How theater weathers wars, outlasts empires and survives pandemics | Cara Greene Epstein

Transcriber:

Translator: Yuliani Supandji Reviewer: Maria Nainggolan

"O for a Muse of fire, that would ascend the brightest heaven of invention,

“Oh! Dewi Api akan naik menuju surga penemuan yang paling terang,

a kingdom for a stage, princes to act

kerajaan adalah panggung, para pangeran aktornya

and monarchs to behold the swelling scene!”

dan raja-raja untuk menyaksikan adegan yang menakjubkan!”

Though, to be totally honest,

Meskipun, sejujurnya,

right now, I'd settle for a real school day,

saat ini, aku memilih sekolah biasa saja,

a night out

keluar malam biasa,

and a hug from a friend.

dan pelukan dari kawan.

I do have to admit that Wrigley Field does make a pretty awesome stage, though.

Kuakui Wrigley Field memang panggung yang bagus, sih.

The words that I spoke at the beginning, "O for a Muse of fire," et cetera,

Kata-kata yang kuucapkan di awal, “Oh! Dewi Api”, dst,

are Shakespeare's.

adalah dari Shakespeare.

He wrote them as the opening to his play "Henry V,"

Ia menulisnya sebagai pembuka karyanya “Henry V”

and they're are also quite likely the first words ever spoken

kemungkinan besar juga kata pertama yang diucapkan

on the stage of the Globe Theater in London, when it opened in 1599.

di panggung Globe Theater, London saat dibuka di 1599.

The Globe would go on to become the home for most of Shakespeare's work,

The Globe lalu menjadi rumah bagi kebanyakan karya Shakespeare,

and from what I hear,

dan dari yang kudengar,

that Shakespeare guy was pretty popular.

si Shakespeare ini lumayan terkenal.

But despite his popularity, just four years later, in 1603,

Namun meski popular, 4 tahun setelahnya, di 1603,

The Globe would close for an extended period of time

The Globe tutup sampai periode yang tak ditentukan

in order to prevent the spreading and resurgence of the bubonic plague.

untuk mencegah penyebaran dan munculnya lagi wabah pes.

In fact, from 1603 to 1613,

Nyatanya, dari 1603 - 1613,

all of the theaters in London were closed on and off again

semua teater di London tutup dan buka terus

for an astonishing 78 months.

kira-kira 78 tahun lamanya.

Here in Chicago, in 2016,

Di Chicago sini, di 2016,

new theaters were opening as well.

teater baru banyak buka.

The Steppenwolf had just opened its 1,700 theater space.

The Steppenwold baru membuka 1,700 ruangan teater.

The Goodman, down in the Loop,

The Goodman, di Loop,

had just opened its new Center for Education and Engagement.

baru buka Sentra Edukasi dan Keterlibatan.

And the Chicago Shakespeare Theater had just started construction

Dan Chicago Shakespeare Teater mulai konstruksi

on its newest theater space, The Yard.

ruangan teater barunya, The Yard.

Today, all of those theaters,

Kini, semua teater itu,

as well as the homes of over 250 other theater companies across Chicago,

juga rumah bagi lebih dari 250 kelompok teater di Chicago,

are closed due to COVID-19.

tutup karena COVID-19.

From Broadway to LA, theaters are dark,

Dari Broadway ke LA, teater gelap,

and we don't know when or if the lights are ever going to come on again.

dan kita tidak tahu kapan buka kembali.

That means that tens of thousands of theater artists are out of work,

Artinya, ada ratusan pelaku teater yang menganggur,

from actors and directors

dari aktor sampai sutradara

to stage managers, set builders, costume designers ...

ke manajer panggung, pengarah set, desainer kostum...

It's not like it's an easy time to go wait tables.

Ini juga bukan saat mudah untuk cari kerja lain.

It's a hard time for the theater,

Ini saat yang berat bagi teater,

and it's a hard time for the world.

dan saat yang berat bagi dunia.

But while theaters may be dark,

Namun meski teater tutup,

theater as an art form has the potential to shine a light

teater sebagai bentuk seni punya potensi memberikan sinar

on how we can process and use this time apart

tentang bagaimana kita berproses dan pakai waktu berpisah ini

to build a brighter, more equitable, healthier future together.

untuk membangun masa depan yang lebih cerah, baik dan sehat bersama.

Theater is the oldest art form we humans have.

Teater adalah bentuk seni tertua yang dimiliki manusia.

We know that the Greeks were writing plays as early as the fifth century BC,

Kita tahu orang Yunani sudah menulis skrip dari awal abad ke-50 SM,

but theater goes back before that.

namun teater lebih lama lagi.

It goes back before we learned to write,

Lebih lama sebelum kita tahu menulis,

to call-and-response around fires.

untuk memanggil dan merespon api.

and -- who knows? -- maybe before we learn to build fire itself.

dan -- siapa tahu? -- mungkin sebelum kita tahu cara menyalakan api.

Theater has outlasted empires, weathered wars and survived plagues.

Teater telah melampaui kerajaan, melewati perang dan selamat dari wabah.

In the early 1600s, theaters were closed over 60 percent of the time in London,

Di awal 1600an, teater ditutup lebih dari 60% waktu di London,

and that's still looked at as one of the most fertile and innovative

dan tetap dianggap sebagai waktu subur dan inovatif

periods of time in Western theater history.

di sejarah perteateran di Barat.

The plays that were written then are still performed today over 400 years later.

Skrip yang ditulis dulu masih dipentaskan sekarang, 400 tahun kemudian.

Unfortunately, in the early 1600s,

Sayangnya, di awal 1600an,

a different plague was making its way across the ocean,

wabah baru muncul dari seberang lautan,

and it hit the shores of what would be called "America" in 1619,

dan menjangkiti daerah yang dinamakan “Amerika” pada tahun 1619,

when the first slave ships landed in Jamestown, Virginia.

saat kapal budak pertama merapat di Jamestown, Virginia.

Racism is an ongoing plague in America.

Rasisme adalah wabah yang terus ada di Amerika.

But many of us in the theater like to think we're not infected

Kita di teater berpikir kita tidak kena

or that we are at worst asymptomatic.

atau paling buruknya, kita tidak terpengaruh.

But the truth is, our symptoms have been glaring onstage and off.

Nyatanya, simtom kita sudah kelihatan di panggung atau bukan.

We have the opportunity to use this intermission caused by one plague

Kita punya kesempatan pakai waktu jeda ini untuk wabah itu

to work to cure another.

untuk menyembuhkan satu sama lain.

We can champion a theater that marches, protests, burns, builds.

Kita bisa berteater dengan barisan, protes, bakaran, bangunan.

We can reimagine the way our theaters and institutions work

Kita bisa bayangkan lagi bagaimana teater dan institusinya bekerja

to make them more reflective and just.

untuk membuatnya reflektif dan sesuai.

We can make this one of the most innovative and transformative

Kita bisa pakai salah satu inovasi dan transformasi

periods of time in Western theater history,

waktu ini di sejarah teater di Barat.

one that we are still learning about and celebrating 400 years from now.

satu yang kita masih pelajari dan dirayakan 400 tahun mendatang.

What we embody in the theater can be embodied in the world.

Apa yang kita lakukan untuk teater kita, bisa dilakukan dunia juga.

Why?

Mengapa?

Because theater is an essential service.

Karena teater adalah jasa esensial.

And what I mean by that is that theater is in service

Dan maksudku bilang teater itu jasa,

to that which is essential about ourselves:

karena ia esensial bagi diri kita sendiri:

love, anger, rage, joy, despair, hope.

cinta, marah, emosi, senang, sedih, harapan.

Theater not only shows us the breadth and depth of human emotions,

Teater bukan cuma menunjukkan kedalaman emosi manusia,

it allows us to experience catharsis,

namun juga supaya kita mengalami katarsis,

to feel our feelings and rather than ignore or compartmentalize them,

untuk merasakan perasaan kita, bukan mengacuhkan dan memilihnya,

move through them to discover what's on the other side.

bergerak dari mereka untuk menemukan ada apa di sisi lainnya.

Now, many art forms connect us to our emotions,

Kini, banyak bentuk seni yang menghubungkan perasaan kita,

but what makes the theater unique is that it reveals us to ourselves onstage

namun teater unik karena ia menunjukkan siapa diri kita di atas panggung

so that we can see that our lives are about our relationships

jadi kita bisa lihat kehidupan kita atau hubungan kita

and our connections to others --

dan koneksi kita dengan orang lain --

to our parents, to our children,

ke orang tua, ke anak-anak,

to our teachers, to our tormentors, to our lovers, to our friends.

ke mentor, ke musuh, ke pacar, ke teman.

What we do when we engage with theater

Saat kita terlibat di teater

is we experience in real time, in real space,

kita merasakan saat itu, di ruangan itu,

those relationships and connections changing in the present --

hubungan dan koneksi itu berubah bagi masa kini --

the relationships between characters onstage, yes,

hubungan antara karakter di atas panggung, ya,

but also the relationships between characters and the audience

juga hubungan antara karakter dan penonton

and the relationships between audience members themselves.

dan hubungan antara para penonton sendiri.

We go to the theater because we seek connection.

Kita pergi ke teater karena kita butuh berkoneksi.

And when we're in the theater, our hearts beat as one.

Dan saat kita di teater, hati kita menyatu.

That's not a metaphor.

Ini bukan metafora.

Our hearts race together, they're soothed together,

Hati kita berpacu bersama, ditenangkan bersama,

we breathe together.

kita bernapas bersama.

Ay, there's the rub.

Oh, di situ gosokannya.

Who knows when we're going to be able to be together again in the same space,

Siapa tahu kapan kita sudah bisa kumpul lagi di satu ruangan,

breathing in the same air, breathing in the same experience?

bernapas udara yang sama, bernapas pengalaman yang sama?

Who knows when we're going to want to be?

Siapa tahu kapan kita mau itu lagi?

We are holding our breath.

Kita sedang menahan napas.

Luckily, theater doesn't just have to happen in theaters.

Untungnya, teater tidak harus berlangsung di gedung teater.

As theater practitioners,

Sebagai pelaku teater,

we know some of the most important work we do happens offstage,

kita tahu pekerjaan penting kita terjadi di luar panggung,

in rehearsal spaces, garage spaces, studio apartments.

namun di ruang latihan, garasi, apartemen studio.

At the beginning of this talk, I wished for a kingdom for a stage, princes to act

Di awal pembicaraan tadi, saya mau istana jadi panggung, pangeran pelakunya.

and monarchs to watch the show.

dan para raja menontonnya.

But the truth is, none of that is necessary.

Kenyataannya, tidak satupun diperlukan.

In fact, some of the most important theater I make

Nyatanya, beberapa teater penting yang saya buat

happens on Monday mornings in an empty hospital meeting room

terjadi di Senin pagi di ruang rapat kosong di rumah sakit

with just a handful of folks,

hanya sama segelintir orang,

and only two of us are theater artists.

dan cuma dua yang pelaku teater.

The Memory Ensemble, as we call ourselves,

The Memory Ensamble, kita menyebut diri kita,

is a collaboration between the Lookingglass Theatre

adalah kerjasama antara The Lookingglass Theatre

and Northwestern's Center for Cognitive Neurology

dan Sentra Neurologi Kognitif di Northwestern

and Alzheimer's Disease Research.

dan Pusat Penelitian Penyakit Alzheimer.

We begin each session with a mantra:

Kita mulai setiap sesi dengan mantra:

"I am a creative person.

“Aku orang yang kreatif.

When I feel anxious or uncertain,

Saat aku gelisah atau gamang,

I can stop, breathe, observe

Aku bisa berhenti, bernapas, mengamati

and use my imagination."

dan menggunakan imajinasiku.”

Anyone else feeling anxious or uncertain right now?

Ada yang merasa gelisah atau gamang, sekarang?

Let's say it together.

Mari kita ucapkan bersama.

I am a creative person.

Aku adalah orang yang kreatif.

When I feel anxious or uncertain,

Saat aku gelisah atau gamang,

I can stop,

Aku bisa berhenti,

breathe,

bernapas,

observe

mengamati

and use my imagination.

dan pakai imajinasiku.

Let's look at the first part of that statement:

Mari lihat bagian pertama pernyataan ini:

I am a creative person.

Aku adalah orang yang kreatif.

Many of us have been taught

Banyak dari kita diajari

that creativity is a talent only some of us have,

bahwa kreativitas hanya talenta bagi sebagian orang,

a skill reserved for artists,

kemampuan yang hanya dimiliki para seniman,

inventors, big thinkers,

penemu, pemikir besar,

that it's not something for regular people with quote, unquote real jobs.

bukan sesuatu yang orang dengan kerjaan biasa miliki.

But that's not true.

Namun itu tidak benar.

All humans are innately creative.

Setiap orang itu bawaannya kreatif.

It's part of what makes us human.

Itulah yang membuat kita disebut manusia.

And if there was ever a time for us to exercise our creativity, it's now --

Dan ada waktu dimana kita melatih kreativitas kita -- kini --

not to solve or fix our anxiety and uncertainty,

bukan menuntaskan atau membetulkan kegelisahan dan kegamangan kita

but to learn from it and to move through it.

namun belajar dari situ dan tahu cara melewatinya.

So the first step is to stop.

Jadi langkah pertama adalah berhenti.

That's harder than it sounds;

Lebih sulit daripada kedengarannya;

busy is a coping mechanism that we use

sibuk adalah cara kita mengabaikan

to deal with our anxiety and uncertainty,

kegelisahan dan kegamangan kita,

and our society is addicted to it.

dan masyarakat kita kecanduan dengan itu.

So we find ourselves making all the TikToks,

Kita malah membuat video TikTok,

baking all the bread,

membuat roti,

taking all the Zoom meetings.

mengikuti semua rapat Zoom.

Maybe you've even seen that meme

Mungkin kau pernah lihat memenya

about how Shakespeare wrote "King Lear" during his pandemic,

mengenai Shakespeare menulis “King Lear” saat pandeminya,

which I think is supposed to inspire us,

kurasa awalnya untuk menginspirasi kita,

but instead just makes us feel guilty

namun kita malah merasa bersalah

that we're not creating our own masterpieces right now,

karena kita tak bisa membuat karya seagung itu,

you know, in addition to taking care of our children

kau tahu, sebagai tambahan mengurus anak kita

or our parents or our students,

orang tua kita atau murid kita,

our patients, our clients, our customers, our friends,

pasien kita, klien kita, konsumen kita, teman-teman kita,

ourselves.

dan diri sendiri.

So A, screw that guilt;

Jadi, A, abaikan rasa bersalahnya;

and B, that's, like, the opposite of what "King Lear" is actually about.

dan B, lakukan kebalikan dari “King Lear” yang semestinya.

Towards the end of Lear, one of the main characters, Edgar, says,

Pada akhir Lear, salah satu pemain utama, Edgar, berkata

"The weight of this sad time we must obey;

“Beratnya waktu sedih ini harus kita patuhi;

speak what we feel, not what we ought to say."

katakan apa yang kita rasakan, bukan yang kita harus katakan.”

The lesson of Lear is not about pushing or producing

Pelajaran dari Lear bukan cuma mendorong atau membuat

or doing what you think you should do.

atau melakukan yang harusnya dilakukan.

The lesson of Lear is about stopping

Pelajaran dari Lear adalah mengenai berhenti.

and taking the time to appreciate who and what you have in your life

dan meluangkan waktu menghargai dirimu dan apa yang dirimu punya

and discover who you want to be while you have it.

dan temukan apa yang dirimu mau saat kamu mampu.

We're at an intermission,

Kita sedang ada di waktu jeda,

and intermissions are important,

dan waktu jeda adalah penting,

because they give ourselves the opportunity to take care of ourselves

untuk memberi kita kesempatan merawat diri sendiri

physically and emotionally:

secara fisik dan emosi:

go to the bathroom, get a snack, get a drink

pergi ke toilet, ambil snack, ambil minum

and also take a moment to feel the weight of what just happened onstage,

dan meluangkan waktu merasakan beratnya apa yang terjadi di panggung,

maybe begin to process any emotions that that brought up.

dan mulai memproses semua emosi yang hadir.

I reached out to my community of artists,

Aku menyampaikan ke pelaku di komunitasku

and I asked them what plays were speaking to them

dan kutanya apa skrip yang paling mereka hargai

and helping them process this time.

dan membantu mereka memproses saat ini.

Many of the characters in the plays they sent

Banyak dari karakter di skrip yang mereka kirim

don't share my lived experience.

tidak sesuai dengan pengalaman hidupku.

And I think their words are important to hear.

Dan kurasa ucapan mereka penting didengar.

My friend Jeremy sent me a monologue by Sarah Ruhl from her "Melancholy Play."

Temanku Jeremy kirim monolog “Melancholy Play” dari Sarah Ruhl

In it, the character is talking about how she's feeling, and she says,

Di sana, karakternya berbicara mengenai perasaannya, katanya,

"It's this feeling that you want to love strangers,

“Perasaan yang muncul saat kau ingin mencintai orang asing,

that you want to kiss the man at the post office

saat kau ingin mencium seorang pria di kantor pos

or the woman at the dry cleaners.

atau seorang wanita di binatu.

You want to wrap your arms around life, life itself, but you can't.

Kau ingin memeluk kehidupan, hidup itu sendiri, tapi tidak bisa.

And so this feeling wells up in you,

Perasaan itu tak terbendung di dirimu,

and there's nowhere to put this great happiness,

dan kau tak bisa kirim kesenanganmu ke manapun,

and you're floating, and then you fall.

dan kau terbang, lalu terjatuh.

And you,

Dan kau,

you feel unbearably sad,

kau jadi merasa sangat sedih,

and you have to go lie down on the couch."

dan kau harus terduduk di sofa.”

I've felt that monologue a lot during this pandemic.

Aku merasakan monolog itu berbicara saat di pandemi ini.

Sometimes I feel this great happiness,

Kadang aku merasa sangat senang,

and sometimes I have to go lie down on the couch.

dan terkadang aku terduduk saja di sofa.

My theater practice teaches me that both are OK.

Latihan teaterku mengajarkanku kalau keduanya tidak apa-apa.

We stop so that we can feel our feelings instead of covering them.

Kita berhenti supaya kita merasakan perasaan kita, bukan menutupinya.

Next, we breathe.

Selanjutnya, kita bernapas.

When we inhale,

Apa yang kita tarik,

we give ourselves the opportunity to breathe in the present moment

kita berikan kesempatan bernapas juga bagi momen sekarang

and be aware of what's happening right now inside of us, as well as outside of us.

dan sadar apa yang terjadi sekarang di diri kita, juga di luar sana.

When we exhale,

Saat kita buang,

we allow ourselves to release the moment

kita biarkan diri kita melepas momen ini

so that we can be present for the next one and the next one

sehingga kita bisa hadir untuk selanjutnya dan lanjutnya lagi

and the next one.

dan lanjutnya lagi.

When we feel anxious or uncertain, we tend to hold our breath.

Saat kita merasa gelisah dan gamang, kita cenderung menahan napas.

We're scared about what's going to happen next,

Kita takut apa yang akan terjadi selanjutnya,

and so we hold onto what's happening right now,

jadi kita tahan perasaan kita sekarang,

which prevents movement, which keeps us stuck.

justru itu membatasi gerakan kita jadi terperangkap.

Far from helping us, holding our breath holds us back.

Jauh dari membantu kita, tahan napas malah memundurkan kita.

So we stop.

Jadi kita berhenti.

We breathe.

Kita bernapas.

And then we observe:

Lalu kita amati:

What's happening around us?

Apa yang terjadi di sekeliling kita?

How do we feel about that?

Apa perasaan kita akan itu?

My friends Greg and Kanisha

Temanku Greg dan Kanisha

told me that I should watch the play "Pipeline" by Dominique Morisseau.

berkata bahwa aku harus menonton “Pipeline” oleh Dominique Morisseau.

At the beginning of the play,

Awal drama itu,

maybe the character has been onstage for a minute.

mungkin karakternya sudah di panggung 1 menit.

Omari turns to his girlfriend, and he says that he’s just, like modestly,

Omari berbalik ke pacarnya, dan katanya, dia cuma, dengan sopan,

without intentions, just observing.

tanpa tujuan, cuma mengamati.

And his girlfriend says, "What you gotta be observing for?"

Lalu pacarnya bertanya, “Kau mengamati apa?”

And Omari says, "To take in my surroundings, learn the world,

Omari berkata, “Merasakan lingkunganku, mempelajari dunia,

not be just tied up in my own existence and nothing else."

bukan cuma terikat eksistensiku saja dan tidak tahu yang lain.”

That observation is the key

Observasi itu adalah kunci

to unlocking our empathy and our curiosity about the world

untuk membuka empati dan rasa penasaran kita terhadap dunia

and igniting our imagination about how we can make it even better.

dan memunculkan imajinasi kita bagaimana membuatnya jadi lebih baik.

My friend Jazmin introduced me to the play "Marisol" by José Rivera.

Temanku Jazmin memperkenalkanku ke drama “Marisol” oleh José Rivera.

And in it, the guardian angel is talking to Marisol, and she says,

Dan malaikat penjaga berkata ke Marisol,

"I don't expect you to understand

“Aku tak berharap kau mengerti

the political ins and outs of what's going on.

politis keluar-masuk dari apa yang sedang terjadi.

But you have eyes.

Namun kau punya mata.

You've asked me questions about children and water

Kau tanya padaku tentang anak-anak dan air

and war and the moon,

dan perang dan bulan,

questions I've been asking myself for a thousand years.

pertanyaan yang kutanyakan ke diriku sudah beribu-ribu tahun.

The universal body is sick, Marisol.

Tubuh universal sedang sakit, Marisol.

The constellations are wasting away.

Konstelasinya terbuang percuma.

The nauseous stars are full of blisters and sores.

Bintang-bintang yang mual sedang penuh lepuh dan cela.

The infected earth is running a temperature

Bumi terinfeksi dan sedang ada di temperatur panas

and everywhere, the universal mind is wracked with amnesia, boredom

dan di mana-mana, tubuh universal diremukkan oleh amnesia, kebosanan

and neurotic obsessions."

dan obsesi neurotik.”

Sound familiar?

Terdengar familiar?

We stop.

Kita berhenti.

We breathe.

Kita bernapas.

We observe.

KIta mengamati.

And we use our observations to imagine a world that is fiercer, braver,

Kita gunakan pengamatan itu untuk membayangkan dunia yang berani,

more beautiful.

lebih indah.

We use our imaginations to create something new

Kita gunakan imajinasi kita untuk membuat sesuatu yang baru

based on our connections to the world and ourselves.

berdasarkan koneksi dengan dunia dan diri sendiri.

One of the things that I know is this:

Satu dari hal yang kutahu adalah:

there's always been a certain amount of uncertainty in the theater,

akan selalu ada beberapa jumlah ketidakpastian pada teater,

but this is the most anxious and uncertain we've ever been in my lifetime.

namun ini adalah waktu paling gelisah dan gamang, yang pernah kita rasakan.

In order to move forward, there's going to have to be a lot of change.

supaya bisa maju, ada beberapa hal yang harus dirubah.

Luckily, all great theater provides the opportunity for transformation.

Untungnya, semua teater bagus menyediakan kesempatan untuk bertransformasi.

We can use this intermission to stop, breathe, observe,

Kita bisa gunakan waktu jeda untuk berhenti, bernapas dan mengamati,

and use our imaginations to create a more beautiful world onstage and off,

dan pakai imajinasi untuk membuat bumi indah di atas atau belakang panggung.

one that is more equitable,

satu yang lebih adil,

more reflective

lebih reflektif

and more just.

dan lebih sesuai.

As Prior says at the end of Tony Kushner’s masterpiece about the AIDS epidemic,

Seperti kata Prior di akhir karya besar Tony Kushner tentang epidemi AIDS,

"Angels in America,"

“Angels in America,”

"I'm almost done.

“Aku hampir selesai.

The fountain's not flowing now,

Air mancurnya kering sekarang,

they turn it off in the winter, ice in the pipes.

mereka matikan saat musim dingin, ada es di salurannya.

But in the summer, it is a sight to see. I want to be here to see it.

Namun wajib dilihat di musim panas. Aku ingin ada di situ untuk melihatnya.

I plan to be.

Aku berencana seperti itu.

I hope to be.

Aku harap seperti itu.

This disease will be the end of many of us,

Wabah ini akan jadi akhir dari kebanyakan kita,

but not nearly all,

namun bukan semua,

and the dead will be commemorated, and they will struggle on with the living,

dan yang wafat diperingati, lalu yang hidup akan berjuang,

and we are not going away.

dan kita takkan kemana-mana.

We won't die secret deaths anymore.

Kita takkan menutupi kematian lagi.

The world only spins forward.

Dunia hanya akan melaju ke depan.

We will be citizens.

Kita akan jadi warganya.

The time has come. Bye, now.

Waktunya sudah tiba, sampai jumpa sekarang.

You are fabulous creatures, each and every one.

Kau semua menakjubkan, tanpa kecuali.

And I bless you:

Dan kudoakan kau:

more life.

kehidupan yang lebih lagi.

The great work begins."

Kerja besar dimulai.”

The theater has weathered wars,

Teater sudah melewati perang,

outlasted empires

melampaui kerjaaan

and survived plagues.

dan selamat dari wabah.

It'll continue.

Ia akan berlanjut.

I don't know how or when or what it'll look like,

Aku tidak tahu bagaimana, kapan dan seperti apa nanti,

but it will.

namun pasti berlanjut.

And so will we,

Begitu juga kita,

as long as we do the essential work of staying connected

selama kita mau bekerja dan saling terkoneksi

to that which is essential about ourselves,

di mana itu penting bagi diri kita sendiri,

our communities

masyarakat kita

and our world.

dan dunia kita.

The great work begins.

Kerja besar dimulai.

Thank you.

Terima kasih.