Mind-blowing stage sculptures that fuse music and technology | Es Devlin

216,378 views

2019-05-04 ใƒป TED


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Mind-blowing stage sculptures that fuse music and technology | Es Devlin

216,378 views ใƒป 2019-05-04

TED


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

๋ฒˆ์—ญ: Hwihyeon Gil ๊ฒ€ํ† : Jihyeon J. Kim
00:17
These are sequences from a play called "The Lehman Trilogy,"
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์ด๊ฒƒ์€ ์—ฐ๊ทน "๋ฆฌ๋จผ ํŠธ๋ฆด๋กœ์ง€"์˜ ์žฅ๋ฉด๋“ค์ž…๋‹ˆ๋‹ค.
00:21
which traces the origins of Western capitalism
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์„œ๊ตฌ ์ž๋ณธ์ฃผ์˜์˜ ๊ธฐ์›์„ ์ถ”์ ํ•˜๋Š” ์„ธ ์‹œ๊ฐ„ ๋™์•ˆ
00:26
in three hours,
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00:27
with three actors and a piano.
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์„ธ ๋ช…์˜ ๋ฐฐ์šฐ์™€ ํ”ผ์•„๋…ธ ํ•œ ๋Œ€๊ฐ€ ๋“ฑ์žฅํ•ฉ๋‹ˆ๋‹ค.
00:31
And my role was to create a stage design
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์ „ ์ด ์ž‘ํ’ˆ์˜ ์‹œ๊ฐ ์–ธ์–ด๋ฅผ ๋งŒ๋“ค๊ธฐ ์œ„ํ•ด ๋ฌด๋Œ€๋ฅผ ๋””์ž์ธํ•˜๋Š” ์—ญํ• ์„ ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:35
to write a visual language for this work.
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00:39
The play describes Atlantic crossings,
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์ด ์—ฐ๊ทน์€ ๋Œ€์„œ์–‘ ํšก๋‹จ, ์•จ๋ผ๋ฐฐ๋งˆ์˜ ๋ชฉํ™”๋ฐญ,
00:43
Alabama cotton fields,
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00:44
New York skylines,
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๋‰ด์š•์˜ ์Šค์นด์ด๋ผ์ธ์„ ๋ฌ˜์‚ฌํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
00:47
and we framed the whole thing within this single revolving cube,
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ๊ทธ ๋ชจ๋“  ๊ฒƒ๋“ค์„ ํšŒ์ „ํ•˜๋Š” ์ •์œก๋ฉด์ฒด ํ•˜๋‚˜๋กœ ํ‘œํ˜„ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:53
a kind of kinetic cinema through the centuries.
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์—ฌ๋Ÿฌ ์„ธ๊ธฐ๋ฅผ ๊ด€ํ†ตํ•˜๋Š” ์›€์ง์ด๋Š” ์˜ํ™”๊ด€์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ์ฃ .
00:57
It's like a musical instrument
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๋งˆ์น˜ ์„ธ ๋ช…์˜ ์—ฐ์ฃผ์ž๋“ค์ด ์—ฐ์ฃผํ•˜๋Š” ์•…๊ธฐ์™€๋„ ๊ฐ™์Šต๋‹ˆ๋‹ค.
01:00
played by three performers.
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01:03
And as they step their way around and through
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๊ทธ ์—ฐ์ฃผ์ž๋“ค์ด ๋ฆฌ๋จผ ํ˜•์ œ๋“ค์˜ ์‚ถ ์ฃผ๋ณ€์„ ๋งด๋Œ๋ฉฐ ๋‚˜์•„๊ฐˆ์ˆ˜๋ก
01:06
the lives of the Lehman brothers,
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01:08
we, the audience,
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์šฐ๋ฆฌ ๊ด€๊ฐ๋“ค์€
01:11
begin to connect with the simple, human origins
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์ธ๊ฐ„์˜ ๋‹จ์ˆœํ•œ ๋ณธ์งˆ์— ๋‹ฟ๊ธฐ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
01:15
at the root of the complex global financial systems
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์šฐ๋ฆฌ๊ฐ€ ์˜ค๋Š˜๋‚ ๊นŒ์ง€ ์‚ฌ๋กœ์žกํ˜€ ์žˆ๋Š” ๋ณต์žกํ•œ ์„ธ๊ณ„ ๊ธˆ์œต ์‹œ์Šคํ…œ์˜ ๊ทผ์›์—์„œ์š”.
01:19
that we're all still in thrall to today.
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01:23
I used to play musical instruments myself when I was younger.
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์ €๋„ ์–ด๋ฆด ๋•Œ ์•…๊ธฐ๋ฅผ ์—ฐ์ฃผํ–ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
01:27
My favorite was the violin.
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๋ฐ”์ด์˜ฌ๋ฆฐ์„ ๊ฐ€์žฅ ์ข‹์•„ํ–ˆ์ฃ .
01:31
It was this intimate transfer of energy.
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์ œ ์—๋„ˆ์ง€๊ฐ€ ๋ฐ”์ด์˜ฌ๋ฆฐ์„ ํ†ตํ•ด ๋‚ด๋ฐ€ํ•œ ํ˜•ํƒœ๋กœ ์ „๋‹ฌ๋ฉ๋‹ˆ๋‹ค.
01:34
You held this organic sculpture up to your heart,
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์ด ์œ ๊ธฐ์ ์ธ ์กฐํ˜•๋ฌผ์„ ์‹ฌ์žฅ์— ๊ฐ€๊นŒ์ด ๋Œ€๊ณ 
01:37
and you poured the energy of your whole body
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์ด ์ž‘์€ ๋‚˜๋ฌด ์กฐ๊ฐ์— ์˜จ๋ชธ์˜ ์—๋„ˆ์ง€๋ฅผ ์Ÿ์•„๋ถ€์œผ๋ฉด
01:40
into this little piece of wood, and heard it translated into music.
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์Œ์•…์œผ๋กœ ์ „ํ™˜๋˜๋Š” ๊ทธ ์—๋„ˆ์ง€์— ๊ท€๋ฅผ ๊ธฐ์šธ์ด๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
01:46
And I was never particularly good at the violin,
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์ €๋Š” ๋ฐ”์ด์˜ฌ๋ฆฐ์— ํŠน๋ณ„ํžˆ ์žฌ๋Šฅ์ด ์žˆ์ง€๋Š” ์•Š์•˜์ง€๋งŒ
01:49
but I used to sit at the back of the second violin section
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ํ—ค์ด์ŠคํŒ…์Šค ์œ ์Šค ์˜ค์ผ€์ŠคํŠธ๋ผ์˜ ์ œ2๋ฐ”์ด์˜ฌ๋ฆฐ์„ ๋’ค์ชฝ์— ์•‰์•„์„œ
01:54
in the Hastings Youth Orchestra,
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01:57
scratching away.
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๊นฝ๊นฝ๋Œ€๋ฉฐ ํ™œ๋กœ ๊ทธ์–ด๋Œ€๊ณค ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:59
We were all scratching
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์šฐ๋ฆฌ ๋ชจ๋‘ ๊ทธ๋ ‡๊ฒŒ ๊ทธ์–ด๋Œ€๋ฉด์„œ๋„ ๊ฐ™์ด ๋งŒ๋“ค์–ด๋‚ธ ํ™”์Œ์— ๊ฒฝํƒ„ํ•˜๊ณค ํ–ˆ์ฃ .
02:01
and marveling at this symphonic sound that we were making
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02:06
that was so much more beautiful and powerful
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๊ทธ๊ฑด ์šฐ๋ฆฌ๊ฐ€ ํ•  ์ˆ˜ ์žˆ๋Š” ์–ด๋–ค ๊ฒƒ๋ณด๋‹ค๋„ ๊ฐ€์žฅ ์•„๋ฆ„๋‹ต๊ณ  ๊ฐ•๋ ฅํ•œ ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
02:08
than anything we would ever have managed on our own.
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02:11
And now, as I create large-scale performances,
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๊ทธ๋ฆฌ๊ณ  ์ด์ œ ์ €๋Š” ๋Œ€๊ทœ๋ชจ์˜ ๊ณต์—ฐ์„ ๋งŒ๋“ค์–ด๋ƒ…๋‹ˆ๋‹ค.
02:16
I am always working with teams
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์ „ ์–ธ์ œ๋‚˜ ์ตœ์†Œ ๊ตํ–ฅ์•…๋‹จ ์ •๋„ ๊ทœ๋ชจ์˜ ํŒ€๋“ค๊ณผ ์ผ์„ ํ•ฉ๋‹ˆ๋‹ค.
02:17
that are at least the size of a symphony orchestra.
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02:21
And whether we are creating
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๋ฆฌํ•˜๋ฅดํŠธ ๋ฐ”๊ทธ๋„ˆ์˜ ์˜คํŽ˜๋ผ๋ฅผ ์œ„ํ•ด
02:24
these revolving giant chess piece time tunnels
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๊ฑฐ๋Œ€ํ•œ ์ฒด์Šค ๋ง ๋ชจ์–‘์˜ ํšŒ์ „ํ•˜๋Š” ์‹œ๊ฐ„ ์—ฌํ–‰ ํ„ฐ๋„์„ ๋งŒ๋“ค์–ด๋‚ด๋“ 
02:28
for an opera by Richard Wagner
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02:30
or shark tanks and mountains for Kanye West,
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์นธ์˜ˆ ์›จ์ŠคํŠธ๋ฅผ ์œ„ํ•ด ์ƒ์–ด ์ˆ˜์กฐ์™€ ์‚ฐ์„ ๋งŒ๋“ค์–ด๋‚ด๋“ 
02:34
we're always seeking to create the most articulate sculpture,
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์šฐ๋ฆฌ๋Š” ๊ด€๊ฐ๋“ค์—๊ฒŒ ๋ฉ”์‹œ์ง€๊ฐ€ ๊ฐ€์žฅ ์ž˜ ํ‘œํ˜„๋  ์ˆ˜ ์žˆ๋Š” ์กฐํ˜•๋ฌผ๊ณผ
02:40
the most poetic instrument of communication to an audience.
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๊ฐ€์žฅ ์‹œ์ ์œผ๋กœ ์†Œํ†ตํ•  ์ˆ˜ ์žˆ๋Š” ์ˆ˜๋‹จ์„ ์ฐพ๊ธฐ ์œ„ํ•ด ์–ธ์ œ๋‚˜ ๋…ธ๋ ฅํ•ฉ๋‹ˆ๋‹ค.
02:44
When I say poetic,
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์ œ๊ฐ€ ๋งํ•˜๋Š” '์‹œ์ '์ด๋ผ๋Š” ๊ฒƒ์€
02:47
I just mean language at its most condensed,
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๋…ธ๋ž˜ ๊ฐ€์‚ฌ์ฒ˜๋Ÿผ ๊ฐ€์žฅ ์••์ถ•๋œ ํ˜•ํƒœ์˜ ์–ธ์–ด๋ฅผ ๋œปํ•ฉ๋‹ˆ๋‹ค.
02:50
like a song lyric,
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02:53
a poetic puzzle to be unlocked and unpacked.
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์•„์ง ๋ฐํ˜€์ง€์ง€ ์•Š๊ณ  ํ’€๋ฆฌ์ง€ ์•Š์€ ์‹œ์ ์ธ ํผ์ฆ์ด์ฃ .
02:57
And when we were preparing to design Beyoncรฉ's "Formation" tour,
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๋น„์š˜์„ธ์˜ "Formation" ํˆฌ์–ด๋ฅผ ์œ„ํ•œ ๋ฌด๋Œ€ ๋””์ž์ธ์„ ์ค€๋น„ํ–ˆ์„ ๋•Œ
03:01
we looked at all the lyrics,
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์šฐ๋ฆฌ๋Š” ๋ชจ๋“  ๊ฐ€์‚ฌ๋ฅผ ์‚ดํŽด๋ดค์Šต๋‹ˆ๋‹ค.
03:04
and we came across this poem that Beyoncรฉ wrote.
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๊ทธ๋ฆฌ๊ณ  ๋น„์š˜์„ธ๊ฐ€ ์ž‘์‚ฌํ•œ ์‹œ๋ฅผ ์ดํ•ดํ•˜๊ฒŒ ๋์ฃ .
03:09
"I saw a TV preacher when I was scared, at four or five about bad dreams
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"TV์— ๋‚˜์˜ค๋Š” ๋ชฉ์‚ฌ๋‹˜์„ ๋ดค์–ด. ์•…๋ชฝ์— ๊ฒ๋จน์—ˆ๋˜ ๋„ค๋‹ค์„ฏ ์‚ด ๋•Œ์˜€์ง€.
03:13
who promised he'd say a prayer if I put my hand to the TV.
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๊ทธ๋Š” ๋‚ด๊ฐ€ TV์— ์†์„ ์˜ฌ๋ฆฌ๋ฉด ๊ธฐ๋„ํ•ด ์ฃผ๊ฒ ๋‹ค๊ณ  ์•ฝ์†ํ–ˆ๊ณ 
03:18
That's the first time I remember prayer, an electric current running through me."
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๋‚ด ๊ธฐ์–ต ์†์˜ ์ฒซ ๊ธฐ๋„๋Š” ๋ฐ”๋กœ ๊ทธ ๋•Œ ๋‚˜๋ฅผ ํƒ€๊ณ  ํ๋ฅธ ์ฐŒ๋ฆฟํ•œ ์ „๋ฅ˜์˜€์–ด."
03:23
And this TV that transmitted prayer to Beyoncรฉ as a child
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์–ด๋ฆฐ ๋น„์š˜์„ธ์—๊ฒŒ ๊ธฐ๋„๋ฅผ ์ „๋‹ฌํ•œ TV๋Š”
03:28
became this monolithic revolving sculpture
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์Šคํƒ€๋””์›€ ๋’คํŽธ์˜ ๋น„์š˜์„ธ๋ฅผ ๋ณด์—ฌ์ฃผ๋Š” ๋‹จ์ผ ํšŒ์ „ ์กฐํ˜•๋ฌผ์ด ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
03:31
that broadcast Beyoncรฉ to the back of the stadium.
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03:36
And the stadium is a mass congregation.
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๊ทธ๋ฆฌ๊ณ  ์Šคํƒ€๋””์›€์€ ์˜ˆ๋ฐฐ์— ๋ชจ์ธ ์‹ ๋„๋“ค์˜ ์ง‘ํšŒ๊ฐ€ ๋ฉ๋‹ˆ๋‹ค.
03:40
It's a temporary population of a hundred thousand people
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๋ช‡์‹ญ๋งŒ ๋ช…์˜ ์‚ฌ๋žŒ๋“ค์ด ์ผ์‹œ์ ์œผ๋กœ ๋ชจ์—ฌ ๋‹ค ๊ฐ™์ด ๋‹จ์–ด ํ•˜๋‚˜ํ•˜๋‚˜ ๋”ฐ๋ผ ๋ถ€๋ฆ…๋‹ˆ๋‹ค.
03:43
who have all come there to sing along with every word together,
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03:47
but they've also come there each seeking one-to-one intimacy
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ํ•˜์ง€๋งŒ ๊ทธ๋“ค์€ ๊ณต์—ฐ์ž์™€ ์ผ๋Œ€์ผ๋กœ ์นœ๋ฐ€ํ•œ ๊ฐ๊ฐ ๋˜ํ•œ ๊ฐ€์ง€๊ธฐ๋ฅผ ์›ํ•ฉ๋‹ˆ๋‹ค.
03:52
with the performer.
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03:54
And we, as we conceive the show, we have to provide intimacy
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๊ทธ๋ž˜์„œ, ๊ณต์—ฐ์„ ๊ธฐํšํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์€ ๋Œ€๊ทœ๋ชจ์˜ ์นœ๋ฐ€๊ฐ์„ ์ œ๊ณตํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
03:58
on a grand scale.
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04:00
It usually starts with sketches.
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๊ทธ๊ฑด ์ฃผ๋กœ ์Šค์ผ€์น˜์—์„œ ์‹œ์ž‘๋ฉ๋‹ˆ๋‹ค.
04:02
I was drawing this 60-foot-high, revolving,
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์ €๋Š” 18m ๋†’์ด์˜ ํšŒ์ „ํ•˜๋Š” ์•„ํ‹ฐ์ŠคํŠธ์˜ ๊ณ ํ™”์งˆ ์ดˆ์ƒํ™”๋ฅผ ๊ทธ๋ ธ์Šต๋‹ˆ๋‹ค.
04:07
broadcast-quality portrait of the artist,
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04:11
and then I tore the piece of paper in half.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ ์ข…์ด๋ฅผ ๋ฐ˜์œผ๋กœ ์ž˜๋ž์Šต๋‹ˆ๋‹ค.
04:13
I split the mask
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์–ผ๊ตด ํ‘œ๋ฉด์„ ๊ฐˆ๋ผ, ๊ทธ ์•„๋ž˜ ์žˆ๋Š” ํ•œ ์ธ๊ฐ„์—๊ฒŒ ๋‹ฟ๊ณ ์ž ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:15
to try to access the human underneath it all.
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04:19
And it's one thing to do sketches, but of course translating from a sketch
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๋ฌผ๋ก  ์Šค์ผ€์น˜ ํ•˜๋Š” ๊ฒƒ๊ณผ ๋ณ„๊ฐœ๋กœ, ๊ทธ ์Šค์ผ€์น˜๋ฅผ ๋ฐ”ํƒ•์œผ๋กœ
04:23
into a tourable revolving six-story building
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ํˆฌ์–ด๋ฅผ ์œ„ํ•œ 6์ธต์งœ๋ฆฌ ํšŒ์ „ํ•˜๋Š” ๊ฑด์ถ•๋ฌผ์„ ๋งŒ๋“ค๊ธฐ ์œ„ํ•ด์„œ๋Š”
04:27
took some exceptional engineers working around the clock for three months,
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3๊ฐœ์›”๊ฐ„ ์‰ด ์ƒˆ ์—†์ด ์ผํ•˜๋Š” ๋›ฐ์–ด๋‚œ ์—”์ง€๋‹ˆ์–ด๋“ค์ด ํ•„์š”ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:31
until finally we arrived in Miami
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2016๋…„ 4์›”, ๋งˆ์นจ๋‚ด ๋งˆ์ด์• ๋ฏธ์— ๋„์ฐฉํ•ด
04:34
and opened the show in April 2016.
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๊ณต์—ฐ์„ ์‹œ์ž‘ํ•˜๊ธฐ๊นŒ์ง€๋Š”์š”.
04:37
(Video: Cheers)
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(๋™์˜์ƒ: ํ™˜ํ˜ธ)
04:43
(Music: "Formation," Beyoncรฉ)
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(์Œ์•…: ๋น„์š˜์„ธ์˜ "Formation")
04:45
Beyoncรฉ: Y'all haters corny with that Illuminati mess
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๋„ˆํฌ ์•ˆํ‹ฐ๋“ค ์ง€๊ฒน๊ฒŒ ์ผ๋ฃจ๋ฏธ๋‚˜ํ‹ฐ ์–ด์ฉŒ๊ณ  ๋– ๋“ค์–ด ๋Œ€
04:50
Paparazzi, catch my fly, and my cocky fresh
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ํŒŒํŒŒ๋ผ์น˜๋“ค์•„, ๋‚ด ๋ฉ‹์ง€๊ณ  ์ž์‹ ๊ฐ ๋„˜์น˜๋Š” ํฌ์ฆˆ๋ฅผ ์ฐ์–ด ๋ด
04:54
I'm so reckless when I rock my Givenchy dress
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์ง€๋ฐฉ์‹œ ๋“œ๋ ˆ์Šค๋ฅผ ๊ฑธ์น˜๋ฉด ์•„๋ฌด๋„ ๋‚  ๋ง๋ฆด ์ˆ˜ ์—†์ง€
04:58
I'm so possessive so I rock his Roc necklaces
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๋‚œ ์†Œ์œ ์š•์ด ๋„ˆ๋ฌด ๊ฐ•ํ•ด์„œ ๊ทธ์˜ Roc ๋ชฉ๊ฑธ์ด๋ฅผ ํ•˜๊ณ  ๋‹ค๋…€
05:01
My daddy Alabama
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์•„๋น ๋Š” ์•จ๋ผ๋ฐฐ๋งˆ ์ถœ์‹ 
05:03
Momma Louisiana
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์—„๋งˆ๋Š” ๋ฃจ์ด์ง€์• ๋‚˜ ์ถœ์‹ 
05:05
You mix that negro with that Creole
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ํ‘์ธ๊ณผ ํฌ๋ ˆ์˜ฌ์ด ์„ž์ธ
05:07
make a Texas bama
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๋‚˜๋Š” ํ…์‚ฌ์Šค ์ดŒ๋œจ๊ธฐ
05:10
(Music ends)
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(์Œ์•… ๋)
05:12
I call my work --
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์ €๋Š” ์ œ ์ž‘ํ’ˆ์„ ์ด๋ ‡๊ฒŒ ๋ถ€๋ฆ…๋‹ˆ๋‹ค.
05:13
(Cheers, applause)
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(ํ™˜ํ˜ธ์™€ ๋ฐ•์ˆ˜)
05:14
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
05:16
(Cheers, applause)
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(ํ™˜ํ˜ธ์™€ ๋ฐ•์ˆ˜)
05:17
I call my work stage sculpture,
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์ €๋Š” ์ œ ์ž‘ํ’ˆ์„ ๋ฌด๋Œ€ ์กฐํ˜•๋ฌผ์ด๋ผ๊ณ  ๋ถ€๋ฆ…๋‹ˆ๋‹ค.
05:21
but of course what's really being sculpted is the experience of the audience,
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๋ฌผ๋ก  ์ •๋ง๋กœ '์กฐํ˜•'๋˜๋Š” ๊ฒƒ์€ ๊ด€๊ฐ์˜ ๊ฒฝํ—˜์ด์ฃ .
05:26
and as directors and designers,
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์šฐ๋ฆฌ๋Š” ์—ฐ์ถœ์ž์ด์ž ๊ธฐํš์ž๋กœ์„œ
05:28
we have to take responsibility
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๊ด€๊ฐ์ด ๋ณด๋‚ด๋Š” ๋ชจ๋“  ์ˆœ๊ฐ„์— ๋Œ€ํ•ด ์ฑ…์ž„์„ ์ ธ์•ผ ํ•ฉ๋‹ˆ๋‹ค.
05:29
for every minute that the audience spend with us.
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05:33
We're a bit like pilots
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๋งˆ์น˜ ์ˆ˜๋งŽ์€ ์Šน๊ฐ๋“ค์„ ์œ„ํ•ด ๋น„ํ–‰ ํ•ญ๋กœ๋ฅผ ์ฐพ๋Š” ํŒŒ์ผ๋Ÿฟ๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค.
05:35
navigating a flight path for a hundred thousand passengers.
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05:40
And in the case of the Canadian artist The Weeknd,
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์บ๋‚˜๋‹ค์˜ ์•„ํ‹ฐ์ŠคํŠธ์ธ ์œ„์ผ„๋“œ์˜ ๊ณต์—ฐ์—์„œ
05:44
we translated this flight path literally
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์šฐ๋ฆฌ๋Š” ์ด ๋น„ํ–‰ ํ•ญ๋กœ๋ฅผ ๋ง ๊ทธ๋Œ€๋กœ ์ข…์ด ๋น„ํ–‰๊ธฐ๋กœ ํ•ด์„ํ•ด์„œ
05:46
into an origami paper folding airplane
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05:51
that took off over the heads of the audience,
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๊ด€๊ฐ๋“ค ๋จธ๋ฆฌ ์œ„๋กœ ๋‚ ๋ ค ๋ณด๋ƒˆ์Šต๋‹ˆ๋‹ค.
05:53
broke apart in mid-flight, complications,
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๋น„ํ–‰๊ธฐ๋Š” ์šดํ–‰ ๋„์ค‘์— ๋ถ€์„œ์ ธ ์—‰๋ง์ด ๋˜์—ˆ๋‹ค๊ฐ€
05:56
and then rose out of the ashes restored
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๊ณต์—ฐ์ด ๋๋‚  ๋•Œ์ฏค ์žฟ๋”๋ฏธ ๋ฐ–์œผ๋กœ ๋‹ค์‹œ ํšŒ์ƒํ•ด ๋‚ ์•„์˜ค๋ฆ…๋‹ˆ๋‹ค.
05:59
at the end of the show.
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06:01
And like any flight,
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๋‹ค๋ฅธ ๋ชจ๋“  ๋น„ํ–‰๊ณผ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ
06:04
the most delicate part is the liftoff, the beginning,
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๊ฐ€์žฅ ๊นŒ๋‹ค๋กœ์šด ๋ถ€๋ถ„์€ ์ฒ˜์Œ ์ด๋ฅ™ํ•  ๋•Œ์ž…๋‹ˆ๋‹ค.
06:07
because when you design a pop concert,
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์™œ๋ƒํ•˜๋ฉด, ํŒ ์ฝ˜์„œํŠธ๋ฅผ ๊ธฐํšํ•  ๋•Œ ํ•„์š”ํ•œ ๊ฐ€์žฅ ์ค‘์š”ํ•œ ์žฌ๋ฃŒ๋Š”
06:09
the prime material that you're working with
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06:12
is something that doesn't take trucks or crew to transport it.
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์‚ฌ๋žŒ์ด๋‚˜ ํŠธ๋Ÿญ์ด ์˜ฎ๊ธธ ์ˆ˜ ์—†๋Š” ๋ฌดํ˜•์˜ ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
06:16
It doesn't cost anything,
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์•„๋ฌด ๋น„์šฉ๋„ ๋“ค์ง€ ์•Š์ง€๋งŒ
06:18
and yet it fills every atom of air in the arena, before the show starts.
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๊ณต์—ฐ์ด ์‹œ์ž‘๋˜๊ธฐ ์ „๋ถ€ํ„ฐ ๊ณต์—ฐ์žฅ์˜ ๊ณต๊ธฐ๋ฅผ ๊ฝ‰ ์ฑ„์šฐ๊ณ  ์žˆ๋Š” ์–ด๋–ค ๊ฒƒ์ด์ฃ .
06:23
It's the audience's anticipation.
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๊ทธ๊ฒƒ์€ ๋ฐ”๋กœ ๊ด€๊ฐ์˜ ๊ธฐ๋Œ€์ž…๋‹ˆ๋‹ค.
06:27
Everyone brings with them the story of how they came to get there,
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๋ชจ๋“  ๊ด€๊ฐ๋“ค์—๊ฒŒ๋Š” ์ž์‹ ์ด ๊ณต์—ฐ์— ์˜ค๊ธฐ๊นŒ์ง€ ์–ฝํžŒ ์ด์•ผ๊ธฐ์™€
06:30
the distances they traveled,
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์ด๋™ํ•œ ๊ฑฐ๋ฆฌ, ํ‹ฐ์ผ“์„ ์‚ฌ๊ธฐ ์œ„ํ•ด ์ผํ•ด์•ผ ํ–ˆ๋˜ ์‹œ๊ฐ„์ด ๊ฑธ๋ ค ์žˆ์Šต๋‹ˆ๋‹ค.
06:32
the months they had to work to pay for the tickets.
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06:34
Sometimes they sleep overnight outside the arena,
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๋•Œ๋กœ๋Š” ๊ณต์—ฐ์žฅ ๋ฐ–์—์„œ ๋ฐค์ƒ˜๋„ ํ•˜์ฃ .
06:38
and our first task is to deliver for an audience on their anticipation,
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์šฐ๋ฆฌ์˜ ๊ฐ€์žฅ ์ฒซ ๋ฒˆ์งธ ์ž„๋ฌด๋Š” ๊ด€๊ฐ์˜ ๊ธฐ๋Œ€๋ฅผ ์ถฉ์กฑ์‹œํ‚ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:42
to deliver their first sight of the performer.
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๊ทธ๋“ค์ด ์•„ํ‹ฐ์ŠคํŠธ๋ฅผ ์ฒ˜์Œ ๋ณด๋Š” ์ˆœ๊ฐ„์„ ๋งŒ์กฑ์‹œํ‚ค๋Š” ๊ฒƒ์ด์ฃ .
06:48
When I work with men,
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๋‚จ์„ฑ ์•„ํ‹ฐ์ŠคํŠธ๋“ค๊ณผ ์ผํ•˜๋‹ค ๋ณด๋ฉด
06:51
they're quite happy to have their music transformed into metaphor --
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๊ทธ๋“ค์€ ์ž์‹ ๋“ค์˜ ์Œ์•…์ด ์€์œ ์ ์œผ๋กœ ํ‘œํ˜„๋˜๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค.
06:55
spaceflights, mountains.
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์šฐ์ฃผ ๋น„ํ–‰, ์‚ฐ ๊ฐ™์€ ๊ฒƒ๋“ค๋กœ์š”.
06:58
But with women, we work a lot with masks and with three-dimensional portraiture,
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ํ•˜์ง€๋งŒ ์—ฌ์„ฑ๋“ค๊ณผ ์ผํ•  ๋•Œ๋Š” ๋งˆ์Šคํฌ๋‚˜ 3์ฐจ์› ์ดˆ์ƒํ™”๋ฅผ ๋งŽ์ด ์”๋‹ˆ๋‹ค.
07:03
because the fans of the female artist
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์—ฌ์„ฑ ์•„ํ‹ฐ์ŠคํŠธ์˜ ํŒฌ๋“ค์€ ๊ทธ๋…€์˜ ์–ผ๊ตด์— ์—ด๊ด‘ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
07:06
crave her face.
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07:09
And when the audience arrived to see Adele's first live concert in five years,
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5๋…„๋งŒ์— ๊ฐœ์ตœ๋œ ์•„๋ธ์˜ ์ฒซ ๋ผ์ด๋ธŒ ์ฝ˜์„œํŠธ๋ฅผ ๋ณด๋Ÿฌ ์˜จ ๊ด€๊ฐ๋“ค์€
07:14
they were met with this image of her eyes asleep.
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๊ทธ๋…€์˜ ์ž ๋“  ๋ˆˆ์„ ๋‹ด์€ ์ด๋ฏธ์ง€๋ฅผ ๋งˆ์ฃผํ–ˆ์Šต๋‹ˆ๋‹ค.
07:18
If they listened carefully,
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๊ด€๊ฐ๋“ค์ด ๊ท€๋ฅผ ๊ธฐ์šธ์ด๋ฉด
07:20
they would hear her sleeping breath echoing around the arena,
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๊ณต์—ฐ์žฅ ์ „์ฒด๋ฅผ ์šธ๋ฆฌ๋Š” ์•„๋ธ์˜ ์ž ๋“  ์ˆจ์†Œ๋ฆฌ๋ฅผ ๋“ค์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
07:24
waiting to wake up.
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๊ทธ๋…€๊ฐ€ ์ผ์–ด๋‚˜๊ธธ ๊ธฐ๋‹ค๋ฆฌ๋ฉด์„œ์š”.
07:26
Here's how the show began.
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๊ณต์—ฐ์€ ๋ฐ”๋กœ ์ด๋ ‡๊ฒŒ ์‹œ์ž‘๋์Šต๋‹ˆ๋‹ค.
07:28
(Video: Cheers, applause)
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(๋™์˜์ƒ: ํ™˜ํ˜ธ์™€ ๋ฐ•์ˆ˜)
07:34
(Music)
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(์Œ์•…)
07:35
Adele: Hello.
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์•„๋ธ: Hello.
07:36
(Cheers, applause)
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(ํ™˜ํ˜ธ์™€ ๋ฐ•์ˆ˜)
07:48
Es Devlin: With U2, we're navigating the audience
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U2์™€ ํ•จ๊ป˜ ๊ด€๊ฐ์ด๋ผ๋Š” ํ•ญ๋กœ๋ฅผ ๋น„ํ–‰ํ–ˆ์„ ๋•Œ์—๋Š”
07:50
over a terrain that spans three decades of politics, poetry and music.
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30์—ฌ ๋…„์˜ ์‹œ๊ฐ„์— ๊ฑธ์นœ ์ •์น˜, ์‹œ, ์Œ์•…์˜ ์˜์—ญ์„ ๋„˜๋‚˜๋“ค๋ฉฐ
07:56
And over many months, meeting with the band and their creative teams,
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๋ฐด๋“œ์™€ ํฌ๋ฆฌ์—์ดํ‹ฐ๋ธŒ ํŒ€๋“ค๊ณผ ๊ฐ™์ด ๋ช‡ ๋‹ฌ๊ฐ„์˜ ํšŒ์˜๋ฅผ ๊ฑฐ์ณค์Šต๋‹ˆ๋‹ค.
08:00
this is the sketch that kept recurring,
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์ด๊ฒƒ์€ ๊ณ„์† ์ˆœํ™˜ํ•˜๋Š” ์Šค์ผ€์น˜์ž…๋‹ˆ๋‹ค.
08:02
this line, this street,
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์ด ์„ , ์ด ๊ธธ
08:06
the street that connects the band's past with their present,
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๋ฐด๋“œ์˜ ๊ณผ๊ฑฐ๋ฅผ ๊ทธ๋“ค์˜ ํ˜„์žฌ์™€ ์ด์–ด์ฃผ๋Š” ๊ธธ
08:09
the tightrope that they walk as activists and artists,
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์‚ฌํšŒ ํ™œ๋™๊ฐ€์ด์ž ์˜ˆ์ˆ ๊ฐ€๋กœ์„œ ๊ทธ๋“ค์ด ์ค„ํƒ€๊ธฐํ•ด ์˜จ ์„ 
08:13
a walk through cinema
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๋ฐด๋“œ๊ฐ€ ์ž์‹ ๋“ค์˜ ์‹œ ์•ˆ์—์„œ ์ฃผ์ธ๊ณต์ด ๋˜๋Š” ์ฒดํ—˜ ์˜ํ™”๊ด€์ž…๋‹ˆ๋‹ค.
08:14
that allows the band to become protagonists
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08:17
in their own poetry.
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08:19
(Music: U2's "Where the Streets Have No Name")
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(์Œ์•…: U2์˜ "Where the Streets Have No Name")
08:22
Bono: I wanna run
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๋›ฐ๊ณ  ์‹ถ์–ด
08:26
I want to hide
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์ˆจ๊ณ  ์‹ถ์–ด
08:29
I wanna tear down the walls
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๋‚˜๋ฅผ ๊ฐ€๋‘๊ณ  ์žˆ๋Š” ์ € ๋ฒฝ์„ ๋ถ€์ˆ˜๊ณ  ์‹ถ์–ด
08:33
That hold me inside
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08:38
Es Devlin: The end of the show is like the end of a flight.
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๊ณต์—ฐ์˜ ๋งˆ์ง€๋ง‰์€ ๋งˆ์น˜ ๋น„ํ–‰์ด ๋๋‚  ๋•Œ์™€ ๊ฐ™์Šต๋‹ˆ๋‹ค.
08:41
It's an arrival.
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๊ทธ๊ฒƒ์€ ๋ฐ”๋กœ ๋„์ฐฉํ•˜๋Š” ๊ฒƒ์ด๋ฉด์„œ, ๋ฌด๋Œ€์—์„œ ๊ด€๊ฐ์œผ๋กœ ์˜ฎ๊ฒจ๊ฐ€๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:42
It's a transfer from the stage out to the audience.
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08:47
For the British band Take That,
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์˜๊ตญ ๋ฐด๋“œ Take That์„ ์œ„ํ•ด์„œ๋Š”
08:50
we ended the show by sending an 80-foot high mechanical human figure
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๊ณต์—ฐ ๋ง‰๋ฐ”์ง€์— 24m ๋†’์ด์˜ ๊ธฐ๊ณ„๋กœ ๋œ ์ธ๊ฐ„ ๋ชจํ˜•์„
08:54
out to the center of the crowd.
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๊ตฐ์ค‘ ํ•œ๊ฐ€์šด๋ฐ๋กœ ๋ณด๋‚ด๋Š” ๊ฒƒ์œผ๋กœ ๋งˆ๋ฌด๋ฆฌํ–ˆ์Šต๋‹ˆ๋‹ค.
08:57
(Music)
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(์Œ์•…)
09:05
Like many translations from music to mechanics,
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์Œ์•…์„ ๊ธฐ๊ณ„ ์žฅ์น˜๋กœ ํ•ด์„ํ•ด ํ‘œํ˜„ํ•œ ๋งŽ์€ ์‚ฌ๋ก€๋“ค์ฒ˜๋Ÿผ
09:08
this one was initially deemed entirely technically impossible.
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์ด ์—ญ์‹œ๋„ ์ฒ˜์Œ์—๋Š” ๊ธฐ์ˆ ์ ์œผ๋กœ ์™„์ „ํžˆ ๋ถˆ๊ฐ€๋Šฅํ•˜๋‹ค๊ณ  ์—ฌ๊ฒจ์กŒ์Šต๋‹ˆ๋‹ค.
09:13
The first three engineers we took it to said no,
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์ฒ˜์Œ ๋งŒ๋‚ฌ๋˜ ์—”์ง€๋‹ˆ์–ด ์„ธ ๋ช…์€ ๋ชปํ•˜๊ฒ ๋‹ค๊ณ  ๋Œ€๋‹ตํ–ˆ์–ด์š”.
09:16
and eventually, the way that it was achieved
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๋งˆ์นจ๋‚ด ๊ฐ€๋Šฅํ•˜๊ฒŒ ๋งŒ๋“  ๋ฐฉ๋ฒ•์€
09:18
was by keeping the entire control system together
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์ œ์–ด ์‹œ์Šคํ…œ ์ „์ฒด๋ฅผ ์ „๊ตญ ํˆฌ์–ด ๋‚ด๋‚ด ํ•œ๋ฐ ๋ชจ์•„๋‘๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
09:22
while it toured around the country,
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09:24
so we had to fold it up onto a flatbed truck
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๋‹ค๋‹ˆ๋Š” ๋™์•ˆ ํฉ์–ด์ง€์ง€ ์•Š๋„๋ก ํ‰๋Œ€ ํŠธ๋Ÿญ ์œ„์— ์ ‘์–ด ๋†“์•„์•ผ ํ–ˆ์ฃ .
09:27
so it could tour around without coming apart.
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09:29
And of course, what this meant was that the dimension of its head
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์ด๊ฒŒ ๋ฌด์Šจ ์˜๋ฏธ๋ƒ๋ฉด, ๋ชจํ˜•์˜ ๋จธ๋ฆฌ ํฌ๊ธฐ๋ฅผ ๊ฒฐ์ •ํ•˜๋Š” ๊ฐ€์žฅ ํฐ ์š”์ธ์ด
09:32
was entirely determined
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09:34
by the lowest motorway bridge that it had to travel under on its tour.
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ํˆฌ์–ด ๋‹ค๋‹ˆ๋ฉด์„œ ํ†ต๊ณผํ•  ๊ณ ์† ๋„๋กœ ๋‚ด ๊ณ ๊ฐ€ ๋‹ค๋ฆฌ์˜ ๋†’์ด์˜€๋‹ค๋Š” ๋œป์ž…๋‹ˆ๋‹ค.
09:39
And I have to tell you that it turns out
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฑด ๋ง์”€๋“œ๋ ค์•ผ๊ฒ ๋„ค์š”.
09:42
there is an unavoidable and annoyingly low bridge
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ํ•จ๋ถ€๋ฅดํฌ ์™ธ๊ณฝ์— ์ ˆ๋Œ€ ํ”ผํ•  ์ˆ˜ ์—†๋Š”, ๊ฑฐ์Šฌ๋ฆฌ๊ฒŒ ๋‚ฎ์€ ๋‹ค๋ฆฌ๊ฐ€ ์žˆ๋‹ค๋Š” ๊ฒƒ์„์š”.
09:45
low bridge just outside Hamburg.
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09:47
(Laughter)
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(์›ƒ์Œ)
09:50
(Music)
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(์Œ์•…)
09:56
Another of the most technically complex pieces that we've worked on
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๊ธฐ์ˆ ์ ์œผ๋กœ ๊ตฌํ˜„ํ•ด๋‚ด๊ธฐ์— ๊ฐ€์žฅ ๊นŒ๋‹ค๋กœ์› ๋˜ ๋˜ ๋‹ค๋ฅธ ์ž‘ํ’ˆ์€
10:01
is the opera "Carmen"
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์˜ค์ŠคํŠธ๋ฆฌ์•„์˜ ๋ธŒ๋ ˆ๊ฒ์ธ  ํŽ˜์Šคํ‹ฐ๋ฒŒ์—์„œ ์ƒ์—ฐ๋œ ์˜คํŽ˜๋ผ "์นด๋ฅด๋ฉ˜"์ž…๋‹ˆ๋‹ค.
10:03
at Bregenz Festival in Austria.
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10:07
We envisaged Carmen's hands rising out of Lake Constance,
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์šฐ๋ฆฌ๋Š” ์ฝ˜์Šคํƒ„์ธ  ํ˜ธ์ˆ˜ ์œ„๋กœ ์นด๋ฅด๋ฉ˜์˜ ์†์ด ๋– ์˜ฌ๋ผ
10:11
and throwing this deck of cards in the air
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๊ณต์ค‘์—์„œ ํŠธ๋Ÿผํ”„ ์นด๋“œ๋ฅผ ๋˜์ง€๋‹ค๊ฐ€
10:13
and leaving them suspended between sky and sea.
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ํ•˜๋Š˜๊ณผ ๋ฐ”๋‹ค ์‚ฌ์ด์—์„œ ๋ฉˆ์ถฐ๋ฒ„๋ฆฐ ์ด๋ฏธ์ง€๋ฅผ ์ƒ์ƒํ–ˆ์Šต๋‹ˆ๋‹ค.
10:16
But this transient gesture, this flick of the wrists
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ํ•˜์ง€๋งŒ ์ด๋Ÿฐ ์ˆœ๊ฐ„์ ์ธ ๋ชธ์ง“, ๋‘ ์†๋ชฉ์˜ ๊ฒฝ์พŒํ•œ ์›€์ง์ž„์€
10:20
had to become a structure that would be strong enough
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์˜ค์ŠคํŠธ๋ฆฌ์•„์˜ ๊ฒจ์šธ์„ ๋‘ ๋ฒˆ ๊ฒฌ๋”œ ์ •๋„๋กœ ํŠผํŠผํ•œ ๊ตฌ์กฐ๋ฌผ์ด ๋˜์–ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
10:23
to withstand two Austrian winters.
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10:27
So there's an awful lot that you don't see in this photograph
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๊ทธ๋ž˜์„œ ์‚ฌ์ง„์—์„œ๋Š” ๋ณด์ด์ง€ ์•Š์ง€๋งŒ ์•„์ฃผ ์—ด์‹ฌํžˆ ์ผํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ๋“ค์ด ์žˆ์ฃ .
10:30
that's working really hard.
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10:32
It's a lot of ballast and structure and support around the back,
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๋’ค์—์„œ ์ง€ํƒฑํ•˜๊ณ  ์žˆ๋Š” ์ˆ˜๋งŽ์€ ๋ฐ”๋‹ฅ์ง, ๊ตฌ์กฐ๋ฌผ, ์ง€์ง€๋Œ€๋“ค์ž…๋‹ˆ๋‹ค.
10:36
and I'm going to show you the photos that aren't on my website.
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์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ์ œ ์›น์‚ฌ์ดํŠธ์—๋Š” ์—†๋Š” ์‚ฌ์ง„๋“ค์„ ๋ณด์—ฌ๋“œ๋ฆด๊ฒŒ์š”.
10:40
They're photos of the back of a set,
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๋ฌด๋Œ€ ๋’ค์ชฝ์˜ ์‚ฌ์ง„๋“ค์ž…๋‹ˆ๋‹ค.
10:42
the part that's not designed for the audience to see,
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๊ด€๊ฐ๋“ค์ด ๋ณด๋ผ๊ณ  ๋งŒ๋“ค์–ด์ง„ ๋ถ€๋ถ„์€ ์•„๋‹ˆ์ง€๋งŒ
10:46
however much work it's doing.
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์—„์ฒญ๋‚˜๊ฒŒ ๋งŽ์€ ์—ญํ• ์„ ํ•˜๊ณ  ์žˆ์ฃ .
10:52
And you know, this is actually the dilemma
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์‚ฌ์‹ค ์ด๊ฑด ์ผ์ข…์˜ ๋”œ๋ ˆ๋งˆ์ž…๋‹ˆ๋‹ค.
10:55
for an artist who is working as a stage designer,
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๋ฌด๋Œ€ ๋””์ž์ด๋„ˆ๋กœ ์ผํ•˜๋Š” ์˜ˆ์ˆ ๊ฐ€๋ผ๋ฉด ๋Š๋‚„ ์ˆ˜๋ฐ–์— ์—†๋Š” ๊ฒƒ์ด์ฃ .
10:58
because so much of what I make is fake,
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์ œ๊ฐ€ ๋งŒ๋“œ๋Š” ๋Œ€๋ถ€๋ถ„์˜ ๊ฒƒ์€ ๊ฐ€์งœ์ด๊ณ 
11:03
it's an illusion.
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ํ—ˆ์ƒ์ด๊ธฐ ๋•Œ๋ฌธ์—์š”.
11:06
And yet every artist works in pursuit of communicating something that's true.
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๊ทธ๋Ÿผ์—๋„ ๋ชจ๋“  ์˜ˆ์ˆ ๊ฐ€๋“ค์€ ์ง„์‹ค๋œ ๋ฌด์–ธ๊ฐ€๋ฅผ ์ „ํ•˜๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
11:12
But we are always asking ourselves:
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์šฐ๋ฆฌ๋Š” ์–ธ์ œ๋‚˜ ์ž์‹ ์—๊ฒŒ ๋ฌป์Šต๋‹ˆ๋‹ค.
11:15
"Can we communicate truth using things that are false?"
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"๊ฑฐ์ง“๋œ ๊ฒƒ์„ ๊ฐ€์ง€๊ณ  ์ง„์‹ค์„ ์ „ํ•  ์ˆ˜ ์žˆ์„๊นŒ?"
11:20
And now when I attend the shows that I've worked on,
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์ด์ œ ์ œ๊ฐ€ ์ž‘์—…์— ์ฐธ์—ฌํ•œ ๊ณต์—ฐ์— ๊ฐˆ ๋•Œ๋งˆ๋‹ค
11:23
I often find I'm the only one who is not looking at the stage.
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์ข…์ข… ์ €๋ฅผ ์ œ์™ธํ•œ ๋ชจ๋“  ์‚ฌ๋žŒ์ด ๋ฌด๋Œ€๋ฅผ ๋ณด๊ณ  ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ๋ฐœ๊ฒฌํ•ฉ๋‹ˆ๋‹ค.
11:28
I'm looking at something that I find equally fascinating,
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์ €๋Š” ๋ฌด๋Œ€๋งŒํผ์ด๋‚˜ ๋งคํ˜น์ ์ธ ๋ฌด์–ธ๊ฐ€๋ฅผ ๋ณด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
11:33
and it's the audience.
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๊ทธ๊ฒƒ์€ ๊ด€๊ฐ์ž…๋‹ˆ๋‹ค.
11:34
(Cheers)
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(ํ™˜ํ˜ธ)
11:36
I mean, where else do you witness this:
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๋˜ ์–ด๋””์„œ ์ด๋Ÿฐ ๊ฑธ ๋ณผ ์ˆ˜ ์žˆ๊ฒ ์–ด์š”.
11:38
(Cheers)
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(ํ™˜ํ˜ธ)
11:39
this many humans, connected, focused,
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์ด๋ ‡๊ฒŒ ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด ์„œ๋กœ ์—ฐ๊ฒฐ๋˜์–ด ์ง‘์ค‘ํ•˜๊ณ  ๋ชฐ๋‘ํ•˜๋ฉฐ ๋‹จํ•ฉํ•˜๋Š” ๋ชจ์Šต์„?
11:43
undistracted and unfragmented?
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11:48
And lately, I've begun to make work that originates here,
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๊ทธ๋ž˜์„œ ์ตœ๊ทผ์— ์ €๋Š” ์—ฌ๊ธฐ์„œ ๋น„๋กฏ๋œ ์ž‘์—…์„ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
11:52
in the collective voice of the audience.
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๊ด€๊ฐ๋“ค์˜ ํ•˜๋‚˜๋œ ๋ชฉ์†Œ๋ฆฌ์—์„œ์š”.
11:56
"Poem Portraits" is a collective poem.
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"์‹œ์˜ ์ดˆ์ƒ"์€ ๊ณต๋™ ์ฐฝ์ž‘ ์‹œ์ž…๋‹ˆ๋‹ค.
12:00
It began at the Serpentine Gallery in London,
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๋Ÿฐ๋˜ ์„œํŽœํƒ€์ธ ๊ฐค๋Ÿฌ๋ฆฌ์—์„œ ์‹œ์ž‘๋˜์—ˆ๋Š”๋ฐ
12:03
and everybody is invited to donate one word to a collective poem.
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๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์ด ๊ณต๋™ ์ฐฝ์ž‘ ์‹œ๋ฅผ ์œ„ํ•ด ํ•œ ๋‹จ์–ด์”ฉ ๊ธฐ๋ถ€ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
12:08
And instead of that large single LED portrait
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๊ณต์—ฐ์žฅ ๋’ค์—์„œ ํฐ LED ํ™”๋ฉด ํ•˜๋‚˜๋กœ ์‚ฌ๋žŒ๋“ค์˜ ์ดˆ์ƒ์„ ์†ก์ถœํ•˜๋Š” ๋Œ€์‹ 
12:12
that was broadcasting to the back of the stadium,
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12:14
in this case, every member of the audience
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์ด ๊ฒฝ์šฐ์—” ๋ชจ๋“  ๊ด€๊ฐ์ด ๊ฐ์ž์˜ ์ดˆ์ƒ์„ ์ง‘์œผ๋กœ ๊ฐ€์ ธ๊ฐˆ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
12:17
gets to take their own portrait home with them,
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12:19
and it's woven in with the words
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๊ทธ ์ดˆ์ƒ์€ ๊ทธ๋“ค์ด ๊ณต๋™ ์ฐฝ์ž‘ ์‹œ๋ฅผ ์œ„ํ•ด ๊ธฐ๋ถ€ํ•œ ๋‹จ์–ด๋“ค๊ณผ ํ•จ๊ป˜ ์งœ์—ฌ ์žˆ์ฃ .
12:21
that they've contributed to the collective poem.
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12:24
So they keep a fragment of an ever-evolving collective work.
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๊ด€๊ฐ์€ ์˜์›ํžˆ ์ง„ํ™”ํ•˜๋Š” ๊ณต๋™ ์ž‘ํ’ˆ์˜ ํ•œ ์กฐ๊ฐ์„ ๊ฐ€์ง€๊ฒŒ ๋˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
12:29
And next year, the collective poem will take architectural form.
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๋‚ด๋…„์ด ๋˜๋ฉด, ์ด ๊ณต๋™ ์ฐฝ์ž‘ ์‹œ๋Š” ๊ฑด์ถ•ํ•™์  ํ˜•ํƒœ๋ฅผ ๊ฐ–์ถ”๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
12:35
This is the design for the UK Pavilion at the World Expo 2020.
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์ด๊ฒƒ์€ 2020 ์„ธ๊ณ„ ์—‘์Šคํฌ ๋‚ด ์˜๊ตญ ์ „์‹œ๊ด€์˜ ๋””์ž์ธ์ž…๋‹ˆ๋‹ค.
12:42
The UK ...
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์˜๊ตญ...
12:45
In my lifetime, it's never felt this divided.
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์ €๋Š” ์ผ์ƒ ๋™์•ˆ, ์š”์ฆ˜๋ณด๋‹ค ๋” ๋ถ„๋ฆฌ๋˜์—ˆ๋‹ค๊ณ  ๋Š๊ปด๋ณธ ์ ์ด ์—†์Šต๋‹ˆ๋‹ค.
12:49
It's never felt this noisy with divergent voices.
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๋ถ„์—ด๋œ ๋ชฉ์†Œ๋ฆฌ๋“ค๋กœ ์ธํ•ด ์ด๋ณด๋‹ค ๋” ์‹œ๋„๋Ÿฌ์› ๋˜ ์ ์ด ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
12:53
And it's never felt this much in need of places
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๊ทธ ๋ชฉ์†Œ๋ฆฌ๋“ค์ด ์—ฐ๊ฒฐ๋˜์–ด ํ•œ๋ฐ ๋ชจ์ผ ๊ณณ์ด ์ง€๊ธˆ๋ณด๋‹ค ๋” ํ•„์š”ํ–ˆ๋˜ ์ ์ด ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
12:56
where voices might connect and converge.
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12:58
And it's my hope that this wooden sculpture,
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์ €์˜ ๋ฐ”๋žŒ์€, ์ด ๋‚˜๋ฌด ์กฐํ˜•๋ฌผ์ด
13:02
this wooden instrument, a bit like that violin I used to play,
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์ œ๊ฐ€ ์—ฐ์ฃผํ–ˆ๋˜ ๋ฐ”์ด์˜ฌ๋ฆฐ๊ณผ๋„ ์กฐ๊ธˆ ๋‹ฎ์€ ์ด ๋‚˜๋ฌด๋กœ ๋œ ๊ธฐ๊ตฌ ์žฅ์น˜๊ฐ€
13:05
might be a place where people can play and enter their word
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์‚ฌ๋žŒ๋“ค์ด ๋†€ ์ˆ˜ ์žˆ๋Š” ์žฅ์†Œ๊ฐ€ ๋˜๊ณ 
์›๋ฟ”์˜ ํ•œ์ชฝ ๋์—์„œ ์‚ฌ๋žŒ๋“ค์ด ์ž์‹ ์˜ ๋‹จ์–ด๋ฅผ ์ž…๋ ฅํ•˜๋ฉด
13:10
at one end of the cone,
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13:12
emerge at the other end of the building,
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๋‹ค๋ฅธ ๋์—์„œ๋Š” ๊ทธ ๋‹จ์–ด๋“ค์ด ๋‚˜ํƒ€๋‚˜
13:14
and find that their word has joined a collective poem, a collective voice.
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๊ณต๋™ ์ฐฝ์ž‘ ์‹œ์ด์ž ๊ณต๋™์˜ ๋ชฉ์†Œ๋ฆฌ์— ์ฐธ์—ฌํ–ˆ๋‹ค๋Š” ์ ์„ ์•Œ๊ฒŒ ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
13:20
(Music)
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(์Œ์•…)
13:34
These are simple experiments in machine learning.
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์ด๊ฒƒ์€ ๋จธ์‹  ๋Ÿฌ๋‹์„ ํ™œ์šฉํ•œ ๊ฐ„๋‹จํ•œ ์‹คํ—˜์ด๋ผ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
13:38
The algorithm that generates the collective poem is pretty simple.
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๊ณต๋™ ์ฐฝ์ž‘ ์‹œ๋ฅผ ๋งŒ๋“ค์–ด๋‚ด๋Š” ์•Œ๊ณ ๋ฆฌ์ฆ˜์€ ๊ฝค ๋‹จ์ˆœํ•ฉ๋‹ˆ๋‹ค.
13:44
It's like predictive text,
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์ผ์ข…์˜ ํ…์ŠคํŠธ ์˜ˆ์ธก ๊ฐ™์€ ๊ฑด๋ฐ
13:45
only it's trained on millions of words written by poets in the 19th century.
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19์„ธ๊ธฐ ์‹œ์ธ๋“ค์ด ์“ด ๋‹จ์–ด ๋ช‡๋ฐฑ๋งŒ ๊ฐœ๋ฅผ ๋ฐ”ํƒ•์œผ๋กœ ํ•™์Šต๋˜์—ˆ๋‹ค๋Š” ์ ์ด ์ข€ ๋‹ค๋ฅด์ฃ .
13:51
So it's a sort of convergence of intelligence, past and present,
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์ด๊ฒƒ์€ ์ง€๋Šฅ๊ณผ ์ •๋ณด์˜ ์ด์ฒด์ด์ž ๊ณผ๊ฑฐ์™€ ํ˜„์žฌ์˜ ์—ฐ๊ฒฐ,
13:56
organic and inorganic.
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์œ ๊ธฐ์ ์ธ ๊ฒƒ๊ณผ ๋ฌด๊ธฐ์ ์ธ ๊ฒƒ์˜ ์œตํ•ฉ์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
13:59
And we were inspired by the words of Stephen Hawking.
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์šฐ๋ฆฌ๋Š” ์Šคํ‹ฐ๋ธ ํ˜ธํ‚น์ด ํ•œ ๋ง์—์„œ๋„ ์˜๊ฐ์„ ์–ป์—ˆ์Šต๋‹ˆ๋‹ค.
14:02
Towards the end of his life, he asked quite a simple question:
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๊ทธ๋Š” ์ƒ์•  ๋ง๊ธฐ์— ๋‹จ์ˆœํ•œ ์งˆ๋ฌธ ํ•˜๋‚˜๋ฅผ ๋˜์ง‘๋‹ˆ๋‹ค.
14:06
If we as a species were ever to come across another advanced life-form,
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๋งŒ์•ฝ ์šฐ๋ฆฌ ์ธ๋ฅ˜๊ฐ€ ๋‹ค๋ฅธ ๊ณ ๋“ฑ ์ƒ๋ช…์ฒด, ๋‹ค๋ฅธ ๊ณ ๋“ฑ ๋ฌธ๋ช…์„ ๋งˆ์ฃผํ•˜๊ฒŒ ๋œ๋‹ค๋ฉด
14:12
an advanced civilization,
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14:15
how would we speak to them?
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๊ทธ๋“ค์—๊ฒŒ ์–ด๋–ป๊ฒŒ ๋ง์„ ๊ฑธ ๊ฒƒ์ธ๊ฐ€?
14:17
What collective language would we speak as a planet?
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์šฐ๋ฆฌ๋Š” ํ•œ ํ–‰์„ฑ์˜ ๋Œ€ํ‘œ๋กœ์„œ ์–ด๋–ค ๊ณต๋™์˜ ์–ธ์–ด๋กœ ์†Œํ†ตํ•  ๊ฒƒ์ธ๊ฐ€?
14:23
The language of light reaches every audience.
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๋น›์˜ ์–ธ์–ด๋Š” ๋ชจ๋“  ๊ด€๊ฐ์—๊ฒŒ ๋‹ฟ์Šต๋‹ˆ๋‹ค.
14:28
All of us are touched by it. None of us can hold it.
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๋ชจ๋‘๊ฐ€ ๋น›์˜ ์˜ํ–ฅ์„ ๋ฐ›์ง€๋งŒ, ์•„๋ฌด๋„ ๋น›์„ ์žก์„ ์ˆ˜๋Š” ์—†์ฃ .
14:32
And in the theater, we begin each work in a dark place, devoid of light.
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์šฐ๋ฆฌ๋Š” ๋น›์ด ์—†๋Š” ์–ด๋‘์šด ๊ทน์žฅ์—์„œ ๊ฐ์ž์˜ ์ž‘ํ’ˆ์„ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
14:38
We stay up all night focusing the lights, programming the lights,
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๋ฐค์„ ์ƒˆ๋ฉด์„œ ๋น›์— ์ง‘์ค‘ํ•˜๊ณ  ๋น›์„ ํ”„๋กœ๊ทธ๋ž˜๋ฐํ•˜๋ฉฐ
14:42
trying to find new ways to sculpt and carve light.
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๋น›์„ ์กฐํ˜•ํ•˜๊ณ  ์กฐ๊ฐํ•˜๋Š” ์ƒˆ๋กœ์šด ๋ฐฉ์‹์„ ์ฐพ์•„๋‚ด๋ ค๊ณ  ํ–ˆ์Šต๋‹ˆ๋‹ค.
14:47
(Music)
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(์Œ์•…)
14:51
This is a portrait of our practice,
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์ด๊ฑด ์ €ํฌ์˜ ์‹ค์Šต๋ฌผ ์ค‘ ํ•˜๋‚˜์ž…๋‹ˆ๋‹ค.
14:57
always seeking new ways to shape and reshape light,
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๋น›์˜ ํ˜•ํƒœ๋ฅผ ๋งŒ๋“ค์–ด๋‚ด๊ธฐ ์œ„ํ•œ ์ƒˆ๋กœ์šด ๋ฐฉ์‹์„ ๊ณ„์†ํ•ด์„œ ์ถ”๊ตฌํ•˜๊ณ 
15:01
always finding words for things that we no longer need to say.
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๋”์ด์ƒ ๋งํ•  ํ•„์š”๊ฐ€ ์—†๋Š” ๊ฒƒ๋“ค์— ๋Œ€ํ•œ ์–ธ์–ด๋ฅผ ์ฐพ์•„๋‚ด๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
15:08
And I want to say that this,
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ํ•œ ๊ฐ€์ง€ ๋ง์”€๋“œ๋ฆฌ์ž๋ฉด, ์ด ์ž‘ํ’ˆ์„ ํฌํ•จํ•ด์„œ
15:13
and everything that I've just shown you,
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์—ฌ๋Ÿฌ๋ถ„๊ป˜ ๋ณด์—ฌ๋“œ๋ฆฐ ๋ชจ๋“  ๊ฒƒ๋“ค์€
15:15
no longer exists in physical form.
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๋”์ด์ƒ ๋ฌผ๋ฆฌ์ ์ธ ํ˜•ํƒœ๋กœ ์กด์žฌํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
15:18
(Music)
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(์Œ์•…)
15:20
In fact, most of what I've made over the last 25 years
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์‚ฌ์‹ค, ์ œ๊ฐ€ ์ง€๋‚œ 25๋…„๊ฐ„ ๋งŒ๋“ค์–ด์˜จ ๋Œ€๋ถ€๋ถ„์˜ ๊ฒƒ๋“ค์€
15:23
doesn't exist anymore.
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๋”์ด์ƒ ์กด์žฌํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
15:25
But our work endures in memories, in synaptic sculptures,
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ์˜ ์ž‘ํ’ˆ์€ ๊ธฐ์–ต ์†์—, ์‹œ๋ƒ…์Šค๋กœ ์—ฐ๊ฒฐ๋œ ์กฐํ˜•๋ฌผ ์†์—
15:29
in the minds of those who were once present
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ํ•œ๋•Œ ์กด์žฌํ–ˆ๋˜ ๊ด€๊ฐ์˜ ๋งˆ์Œ ์†์— ๋‚จ์•„ ์žˆ์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
15:33
in the audience.
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15:34
(Music)
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(์Œ์•…)
15:37
I once read that a poem learnt by heart
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์–ธ์  ๊ฐ€ ์ด๋Ÿฐ ๊ธ€์„ ์ฝ์€ ์ ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
์‹œ๋ฅผ ์™ธ์šด๋‹ค๋Š” ๊ฒƒ์€
15:43
is what you have left,
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๋‹น์‹ ์ด ์ ˆ๋Œ€ ์žƒ์–ด๋ฒ„๋ฆด ์ˆ˜ ์—†๋Š” ๋ฌด์–ธ๊ฐ€๋ฅผ ๋‚จ๊ธฐ๋Š” ๊ฒƒ์ด๋ผ๊ณ ์š”.
15:45
what can't be lost,
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15:47
even if your house burns down and you've lost all your possessions.
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์„ค๋ น ์ง‘์ด ๋ถˆํƒ€๊ณ , ๊ฐ€์ง„ ๋ชจ๋“  ๊ฑธ ์žƒ๊ฒŒ ๋œ๋‹ค๊ณ  ํ•˜๋”๋ผ๋„์š”.
15:51
I want to end with some lines that I learnt by heart a long time ago.
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์ €๋Š” ์˜ค๋ž˜์ „๋ถ€ํ„ฐ ์™ธ์šฐ๊ณ  ์žˆ๋Š” ๋ช‡ ์ค„์˜ ๋ฌธ์žฅ์œผ๋กœ ๋งˆ๋ฌด๋ฆฌํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
15:56
(Music)
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(์Œ์•…)
15:59
They're written by the English novelist E.M. Forster,
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์˜๊ตญ์˜ ์†Œ์„ค๊ฐ€ E.M.ํฌ์Šคํ„ฐ๊ฐ€
16:02
in 1910, just a few years before Europe, my continent,
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1910๋…„, ์ €์˜ ์œ ๋Ÿฝ ๋Œ€๋ฅ™์ด
16:06
(Music)
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(์Œ์•…)
16:08
began tearing itself apart.
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๊ฐˆ๊ธฐ๊ฐˆ๊ธฐ ์ฐข์–ด์ง€๊ธฐ ๋ฐ”๋กœ ๋ช‡ ๋…„ ์ „์— ์“ด ๋ฌธ์žฅ๋“ค์ž…๋‹ˆ๋‹ค.
16:10
(Music)
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(์Œ์•…)
16:12
And his call to convergence still resonates
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์—ฐ๊ฒฐ๊ณผ ํ†ตํ•ฉ์„ ์œ„ํ•œ ๊ทธ์˜ ์™ธ์นจ์€
16:14
through most of what we're trying to make now.
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์šฐ๋ฆฌ๊ฐ€ ๋งŒ๋“œ๋Š” ๋งŽ์€ ์ž‘ํ’ˆ๋“ค์„ ํ†ตํ•ด ์ง€๊ธˆ๋„ ์—ฌ์ „ํžˆ ์šธ๋ ค ํผ์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
16:17
(Music)
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(์Œ์•…)
16:18
"Only connect! That was the whole of her sermon.
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"๋‹จ์ง€ ์—ฐ๊ฒฐํ•˜๋ผ! ๊ทธ๋…€์˜ ์„ค๊ต๋Š” ๊ทธ๊ฒŒ ์ „๋ถ€์˜€๋‹ค.
16:23
Only connect the prose and the passion,
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์‚ฐ๋ฌธ๊ณผ ์—ด์ •์„ ์—ฐ๊ฒฐํ•˜๋ผ.
16:26
and both will be exalted,
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๊ทธ๋Ÿฌ๋ฉด ๊ทธ ์–‘์ชฝ์ด ๋ชจ๋‘ ๊ณ ์–‘๋˜๊ณ ,
16:29
And human love will be seen at its height.
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์ธ๊ฐ„์˜ ์‚ฌ๋ž‘์€ ์ •์ ์— ์ด๋ฅด๊ฒŒ ๋  ๊ฒƒ์ด๋‹ค.
16:34
Only connect! And live in fragments no longer."
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๋‹จ์ง€ ์—ฐ๊ฒฐํ•˜๋ผ! ๋‹ค์‹œ๋Š” ์กฐ๊ฐ๋‚œ ์‚ถ์„ ์‚ด์ง€ ๋งˆ๋ผ."
16:41
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
16:42
(Applause)
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(๋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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