูŠุฏุฑุฏ ุณูˆูŠุณุงูŠุฏ / ู‡ูˆูŠู† ุฐุง ุฑุงูŠู†ุจูˆ ุฅุฒ ุฅู†ู)ุŒ
05:37
"For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf,"
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05:41
"A Chorus Line,"
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(ุฃ ูƒูˆุฑุณ ู„ุงูŠู†)ุŒ
05:43
and -- here's the most extraordinary example I can think of:
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ูˆ... ู‡ุง ู‡ูˆ ุฃูƒุซุฑ ู…ุซุงู„ ุบูŠุฑ ู…ุฃู„ูˆู ุฃุณุชุทูŠุน ุงู„ุชููƒูŠุฑ ุจู‡:
05:47
Larry Kramer's savage cry of rage about the AIDS crisis,
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ุตุฑุฎุฉ (ู„ุงุฑูŠ ูƒุฑุงู…ุฑ) ุงู„ุบุงุถุจุฉ ุนู† ุฃุฒู…ุฉ ุงู„ุฅูŠุฏุฒุŒ
(ุฐุง ู†ูˆุฑู…ุงู„ ู‡ุงุฑุช).
05:53
"The Normal Heart."
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05:54
Because when Joe produced that play in 1985,
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ู„ุฃู†ู‡ ุนู†ุฏู…ุง ุฃู†ุชุฌ ( ุฌูˆ) ุชู„ูƒ ุงู„ู…ุณุฑุญูŠุฉ ููŠ ุนุงู… 1985ุŒ
05:58
there was more information about AIDS
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ุฃุตุจุญ ู‡ู†ุงูƒ ู…ุนู„ูˆู…ุงุช ุฃูƒุซุฑ ุนู† ุงู„ุฅูŠุฏุฒ
06:02
in Frank Rich's review in the New York Times
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ููŠ ู†ู‚ุฏ (ูุฑุงู†ูƒ ุฑูŠุชุด) ููŠ ุงู„(ู†ูŠูˆูŠูˆุฑูƒ ุชุงูŠู…ุฒ)
06:05
than the New York Times had published in the previous four years.
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ุฃูƒุซุฑ ู…ู…ุง ู†ุดุฑุชู‡ ุงู„(ู†ูŠูˆูŠูˆุฑูƒ ุชุงูŠู…ุฒ) ููŠ ุงู„ุฃุฑุจุน ุณู†ูˆุงุช ุงู„ุณุงุจู‚ุฉ.
06:08
Larry was actually changing the dialogue about AIDS
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ู„ู‚ุฏ ุบูŠุฑ (ู„ุงุฑูŠ) ุงู„ุญูˆุงุฑ ุนู† ุงู„ุฅูŠุฏุฒ
ุจูƒุชุงุจุฉ ู‡ุฐู‡ ุงู„ู…ุณุฑุญูŠุฉุŒ
06:13
through writing this play,
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06:14
and Joe was by producing it.
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ูˆุจุฅู†ุชุงุฌ (ุฌูˆ) ู„ู‡ุง.
06:15
I was blessed to commission and work on Tony Kushner's "Angels in America,"
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ูƒู†ุช ุณุนูŠุฏ ุงู„ุญุธ ุจุชูƒู„ูŠููŠ ูˆุงู„ุนู…ู„ ุนู„ู‰ ู…ุณุฑุญูŠุฉ (ุชูˆู†ูŠ ูƒูˆุดู†ุฑ) (ุงู†ุฌู„ุฒ ุฅู† ุฃู…ุฑูŠูƒุง)ุŒ
06:20
and when doing that play and along with "Normal Heart,"
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ูˆุฃุซู†ุงุก ุนู…ู„ูŠ ุนู„ูŠู‡ุง ุจุงู„ุฅุถุงูุฉ ุฅู„ู‰ (ู†ูˆุฑู…ุงู„ ู‡ุงุฑุช)ุŒ
06:24
we could see that the culture was actually shifting,
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ุงุณุชุทุนู†ุง ุฑุคูŠุฉ ุงู„ุชุบูŠุฑ ููŠ ุงู„ุซู‚ุงูุฉุŒ
06:27
and it wasn't caused by the theater,
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ูˆู„ู… ูŠูƒู† ุงู„ุณุจุจ ููŠ ุฐู„ูƒ ุงู„ู…ุณุฑุญุŒ
06:29
but the theater was doing its part
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ูˆู„ูƒู† ุงู„ู…ุณุฑุญ ูƒุงู† ูŠู‚ูˆู… ุจุฏูˆุฑู‡
06:31
to change what it meant to be gay in the United States.
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ููŠ ุชุบูŠูŠุฑ ู…ูู‡ูˆู… ุงู„ู…ุซู„ูŠุฉ ุงู„ุฌู†ุณูŠุฉ ููŠ ุฃู…ุฑูŠูƒุง.
06:36
And I'm incredibly proud of that.
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ูˆุฃู†ุง ูุฎูˆุฑ ุจุฐู„ูƒ ุจุดูƒู„ ู„ุง ูŠุตุฏู‚.
06:38
(Applause)
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(ุชุตููŠู‚)
06:40
When I took over Joe's old job at the Public in 2005,
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ุญูŠู† ุชูˆู„ูŠุช ุนู…ู„ (ุฌูˆ) ุงู„ู‚ุฏูŠู… ุงู„ุนุงู… ููŠ ุนุงู… 2005ุŒ
06:45
I realized one of the problems we had was a victim of our own success,
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ุฃุฏุฑูƒุช ุฃู† ุฃุญุฏ ุงู„ู…ุดุงูƒู„ ุงู„ุชูŠ ูˆุงุฌู‡ุชู†ุง ูƒุงู†ุช ุถุญูŠุฉ ู„ู†ุฌุงุญู†ุงุŒ
ูˆู‡ูŠ ุฃู† (ุดูƒุณุจูŠุฑ) ููŠ ุงู„ู…ุชู†ุฒู‡ ู‚ุฏ ุชุฃุณุณ ูƒุจุฑู†ุงู…ุฌ ู„ู„ุฅุชุงุญุฉุŒ
06:49
which is: Shakespeare in the Park had been founded as a program for access,
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06:54
and it was now the hardest ticket to get in New York City.
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ูˆู‚ุฏ ุฃุตุจุญ ุฃุตุนุจ ุชุฐูƒุฑุฉ ูŠู…ูƒู† ุงู„ุญุตูˆู„ ุนู„ูŠู‡ุง ููŠ (ู†ูŠูˆูŠูˆุฑูƒ).
06:57
People slept out for two nights to get those tickets.
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ูƒุงู† ุงู„ู†ุงุณ ูŠู†ุงู…ูˆู† ุจุงู„ุฎุงุฑุฌ ู„ูŠู„ุชูŠู† ู„ู„ุญุตูˆู„ ุนู„ู‰ ู‡ุฐู‡ ุงู„ุชุฐุงูƒุฑ.
07:01
What was that doing?
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ู…ุงุฐุง ู†ุชุฌ ุนู† ุฐู„ูƒุŸ
07:02
That was eliminating 98 percent of the population
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ู†ุชุฌ ุนู†ู‡ ู…ู†ุน 98 ุจุงู„ู…ุฆุฉ ู…ู† ุงู„ู†ุงุณ
07:05
from even considering going to it.
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ู…ู† ู…ุฌุฑุฏ ุงู„ุชููƒูŠุฑ ููŠ ุงู„ุฐู‡ุงุจ ุฅู„ูŠู‡.
07:07
So we refounded the mobile unit
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ู„ุฐุง ุฃุนุฏู†ุง ุชุฃุณูŠุณ ุงู„ูˆุญุฏุฉ ุงู„ู…ุชู†ู‚ู„ุฉ
07:09
and took Shakespeare to prisons, to homeless shelters,
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ูˆุฃุฎุฐู†ุง (ุดูƒุณุจูŠุฑ) ุฅู„ู‰ ุงู„ุณุฌูˆู†ุŒ ูˆุฅู„ู‰ ู…ู„ุงุฌุฆ ุงู„ู…ุดุฑุฏูŠู†ุŒ
07:12
to community centers in all five boroughs
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ูˆุฅู„ู‰ ุงู„ู…ุฑุงูƒุฒ ุงู„ุงุฌุชู…ุงุนูŠุฉ ููŠ ุฌู…ูŠุน ุงู„ุฃุญูŠุงุก ุงู„ุฎู…ุณ
07:15
and even in New Jersey and Westchester County.
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ูˆุญุชู‰ ููŠ ( ู†ูŠูˆ ุฌูŠุฑุณูŠ) ูˆุจู„ุฏุฉ (ูˆูŠุณุชุดูŠุณุชุฑ).
07:17
And that program proved something to us that we knew intuitively:
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ูˆู‡ุฐุง ุงู„ุจุฑู†ุงู…ุฌ ุฃุซุจุช ู„ู†ุง ุฃู…ุฑู‹ุง ุนุฑูู†ุงู‡ ุจุดูƒู„ ุจุฏูŠู‡ูŠ:
07:22
people's need for theater is as powerful as their desire for food
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ุงุญุชูŠุงุฌ ุงู„ู†ุงุณ ู„ู„ู…ุณุฑุญ ู‚ูˆู‰ ูƒุงุญุชูŠุงุฌู‡ู… ู„ู„ุทุนุงู…
07:26
or for drink.
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ุฃูˆ ู„ู„ุดุฑุงุจ.
07:28
It's been an extraordinary success, and we've continued it.
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ู„ู‚ุฏ ูƒุงู† ู†ุฌุงุญู‹ุง ุงุณุชุซู†ุงุฆูŠู‹ุงุŒ ูˆู‚ุฏ ูˆุงุตู„ู†ุง ุฐู„ูƒ.
07:31
And then there was yet another barrier that we realized we weren't crossing,
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ุซู… ูƒุงู† ู‡ู†ุงูƒ ุนุงุฆู‚ ุขุฎุฑ ุฃุฏุฑูƒู†ุง ุฃู†ู†ุง ู„ู… ู†ุชุฎุทุงู‡ุŒ
07:35
which is a barrier of participation.
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ูˆู‡ูˆ ุนุงุฆู‚ ุงู„ู…ุดุงุฑูƒุฉ.
07:37
And the idea, we said, is:
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ูˆุงู„ููƒุฑุฉ ุงู„ุชูŠ ุทุฑุญู†ุงู‡ุง ู‡ูŠ:
07:38
How can we turn theater from being a commodity, an object,
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ูƒูŠู ู†ุณุชุทูŠุน ุชุญูˆูŠู„ ุงู„ู…ุณุฑุญ ู…ู† ูƒูˆู†ู‡ ุณู„ุนุฉุŒ ุฃูˆ ุดูŠุกุŒ
ู„ูŠุนูˆุฏ ุฅู„ู‰ ู…ุงู‡ูŠุชู‡ ุงู„ุญู‚ูŠู‚ูŠุฉุŒ
07:43
back into what it really is --
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07:45
a set of relationships among people?
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ู…ุฌู…ูˆุนุฉ ู…ู† ุงู„ุนู„ุงู‚ุงุช ุจูŠู† ุงู„ู†ุงุณุŸ
07:48
And under the guidance of the amazing Lear deBessonet,
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ูˆุชุญุช ุฅุฑุดุงุฏ ุงู„ุนุธูŠู… (ู„ูŠุฑ ุฏูŠุจุณูˆู†ูŠ)ุŒ
ุจุฏุฃู†ุง ุจุฑู†ุงู…ุฌ ุงู„ุฃุนู…ุงู„ ุงู„ุนุงู…ุฉุŒ
07:51
we started the Public Works program,
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07:52
which now every summer produces
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ุงู„ุฐูŠ ูŠู†ุชุฌ ุงู„ุขู† ูƒู„ ุตูŠู
07:54
these immense Shakespearean musical pageants,
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ู‡ุฐู‡ ุงู„ุนุฑูˆุถ ุงู„ู…ูˆุณูŠู‚ูŠุฉ ุงู„ุถุฎู…ุฉ ู„(ุดูƒุณุจูŠุฑ)ุŒ
07:57
where Tony Award-winning actors and musicians
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ุญูŠุซ ูŠุนู…ู„ ุงู„ู…ู…ุซู„ูˆู† ูˆุงู„ู…ูˆุณูŠู‚ูŠูˆู† ุงู„ุญุงุฆุฒูˆู† ุนู„ู‰ ุฌุงุฆุฒุฉ ( ุชูˆู†ูŠ)
08:00
are side by side with nannies and domestic workers
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ุฌู†ุจุงู‹ ุฅู„ู‰ ุฌู†ุจ ู…ุน ุงู„ู…ุฑุจูŠุงุช ูˆุงู„ุนู…ุงู„ ุงู„ู…ู†ุฒู„ูŠูŠู†
08:04
and military veterans and recently incarcerated prisoners,
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ูˆู‚ุฏุงู…ู‰ ุงู„ู…ุญุงุฑุจูŠู† ูˆุงู„ู…ุณุฌูˆู†ูŠู† ุญุฏูŠุซุงู‹ุŒ
ุงู„ู‡ูˆุงุฉ ูˆุงู„ู…ุญุชุฑููˆู†ุŒ
08:08
amateurs and professionals,
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08:09
performing together on the same stage.
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ูŠุคุฏูˆู† ู…ุนุงู‹ ุนู„ู‰ ู†ูุณ ุงู„ู…ุณุฑุญ.
08:12
And it's not just a great social program,
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ูˆู‡ุฐุง ู„ูŠุณ ู…ุฌุฑุฏ ุจุฑู†ุงู…ุฌ ุงุฌุชู…ุงุนูŠ ุฑุงุฆุนุŒ
08:14
it's the best art that we do.
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ุจู„ ุฃูุถู„ ูู† ุตู†ุนู†ุงู‡.
08:16
And the thesis of it is that artistry is not something
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ูˆุงู„ูุฑุถูŠุฉ ู„ุฐู„ูƒ ู‡ูŠ ุฃู† ุงู„ูู† ู„ูŠุณ ุดูŠุฆุงู‹
08:20
that is the possession of a few.
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ู…ู…ู„ูˆูƒู‹ุง ู„ู„ู‚ู„ุฉ.
08:23
Artistry is inherent in being a human being.
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ุงู„ูู† ู…ุชุฃุตู„ ููŠ ูƒูˆู†ู†ุง ุจุดุฑ.
08:26
Some of us just get to spend a lot more of our lives practicing it.
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ูˆุงู„ุจุนุถ ู…ู†ุง ูู‚ุท ูŠู…ุถูˆู† ุฃุบู„ุจ ุญูŠุงุชู‡ู… ูˆู‡ู… ูŠู…ุงุฑุณูˆู†ู‡.
ูˆู…ู† ุญูŠู† ู„ุขุฎุฑ...
08:31
And then occasionally --
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08:32
(Applause)
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(ุชุตููŠู‚)
08:34
you get a miracle like "Hamilton,"
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ู†ุญุตู„ ุนู„ู‰ ู…ุนุฌุฒุฉ ู…ุซู„ (ู‡ุงู…ูŠู„ุชูˆู†)ุŒ
08:36
Lin-Manuel's extraordinary retelling of the foundational story of this country
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ุฑูˆุงูŠุฉ (ู„ูŠู† ู…ุงู†ูˆูŠู„) ุบูŠุฑ ุงู„ุนุงุฏูŠุฉ ุนู† ุงู„ู‚ุตุฉ ุงู„ุชุฃุณูŠุณูŠุฉ ู„ู‡ุฐุง ุงู„ุจู„ุฏ
08:42
through the eyes of the only Founding Father who was a bastard immigrant orphan
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ู…ู† ุฎู„ุงู„ ุนูŠู†ูŠ ุงู„ู…ุคุณุณ ุงู„ูˆุญูŠุฏ ุงู„ุฐูŠ ูƒุงู† ู…ู‡ุงุฌุฑู‹ุง ู„ู‚ูŠุทู‹ุง ูŠุชูŠู…ู‹ุง
08:47
from the West Indies.
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ู…ู† ุฌุฒุฑ ุงู„ู‡ู†ุฏ ุงู„ุบุฑุจูŠุฉ.
08:49
And what Lin was doing
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ูˆู…ุง ูƒุงู† (ู„ูŠู†) ูŠูุนู„ู‡
08:50
is exactly what Shakespeare was doing.
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ู‡ูˆ ุจุงู„ุถุจุท ู…ุง ูƒุงู† (ุดูƒุณุจูŠุฑ) ูŠูุนู„ู‡.
08:53
He was taking the voice of the people, the language of the people,
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ูƒุงู† ูŠุฃุฎุฐ ุตูˆุช ุงู„ุดุนุจุŒ ู„ุบุฉ ุงู„ุดุนุจุŒ
08:57
elevating it into verse,
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ูˆูŠู†ุธู…ู‡ุง ููŠ ู…ู‚ุงุทุน ุดุนุฑูŠุฉุŒ
09:00
and by doing so,
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ูˆุจูุนู„ู‡ ู„ุฐู„ูƒุŒ
09:01
ennobling the language
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ูƒุฑู‘ูŽู… ุงู„ู„ุบุฉุŒ
09:03
and ennobling the people who spoke the language.
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ูˆูƒุฑู‘ูŽู… ุงู„ุดุนุจ ุงู„ุฐูŠ ุชุญุฏุซ ุงู„ู„ุบุฉ.
09:06
And by casting that show entirely with a cast of black and brown people,
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ูˆุจุชู…ุซูŠู„ ู‡ุฐุง ุงู„ุนุฑุถ ุจุฃูƒู…ู„ู‡ ุจุงุณุชุฎุฏุงู… ูุฑูŠู‚ ู…ู† ุงู„ุณูˆุฏุŒ
09:11
what Lin was saying to us,
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ู…ุง ู‚ุงู„ู‡ (ู„ูŠู†) ู„ู†ุงุŒ
09:14
he was reviving in us
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ุฃู†ู‡ ูŠุญูŠูŠ ููŠู†ุง
09:16
our greatest aspirations for the United States,
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ุฃุนุธู… ุขู…ุงู„ู†ุง ู„ู„ูˆู„ุงูŠุงุช ุงู„ู…ุชุญุฏุฉุŒ
09:20
our better angels of America,
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ุฃูุถู„ ู…ู„ุงุฆูƒุชู†ุง ุงู„ุฃู…ุฑูŠูƒูŠุฉุŒ
09:22
our sense of what this country could be,
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ุฅุญุณุงุณู†ุง ุจู…ุง ูŠู…ูƒู† ุฃู† ุชูƒูˆู†ู‡ ู‡ุฐู‡ ุงู„ุจู„ุฏุŒ
09:25
the inclusion that was at the heart of the American Dream.
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ุงู„ู…ุถู…ูˆู† ููŠ ู‚ู„ุจ ุงู„ุญู„ู… ุงู„ุฃู…ุฑูŠูƒูŠ.
09:29
And it unleashed a wave of patriotism in me
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ูˆู‚ุฏ ุญุฑุฑ ุฐู„ูƒ ู…ูˆุฌุฉ ู…ู† ุงู„ูˆุทู†ูŠุฉ ููŠ ู†ูุณูŠ
09:33
and in our audience,
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ูˆูู‰ ุฌู…ู‡ูˆุฑู†ุงุŒ
09:35
the appetite for which is proving to be insatiable.
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ุงู„ุดู‡ูŠุฉ ุงู„ุชูŠ ุฃุซุจุชุช ุฃู†ู‡ุง ู„ุง ุชุดุจุน.
09:40
But there was another side to that, and it's where I want to end,
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ู„ูƒู† ู‡ู†ุงูƒ ุฌุงู†ุจ ุขุฎุฑ ู„ุฐู„ูƒุŒ ูˆู‡ูˆ ุญูŠุซ ุฃุฑูŠุฏ ุฃู† ุฃู†ุชู‡ูŠุŒ
ูˆู‡ูŠ ุขุฎุฑ ู‚ุตุฉ ุฃุฑูŠุฏ ุงู„ุชุญุฏุซ ุนู†ู‡ุง.
09:43
and it's the last story I want to talk about.
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ุฑุจู…ุง ุณู…ุน ุจุนุถูƒู… ุฃู† ู†ุงุฆุจ ุงู„ุฑุฆูŠุณ ุงู„ู…ู†ุชุฎุจ (ุจู†ุณ)
09:45
Some of you may have heard that Vice President-elect Pence
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09:48
came to see "Hamilton" in New York.
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ุฃุชู‰ ู„ู…ุดุงู‡ุฏุฉ (ู‡ุงู…ู„ุชูˆู†) ููŠ ู†ูŠูˆูŠูˆุฑูƒุŒ
09:50
And when he came in, some of my fellow New Yorkers booed him.
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ูˆุญูŠู† ุฃุชู‰ุŒ ุงุณุชู‡ุฌู†ู‡ ุจุนุถ ุฒู…ู„ุงุฆูŠ ู…ู† ุณูƒุงู† ู†ูŠูˆูŠูˆุฑูƒุŒ
ูู‚ุงู„ุŒ ุจุทุฑูŠู‚ุฉ ู„ุทูŠูุฉุŒ
09:55
And beautifully, he said,
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09:56
"That's what freedom sounds like."
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"ู‡ูƒุฐุง ุชุจุฏูˆ ุงู„ุญุฑูŠุฉ."
09:59
And at the end of the show,
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ูˆููŠ ู†ู‡ุงูŠุฉ ุงู„ุนุฑุถุŒ
10:01
we read what I feel was a very respectful statement from the stage,
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ู‚ุฑุฃู†ุง ู…ุง ุฃุดุนุฑ ุฃู†ู‡ ูƒุงู† ุจูŠุงู† ุดุฏูŠุฏ ุงู„ุงุญุชุฑุงู… ุนู„ู‰ ุงู„ู…ุณุฑุญุŒ
ูˆู‚ุฏ ุฃู†ุตุช ุฅู„ูŠู‡ ู†ุงุฆุจ ุงู„ุฑุฆูŠุณ ุงู„ู…ู†ุชุฎุจ (ุจูŠู†ุณ)ุŒ
10:04
and Vice President-elect Pence listened to it,
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10:07
but it sparked a certain amount of outrage, a tweetstorm,
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ู„ูƒู† ุงู„ุจูŠุงู† ุฃุซุงุฑ ูƒู…ู‹ุง ู…ู† ุงู„ุบุถุจุŒ ูˆุนุงุตูุฉ ู…ู† ุงู„ุชุบุฑูŠุฏุงุชุŒ
10:11
and also an internet boycott of "Hamilton"
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ูˆุฃูŠุถุงู‹ ู…ู‚ุงุทุนุฉ ุงู„ุฅู†ุชุฑู†ุช ู„(ู‡ุงู…ู„ุชูˆู†)
10:15
from outraged people who had felt we had treated him with disrespect.
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ู…ู† ุงู„ุฃุดุฎุงุต ุงู„ุบุงุถุจูŠู† ุงู„ุฐูŠู† ุดุนุฑูˆุง ุฃู†ู†ุง ุชุนุงู…ู„ู†ุง ู…ุนู‡ ุจุดูƒู„ ุบูŠุฑ ู„ุงุฆู‚.
ูˆู‚ุฏ ู†ุธุฑุช ุฅู„ู‰ ู‡ุฐู‡ ุงู„ู…ู‚ุงุทุนุฉ ูˆู‚ู„ุช ุฃู† ู„ุฏูŠู†ุง ุดูŠุก ุฎุงุทุฆ ู‡ู†ุง.
10:20
I looked at that boycott and I said, we're getting something wrong here.
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10:24
All of these people who have signed this boycott petition,
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ุฌู…ูŠุน ู‡ุคู„ุงุก ุงู„ู†ุงุณ ุงู„ุฐูŠู† ูˆู‚ุนูˆุง ุนู„ู‰ ุนุฑูŠุถุฉ ุงู„ู…ู‚ุงุทุนุฉุŒ
10:27
they were never going to see "Hamilton" anyway.
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ู…ุง ูƒุงู†ูˆุง ู„ูŠุฐู‡ุจูˆุง ู„ู…ุดุงู‡ุฏุฉ (ู‡ุงู…ู„ุชูˆู†) ุนู„ู‰ ุฃูŠ ุญุงู„.
ูู‡ูŠ ู„ู… ุชูƒู† ู„ุชุนุฑุถ ุฃุจุฏุงู‹ ููŠ ู…ุฏูŠู†ุฉ ุจุงู„ู‚ุฑุจ ู…ู†ู‡ู….
10:30
It was never going to come to a city near them.
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10:32
If it could come, they couldn't afford a ticket,
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ูˆุฅุฐุง ุนุฑุถุช ูุฅู†ู‡ู… ู„ู† ูŠุณุชุทูŠุนูˆุง ุชุญู…ู„ ุชูƒู„ูุฉ ุงู„ุชุฐูƒุฑุฉุŒ
10:35
and if they could afford a ticket, they didn't have the connections
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ูˆุฅุฐุง ูุนู„ูˆุงุŒ ูู„ูŠุณ ู„ุฏูŠู‡ู… ุนู„ุงู‚ุงุช
10:38
to get that ticket.
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ู„ูŠุญุตู„ูˆุง ุนู„ู‰ ู‡ุฐู‡ ุงู„ุชุฐูƒุฑุฉ.
10:40
They weren't boycotting us;
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ู‡ู… ู„ู… ูŠู‚ุงุทุนูˆู†ุงุŒ
ู†ุญู† ู…ู† ู‚ุงุทุนู†ุงู‡ู….
10:43
we had boycotted them.
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ูˆุฅุฐุง ู†ุธุฑุชู… ู„ู„ุฃุญู…ุฑ ูˆุงู„ุฃุฒุฑู‚ ุจุงู„ุฎุฑูŠุทุฉ ุงู„ุงู†ุชุฎุงุจูŠุฉ ู„ู„ูˆู„ุงูŠุงุช ุงู„ู…ุชุญุฏุฉุŒ
10:46
And if you look at the red and blue electoral map of the United States,
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10:50
and if I were to tell you,
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ูˆุฅุฐุง ุฃุฎุจุฑุชูƒู…ุŒ
10:51
"Oh, the blue is what designates
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"ุฅู† ุงู„ุฃุฒุฑู‚ ูŠุฑู…ุฒ ุฅู„ู‰ ุฌู…ูŠุน
10:53
all of the major nonprofit cultural institutions,"
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ุงู„ู…ุคุณุณุงุช ุงู„ุฑุฆูŠุณูŠุฉ ุงู„ุซู‚ุงููŠุฉ ุบูŠุฑ ุงู„ุฑุจุญูŠุฉุŒ"
10:56
I'd be telling you the truth.
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ูุณุฃูƒูˆู† ุฃุฎุจุฑูƒู… ุงู„ุญู‚ูŠู‚ุฉ.
10:58
You'd believe me.
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ูˆุณุชุตุฏู‚ูˆู†ู†ูŠ.
10:59
We in the culture have done exactly what the economy,
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ู…ุง ูุนู„ู†ุงู‡ ููŠ ุงู„ุซู‚ุงูุฉ ูƒุงู† ุจุงู„ุถุจุท ู…ุง ู‚ู…ู†ุง ุจูุนู„ู‡ ููŠ ุงู„ุงู‚ุชุตุงุฏุŒ
11:04
what the educational system, what technology has done,
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ูˆููŠ ุงู„ู†ุธุงู… ุงู„ุชุนู„ูŠู…ูŠุŒ ูˆููŠ ุงู„ุชูƒู†ูˆู„ูˆุฌูŠุงุŒ
11:07
which is turn our back on a large part of the country.
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ูˆู‡ูˆ ุชุฌุงู‡ู„ู†ุง ู„ุฌุฒุก ูƒุจูŠุฑ ู…ู† ุงู„ุจู„ุงุฏ.
ู„ุฐุง ูŠู†ุจุบูŠ ุฃู† ุชุณุชู…ุฑ ู‡ุฐู‡ ุงู„ููƒุฑุฉ ู„ู„ุงุญุชูˆุงุก.
11:12
So this idea of inclusion, it has to keep going.
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11:15
Next fall, we are sending out on tour
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ููŠ ุงู„ุฎุฑูŠู ุงู„ู‚ุงุฏู…ุŒ ุณู†ุฐู‡ุจ ููŠ ุฌูˆู„ุฉ
11:18
a production of Lynn Nottage's brilliant, Pulitzer Prize-winning play "Sweat."
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ู„ุนุฑุถ ุงู„ู…ุณุฑุญูŠุฉ ุงู„ุฑุงุฆุนุฉ (ุณูˆูŠุช) ุงู„ุญุงุตู„ุฉ ุนู„ู‰ ุฌุงุฆุฒุฉ (ุจูˆู„ุชุฒุฑ) ู…ู† ุชุฃู„ูŠู (ู„ูŠู† ู†ูˆุชุงุฌ).
11:23
Years of research in Redding, Pennsylvania led her to write this play
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ูˆู‚ุฏ ู‚ุงุฏุชู‡ุง ุณู†ูˆุงุช ู…ู† ุงู„ุจุญุซ ููŠ (ุฑูŠุฏู†ุฌ)ุŒ (ุจู†ุณู„ูุงู†ูŠุง) ุฅู„ู‰ ูƒุชุงุจุฉ ู‡ุฐู‡ ุงู„ู…ุณุฑุญูŠุฉ
11:27
about the deindustrialization of Pennsylvania:
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ุนู† ุชุฑุงุฌุน ุงู„ุตู†ุงุนุฉ ููŠ (ุจู†ุณู„ูุงู†ูŠุง):
11:31
what happened when steel left,
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ู…ุง ุญุฏุซ ุนู†ุฏู…ุง ุบุงุฏุฑุช ุตู†ุงุนุฉ ุงู„ุญุฏูŠุฏุŒ
11:33
the rage that was unleashed,
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ูˆุงู„ุบุถุจ ุงู„ุฐูŠ ุชุญุฑุฑุŒ
ูˆุงู„ุชูˆุชุฑ ุงู„ุฐูŠ ุฃุทู„ู‚ ุนู†ุงู†ู‡ุŒ
11:36
the tensions that were unleashed,
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11:37
the racism that was unleashed
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ูˆุงู„ุนู†ุตุฑูŠุฉ ุงู„ุชูŠ ุชุญุฑุฑุช
ุจูู‚ุฏุงู† ุงู„ูˆุธุงุฆู.
11:40
by the loss of jobs.
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11:41
We're taking that play and we're touring it
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ุณู†ุฃุฎุฐ ู‡ุฐู‡ ุงู„ู…ุณุฑุญูŠุฉ ูˆุณู†ู‚ูˆู… ุจุฌูˆู„ุฉ
11:44
to rural counties in Pennsylvania,
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ููŠ ุงู„ู…ู‚ุงุทุนุงุช ุงู„ุฑูŠููŠุฉ ููŠ (ุจู†ุณู„ูุงู†ูŠุง)ุŒ
11:47
Ohio, Michigan,
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ูˆ(ุฃูˆู‡ุงูŠูˆ)ุŒ ูˆ(ู…ูŠุดูŠุบูŠู†)ุŒ
11:50
Minnesota and Wisconsin.
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ูˆ(ู…ูŠู†ูŠุณูˆุชุง) ูˆ(ูˆูŠุณูƒูˆู†ุณูŠู†).
11:52
We're partnering with community organizations there to try and make sure
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ู†ุญู† ู†ุชุดุงุฑูƒ ู…ุน ุงู„ู…ู†ุธู…ุงุช ุงู„ู…ุฌุชู…ุนูŠุฉ ู‡ู†ุงูƒ ููŠ ู…ุญุงูˆู„ุฉ ู„ู„ุชุฃูƒุฏ
11:56
not only that we reach the people that we're trying to reach,
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ุฃู†ู†ุง ู„ู† ู†ูƒุชููŠ ุจุงู„ูˆุตูˆู„ ุฅู„ู‰ ุงู„ู†ุงุณ ุงู„ุฐูŠู† ู†ุฑูŠุฏ ุงู„ูˆุตูˆู„ ุฅู„ูŠู‡ู… ูู‚ุทุŒ
12:00
but that we find ways to listen to them back
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ุจู„ ุณู†ุฌุฏ ุทุฑู‚ู‹ุง ู„ู„ุฅุตุบุงุก ุฅู„ูŠู‡ู…
12:03
and say, "The culture is here for you, too."
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ูˆู†ู‚ูˆู„ ุฃู†ุŒ"ุงู„ุซู‚ุงูุฉ ู‡ู†ุง ู„ุฃุฌู„ูƒู…ุŒ ุฃูŠุถุงู‹."
12:07
Because --
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ู„ุฃู†...
(ุชุตููŠู‚)
12:09
(Applause)
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12:11
we in the culture industry,
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ู†ุญู† ููŠ ุตู†ุงุนุฉ ุงู„ุซู‚ุงูุฉุŒ
12:13
we in the theater,
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ูˆู†ุญู† ููŠ ุงู„ู…ุณุฑุญุŒ
12:15
have no right to say that we don't know what our job is.
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ู„ูŠุณ ู„ุฏูŠู†ุง ุงู„ุญู‚ ู„ู†ู‚ูˆู„ ุฃู†ู†ุง ู„ุง ู†ุนุฑู ู…ุง ู‡ูŠ ู…ู‡ู…ุชู†ุง.
12:19
It's in the DNA of our art form.
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ูู‡ูŠ ู…ุฏุฑุฌุฉ ููŠ ุงู„ุญู…ุถ ุงู„ู†ูˆูˆูŠ ู„ุดูƒู„ ูู†ู†ุง.
12:21
Our job "... is to hold up, as 'twere, a mirror to nature;
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ู…ู‡ู…ุชู†ุง ู‡ูŠ "ุงู„ุตู…ูˆุฏุŒ ูƒู…ุง ู„ูˆ ูƒู†ุง ู…ุฑุขุฉ ู„ู„ุทุจูŠุนุฉุŒ
ู„ุฅุธู‡ุงุฑ ุงุฒุฏุฑุงุฆู‡ุง ู„ุตูˆุฑุชู‡ุงุŒ
12:26
to show scorn her image,
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12:28
to show virtue her appearance,
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ูˆู„ุฅุธู‡ุงุฑ ูุถูŠู„ุฉ ู…ุธู‡ุฑู‡ุงุŒ
ูˆู‡ุฐุง ุงู„ุนุตุฑ ุจุดูƒู„ู‡ ูˆุถุบุทู‡."
12:32
and the very age its form and pressure."
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12:35
Our job is to try to hold up a vision to America
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ู…ู‡ู…ุชู†ุง ู‡ูŠ ู…ุญุงูˆู„ุฉ ุชุฑุณูŠุฎ ุฑุคูŠุฉ ู„ุฃู…ุฑูŠูƒุง
12:39
that shows not only who all of us are individually,
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ู„ุง ุชูุธู‡ุฑ ูู‚ุท ูƒู„ ูˆุงุญุฏ ู…ู†ุง ุจู…ูุฑุฏู‡ุŒ
12:43
but that welds us back into the commonality that we need to be,
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ู„ูƒู† ุชุนูŠุฏู†ุง ุฅู„ู‰ ุงู„ู‚ูˆุงุณู… ุงู„ู…ุดุชุฑูƒุฉ ุงู„ุชูŠ ู†ุญุชุงุฌ ุฅู„ูŠู‡ุงุŒ
ุงู„ุดุนูˆุฑ ุจุงู„ูˆุญุฏุฉุŒ
12:48
the sense of unity,
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12:49
the sense of whole,
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ุงู„ุดุนูˆุฑ ุจุงู„ูƒู„ูŠุฉุŒ
12:51
the sense of who we are as a country.
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ุงู„ุดุนูˆุฑ ุจู…ู† ู†ูƒูˆู† ูƒุฌุฒุก ู…ู† ุงู„ุจู„ุฏ.
12:54
That's what the theater is supposed to do,
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ู‡ุฐุง ู…ุง ูŠูุชุฑุถ ุฃู† ูŠูุนู„ู‡ ุงู„ู…ุณุฑุญุŒ
ูˆู‡ุฐุง ู…ุง ู†ุญุชุงุฌ ุฅู„ู‰ ู…ุญุงูˆู„ุฉ ุงู„ู‚ูŠุงู… ุจู‡ ุจุฃูุถู„ ู…ุง ูŠู…ูƒู†ู†ุง.
12:57
and that's what we need to try to do as well as we can.
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12:59
Thank you very much.
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ุดูƒุฑุงู‹ ุฌุฒูŠู„ุงู‹ ู„ูƒู….
(ุชุตููŠู‚)
13:01
(Applause)
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ุญูˆู„ ู‡ุฐุง ุงู„ู…ูˆู‚ุน

ุณูŠู‚ุฏู… ู„ูƒ ู‡ุฐุง ุงู„ู…ูˆู‚ุน ู…ู‚ุงุทุน ููŠุฏูŠูˆ YouTube ุงู„ู…ููŠุฏุฉ ู„ุชุนู„ู… ุงู„ู„ุบุฉ ุงู„ุฅู†ุฌู„ูŠุฒูŠุฉ. ุณุชุฑู‰ ุฏุฑูˆุณ ุงู„ู„ุบุฉ ุงู„ุฅู†ุฌู„ูŠุฒูŠุฉ ุงู„ุชูŠ ูŠุชู… ุชุฏุฑูŠุณู‡ุง ู…ู† ู‚ุจู„ ู…ุฏุฑุณูŠู† ู…ู† ุงู„ุฏุฑุฌุฉ ุงู„ุฃูˆู„ู‰ ู…ู† ุฌู…ูŠุน ุฃู†ุญุงุก ุงู„ุนุงู„ู…. ุงู†ู‚ุฑ ู†ู‚ุฑู‹ุง ู…ุฒุฏูˆุฌู‹ุง ููˆู‚ ุงู„ุชุฑุฌู…ุฉ ุงู„ุฅู†ุฌู„ูŠุฒูŠุฉ ุงู„ู…ุนุฑูˆุถุฉ ุนู„ู‰ ูƒู„ ุตูุญุฉ ููŠุฏูŠูˆ ู„ุชุดุบูŠู„ ุงู„ููŠุฏูŠูˆ ู…ู† ู‡ู†ุงูƒ. ูŠุชู… ุชู…ุฑูŠุฑ ุงู„ุชุฑุฌู…ุงุช ุจุงู„ุชุฒุงู…ู† ู…ุน ุชุดุบูŠู„ ุงู„ููŠุฏูŠูˆ. ุฅุฐุง ูƒุงู† ู„ุฏูŠูƒ ุฃูŠ ุชุนู„ูŠู‚ุงุช ุฃูˆ ุทู„ุจุงุช ุŒ ูŠุฑุฌู‰ ุงู„ุงุชุตุงู„ ุจู†ุง ุจุงุณุชุฎุฏุงู… ู†ู…ูˆุฐุฌ ุงู„ุงุชุตุงู„ ู‡ุฐุง.

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