David Binder: The arts festival revolution

32,930 views ใƒป 2012-11-16

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

00:00
Translator: Thu-Huong Ha Reviewer: Morton Bast
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๋ฒˆ์—ญ: Yunhi Maeng ๊ฒ€ํ† : K Bang
00:16
Sydney. I had been waiting my whole life to get to Sydney.
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์ €๋Š” ํ‰์ƒ์„ ๊ธฐ๋‹ค๋ ค ๋“œ๋””์–ด ์‹œ๋“œ๋‹ˆ์— ๋„์ฐฉํ–ˆ์Šต๋‹ˆ๋‹ค.
00:19
I got to the airport, to the hotel, checked in,
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๊ณตํ•ญ์— ๋‚ด๋ ค, ํ˜ธํ…”๋กœ ์ด๋™ํ•˜๊ณ , ์ฒดํฌ์ธํ•œ ํ›„
00:22
and, sitting there in the lobby, was a brochure
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๋กœ๋น„์— ์•‰์•„์„œ, ์ €๋Š” ์‹œ๋“œ๋‹ˆ ํŽ˜์Šคํ‹ฐ๋ฒŒ ์•ˆ๋‚ด ์ฑ…์ž๋ฅผ
00:25
for the Sydney Festival. I thumbed through it,
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ํ›‘์–ด๋ณด๋‹ค๊ฐ€ ์šฐ์—ฐํžˆ '๋ฏผํ† (Minto): ๋ผ์ด๋ธŒ'๋ผ๋Š” ์‡ผ๋ฅผ
00:28
and I came across a show called "Minto: Live."
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์•Œ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
00:31
The description read: "The suburban streets of Minto
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์ด๋Ÿฐ ์„ค๋ช… ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค: "๋ฏผํ† ์˜ ๊ธธ๊ฑฐ๋ฆฌ๊ฐ€
00:34
become the stage for performances
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๊ต์™ธ ์ง€์—ญ ์ฃผ๋ฏผ๋“ค์˜ ํ˜‘๋ ฅ ์•„๋ž˜
00:37
created by international artists
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๊ตญ์ œ ์˜ˆ์ˆ ์ธ๋“ค์˜ ์ฐฝ์ž‘์„ ๊ณต์—ฐํ•˜๋Š”
00:39
in collaboration with the people of Minto."
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ํผํฌ๋จผ์Šค์˜ ๋ฌด๋Œ€๊ฐ€ ๋œ๋‹ค"
00:42
What was this place called Minto?
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๋ฏผํ† ๋ผ๋Š” ๊ณณ์€ ๋ญํ•˜๋Š” ๊ณณ์ผ๊นŒ?
00:45
Sydney, as I would learn, is a city of suburbs,
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์ œ๊ฐ€ ์•Œ๊ธฐ๋กœ๋Š” ์‹œ๋“œ๋‹ˆ๋Š” ๊ต์™ธ๋กœ ์ด๋ฃจ์–ด์ง„ ๋„์‹œ์ž…๋‹ˆ๋‹ค.
00:47
and Minto lies southwest, about an hour away.
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๋ฏผํ† ๋Š” ๋‚จ์„œ์ชฝ์œผ๋กœ ํ•œ ์‹œ๊ฐ„์ •๋„ ๋–จ์–ด์ง„ ๊ณณ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
00:51
I have to say, it wasn't exactly what I had in mind
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์ฒซ ๋‚ ๋ถ€ํ„ฐ, ์ œ๊ฐ€ ์ƒ๊ฐํ–ˆ๋˜ ๊ฒƒ๊ณผ๋Š”
00:54
for my first day down under.
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์•ฝ๊ฐ„ ๋‹ค๋ฅธ ๊ฒƒ์ด์—ˆ์ฃ .
00:56
I mean, I'd thought about the Harbour Bridge or Bondi Beach,
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ํ•˜๋ฒ„ ๋ธŒ๋ฆฟ์ง€, ๋ณธ๋”” ๋น„์น˜๋ฅผ ์ƒ๊ฐํ–ˆ์—ˆ์ง€๋งŒ,
00:59
but Minto? But still, I'm a producer,
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๋ฏผํ† ๋Š” ๋ญ์ง€? ํ•˜์ง€๋งŒ ์ €๋Š” ํ”„๋กœ๋“€์„œ ์•„๋‹ˆ๊ฒ ์Šต๋‹ˆ๊นŒ?
01:02
and the lure of a site-specific theater project
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์žฅ์†Œ๊ฐ€ ์ง€์ •๋œ ๊ณต์—ฐ ํ”„๋กœ์ ํŠธ๋ผ๋Š” ์œ ํ˜น์€ ๋„์ €ํžˆ
01:05
was more than I could resist. (Laughter)
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์ด๊ฒจ๋‚ผ ์ˆ˜ ์—†์—ˆ์Šต๋‹ˆ๋‹ค. (์›ƒ์Œ)
01:07
So, off I went into Friday afternoon traffic,
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๊ธˆ์š”์ผ์˜ ๊ตํ†ต ์ง€์˜ฅ์„ ๋šซ๊ณ  ๋„์ฐฉํ•œ ๊ทธ๊ณณ์—์„œ
01:09
and I'll never forget what I saw when I got there.
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ํ‰์ƒ ์žŠ์ง€ ๋ชปํ•  ๊ฒƒ์„ ๋ณด์•˜์Šต๋‹ˆ๋‹ค.
01:12
For the performance, the audience walked
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๊ด€๊ฐ์€ ๋™๋„ค ์ด์ง‘ ์ €์ง‘์„ ๋Œ์•„๋‹ค๋‹ˆ๋ฉด์„œ
01:15
around the neighborhood from house to house,
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๊ณต์—ฐ์„ ๊ด€๋žŒํ•˜๋Š” ๊ฒƒ์ธ๋ฐ์š”.
01:17
and the residents, who were the performers,
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๊ณต์—ฐ์ž์ธ ์ฃผ๋ฏผ๋“ค์€
01:20
they came out of their houses, and they performed
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์ž์‹ ์˜ ์ง‘ ๋ฐ–์œผ๋กœ ๋‚˜์™€ ์•ž๋งˆ๋‹น์˜
01:22
these autobiographical dances on their lawns,
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์ž”๋””๋ฐญ์—์„œ, ์ฐจ๊ณ  ์•ž์—์„œ
01:26
on their driveways. (Laughter)
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์ž์„œ์ „์  ์ถค์„ ์ถค๋‹ˆ๋‹ค. (์›ƒ์Œ)
01:29
The show is a collaboration with a U.K.-based
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์ด ๊ณต์—ฐ์€ ์˜๊ตญ์˜ "์™ธ๋กœ์šด ์Œ๋‘ฅ์ด(Lone Twin)"๋ผ๋Š”
01:31
performance company called Lone Twin.
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๊ณต์—ฐ ํšŒ์‚ฌ์™€ ํ˜‘๋ ฅํ•œ ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
01:34
Lone Twin had come to Minto and worked
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Lone Twin์€ ๋ฏผํ† ๋กœ ๊ฐ€์„œ ์ฃผ๋ฏผ๋“ค๊ณผ ์ž‘์—…์„ ํ–ˆ๊ณ 
01:36
with the residents, and they had created these dances.
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์ด๋Ÿฐ ์ถค๋“ค์„ ์ฐฝ์กฐํ•ด ๋ƒˆ์Šต๋‹ˆ๋‹ค.
01:39
This Australian-Indian girl, she came out and started
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์ด ์ธ๋„๊ณ„ ํ˜ธ์ฃผ ์†Œ๋…€๋Š” ์•ž๋งˆ๋‹น์œผ๋กœ ๋‚˜์™€
01:43
to dance on her front lawn,
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์ถค์„ ์ถ”๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:45
and her father peered out the window to see
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋…€์˜ ์•„๋ฒ„์ง€๊ฐ€ ์ฐฝ ๋ฐ–์„ ํ†ตํ•ด
01:48
what all the noise and commotion was about,
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์†Œ์Œ๊ณผ ์†Œ๋ž€์ด ์–ด๋–ป๊ฒŒ ์ผ์–ด๋‚œ ๊ฒƒ์ธ์ง€ ๋‚ด๋‹ค๋ณด๋‹ค๊ฐ€
01:50
and he soon joined her.
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๊ณง ๊ทธ๋…€์™€ ํ•จ๊ป˜ ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:53
And he was followed by her little sister.
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๋‹ค์Œ์—” ๊ทธ๋…€์˜ ์—ฌ๋™์ƒ์ด ๋”ฐ๋ผ ๋‚˜์™”์Šต๋‹ˆ๋‹ค.
01:56
And soon they were all dancing this joyous,
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๊ทธ๋ฆฌ๊ณค ๋ฐ”๋กœ ๊ทธ๋“ค์€ ์ด ์•ž๋งˆ๋‹น์—์„œ ๋‹คํ•จ๊ป˜
01:59
exuberant dance right there on their lawn. (Laughter)
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๊ธฐ์จ๊ณผ ํ™œ๊ธฐ๊ฐ€ ๋„˜์น˜๋Š” ์ถค์„ ์ถ”์—ˆ์Šต๋‹ˆ๋‹ค. (์›ƒ์Œ)
02:03
And as I walked through the neighborhood,
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์ €๋Š” ์ด ๋™๋„ค๋ฅผ ๊ฑธ์–ด๋‹ค๋‹ˆ๋ฉฐ ์ด ๊ณต์—ฐ์„ ๋ณด๋ฉด์„œ
02:05
I was amazed and I was moved by the incredible
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์ด ํ–‰์‚ฌ์— ๋Œ€ํ•ด์„œ ์ด ๊ณณ ์ฃผ๋ฏผ๋“ค์ด ๋Š๋ผ๋Š”
02:09
sense of ownership this community clearly felt
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๋šœ๋ ธํ•œ ์ฃผ๋ฏผ ์˜์‹์— ๊ฐ๋™ํ•˜๊ณ 
02:12
about this event.
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๋†€๋ž์Šต๋‹ˆ๋‹ค.
02:14
"Minto: Live" brought Sydneysiders into dialogue
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"๋ฏผํ† :๋ผ์ด๋ธŒ"๋Š” ์‹œ๋“œ๋‹ˆ ์‚ฌ๋žŒ๋“ค์ด ๊ตญ์ œ ์˜ˆ์ˆ ์ธ๋“ค๊ณผ
02:17
with international artists, and really celebrated
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์†Œํ†ตํ•˜๊ฒŒ ํ–ˆ์œผ๋ฉฐ, ์‹œ๋“œ๋‹ˆ์˜ ๋‹ค์–‘์„ฑ์„ ์ฃผ๋ฏผ ์ž์‹ ๋“ค์˜
02:21
the diversity of Sydney on its own terms.
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๋ฐฉ์‹์œผ๋กœ ์ž์ถ•ํ•˜๊ฒŒ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
02:24
The Sydney Festival which produced "Minto: Live" I think
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"๋ฏผํ† : ๋ผ์ด๋ธŒ"๋ฅผ ์ œ์ž‘ํ•œ ์‹œ๋“œ๋‹ˆ ํŽ˜์Šคํ‹ฐ๋ฒŒ์€
02:28
represents a new kind of 21st-century arts festival.
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์ƒˆ๋กœ์šด ์ข…๋ฅ˜์˜ 21์„ธ๊ธฐ ์˜ˆ์ˆ  ๊ณต์—ฐ ํŽ˜์Šคํ‹ฐ๋ฐœ์„ ๋Œ€ํ‘œํ•œ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
02:32
These festivals are radically open.
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์ด๋Ÿฐ ํŽ˜์Šคํ‹ฐ๋ฒŒ๋“ค์€ ์™„์ „ํžˆ ์—ด๋ ค์žˆ์Šต๋‹ˆ๋‹ค.
02:35
They can transform cities and communities.
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์ด๊ณณ ์ €๊ณณ์œผ๋กœ ์˜ฎ๊ฒจ ๋‹ค๋‹ ์ˆ˜ ์žˆ์ฃ .
02:39
To understand this, I think it kind of makes sense
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ํ˜„๋Œ€ ์˜ˆ์ˆ  ๊ณต์—ฐ์ด ์–ด๋””์—์„œ ์œ ๋ž˜๋˜์—ˆ์ง€ ์•Œ์•„๋ณด๋Š” ๊ฒƒ์ด
02:42
to look where we've come from.
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์ด๊ฒƒ์„ ์ดํ•ดํ•˜๋Š”๋ฐ ๋„์›€์ด ๋  ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
02:44
Modern arts festivals were born
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ํ˜„๋Œ€ ์˜ˆ์ˆ  ํŽ˜์Šคํ‹ฐ๋ฒŒ์€ 2์ฐจ ๋Œ€์ „์˜ ์žฟ๋”๋ฏธ ์†์—์„œ
02:46
in the rubble of World War II.
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ํƒœ์–ด๋‚ฌ์Šต๋‹ˆ๋‹ค.
02:47
Civic leaders created these annual events
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์‹œ๋ฏผ ์ง€๋„์ž๋“ค์€ ์ธ๊ฐ„ ์ •์‹ ์˜ ๊ณ ๊ท€ํ•œ ํ‘œํ˜„์œผ๋กœ์จ์˜
02:50
to celebrate culture as the highest
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๋ฌธํ™”๋ฅผ ๊ธฐ๋ฆฌ๋Š” ์—ฐ๋ก€ ํ–‰์‚ฌ๋ฅผ
02:53
expression of the human spirit.
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๋งŒ๋“ค์–ด ๋ƒˆ์Šต๋‹ˆ๋‹ค.
02:56
In 1947, the Edinburgh Festival was born
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1947๋…„, ์—๋“ ๋ฒ„๋Ÿฌ ์ถ•์ œ๊ฐ€ ํƒœ์–ด๋‚ฌ๊ณ ,
02:59
and Avignon was born and hundreds of others
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๋‹ค์Œ์—” ์•„๋น„๋‡ฝ, ๊ทธ๋ฆฌ๊ณ  ๋‹ค๋ฅธ ์ˆ˜๋ฐฑ์˜ ์ถ•์ œ๋“ค์ด
03:02
would follow in their wake.
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๋’ค๋ฅผ ์ด์–ด ์ƒ๊ฒจ๋‚ฌ์Šต๋‹ˆ๋‹ค.
03:03
The work they did was very, very high art,
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๊ทธ๋“ค์˜ ์ž‘ํ’ˆ์€ ์•„์ฃผ ์ˆ˜์ค€ ๋†’์€ ์˜ˆ์ˆ ์ด์—ˆ์ฃ .
03:07
and stars came along like Laurie Anderson
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๋กœ๋ฆฌ ์•ค๋”์Šจ, ๋จธ์Šค ์ปค๋‹ํ–„,
03:09
and Merce Cunningham and Robert Lepage
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๋กœ๋น„ํŠธ ๋ฅดํŒŒ์ง€ ๊ฐ™์€ ์Šคํƒ€๋“ค์ด
03:12
who made work for this circuit,
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์ด๋Ÿฐ ์ž‘ํ’ˆ์„ ํ•จ๊ป˜ ๊ณต์—ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
03:13
and you had these seminal shows like "The Mahabharata"
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๊ทธ๋ฆฌ๊ณ  "๋งˆํ•˜๋ฐ”๋ผํƒ€", ํ•ด๋ณ€์˜ ์•„์ธ์Šˆํƒ€์ธ' ๊ฐ™์€
03:16
and the monumental "Einstein on the Beach."
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๊ธฐ๋…๋น„์ ์ด๋ฉฐ, ์˜ํ–ฅ๋ ฅ ์žˆ๋Š” ์ž‘ํ’ˆ๋“ค์ด ํƒ„์ƒํ–ˆ์Šต๋‹ˆ๋‹ค.
03:19
But as the decades passed,
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๊ทธ๋ฆฌ๊ณ , ์ˆ˜์‹ญ๋…„์ด ์ง€๋‚˜๋ฉด์„œ,
03:21
these festivals, they really became the establishment,
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์ด๋Ÿฐ ํŽ˜์Šคํ‹ฐ๋ฒŒ์€ ๋ฌธํ™”๋กœ์„œ ์™„์ „ํžˆ
03:24
and as the culture and capital accelerated,
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์ž๋ฆฌ ์žก์•˜์Šต๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ , ๋ฌธํ™”์™€ ์ž๋ณธ์ด ์„ฑ์ˆ™ํ•˜๊ฒŒ ๋˜๋ฉด์„œ
03:28
the Internet brought us all together,
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์ธํ„ฐ๋„ท์€ ์šฐ๋ฆฌ ๋ชจ๋‘๋ฅผ ํžˆ๋‹ˆ๋กœ ๋ฌถ์–ด ์ฃผ์—ˆ๊ณ 
03:30
high and low kind of disappeared,
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๊ณต์—ฐ ์ˆ˜์ค€์˜ ๋†’๋‚ฎ์Œ์„ ๋– ๋‚˜
03:33
a new kind of festival emerged.
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์ƒˆ๋กœ์šด ํ˜•์‹์˜ ํŽ˜์Šคํ‹ฐ๋ฒŒ์ด ๋‚˜ํƒ€๋‚˜๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
03:34
The old festivals, they continued to thrive, but
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์˜› ๊ฒƒ์ด ๊ณ„์† ์„ฑ์žฅํ–ˆ์ง€๋งŒ, ๋ธŒ๋ผ์ดํŠผ์—์„œ ๋ฆฌ์˜ค, ํผ์Šค์—
03:38
from Brighton to Rio to Perth, something new was emerging,
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์ด๋ฅด๊ธฐ๊นŒ์ง€ ์ •๋ง๋กœ ๋‹ค๋ฅธ ์ƒˆ๋กœ์šด ํŽ˜์Šคํ‹ฐ๋ฒŒ์ด
03:42
and these festivals were really different.
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ํƒœ์–ด๋‚˜๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
03:45
They're open, these festivals, because, like in Minto,
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์ด ์ƒˆ๋กœ์šด ํŽ˜์Šคํ‹ฐ๋ฒŒ์€ ์—ด๋ ค ์žˆ์Šต๋‹ˆ๋‹ค.
03:48
they understand that the dialogue
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์™œ๋ƒํ•˜๋ฉด ๋ฏผํ† ์—์„œ์™€ ๊ฐ™์ด, ์‚ฌ๋žŒ๋“ค์€ ์ง€์—ญ๋ฏผ๊ณผ ์ „ ์„ธ๊ณ„์ธ๊ณผ์˜
03:50
between the local and the global is essential.
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์†Œํ†ต์ด ์ค‘์š”ํ•˜๋‹ค๋Š” ๊ฑธ ์ดํ•ดํ•˜๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
03:54
They're open because they ask the audience to be a player,
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๋˜ํ•œ, ๊ด€๊ฐ์ด ์ˆ˜๋™์ ์ธ ๊ตฌ๊ฒฝ๊พผ์ด ์•„๋‹Œ ํ˜‘๋ ฅ์ž,
03:58
a protagonist, a partner, rather than a passive spectator,
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์ฃผ์ธ๊ณต์ด ๋˜๊ฒŒ ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด๊ธฐ๋„ ํ•˜๋ฉฐ,
04:03
and they're open because they know that imagination
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์ƒ์ƒ์ด๋ž€ ๊ฒƒ์ด ๊ฑด๋ฌผ์•ˆ์œผ๋กœ๋งŒ ๊ตญํ•œ๋  ์ˆ˜๋„ ์—†์œผ๋ฉฐ,
04:06
cannot be contained in buildings,
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์ž‘ํ’ˆ์€ ํŠน์ •ํ•œ ์žฅ์†Œ๋ฅผ ์œ„ํ•ด, ํ˜น์€ ์‹ค์™ธ์—์„œ๋„
04:08
and so much of the work they do
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๊ณต์—ฐ๋œ๋‹ค๋Š” ๊ฒƒ์„ ์ดํ•ดํ•˜๊ธฐ
04:10
is site-specific or outdoor work.
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๋•Œ๋ฌธ์ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:13
So, the new festival, it asks the audience to play
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์ด ์ƒˆ๋กœ์šด ํŽ˜์Šคํ‹ฐ๋ฒŒ์€ ๊ด€์ค‘์—์„ธ ๊ณต์—ฐ์„ ํ˜•์„ฑํ•˜๋Š”
04:17
an essential role in shaping the performance.
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ํ•„์ˆ˜์  ์—ญํ• ์„ ์š”๊ตฌํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
04:20
Companies like De La Guarda, which I produce, and Punchdrunk
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Punchdrink ๋‚˜, ์ œ ๊ณต์—ฐ์‚ฌ์ธ De La Guarda ์™€ ๊ฐ™์€ ํšŒ์‚ฌ๋Š”
04:25
create these completely immersive experiences
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๊ด€๊ฐ์„ ๊ณต์—ฐ์˜ ์ค‘์‹ฌ์— ๋‘๋Š”
04:28
that put the audience at the center of the action,
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์ด๋Ÿฐ ์™„์ „ํžˆ ์‹ค๊ฐ๋‚˜๋Š” ๊ฒฝํ—˜์„ ์ฐฝ์กฐํ•ด ๋ƒˆ์ง€๋งŒ,
04:31
but the German performance company Rimini Protokoll
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๋…์ผ์˜ ๊ณต์—ฐ์‚ฌ์ธ Rimini Protokoll ์€
04:34
takes this all to a whole new level.
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์ด๊ฒƒ์„ ์™„์ „ํžˆ ์ƒˆ๋กœ์šด ๋‹จ๊ณ„๋กœ ์˜ฌ๋ ค ๋†“์•˜์Šต๋‹ˆ๋‹ค.
04:37
In a series of shows that includes "100 Percent Vancouver,"
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'100% ๋ฒค์ฟ ๋ฒ„', '100% ๋ฒ ๋ฅผ๋ฆฐ'๊ณผ ๊ฐ™์€ ์ผ๋ จ์˜ ์ž‘ํ’ˆ์—์„œ
04:41
"100 Percent Berlin," Rimini Protokoll makes shows
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Bimini Protokoll์€ ์‹ค์ œ์˜ ์‚ฌํšŒ๋ฅผ ๋ฐ˜์˜ํ•˜๋Š” ๊ณต์—ฐ์„
04:45
that actually reflect society.
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๋งŒ๋“ค์–ด ๋ƒˆ์Šต๋‹ˆ๋‹ค.
04:48
Rimini Protokoll chooses 100 people that represent that city
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Rimini Protokoll์€ 3๋‹ฌ์— ๊ฑธ์นœ ์‹ ์ฆํ•œ ๊ณผ์ •์„ ํ†ตํ•ด
04:53
at that moment in terms of race and gender and class,
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๊ทธ ๋‹น์‹œ, ์ธ์ข…, ์„ฑ๋ณ„, ์‚ฌํšŒ ๊ณ„์ธต์—์„œ ๋„์‹œ๋ฅผ ๋Œ€ํ‘œํ•˜๋Š”
04:56
through a careful process that begins three months before,
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100๋ช…์„ ์„ ์ •ํ•˜์˜€์Šต๋‹ˆ๋‹ค.
04:59
and then those 100 people share stories about
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๊ทธ๋Ÿฐ ๋‹ค์Œ, ์ด 100๋ช…์€ ์ž์‹ ๊ณผ ๊ทธ ์‚ถ์— ๋Œ€ํ•œ ์ด์•ผ๊ธฐ๋ฅผ
05:02
themselves and their lives, and the whole thing
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์„œ๋กœ ๋‚˜๋ˆ•๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ , ์ด ๋ชจ๋“  ๊ฒƒ์ด ๊ทธ ๋„์‹œ์˜,
05:05
becomes a snapshot of that city at that moment.
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๊ทธ ์ˆœ๊ฐ„์˜ ์Šค๋ƒ… ์‚ฌ์ง„์ด ๋˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:10
LIFT has always been a pioneer in the use of venues.
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LIFT๋Š” ์žฅ์†Œ์˜ ์‚ฌ์šฉ์— ์žˆ์–ด์„œ ๋Š˜ ์„ ๋‘ ์ฃผ์ž ์—ญํ• ์„ ํ•ด์™”์Šต๋‹ˆ๋‹ค.
05:13
They understand that theater and performance
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๊ทธ๋“ค์€ ์—ฐ๊ทน๊ณผ ๊ณต์—ฐ์€ ์–ด๋””์—์„œ๋“  ๊ณต์—ฐ๋  ์ˆ˜ ์žˆ๋‹ค๊ณ 
05:16
can happen anywhere.
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์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
05:17
You can do a show in a schoolroom,
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๊ณต์—ฐ์€ ๊ต์‹ค์—์„œ, ๊ณตํ•ญ์—์„œ,
05:20
in an airport, โ€” (Laughter) โ€”
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๋ฐฑํ™”์  ์ง„์—ด์žฅ์—์„œ๋„ --(์›ƒ์Œ)--
05:22
in a department store window.
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๊ฐ€๋Šฅํ•ฉ๋‹ˆ๋‹ค.
05:25
Artists are explorers. Who better to show us the city anew?
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์˜ˆ์ˆ ๊ฐ€๋Š” ํƒํ—˜๊ฐ€์ฃ . ๋ˆ„๊ฐ€ ๋„์‹œ์˜ ์ƒˆ๋กœ์šด ๋ชจ์Šต์„ ๋” ์ž˜ ๋ณด์—ฌ์ค„ ์ˆ˜ ์žˆ์„๊นŒ์š”?
05:29
Artists can take us to a far-flung part of the city
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์˜ˆ์ˆ ๊ฐ€๋Š” ์šฐ๋ฆฌ๋ฅผ ๋„์‹œ์˜ ๋ฉ€๋ฆฌ ๋–จ์–ด์ง„,
05:33
that we haven't explored, or they can take us into
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์šฐ๋ฆฌ๊ฐ€ ๊ฒฝํ—˜ํ•ด ๋ณด์ง€ ๋ชปํ•œ ๊ณณ์œผ๋กœ ๋ฐ๋ ค๊ฐˆ ์ˆ˜ ์žˆ์œผ๋ฉฐ,
05:35
that building that we pass every day but we never went into.
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๋งค์ผ ๊ทธ ์•ž์„ ์ง€๋‚˜๋ฉด์„œ๋„ ๋“ค์–ด๊ฐ€๋ณด์ง€ ๋ชปํ•œ ๊ฑด๋ฌผ๋กœ ๋ฐ๋ ค๊ฐˆ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
05:39
An artist, I think, can really show us people
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์˜ˆ์ˆ ๊ฐ€๋Š” ์šฐ๋ฆฌ๊ฐ€ ์‚ด๋ฉด์„œ ๊ฐ„๊ณผํ–ˆ๋˜ ์‚ฌ๋žŒ๋“ค์„
05:43
that we might overlook in our lives.
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๋ณด๊ฒŒํ•ด ์ค„ ์ˆ˜๋„ ์žˆ๋‹ค๊ณ  ์ €๋Š” ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
05:46
Back to Back is an Australian company of people
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Back to Back ์€ ํ˜ธ์ฃผ์˜ ์ง€์  ์žฅ์• ์ธ ๊ณต์—ฐ์‚ฌ ์ž…๋‹ˆ๋‹ค.
05:50
with intellectual disabilities. I saw their amazing show
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์ €๋Š” ๋‰ด์š•์˜ ์ŠคํƒœํŠผ ์•„์ด๋žœ๋“œ ํŽ˜๋ฆฌ ํ„ฐ๋ฏธ๋‚ ์—์„œ
05:54
in New York at the Staten Island Ferry Terminal
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๋Ÿฌ์‹œ์•„์›Œ์— ๊ณต์—ฐ๋œ ์ด๋“ค์˜ ๋†€๋ผ์šด ๊ณต์—ฐ์„
05:58
at rush hour.
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๋ณด์•˜์Šต๋‹ˆ๋‹ค.
05:59
We, the audience, were given headsets and seated
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๊ด€์ค‘๋“ค์€ ํ•ด๋“œ์…‹์„ ๋ฐ›์•„ ํ„ฐ๋ฏธ๋‚ ์˜ ํ•œ ์ชฝ์—
06:02
on one side of the terminal.
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์ž๋ฆฌ๋ฅผ ์žก๊ณ  ์น์•˜์Šต๋‹ˆ๋‹ค.
06:04
The actors were right there in front of us,
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๋ฐฐ์šฐ๋“ค์€ ๊ด€์ค‘ ๋ฐ”๋กœ ์•ž์—
06:06
right there among the commuters,
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๋‹ค๋ฅธ ํ†ต๊ทผ์ž๋“ค์— ์„ž์—ฌ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:09
and we could hear them,
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๊ด€๊ฐ์€ ๊ทธ๋“ค์ด ํ•˜๋Š” ๋ง์„ ๋“ค์„ ์ˆ˜ ์žˆ์—ˆ์ฃ .
06:10
but we might not have otherwise seen them.
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๊ทธ๋ ‡์ง€ ์•Š๊ณ ์„œ๋Š”, ๊ทธ๋“ค์„ ๋ณด์ง€ ๋ชปํ–ˆ์„ ์ง€๋„ ๋ชจ๋ฅด์ฃ .
06:14
So Back to Back takes site-specific theater and uses it
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Back to Back ์€ ํŠน์ •ํ•œ ์žฅ์†Œ๋ฅผ ๊ทน์žฅ์œผ๋กœ ์ด์šฉํ–ˆ์Šต๋‹ˆ๋‹ค.
06:18
to gently remind us about who and what we choose
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์šฐ๋ฆฌ๊ฐ€ ์šฐ๋ฆฌ์˜ ์ผ์ƒ์„ ํŽธ์ง‘ํ•˜๋Š”๋ฐ ์žˆ์–ด์„œ ๋ˆ„๊ตฌ๋ฅผ, ๋ฌด์—‡์„ ์„ ํƒํ•˜๋Š”์ง€๋ฅผ
06:21
to edit out of our daily lives.
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์ƒ๊ธฐ์‹œํ‚ค๊ธฐ ์œ„ํ•ด์„œ์˜€๋˜ ๊ฒƒ์ด์ฃ .
06:24
So, the dialogue with the local and the global,
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์ง€์—ญ ์ฃผ๋ฏผ๊ณผ ์ „ ์„ธ๊ณ„์ธ์˜ ๋Œ€ํ™”,
06:27
the audience as participant and player and protagonist,
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์ฃผ์ธ๊ณต, ๋ฐฐ์šฐ, ์ฐธ์—ฌ์ž๋กœ์„œ์˜ ๊ด€๊ฐ,
06:31
the innovative use of site, all of these things
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๊ณต์—ฐ ์žฅ์†Œ์˜ ํ˜์‹ , ์ด ๋ชจ๋“  ๊ฒƒ๋“ค์ด
06:34
come to play in the amazing work
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ํ”„๋ž‘์Šค์˜ ๊ณต์—ฐ์‚ฌ Royal de Luxe ์˜
06:37
of the fantastic French company Royal de Luxe.
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๋†€๋ผ์šด ์ž‘ํ’ˆ์„ ํ†ตํ•ด ๋ณด์—ฌ์งˆ ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:41
Royal de Luxe's giant puppets come into a city
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Royal de Luxe ์˜ ๊ฑฐ๋Œ€ํ•œ ์ธํ˜•์ด ํ•œ ๋„์‹œ์— ๋“ค์–ด์™€
06:45
and they live there for a few days.
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๋ฉฐ์น ๋™์•ˆ ๊ทธ๊ณณ์— ์‚ฝ๋‹ˆ๋‹ค.
06:48
For "The Sultan's Elephant," Royal de Luxe
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'์ˆ ํƒ„์˜ ์ฝ”๋ผ๋ฆฌ'๋ผ๋Š” ์ž‘ํ’ˆ์—์„œ, Royal de Luxe ๋Š”
06:51
came to central London and brought it to a standstill
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๋Ÿฐ๋˜ ์ค‘์‹ฌ๋ถ€๋กœ ๊ฑฐ๋Œ€ํ•œ ์†Œ๋…€ ์ธํ˜•๊ณผ
06:54
with their story of a giant little girl and her friend,
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์‹œ๊ฐ„ ์—ฌํ–‰์„ ํ•˜๋Š” ์ฝ”๋ผ๋ฆฌ ์นœ๊ตฌ๋ฅผ ๋ฐ๋ ค์™€์„œ
06:59
a time-traveling elephant.
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๋„์‹œ๋ฅผ ๋ฉˆ์ถฐ ๋ฒ„๋ ธ์Šต๋‹ˆ๋‹ค.
07:01
For a few days, they transformed a massive city
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๋ฉฐ์น ์‚ฌ์ด์— ์ด๋“ค์€ ํ•œ ๊ฑฐ๋Œ€ ๋„์‹œ๋ฅผ ๋์—†๋Š” ๊ฐ€๋Šฅ์„ฑ์ด ์กด์žฌํ•˜๋Š”
07:06
into a community where endless possibility reigned.
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์ง€์—ญ ์‚ฌํšŒ๋กœ ๋ฐ”๊พธ์–ด ๋†“์•˜์Šต๋‹ˆ๋‹ค.
07:11
The Guardian wrote, "If art is about transformation,
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๊ฐ€๋””์–ธ์ง€(็ด™)๋Š” ์ด๋ ‡๊ฒŒ ์ผ์Šต๋‹ˆ๋‹ค. "๋งŒ์•ฝ ์˜ˆ์ˆ ์ด ๋ณ€ํ™”์— ๋Œ€ํ•œ ๊ฒƒ์ด๋ผ๋ฉด,
07:14
then there can be no more transformative experience.
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๋” ์ด์ƒ์˜ ๋ณ€ํ™”์˜ ๊ฒฝํ—˜์€ ์žˆ์„ ์ˆ˜ ์—†๋‹ค."
07:18
What 'The Sultan's Elephant' represents is no less
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"์ˆ ํƒ„์˜ ์ฝ”๋ผ๋ฆฌ"๊ฐ€ ๋Œ€๋ณ€ํ•œ ๊ฒƒ์€
07:22
than an artistic occupation of the city
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๋„์‹œ ์ „์ฒด๋ฅผ ์˜ˆ์ˆ ์ด ์ ๋ นํ•˜์—ฌ,
07:25
and a reclamation of the streets for the people."
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๊ฑฐ๋ฆฌ์—์„œ ์‚ฌ๋žŒ๋“ค์ด ๊ทธ๊ฒƒ์„ ๊ฐ์ƒํ•˜๊ฒŒ ํ•œ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
07:30
We can talk about the economic impacts of these festivals
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์ด๋Ÿฐ ํŽ˜์Šคํ‹ฐ๋ฒŒ์ด ๋„์‹œ์— ๋ฏธ์น˜๋Š” ๊ฒฝ์ œ์  ํŒŒ๊ธ‰์— ๋Œ€ํ•ด ์–˜๊ธฐํ•  ์ˆ˜๋„ ์žˆ์œผ๋‚˜
07:34
on their cities, but I'm much [more] interested in many more things,
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์ €๋Š” ๋‹ค๋ฅธ ๋งŽ์€ ๊ฒƒ๋“ค์— ํ›จ์”ฌ ๋” ๊ด€์‹ฌ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
07:38
like how a festival helps a city to express itself,
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ํŽ˜์Šคํ‹ฐ๋ฒŒ์ด ์–ด๋–ป๊ฒŒ ํ•œ ๋„์‹œ๊ฐ€ ๊ทธ ์ž์ฒด๋ฅผ ํ‘œํ˜„ํ•˜๊ณ 
07:42
how it lets it come into its own.
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์–ด๋–ป๊ฒŒ ๊ทธ ์ž์‹ ์ด ๋˜๋„๋ก ํ•˜๋Š”์ง€์™€ ๊ฐ™์€ ๊ฒƒ๋“ค์ด์ฃ .
07:45
Festivals promote diversity,
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ํŽ˜์Šคํ‹ฐ๋ฒŒ์€ ๋‹ค์–‘์„ฑ์„ ์ฆ๋Œ€์‹œํ‚ค๊ณ ,
07:47
they bring neighbors into dialogue,
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๊ทธ๋“ค ์ง€์—ญ์— ๋Œ€ํ™”๋ฅผ ๊ฐ€์ ธ์˜ค๋ฉฐ,
07:49
they increase creativity,
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์ฐฝ์ž‘์„ฑ์„ ๊ณ ์กฐ์‹œํ‚ค๊ณ ,
07:51
they offer opportunities for civic pride,
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์‹œ๋ฏผ์  ์ž๊ธ์‹ฌ์„ ๊ฐ–๋„๋ก ํ•ด์ค๋‹ˆ๋‹ค.
07:55
they improve our general psychological well-being.
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๊ทธ๋ฆฌ๊ณ  ์ผ๋ฐ˜์ ์ธ ์‹ฌ๋ฆฌ์  ํ–‰๋ณต๊ฐ์„ ํ–ฅ์ƒ์‹œํ‚ต๋‹ˆ๋‹ค.
07:58
In short, they make cities better places to live.
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์ฆ‰, ์ด๋Ÿฐ ํŽ˜์Šคํ‹ฐ๋ฒŒ์€ ๋„์‹œ๋ฅผ ๋” ์‚ด๊ธฐ ์ข‹์€ ๊ณณ์œผ๋กœ ๋งŒ๋“ญ๋‹ˆ๋‹ค.
08:02
Case in point:
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๊ทธ ์ข‹์€ ์˜ˆ๋Š”
08:03
When "The Sultan's Elephant" came to London
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"์ˆ ํƒ„์˜ ์ฝ”๋ผ๋ฆฌ"๊ฐ€ 7/7์‚ฌ๊ฑด์ด ์ผ์–ด๋‚œ์ง€ 9๊ฐœ์›” ํ›„
08:07
just nine months after 7/7, a Londoner wrote,
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๋Ÿฐ๋˜์— ๋“ค์–ด์™”์„ ๋•Œ, ํ•œ ๋Ÿฐ๋˜ ์‹œ๋ฏผ์€ ๋‹ค์Œ๊ณผ ๊ฐ™์ด ์ผ์Šต๋‹ˆ๋‹ค.
08:11
"For the first time since the London bombings,
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"๋Ÿฐ๋˜ ํญํƒ„ ํ…Œ๋Ÿฌ๊ฐ€ ๋‚˜๊ณ  ์ฒ˜์Œ์œผ๋กœ ์ œ ๋”ธ ์•„์ด๊ฐ€
08:15
my daughter called up with that sparkle back in her voice.
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ํ™œ๊ธฐ๋ฅผ ๋˜์ฐพ์€ ๋ชฉ์†Œ๋ฆฌ๋กœ ์ „ํ™”๋ฅผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
08:18
She had gathered with others
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์•„์ด๋Š” '์ˆ ํƒ„์˜ ์ฝ”๋ผ๋ฆฌ'๋ฅผ ๋ณด๋Ÿฌ ๊ฐ€๋ ค๊ณ 
08:20
to watch 'The Sultan's Elephant,' and, you know,
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์นœ๊ตฌ๋“ค๊ณผ ๋งŒ๋‚ฌ์Šต๋‹ˆ๋‹ค. ์ด๊ฒƒ์ด ๋ชจ๋“  ๊ฒƒ์„
08:23
it just made all the difference."
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๋ฐ”๊พธ์–ด ๋†“์•˜์Šต๋‹ˆ๋‹ค."
08:26
Lyn Gardner in The Guardian has written
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๊ฐ€๋””์–ธ์ง€(็ด™)์˜ ๋ฆฐ ๊ฐ€๋“œ๋„ˆ๋Š” ๋‹ค์Œ๊ณผ ๊ฐ™์€ ๊ธฐ์‚ฌ๋ฅผ ์ผ์Šต๋‹ˆ๋‹ค.
08:28
that a great festival can show us a map of the world,
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ํ•œ ์œ„๋Œ€ํ•œ ํŽ˜์Šคํ‹ฐ๋ฒŒ์€ ์šฐ๋ฆฌ์—๊ฒŒ ์„ธ๊ณ„์˜ ์ง€๋„๋ฅผ,
08:33
a map of the city and a map of ourselves,
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๋„์‹œ์˜ ์ง€๋„๋ฅผ, ์šฐ๋ฆฌ ์ž์‹ ์˜ ์ง€๋„๋ฅผ ๋ณด์—ฌ์ค„ ์ˆ˜ ์žˆ๋‹ค.
08:37
but there is no one fixed festival model.
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๊ทธ๋Ÿฌ๋‚˜ ๋‹จ ํ•˜๋‚˜๋กœ ๊ณ ์ •๋œ ํŽ˜์Šคํ‹ฐ๋ฒŒ์˜ ๋ชจ๋ธ์€ ์—†๋‹ค.
08:40
I think what's so brilliant about the festivals,
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์ œ๊ฐ€ ์ƒ๊ฐํ•˜๊ธฐ์— ์ด๋Ÿฐ ์ƒˆ๋กœ์šด ํŽ˜์Šคํ‹ฐ๋ฒŒ์˜ ์ค‘์š”ํ•œ ์ ์€
08:43
the new festivals, is that they are really fully capturing
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์ด๊ฒƒ์ด ์˜ค๋Š˜์„ ์‚ด๊ณ  ์žˆ๋Š” ์šฐ๋ฆฌ์˜
08:48
the complexity and the excitement
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๋ณต์žก์„ฑ๊ณผ ๊ธฐ์จ์„ ์™„๋ฒฝํ•˜๊ฒŒ
08:51
of the way we all live today.
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ํฌ์ฐฉํ•˜๊ณ  ์žˆ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:53
Thank you very much. (Applause)
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๋Œ€๋‹จํžˆ ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. (๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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