A Choreographer's Creative Process in Real Time | Wayne McGregor | TED Talks

440,193 views ใƒป 2012-09-14

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

00:00
Translator: Joseph Geni Reviewer: Morton Bast
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๋ฒˆ์—ญ: Surie Lee ๊ฒ€ํ† : Martin Jeong
00:15
As you might imagine, I'm absolutely passionate
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์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ์ƒ๊ฐํ•˜์‹ค ์ˆ˜ ์žˆ๋“ฏ์ด
00:17
about dance. I'm passionate about making it,
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์ €๋Š” ์ถค์— ๋งค์šฐ ์—ด์ •์ ์ž…๋‹ˆ๋‹ค.
00:19
about watching it, about encouraging others
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์ถค์„ ๋งŒ๋“ค๊ณ , ์ถค์„ ๋ณด๊ณ , ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์„
00:22
to participate in it,
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์ถค์˜ ์„ธ๊ณ„๋กœ ๋Œ์–ด๋“ค์ด๋Š” ๊ฒƒ๋“ค ๋ชจ๋‘์š”.
00:23
and I'm also really passionate about creativity.
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์ฐฝ์กฐ์— ๋Œ€ํ•ด์„œ๋„ ๋งค์šฐ ์—ด์ •์ ์ž…๋‹ˆ๋‹ค.
00:26
Creativity for me is something that's absolutely critical,
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์ €์—๊ฒŒ ๋…์ฐฝ์„ฑ์ด๋ž€ ๊ฒƒ์€ ๋งค์šฐ ์ค‘์š”ํ•œ ๊ฒƒ์ด๋ฉฐ,
00:30
and I think it's something that you can teach.
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๊ฐ€๋ฅด์น  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
00:33
I think the technicities of creativity can be taught
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๋…์ฐฝ์„ฑ์˜ ๊ธฐ์ˆ ๋“ค์€ ๋ฐฐ์šธ ์ˆ˜ ์žˆ๊ณ ,
00:35
and shared, and I think you can find out things
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๊ณต์œ ๋  ์ˆ˜ ์žˆ์œผ๋ฉฐ,
00:37
about your own personal physical signature,
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์ž์‹ ์˜ ๊ฐœ์ธ์ ์ธ ์‹ ์ฒด์  ํŠน์ง•์ด๋‚˜
00:39
your own cognitive habits, and use that as
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์ธ์ง€์  ์Šต๊ด€์„ ๋ฐœ๊ฒฌํ•˜๊ณ  ์‚ฌ์šฉํ•˜๋Š” ๊ฒƒ์ด
00:41
a point of departure to misbehave beautifully.
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์•„๋ฆ„๋‹ค์šด ์ผํƒˆ์„ ์œ„ํ•œ ์‹œ์ž‘์ด ๋  ์ˆ˜ ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค
00:45
I was born in the 1970s, and John Travolta was big
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์ €๋Š” 1970๋…„๋Œ€์— ํƒœ์–ด๋‚ฌ์Šต๋‹ˆ๋‹ค.
00:49
in those days: "Grease," "Saturday Night Fever,"
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๊ทธ๋• "๊ทธ๋ฆฌ์Šค", "ํ† ์š”์ผ ๋ฐค์˜ ์—ด๊ธฐ"์˜ ์กด ํŠธ๋ผ๋ณผํƒ€๊ฐ€ ์ธ๊ธฐ์˜€์ฃ .
00:51
and he provided a fantastic kind of male role model for me
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๊ทธ๋Š” ์ œ๊ฒŒ ์•„์ฃผ ํ›Œ๋ฅญํ•œ ๋‚จ์„ฑ ๋กค ๋ชจ๋ธ๋กœ ์ถค์„ ์‹œ์ž‘ํ•˜๊ฒŒ ํ•ด์ฃผ์—ˆ์ฃ .
00:54
to start dancing. My parents were very up for me going.
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๋ถ€๋ชจ๋‹˜๋“ค์€ ์ €๋ฅผ ์ง€์ง€ํ•ด์ฃผ์…จ์Šต๋‹ˆ๋‹ค.
00:57
They absolutely encouraged me to take risks, to go,
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์ œ๊ฐ€ ์œ„ํ—˜์„ ๊ฐ์ˆ˜ํ•˜๊ณ  ๋‚˜์•„๊ฐ€๋„๋ก, ๋˜ ๊ณ„์† ์‹œ๋„ํ•˜๋„๋ก ์ „์ ์œผ๋กœ ๊ฒฉ๋ คํ•ด์ฃผ์…จ์Šต๋‹ˆ๋‹ค.
01:00
to try, to try. I had an opportunity, an access
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์ €๋Š” ์ง€์—ญ ๋Œ„์Šค ์ŠคํŠœ๋””์˜ค์— ๋“ฑ๋กํ•  ๊ธฐํšŒ๋ฅผ ์–ป์—ˆ๊ณ ,
01:04
to a local dance studio, and I had an enlightened teacher
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์ง€ํ˜œ๋กœ์šด ์„ ์ƒ๋‹˜์„ ๋งŒ๋‚ฌ์–ด์š”.
01:08
who allowed me to make up my own and invent
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์„ ์ƒ๋‹˜์€ ์ €๋งŒ์˜ ์ถค์„ ๋งŒ๋“œ๋Š” ๊ฒƒ์„ ํ—ˆ๋ฝํ•˜์…จ๊ณ 
01:11
my own dances, so what she did was let me make up
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๊ทธ๋…€์˜ ๋„์›€์œผ๋กœ ์ €๋Š”,
01:14
my own ballroom and Latin American dances to teach
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์ €๋งŒ์˜ ๋ณผ๋ฃธ ๋Œ„์Šค์™€ ๋ผํ‹ด ์•„๋ฉ”๋ฆฌ์นด ๋Œ„์Šค๋ฅผ ๋งŒ๋“ค์–ด
01:17
to my peers.
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๋™๋ฃŒ๋“ค์—๊ฒŒ ๊ฐ€๋ฅด์น˜๊ฒŒ ๋˜์—ˆ์ฃ .
01:18
And that was the very first time that I found an opportunity
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์ด ์ผ์ด ์ฒ˜์Œ์œผ๋กœ
01:21
to feel that I was able to express my own voice,
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์ œ ๋ชฉ์†Œ๋ฆฌ๋ฅผ ํ‘œํ˜„ํ•  ์ˆ˜ ์žˆ์—ˆ๋˜ ๊ธฐํšŒ์˜€์Šต๋‹ˆ๋‹ค.
01:24
and that's what's fueled me, then, to become a choreographer.
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๊ทธ๋ ‡๊ฒŒ ๋งˆ์Œ์˜ ๋ถˆ์ด ์ง€ํŽด์ ธ, ์ €๋Š” ์•ˆ๋ฌด๊ฐ€๊ฐ€ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
01:27
I feel like I've got something to say and something to share.
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์–˜๊ธฐํ•˜๊ณ  ๋‚˜๋ˆŒ ์ˆ˜ ์žˆ๋Š” ๋ฌด์–ธ๊ฐ€๋ฅผ ์–ป์€ ๊ฒƒ์ฒ˜๋Ÿผ ๋Š๋‚๋‹ˆ๋‹ค.
01:30
And I guess what's interesting is, is that I am now obsessed
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๊ทธ๋ฆฌ๊ณ  ํฅ๋ฏธ๋กœ์šด ๊ฒƒ์€ ์ œ๊ฐ€ ์ง€๊ธˆ
01:33
with the technology of the body.
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์‹ ์ฒด์˜ ๊ธฐ์ˆ ์— ๋Œ€ํ•ด ๊ฐ•๋ ฌํžˆ ์‚ฌ๋กœ์žกํ˜€ ์žˆ๋‹ค๋Š” ์ ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
01:35
I think it's the most technologically literate thing that we have,
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์ €๋Š” ๊ทธ๊ฒƒ์ด ์šฐ๋ฆฌ๊ฐ€ ๊ฐ€์ง„, ๊ธฐ์ˆ ์ ์œผ๋กœ ๊ฐ€์žฅ ํ•ด๋ฐ•ํ•œ ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
01:38
and I'm absolutely obsessed with finding a way
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š”
01:41
of communicating ideas through the body to audiences
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์‹ ์ฒด๋ฅผ ํ†ตํ•ด ๊ด€๊ฐ์—๊ฒŒ ์•„์ด๋””์–ด๋ฅผ ์ „๋‹ฌํ•˜๊ณ ,
01:44
that might move them, touch them,
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๊ทธ๋“ค์˜ ๋งˆ์Œ์„ ๋ณ€ํ™”์‹œํ‚ค๊ณ , ๊ฐ๋™์‹œํ‚ค๊ณ ,
01:47
help them think differently about things.
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๋‹ค๋ฅด๊ฒŒ ์ƒ๊ฐํ•˜๋„๋ก ๋„์™€์ฃผ๋Š” ๋ฐฉ๋ฒ•์„ ์ฐพ๋Š”๋ฐ ๋ชฐ๋‘ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
01:50
So for me, choreography is very much a process
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๊ทธ๋ž˜์„œ ์ œ๊ฒŒ ์•ˆ๋ฌด๋Š” ๋ฐ”๋กœ ์œก์ฒด์ ์œผ๋กœ ์‚ฌ๊ณ ํ•˜๋Š” ๊ณผ์ •์ž…๋‹ˆ๋‹ค.
01:52
of physical thinking. It's very much in mind,
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์‹ ์ฒด์™€ ์•„์šธ๋Ÿฌ ์ •์‹ ์˜ ์‚ฌ๊ณ  ๊ณผ์ •์ด๊ณ ,
01:56
as well as in body, and it's a collaborative process.
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ํ˜‘์—…์˜ ๊ณผ์ •์ž…๋‹ˆ๋‹ค.
01:59
It's something that I have to do with other people.
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๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค๊ณผ ํ•จ๊ป˜ ํ•ด์•ผ ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:01
You know, it's a distributed cognitive process in a way.
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ํ˜‘์—…์€ ๋ถ„ํ™”๋œ ์ธ์ง€ ๊ณผ์ •์ž…๋‹ˆ๋‹ค.
02:03
I work often with designers and visual artists,
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์ €๋Š” ์ข…์ข… ๋””์ž์ด๋„ˆ์™€ ์‹œ๊ฐ์˜ˆ์ˆ ๊ฐ€๋“ค,
02:06
obviously dancers and other choreographers,
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๊ทธ๋ฆฌ๊ณ  ๋ฌผ๋ก  ๋ฌด์šฉ์ˆ˜๋“ค ๋ฐ ๋‹ค๋ฅธ ์•ˆ๋ฌด๊ฐ€๋“ค๊ณผ ์ผํ•˜์ง€๋งŒ,
02:09
but also, more and more, with economists,
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์ ์  ๋” ๋งŽ์€ ์‚ฌ๋žŒ๋“ค๊ณผ ํ˜‘๋ ฅํ•˜๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ์˜ˆ๋ฅผ ๋“ค๋ฉด ๊ฒฝ์ œํ•™์ž,
02:13
anthropologists, neuroscientists, cognitive scientists,
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์ธ๋ฅ˜ํ•™์ž, ์‹ ๊ฒฝ๊ณผํ•™์ž, ์ธ์ง€๊ณผํ•™์ž์™€ ๊ฐ™์ด
02:17
people really who come from very different domains of
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๋‹ค๋ฅธ ์ข…๋ฅ˜์˜ ์ฐฝ์กฐ์ ์ธ ๊ณผ์ •๊ณผ ๊ด€๋ จ๋œ ์ง€์‹์„ ๊ฐ€์ง„
02:20
expertise, where they bring their intelligence to bear
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์ „๋ฌธ ๋ถ„์•ผ์— ์ผํ•˜๋Š”
02:23
on a different kind of creative process.
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์‚ฌ๋žŒ๋“ค๊ณผ ํ•จ๊ป˜ ์ผ์„ ํ•ฉ๋‹ˆ๋‹ค.
02:26
What I thought we would do today a little bit is
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์˜ค๋Š˜ ์šฐ๋ฆฌ๊ฐ€ ์กฐ๊ธˆ ํ•ด๋ณด๋ ค๊ณ  ํ•˜๋Š” ๊ฒƒ์€
02:29
explore this idea of physical thinking,
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์ด ์œก์ฒด์  ์‚ฌ๊ณ ๋ผ๋Š” ๊ฒƒ์„ ํƒ๊ตฌํ•ด๋ณด๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:31
and we're all experts in physical thinking.
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์šฐ๋ฆฌ๋Š” ๋ชจ๋‘ ์œก์ฒด์  ์‚ฌ๊ณ ์˜ ์ „๋ฌธ๊ฐ€์ž…๋‹ˆ๋‹ค.
02:33
Yeah, you all have a body, right?
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๋ชจ๋‘ ๋ชธ์ด ์žˆ์ž–์•„์š”, ๊ทธ๋ ‡์ฃ ?
02:34
And we all know what that body is like in the real world,
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ๋ชจ๋‘ ํ˜„์‹ค์—์„œ ์šฐ๋ฆฌ ๋ชธ์ด ์–ด๋–ค ๊ฒƒ์ธ์ง€ ์•Œ๊ณ  ์žˆ์ง€์š”.
02:36
so one of the aspects of physical thinking
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์šฐ๋ฆฌ๊ฐ€ ํ”ํžˆ ์ƒ๊ฐํ•˜๋Š” ์œก์ฒด์  ์‚ฌ๊ณ ์˜
02:38
that we think about a lot is this notion of proprioception,
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์ธก๋ฉด ์ค‘ ํ•˜๋‚˜๋Š” ์ž๊ธฐ ์ˆ˜์šฉ ๊ฐ๊ฐ์˜ ๊ฐœ๋…์ž…๋‹ˆ๋‹ค.
02:41
the sense of my own body in the space in the real world.
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ํ˜„์‹ค ๊ณต๊ฐ„ ์†์— ์ž์‹ ์˜ ๋ชธ์— ๋Œ€ํ•œ ๊ฐ๊ฐ์„ ๋งํ•˜์ฃ .
02:44
So, we all understand what it feels like to know
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์ž, ์šฐ๋ฆฌ๋Š” ํŒ”์„ ๋“ค์—ˆ์„ ๋•Œ
02:47
where the ends of your fingers are
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์†๊ฐ€๋ฝ ๋์ด ์–ด๋”” ์žˆ๋Š”์ง€ ์•„๋Š” ๊ฒƒ์ด
02:49
when you hold out your arms, yeah?
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์–ด๋–ค ๋Š๋‚Œ์ธ์ง€ ์•Œ๊ณ  ์žˆ์ง€์š”?
02:51
You absolutely know that when you're going to grab a cup,
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์—ฌ๋Ÿฌ๋ถ„์€ ์ปต์„ ์ง‘์„ ๋•Œ ์†์ด ์–ธ์ œ ์ปต์„ ์žก๊ฒŒ ๋˜๋Š”์ง€
02:54
or that cup moves and you have to renavigate it.
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๋˜๋Š” ์ปต์ด ์›€์ง์ด๋ฉด ๋‹ค์‹œ ์ฐพ์•„์•ผ ํ•˜๋Š” ๊ฒƒ์„ ๋ถ„๋ช…ํžˆ ์•Œ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
02:55
So we're experts in physical thinking already.
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์ฆ‰ ์šฐ๋ฆฌ๋Š” ์ด๋ฏธ ์œก์ฒด์  ์‚ฌ๊ณ ์˜ ์ „๋ฌธ๊ฐ€์ž…๋‹ˆ๋‹ค.
02:57
We just don't think about our bodies very much.
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๋‹จ์ง€ ์šฐ๋ฆฌ์˜ ๋ชธ์— ๋Œ€ํ•ด ๋งŽ์ด ์ƒ๊ฐํ•˜์ง€ ์•Š์„ ๋ฟ์ž…๋‹ˆ๋‹ค.
02:59
We only think about them when they go wrong, so, when
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์šฐ๋ฆฌ๋Š” ์–ด๋”˜๊ฐ€ ์ด์ƒ์ด ์žˆ์„ ๋•Œ๋งŒ ๋ชธ์— ๋Œ€ํ•ด ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
03:03
there's a broken arm, or when you have a heart attack,
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ํŒ”์ด ๋ถ€๋Ÿฌ์ง€๊ฑฐ๋‚˜, ์‹ฌ์žฅ๋งˆ๋น„๊ฐ€ ์™”์„ ๋•Œ์—์•ผ
03:05
then you become really very aware of your bodies.
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๋ชธ์— ๋Œ€ํ•ด ์ •๋ง๋กœ ๋งŽ์ด ์˜์‹ํ•˜๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
03:07
But how is it that we can start to think about using
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ํ•˜์ง€๋งŒ ์•ˆ๋ฌด์ ์ธ ์ƒ๊ฐ๊ณผ ์‹ ์ฒด ๊ฐ๊ฐ์  ์ง€๋Šฅ์„
03:10
choreographic thinking, kinesthetic intelligence, to arm
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์šฐ๋ฆฌ๊ฐ€ ์ข€ ๋” ์ผ๋ฐ˜์ ์œผ๋กœ ์ƒ๊ฐํ•˜๋Š” ๋ฐฉ์‹์œผ๋กœ
03:13
the ways in which we think about things more generally?
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ํŒ”์— ์ ์šฉ์‹œํ‚ค๊ธฐ ์‹œ์ž‘ํ•œ๋‹ค๋ฉด ์–ด๋–จ๊นŒ์š”?
03:15
What I thought I'd do is, I'd make a TED premiere.
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์ œ๊ฐ€ ํ•ด๋ณด๊ณ  ์‹ถ์€ ๊ฒƒ์€, ์ตœ์ดˆ์˜ TED ๊ณต์—ฐ์„ ๋งŒ๋“ค์–ด ๋ณด๋Š” ๊ฑฐ์—์š”.
03:18
I'm not sure if this is going to be good or not.
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์ž˜๋ ์ง€ ์–ด๋–จ์ง€ ๋ชจ๋ฅด๊ฒ ์ง€๋งŒ
03:21
I'll just be doing it.
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๊ทธ๋ƒฅ ํ•ด๋ณด๋„๋ก ํ• ๊ป˜์š”.
03:23
I thought what I'd do is, I'd use three versions
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์ œ๊ฐ€ ํ•˜๊ณ  ์‹ถ์€๊ฒŒ ๋ญ๋ƒํ•˜๋ฉด, ๋ฌด์—‡์ธ๊ฐ€๋ฅผ ๋งŒ๋“ค๊ธฐ ์œ„ํ•ด
03:25
of physical thinking to make something.
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์„ธ ์ข…๋ฅ˜์˜ ์œก์ฒด์  ์‚ฌ๊ณ ๋ฅผ ์‚ฌ์šฉํ•  ๊ฒ๋‹ˆ๋‹ค.
03:26
I want to introduce you. This is Paolo. This is Catarina.
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ํŒŒ์˜ฌ๋กœ์™€ ์นดํƒ€๋ฆฌ๋‚˜๋ฅผ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค
03:29
(Applause)
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(๋ฐ•์ˆ˜)
03:32
They have no idea what we're going to do.
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์ด ๋‘ ๋ช…์€ ์šฐ๋ฆฌ๊ฐ€ ๋ฌด์—‡์„ ํ• ์ง€ ์ „ํ˜€ ์•Œ์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
03:35
So this is not the type of choreography where
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์ฆ‰ ์ด๊ฒƒ์€ ์ œ๊ฐ€ ์ด๋ฏธ ๋ฌด์—‡์„ ๋งŒ๋“ค์ง€
03:37
I already have in mind what I'm going to make,
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์ œ ๋จธ๋ฆฟ์†์—์„œ ๊ณผ์ •์„ ๊ณ ์ •์‹œ์ผœ๋†“๊ณ 
03:40
where I've fixed the routine in my head
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์•ˆ๋ฌด๋ฅผ ์งœ๋†“์€ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
03:42
and I'm just going to teach it to them,
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์ €๋Š” ์ด๋“ค์—๊ฒŒ ์ด๋Œ€๋กœ ์•ˆ๋ฌด๋ฅผ ๊ฐ€๋ฅด์น˜๊ณ 
03:44
and these so-called empty vessels are just going to learn it.
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์ด๋“ค์€ ๋ฐฑ์ง€ ์ƒํƒœ์—์„œ ๊ทธ๊ฑธ ์ตํž๊ฑฐ์—์š”.
03:46
That's not the methodology at all that we work with.
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์ด๊ฑด ์šฐ๋ฆฌ๊ฐ€ ๋ณดํ†ต ์ผํ•˜๋Š” ๋ฐฉ์‹๊ณผ๋Š” ์ „ํ˜€ ๋‹ค๋ฅด์ง€๋งŒ
03:49
But what's important about it is how it is that they're
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์—ฌ๊ธฐ์„œ ์ค‘์š”ํ•œ ์ ์€ ์ด๋“ค์ด
03:53
grasping information, how they're taking information,
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์–ด๋–ป๊ฒŒ ์ •๋ณด๋ฅผ ์ดํ•ดํ•˜๊ณ , ๋˜ ๋ฐ›์•„๋“ค์ด๊ณ 
03:55
how they're using it, and how they're thinking with it.
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์–ด๋–ป๊ฒŒ ์ด์šฉํ•˜๊ณ  ์ƒ๊ฐํ•˜๋Š”๊ฐ€ ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
03:57
I'm going to start really, really simply.
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์ •๋ง ๊ฐ„๋‹จํ•˜๊ฒŒ ์‹œ์ž‘ํ•ด ๋ณผ๊ฒŒ์š”.
03:59
Usually, dance has a stimulus or stimuli, and I thought
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๋Œ€๊ฐœ ์ถค์€ ์ž๊ทน์ด ํ•„์š”ํ•ฉ๋‹ˆ๋‹ค.
04:02
I'd take something simple, TED logo, we can all see it,
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๊ฐ„๋‹จํ•œ ๊ฑธ ๊ณจ๋ผ๋ณด์ฃ . TED ๋กœ๊ณ ๋ฅผ ์‚ฌ์šฉํ•ด ๋ณผ๊นŒ์š”.
04:05
it's quite easy to work with, and I'm going to do something
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์šฐ๋ฆฌ ๋ชจ๋‘๊ฐ€ ๋ณผ ์ˆ˜ ์žˆ๊ณ , ๋งค์šฐ ๋”ฐ๋ผํ•˜๊ธฐ ์‰ฝ์ง€์š”
04:07
very simply, where you take one idea from a body,
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์•„์ฃผ ๋‹จ์ˆœํ•˜๊ฒŒ, ๋ชธ์—์„œ ํ•˜๋‚˜์˜ ์•„์ด๋””์–ด๋ฅผ ์–ป์–ด,
04:10
and it happens to be my body, and translate that
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์—ฌ๊ธฐ์„œ ๊ทธ ํ•œ ๋ชธ์€ ์ œ ๋ชธ์ด ๋˜๊ฒ ๋„ค์š”, ๊ทธ ์•„์ด๋””์–ด๋ฅผ
04:12
into somebody else's body,
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๋‹ค๋ฅธ ์‚ฌ๋žŒ์˜ ๋ชธ์œผ๋กœ ์ „๋‹ฌํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:14
so it's a direct transfer, transformation of energy.
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์ด๊ฑด ์ง์ ‘์ ์ธ ์ „๋‹ฌ์ด๋ฉฐ ์—๋„ˆ์ง€์˜ ์ „ํ™˜์ž…๋‹ˆ๋‹ค.
04:18
And I'm going to imagine this, you can do this too if you like,
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์ „ ์ด๊ฑธ ์ƒ์ƒํ•  ๊ฑฐ์—์š”, ์—ฌ๋Ÿฌ๋ถ„๋„ ํ•ด๋ณด์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:20
that I'm going to just take the letter "T" and I'm going
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๊ธ€์ž T๋ฅผ ๊ฐ€์ง€๊ณ  ๋งˆ์Œ ์†์œผ๋กœ ์ƒ์ƒํ•˜๊ณ 
04:23
to imagine it in mind, and I'm going to place that outside in
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๊ทธ๊ฒƒ์„ ํ˜„์‹ค๋กœ ๊บผ๋‚ด ๋†“์„ ๊ฒ๋‹ˆ๋‹ค.
04:26
the real world. So I absolutely see a letter "T" in front of me.
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์ œ ๋ˆˆ ์•ž์— T๋ฅผ ํ™•์‹คํžˆ ๋ด…๋‹ˆ๋‹ค.
04:29
Yeah? It's absolutely there.
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๊ทธ๋ ‡์ฃ ? ํ™•์‹คํžˆ ์—ฌ๊ธฐ ์žˆ๋„ค์š”.
04:31
I can absolutely walk around it when I see it, yeah?
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๊ทธ๊ฒƒ์„ ๋ณผ ์ˆ˜ ์žˆ๋‹ค๋ฉด ๊ทธ ์ฃผ์œ„๋ฅผ ๋ถ„๋ช…ํžˆ ๋Œ ์ˆ˜๋„ ์žˆ๊ฒ ์ฃ ?
04:34
It has a kind of a grammar. I know what I'm going to do
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๋ฌธ๋ฒ•๊ฐ™์€ ๊ฒ๋‹ˆ๋‹ค. ์ด T์ž๋กœ ๋ฌด์—‡์„ ํ• ์ง€ ์•Œ๊ณ  ์žˆ์œผ๋‹ˆ
04:36
with it, and I can start to describe it, so I can describe it
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์ด๊ฑธ ํ‘œํ˜„ํ•˜๋Š” ๊ฒƒ์„ ์‹œ์ž‘ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:39
very simply. I can describe it in my arms, right?
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๋‹จ์ˆœํ•˜๊ฒŒ ์ œ ํŒ”๋กœ ๊ธ€์ž๋ฅผ ํ‘œํ˜„ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค, ๊ทธ๋ ‡์ฃ ?
04:42
So all I did was take my hand and then I move my hand.
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์ œ๊ฐ€ ํ•œ ๊ฑด ์†์„ ๊ฐ€์ง€๊ณ  ์›€์ง์ธ ๊ฒƒ ๋ฟ์ž…๋‹ˆ๋‹ค.
04:44
I can describe it, whoa, in my head, you know? Whoa.
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์ œ ๋จธ๋ฆฌ๋กœ๋„ ๋ฌ˜์‚ฌํ•  ์ˆ˜ ์žˆ์ฃ , ๊ทธ๋ ‡์ฃ ?
04:47
Okay. I can do also my shoulder. Yeah?
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์ข‹์•„์š”. ์ œ ์–ด๊นจ๋กœ๋„ ํ•  ์ˆ˜ ์žˆ๋„ค์š”.
04:49
It gives me something to do, something to work towards.
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๋ญ˜ ํ• ์ง€, ์–ด๋–ป๊ฒŒ ๋ฐฉํ–ฅ์„ ์žก์•„์•ผ ํ• ์ง€ ์•Œ๊ฒ ๋„ค์š”.
04:52
If I were to take that letter "T" and flatten it down
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๋งŒ์•ฝ T ์ž๋ฅผ ๋ฐ”๋‹ฅ์— ํ‰ํ‰ํ•˜๊ฒŒ ๋ˆ•ํžˆ๋ฉด ์–ด๋–จ๊นŒ์š”.
04:54
on the floor, here, maybe just off the floor,
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์—ฌ๊ธฐ์š”, ๋ฐ”๋‹ฅ์—์„œ ์•ฝ๊ฐ„ ๋–จ์–ด์ง€๊ฒŒ์š”.
04:57
all of a sudden I could do maybe something with my knee,
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๊ทธ๋Ÿผ ์ œ ๋ฌด๋ฆŽ์„ ๊ฐ€์ง€๊ณ ๋„ ์ด๋ ‡๊ฒŒ ํ•ด ๋ณผ ์ˆ˜ ์žˆ๋„ค์š”.
04:58
yeah? Whoa. So If I put the knee and the arms together,
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์–ด๋•Œ์š”? ์ด์ œ ๋ฌด๋ฆŽ๊ณผ ํŒ”์„ ๋™์‹œ์— ํ•˜๋ฉด,
05:01
I've got something physical, yeah? And I can start to build something.
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๋ชธ์œผ๋กœ ๋ญ”๊ฐ€๋ฅผ ํ–ˆ์Šต๋‹ˆ๋‹ค, ๊ทธ๋ ‡์ฃ ? ์ด์ œ ๋งŒ๋“ค์–ด ๋ณผ ์ˆ˜ ์žˆ๊ฒ ๋„ค์š”.
05:05
So what I'm going to do just for one and a half minutes or so
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1๋ถ„ 30์ดˆ ์ •๋„ ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ๋ณด์—ฌ๋“œ๋ฆด ๊ฒƒ์€
05:07
is I'm going to take that concept, I'm going to make something,
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๊ทธ ๊ฐœ๋…์„ ๊ฐ€์ง€๊ณ  ์ œ๊ฐ€ ๋ญ”๊ฐ€๋ฅผ ๋งŒ๋“ค๋ฉด
05:10
and the dancers behind me are going to interpret it,
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์ œ ๋’ค์˜ ๋ฌด์šฉ์ˆ˜๋“ค์ด ๊ทธ๊ฑธ ํ•ด์„ํ•˜๊ณ 
05:12
they're going to snapshot it, they're going to take
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๊ทธ๋Œ€๋กœ ๋ณต์‚ฌํ•ด์„œ ๊ทธ๋Ÿฐ ๋ชจ์Šต์„ ์ทจํ•  ๊ฒ๋‹ˆ๋‹ค.
05:14
aspects of it, and it's almost like I'm offloading memory
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์ด๊ฑด ๋งˆ์น˜ ์ œ ๋จธ๋ฆฟ์† ์ƒ๊ฐ์„ ์ „์†กํ•ด์„œ
05:17
and they're holding onto memory? Yeah?
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์ด๋“ค์˜ ๋จธ๋ฆฟ ์†์— ๋„ฃ์–ด์ฃผ๋Š” ๊ฒƒ๊ณผ ๊ฐ™์ง€์š”?
05:19
And we'll see what we come up with.
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๊ทธ๋ฆฌ๊ณ  ๋ญ๊ฐ€ ๋งŒ๋“ค์–ด์กŒ๋Š”์ง€ ๋ณผ๊ฒ๋‹ˆ๋‹ค.
05:21
So just have a little watch about how they're, how they're
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์ด๋“ค์ด ์–ด๋–ป๊ฒŒ ํ•˜๋Š”์ง€,
05:23
accessing this and what they're doing,
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์–ด๋–ป๊ฒŒ ์ ‘๊ทผํ•ด์„œ ๋ฌด์—‡์„ ํ•˜๋Š”์ง€ ์ž ๊น ๋ณด๋„๋ก ํ•˜์ฃ .
05:24
and I'm just going to take this letter "T," the letter "E,"
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์ด์ œ T ์ž์™€ E ์ž, ๊ทธ๋ฆฌ๊ณ  D ์ž๋ฅผ ๊ฐ€์ง€๊ณ 
05:26
and the letter "D," to make something. Okay. Here goes.
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ํ•œ๋ฒˆ ๋งŒ๋“ค์–ด ๋ณด์ง€์š”. ์ž, ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
05:29
So I have to get myself in the zone. Right.
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์ผ๋‹จ ๋ชธ๊ณผ ๋งˆ์Œ์„ ์ข€ ๊ฐ€๋‹ค๋“ฌ๊ณ ์š”.
05:47
It's a bit of a cross of my arm.
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ํŒ”์ด ์ข€ ๊ผฌ์ด๋„ค์š”.
05:55
So all I'm doing is exploring this space of "T"
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์ €๋Š” ์ง€๊ธˆ T์ž์˜ ๊ณต๊ฐ„์„ ํƒํ—˜ํ•˜๋Š” ์ค‘์ž…๋‹ˆ๋‹ค.
06:00
and flashing through it with some action.
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๊ทธ๋ฆฌ๊ณ  ์›€์ง์ž„์„ ํ†ตํ•ด ํœ™ ์ง€๋‚˜์ณ๋ณด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
06:05
I'm not remembering what I'm doing.
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์ „ ์ œ๊ฐ€ ํ•˜๊ณ  ์žˆ๋Š” ๊ฑธ ๊ธฐ์–ตํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
06:08
I'm just working on my task. My task is this "T."
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๋‹จ์ง€ ์ œ ์ผ๋งŒ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค ์ œ ์ผ์€ ์ด T ์ž…๋‹ˆ๋‹ค.
06:10
Going to watch it from the side, whoa.
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์ด๋ฒˆ์—” T์ž๋ฅผ ์˜†์—์„œ ๋ฐ”๋ผ๋ด ๋ณผ๊นŒ์š”.
06:16
Strike moment.
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์ด์ œ ๋– ์˜ค๋ฅด๋Š”๊ตฐ์š”.
06:18
That's it.
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๋ฐ”๋กœ ์ด๊ฒ๋‹ˆ๋‹ค.
06:23
So we're starting to build a phrase.
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์ž, ์ด์ œ ๋ฌธ์žฅ์„ ๋งŒ๋“ค๊ธฐ ์‹œ์ž‘ํ• ๊ฒ๋‹ˆ๋‹ค.
06:27
So what they're doing, let's see, something like that,
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์ด๋“ค์ด ํ•  ๊ฒƒ์€์š”, ์ž ๋ด…์‹œ๋‹ค, ์ด๋Ÿฐ ๊ฒ๋‹ˆ๋‹ค.
06:29
so what they're doing is grasping aspects of that movement
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์›€์ง์ž„์˜ ๋ชจ์Šต์„ ๋ถ™์žก๋Š” ๊ฒƒ์ด์ฃ .
06:32
and they're generating it into a phrase.
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๊ทธ๋ฆฌ๊ณ  ๋ฌธ์žฅ์œผ๋กœ ์ƒ์„ฑํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
06:34
You can see the speed is extremely quick, yeah?
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์†๋„๊ฐ€ ๊ต‰์žฅํžˆ ๋น ๋ฅธ๊ฒŒ ๋ณด์ด์ฃ , ๊ทธ๋ ‡์ฃ ?
06:36
I'm not asking them to copy exactly.
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์ด๋“ค์—๊ฒŒ ์ €๋ฅผ ๋˜‘๊ฐ™์ด ๋”ฐ๋ผํ•˜๋ผ๋Š” ๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
06:38
They're using the information that they receive
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์ž์‹ ๋“ค์ด ๋ฐ›์€ ์ •๋ณด๋ฅผ ๊ฐ€์ง€๊ณ 
06:41
to generate the beginnings of a phrase.
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๋ฌธ์žฅ์˜ ์‹œ์ž‘์„ ๋งŒ๋“ค์–ด ๋‚ผ๊ฑฐ์—์š”.
06:44
I can watch that and that can tell me something
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๊ทธ๋Ÿผ ์ €๋Š” ๊ทธ๊ฑธ ๋ณด๊ณ  ์ด๋“ค์ด ์–ด๋–ป๊ฒŒ ์›€์ง์—ฌ์„œ
06:46
about how it is that they're moving.
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๋ฌด์—‡์„ ๋งํ•˜๋Š”์ง€๋ฅผ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:49
Yeah, they're super quick, right?
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๋ณด์„ธ์š”, ์•„์ฃผ ๋น ๋ฅด์ฃ , ๊ทธ๋ ‡์ฃ ?
06:52
So I've taken this aspect of TED and translated it
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TED์˜ ๋ชจ์Šต์„ ๊ฐ€์ง€๊ณ  ํ•ด์„ํ•ด์„œ
06:56
into something that's physical.
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๋ชธ์œผ๋กœ ํ‘œํ˜„ํ•ด๋ดค์Šต๋‹ˆ๋‹ค.
07:00
Some dancers, when they're watching action,
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์–ด๋–ค ๋ฌด์šฉ์ˆ˜๋“ค์€ ๋™์ž‘์„ ๋ณผ ๋•Œ
07:03
take the overall shape, the arc of the movement,
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์ „์ฒด์ ์ธ ๋ชจ์–‘, ์›€์ง์ž„์˜ ํœ˜์–ด์ง„ ์ •๋„์™€
07:05
the kinetic sense of the movement,
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๋™์ ์ธ ๋Š๋‚Œ์„ ์žก์•„๋‚ด์„œ
07:08
and use that for memory.
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๊ธฐ์–ตํ•ฉ๋‹ˆ๋‹ค.
07:09
Some work very much in specific detail.
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์–ด๋–ค ๋ฌด์šฉ์ˆ˜๋“ค์€ ํŠน์ • ์„ธ๋ถ€์  ์š”์†Œ๋ฅผ ์ด์šฉํ•˜์ฃ .
07:11
They start with small little units and build it up.
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๊ทธ๋“ค์€ ์›€์ง์ž„์„ ์ž‘์€ ์š”์†Œ์—์„œ ์‹œ์ž‘ํ•ด ํ‚ค์›Œ๋‚˜๊ฐ‘๋‹ˆ๋‹ค.
07:15
Okay, you've got something? One more thing.
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์ž, ๋ญ”๊ฐ€ ๋งŒ๋“ค์–ด๋ƒˆ๋‚˜์š”? ํ•œ ๊ฐ€์ง€ ๋”.
07:33
So they're solving this problem for me,
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๋ฌด์šฉ์ˆ˜๋“ค์ด ์ €์˜ ๋ฌธ์ œ๋ฅผ ํ’€์–ด๋‚ด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
07:36
having a little --
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์•ฝ๊ฐ„์˜ ํžŒํŠธ๋ฅผ ๊ฐ€์ง€๊ณ ์š”.
07:40
They're constructing that phrase.
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์ด๋“ค์ด ๊ทธ ๋ฌธ์žฅ์„ ๊ตฌ์„ฑํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
07:42
They have something and they're going to hold on to it,
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๋ฌด์—‡์ธ๊ฐ€๋ฅผ ๊ฐ€์ง€๊ณ  ๊ทธ๊ฒƒ์„ ์ด์šฉํ• ๊ฒ๋‹ˆ๋‹ค.
07:43
yeah? One way of making.
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๊ทธ๋ ‡์ฃ ? ์ฐฝ์ž‘ํ•˜๋Š” ๋ฐฉ๋ฒ• ์ค‘ ํ•˜๋‚˜์ž…๋‹ˆ๋‹ค.
07:45
That's going to be my beginning in this world premiere.
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์ด๊ฒƒ์ด ์ด ์•ˆ๋ฌด์˜ ์„ธ๊ณ„ ์ตœ์ดˆ ๊ณต์—ฐ์˜ ์‹œ์ž‘์ด ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
07:47
Okay. From there I'm going to do a very different thing.
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์—ฌ๊ธฐ์„œ๋ถ€ํ„ฐ ์•„์ฃผ ๋‹ค๋ฅธ ๊ฒƒ์„ ํ•œ ๋ฒˆ ํ•ด๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
07:49
So basically I'm going to make a duet.
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๋งํ•˜์ž๋ฉด ๋“€์—ฃ ๊ณต์—ฐ์„ ๋งŒ๋“ค๊ฑฐ์—์š”.
07:52
I want you to think about them as architectural objects,
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์ด๋“ค์„ ๊ฑด์ถ• ์š”์†Œ์™€ ๊ฐ™์ด ์ƒ๊ฐํ•ด ๋ณด์„ธ์š”.
07:56
so what they are, are just pure lines.
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์ด๋“ค์€ ์ˆœ์ˆ˜ํ•œ ์„ ์ž…๋‹ˆ๋‹ค.
07:58
They're no longer people, just pure lines, and I'm going
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์‚ฌ๋žŒ์œผ๋กœ ๋ณด์ง€ ๋ง๊ณ , ์ˆœ์ˆ˜ํ•œ ์„ ์œผ๋กœ ๋ณด์„ธ์š”.
08:01
to work with them almost as objects to think with, yeah?
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์ด๋“ค์„ ์ œ๊ฐ€ ์ƒ๊ฐํ•˜๋Š”๋ฐ ๋„๊ตฌ์ฒ˜๋Ÿผ ์‚ฌ์šฉํ•  ๊ฒ๋‹ˆ๋‹ค.
08:05
So what I'm thinking about is taking
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์ œ๊ฐ€ ์ƒ๊ฐํ•˜๋Š” ๊ฒƒ์€
08:07
a few physical extensions from the body as I move, and
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์ œ๊ฐ€ ์›€์ง์ด๋Š”๋Œ€๋กœ ์•ฝ๊ฐ„์˜ ์‹ ์ฒด์  ์—ฐ์žฅ์„ ์ด์šฉํ•ด์„œ
08:11
I move them, and I do that by suggesting things to them:
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์ด๋“ค์„ ์›€์ง์ผ๊ฒ๋‹ˆ๋‹ค, ๊ทธ๋ฆฌ๊ณ  ์–ด๋–ป๊ฒŒ ํ• ์ง€๋ฅผ ์ œ์•ˆํ• ๊ฒ๋‹ˆ๋‹ค.
08:13
If, then; if, then. Okay, so here we go.
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์ด๋ ‡๊ฒŒ ํ•˜๋ฉด ์ด๋ ‡๊ฒŒ, ์ €๋ ‡๊ฒŒ ํ•˜๋ฉด ์ €๋ ‡๊ฒŒ, ์ž ์‹œ์ž‘ํ•ด ๋ด…์‹œ๋‹ค.
08:17
Just grab this arm.
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์ด ํŒ”์„ ์ด๋ ‡๊ฒŒ ์žก๊ณ ์„œ,
08:18
Can you place that down into the floor?
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ํŒ”์„ ์ข€ ๋” ๋ฐ”๋‹ฅ์ชฝ์œผ๋กœ ๋‚ด๋ ค๋ณด๊ฒ ์–ด์š”?
08:21
Yeah, down to the floor. Can you go underneath?
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์ข‹์•„์š”, ๋ฐ”๋‹ฅ์ชฝ์œผ๋กœ ๋”, ๊ทธ ๋ฐ‘์œผ๋กœ ์ง€๋‚˜๊ฐ€ ๋ณผ๋ž˜์š”?
08:23
Yeah. Cat, can you put leg over that side? Yeah.
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์ข‹์Šต๋‹ˆ๋‹ค. ์บ์„œ๋ฆฐ, ๋‹ค๋ฆฌ๋ฅผ ์ € ์ชฝ์œผ๋กœ ๋†“์•„๋ด์š”. ์ข‹์•„์š”.
08:27
Can you rotate?
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๋Œ์•„๋ณด์„ธ์š”.
08:28
Whoom, just go back to the beginning.
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์Œ, ์ฒ˜์Œ์œผ๋กœ ๋‹ค์‹œ ๋Œ์•„๊ฐ€๋ด…์‹œ๋‹ค.
08:29
Here we go, ready? And ... bam, bake ... (clicks metronome)
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์ž, ๊ฐ‘์‹œ๋‹ค. ์ค€๋น„๋˜์—ˆ๋‚˜์š”? ํ•˜๋‚˜ ๋‘˜, (๋ฐ•์ž)
08:36
Great. Okay, from there, you're both getting up.
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์ข‹์Šต๋‹ˆ๋‹ค. ์ €๊ธฐ์„œ๋ถ€ํ„ฐ, ๋‘˜ ๋‹ค ์ผ์–ด๋‚˜์„ธ์š”.
08:38
You're both getting up. Here we go. Good, now? Them.
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๋‘˜ ๋‹ค ์ผ์–ด๋‚˜๋Š” ๊ฑฐ์—์š”, ๋‹ค์‹œ ๊ฐ‘์‹œ๋‹ค, ์ข‹์Šต๋‹ˆ๋‹ค.
08:41
(Applause)
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(๋ฐ•์ˆ˜)
08:43
So from there, from there, we're both getting up,
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๊ฑฐ๊ธฐ์„œ๋ถ€ํ„ฐ, ๊ทธ๋ž˜์š” ๊ฑฐ๊ธฐ์„œ๋ถ€ํ„ฐ, ํ•จ๊ป˜ ์ผ์–ด๋‚˜๋Š” ๊ฑฐ์—์š”.
08:45
we're both getting up, going in this direction,
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ํ•จ๊ป˜ ์ผ์–ด๋‚˜์„œ ์ด ๋ฐฉํ–ฅ์œผ๋กœ ๊ฐ€์„œ,
08:47
going underneath. Whoa, whoa, underneath.
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์•„๋ž˜๋กœ ์ง€๋‚˜๊ฐ€์„œ, ์ข‹์•„์š”, ์•„๋ž˜๋กœ,
08:49
Whoa, underneath, whoo-um. Yeah? Underneath. Jump.
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์•„๋ž˜๋กœ, ์•„๋ž˜๋กœ, ์ ํ”„!
08:53
Underneath. Jump. Paolo, kick. Don't care where. Kick.
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์•„๋ž˜๋กœ, ์ ํ”„! ํŒŒ์˜ฌ๋กœ, ๋ฐœ์„ ์ฐจ์ฃผ๊ณ , ์–ด๋””๋“  ์ƒ๊ด€์—†์–ด์š”. ํ‚ฅ!
08:57
Kick, replace, change a leg. Kick, replace, change the leg.
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ํ‚ฅ, ๋ฐ”๊ฟ”์š”. ๋ฐœ์„ ๋ฐœ๊ฟ”์„œ, ํ‚ฅ, ๋ฐ”๊พธ๊ณ , ๋ฐœ์„ ๋ฐ”๊พธ๊ณ .
09:01
Yeah? Okay? Cat, almost get his head. Almost get his head.
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์ข‹์•„์š”. ์•Œ๊ฒ ์ฃ ? ์บ์„œ๋ฆฐ, ํŒŒ์˜ฌ๋กœ ๋จธ๋ฆฌ๋ฅผ ๋ถ™์žก๋“ฏ์ด, ๊ทธ๋ ‡๊ฒŒ,
09:04
Whoaa. Just after it, maybe. Whoaa, whaaay, ooh.
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์ž, ๋ฐ”๋กœ ๋‹ค์Œ์—, ์Œ ์ด๋ ‡๊ฒŒ, ์˜ค ์ข‹์•„์š”.
09:09
Grab her waist, come up back into her first, whoom, spin,
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ํ—ˆ๋ฆฌ๋ฅผ ๊ฐ์‹ธ์„ธ์š”. ์ฒ˜์Œ์— ๊ทธ๋…€ ๋’ค๋กœ ๋‹ค๊ฐ€์„œ์„œ, ๋Œ๊ณ ,
09:14
turn her, whoo-aa. (Snaps) Great.
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๊ทธ๋…€๋ฅผ ๋Œ๋ ค์š”, (๋ฐ•์ˆ˜) ์ข‹์•„์š”.
09:15
Okay, let's have a little go from the beginning of that.
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์ž, ์ฒ˜์Œ๋ถ€ํ„ฐ ์–ด๋”” ํ•œ ๋ฒˆ ํ•ด๋ด…์‹œ๋‹ค.
09:17
Just, let me slow down here. Fancy having eight -- (Laughter)
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์ž, ์—ฌ๊ธฐ์„œ๋ถ€ํ„ฐ ์ฒœ์ฒœํžˆ, 8์‹œ๊ฐ„ ๋™์•ˆ (์›ƒ์Œ)
09:23
Fancy having eight hours with me in a day.
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ํ•˜๋ฃจ ์ค‘ 8์‹œ๊ฐ„ ๋™์•ˆ ์ €์™€ ๊ฐ™์ด ์žˆ์—ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ด๋ด์š”.
09:26
So, maybe too much. So, here we go, ready, and -- (Clicks metronome)
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์•„๋งˆ๋„ ๋„ˆ๋ฌด ๋งŽ๊ฒ ์ฃ . ์ž, ๊ฐ‘์‹œ๋‹ค, ์ค€๋น„, ์‹œ์ž‘ (๋ฐ•์ž)
09:30
(Clicks metronome)
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(๋ฐ•์ž)
09:38
Nice, good job. Yeah? Okay. (Applause)
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ํ›Œ๋ฅญํ•ฉ๋‹ˆ๋‹ค. ์ข‹์•„์š”. (๋ฐ•์ˆ˜)
09:41
Okay, not bad. (Applause) A little bit more?
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์ข‹์•„์š”, ๋‚˜์˜์ง€ ์•Š๋„ค์š”. (๋ฐ•์ˆ˜) ์กฐ๊ธˆ ๋” ํ•ด๋ณผ๊นŒ์š”?
09:44
Yeah. Just a little bit more, here we go, from that place.
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์ข‹์•„์š”, ์กฐ๊ธˆ๋งŒ ๋”, ์ž ๋‹ค์‹œ, ๊ฑฐ๊ธฐ์„œ๋ถ€ํ„ฐ,
09:47
Separate. Face the front. Separate. Face the front.
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๋–จ์–ด์ง€๊ณ , ์ •๋ฉด์„ ๋งˆ์ฃผ๋ณด๊ณ , ๋–จ์–ด์ง€๊ณ , ์ •๋ฉด์„ ๋ณด๊ณ ,
09:49
Imagine that there's a circle in front of you, yeah?
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์•ž์— ์›์ด ์žˆ๋‹ค๊ณ  ์ƒ์ƒํ•ด๋ด์š”.
09:52
Avoid it. Avoid it. Whoom. Kick it out of the way.
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๊ทธ๊ฑธ ํ”ผํ•˜๊ณ , ํ”ผํ•ด์š”, ๊ทธ๊ฑธ ๋ฐœ๋กœ ์ฐจ๋ฒ„๋ ค์š”.
09:56
Kick it out of the way. Throw it into the audience. Whoom.
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๋ฐœ๋กœ ์ฐจ์„œ ์น˜์šฐ๊ณ , ๊ด€๊ฐ์„ ํ–ฅํ•ด ๋˜์ ธ์š”.
10:00
Throw it into the audience again.
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๋‹ค์‹œ ํ•œ ๋ฒˆ ๊ด€์ค‘์„์œผ๋กœ ๋˜์ง€๊ณ ,
10:02
We've got mental architecture, we're sharing it,
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์ •์‹ ์  ๊ฑด์ถ•๊ฐ€๊ฐ€ ์—ฌ๊ธฐ ์žˆ์–ด์š”. ์„œ๋กœ ๋‚˜๋ˆ„๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
10:03
therefore solving a problem. They're enacting it.
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๋ฌธ์ œ๋ฅผ ํ’€์–ด๋‚˜๊ฐ€๊ณ  ์žˆ์ง€์š”. ๊ทธ๊ฑธ ์—ฐ๊ธฐํ•˜๊ณ  ์žˆ๋Š” ๊ฑฐ์—์š”.
10:05
Let me just see that a little bit. Ready, and go.
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์กฐ๊ธˆ ๋” ํ•ด๋ณด๋„๋ก ํ•˜์ง€์š”. ์ค€๋น„, ์‹œ์ž‘.
10:07
(Clicks metronome)
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(๋ฐ•์ž)
10:12
Okay, brilliant. Okay, here we go. From the beginning,
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์•„์ฃผ ์ข‹์•„์š”, ์ข‹์Šต๋‹ˆ๋‹ค. ์ž, ์ฒ˜์Œ๋ถ€ํ„ฐ ํ•ด๋ณผ๊นŒ์š”.
10:14
can we do our phrases first? And then that.
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๋ฌธ์žฅ์˜ ์‹œ์ž‘๋ถ€ํ„ฐ ํ•ด๋ณผ๊นŒ์š”? ๊ทธ๋ฆฌ๊ณ  ๊ทธ ๋‹ค์Œ,
10:17
And we're going to build something now, organize it,
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์šฐ๋ฆฌ๋Š” ์ง€๊ธˆ ๋ฌด์–ธ๊ฐ€๋ฅผ ๋งŒ๋“ค๊ณ  ์ •๋ฆฌํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
10:18
the phrases. Here we go. Nice and slow?
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๋ฐ”๋กœ ๋ฌธ์žฅ์ด์ฃ . ์ž ๋‹ค์‹œ, ์ฒœ์ฒœํžˆ ์ž˜ ํ•ด๋ด…์‹œ๋‹ค.
10:20
Ready and go ... um. (Clicks metronome)
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์ค€๋น„, ์‹œ์ž‘ (๋ฐ•์ž)
10:23
(Clicks metronome)
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(๋ฐ•์ž)
10:28
The duet starts. (Clicks metronome)
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๋“€์—ฃ๋ถ€๋ถ„ ์‹œ์ž‘ํ•˜๊ณ ์š”. (๋ฐ•์ž)
10:31
(Clicks metronome)
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(๋ฐ•์ž)
10:45
So yeah, okay, good. Okay, nice, very nice. (Applause)
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์ž, ์ข‹์Šต๋‹ˆ๋‹ค, ์•„์ฃผ ์ข‹์•„์š”, (๋ฐ•์ˆ˜)
10:48
So good. So -- (Applause)
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์•„์ฃผ ํ›Œ๋ฅญํ•ด์š”. (๋ฐ•์ˆ˜)
10:50
Okay. So that was -- (Applause)
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์ž, ์•„์ฃผ (๋ฐ•์ˆ˜)
10:53
Well done. (Applause)
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์ž˜ ๋˜์—ˆ์–ด์š”. (๋ฐ•์ˆ˜)
10:55
That was the second way of working.
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์ด๊ฒƒ์ด ์ž‘์—…์˜ ๋‘๋ฒˆ์งธ ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค.
10:57
The first one, body-to-body transfer, yeah,
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์ฒซ๋ฒˆ์งธ๋Š” ๋ชธ์—์„œ ๋ชธ์œผ๋กœ ์ „ํ•ด์ง€๋Š” ๊ฒƒ์ด๊ณ ์š”,
10:59
with an outside mental architecture that I work with
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์ œ๊ฐ€ ์ž‘์—…ํ•œ ์™ธ๋ถ€์˜ ์ •์‹ ์  ๊ฑด์ถ•๋ฌผ์„ ๊ฐ€์ง€๊ณ 
11:02
that they hold memory with for me.
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์ด๋“ค์ด ๊ธฐ์–ตํ•˜๊ณ  ์žˆ์—ˆ๋˜ ๊ฒƒ์ด์ฃ 
11:04
The second one, which is using them as objects to think
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๋‘๋ฒˆ์งธ๋Š” ์ด๋“ค์„ ์ƒ๊ฐ์˜ ๋„๊ตฌ๋กœ ์‚ฌ์šฉํ•ด์„œ
11:06
with their architectural objects, I do a series of
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๊ทธ๋“ค์˜ ๊ฑด์ถ• ๋„๊ตฌ๋ฅผ ์‚ฌ์šฉํ•ด์„œ ๋ง์ด์ฃ 
11:08
provocations, I say, "If this happens, then that.
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"์ด๋ ‡๊ฒŒ ํ•˜๋ฉด ์ด๋ ‡๊ณ , ์ €๋ ‡๊ฒŒ ํ•˜๋ฉด ์ €๋ ‡๋‹ค"๋Š” ์‹์˜
11:10
If this, if that happens -- " I've got lots of methods like that,
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์ˆœ์ฐจ์  ์ž๊ทน์„ ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค. ์ด๋Ÿฐ ์—ฌ๋Ÿฌ๊ฐ€์ง€ ๋ฐฉ๋ฒ•์ด ์žˆ์ง€์š”.
11:13
but it's very, very quick, and this is a third method.
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ํ•˜์ง€๋งŒ ์ด ๋ฐฉ๋ฒ•์€ ๋งค์šฐ ๋น ๋ฅด์ฃ , ๋งค์šฐ ์‹ ์†ํ•ฉ๋‹ˆ๋‹ค ๊ทธ๋ฆฌ๊ณ  ๋‹ค์Œ์ด ์„ธ๋ฒˆ์งธ ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค.
11:15
They're starting it already, and this is a task-based method,
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์ด๋ฏธ ์‹œ์ž‘ํ–ˆ๋„ค์š”, ์ด ๋ฐฉ๋ฒ•์€ ๊ณผ์ œ ์ค‘์‹ฌ์˜ ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค.
11:18
where they have the autonomy to make
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์ด ๋ฐฉ๋ฒ•์—์„œ๋Š” ๋ฌด์šฉ์ˆ˜๋“ค ์ž์‹ ์ด ์Šค์Šค๋กœ
11:20
all of the decisions for themselves.
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๋ชจ๋“  ๊ฒฐ์ •์„ ํ•  ์ˆ˜ ์žˆ๋Š” ์ž์œจ์„ฑ์ด ์žˆ์ง€์š”.
11:21
So I'd like us just to do, we're going to do a little
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์šฐ๋ฆฌ๊ฐ€ ํ•˜๋ ค๊ณ  ํ•˜๋Š” ๊ฒƒ์€
11:23
mental dance, a little, in this little one minute,
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์•„์ฃผ ์งง๊ฒŒ ์ผ ๋ถ„ ์ •๋„๋งŒ ๋จธ๋ฆฟ์†์—์„œ ์ถค์„ ์ถ”๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:26
so what I'd love you to do is imagine,
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์—ฌ๋Ÿฌ๋ถ„๋„ ํ•œ๋ฒˆ ์ƒ์ƒํ•ด๋ณด์„ธ์š”.
11:28
you can do this with your eyes closed, or open, and if you
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๋ˆˆ์„ ๊ฐ๊ณ ์„œ, ์•„๋‹ˆ๋ฉด ๋œจ๊ณ ์„œ ํ•ด๋ณด์„ธ์š”.
11:30
don't want to do it you can watch them, it's up to you.
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์•„๋‹ˆ๋ฉด ๊ทธ๋ƒฅ ์ด๋“ค์ด ํ•˜๋Š” ๊ฑธ ๋ณด์…”๋„ ๋ฉ๋‹ˆ๋‹ค. ๋งˆ์Œ ๊ฐ€๋Š”๋Œ€๋กœ ํ•˜์„ธ์š”.
11:33
Just for a second, think about that word "TED" in front of
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์ž ๊น๋งŒ ์—ฌ๋Ÿฌ๋ถ„ ์•ž์— TED ๋ผ๋Š” ๋‹จ์–ด๊ฐ€ ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ด๋ณด์„ธ์š”.
11:36
you, so it's in mind, and it's there right in front of your mind.
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์ด์ œ ๊ทธ๊ฒƒ์€ ๋งˆ์Œ ์†์— ์žˆ๋Š”๊ฑฐ์—์š”, ์—ฌ๋Ÿฌ๋ถ„ ๋งˆ์Œ ๋ฐ”๋กœ ์•ž์— ์žˆ์Šต๋‹ˆ๋‹ค
11:40
What I'd like you to do is transplant that outside
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์—ฌ๋Ÿฌ๋ถ„๋“ค์—๊ฒŒ ์š”์ฒญ๋“œ๋ฆด ๊ฒƒ์€ ์ด ๋‹จ์–ด๋ฅผ ๋ฐ–์œผ๋กœ ๊บผ๋‚ด์–ด
11:42
into the real world, so just imagine that word "TED"
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ํ˜„์‹ค์— ์ด์‹ํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค, ์ฆ‰, TED ๋ผ๋Š” ๋‹จ์–ด๋ฅผ
11:45
in the real world.
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ํ˜„์‹ค์—์„œ ์ƒ์ƒํ•ด๋ณด์„ธ์š”.
11:48
What I'd like you to do what that is take an aspect of it.
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์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ํ•  ์ผ์€ ๊ทธ ๋ชจ์Šต์„ ์žก์•„๋‚ด๋Š” ๊ฒ๋‹ˆ๋‹ค
11:51
I'm going to zone in on the "E," and I'm going to
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์ €๋Š” E ์ž๋ฆฌ๋กœ ๊ฐ€์„œ, E์˜ ํฌ๊ธฐ๋ฅผ ์žด ๊ฒ๋‹ˆ๋‹ค.
11:54
scale that "E" so it's absolutely massive,
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์–ด๋งˆ์–ด๋งˆํ•˜๊ฒŒ ํฌ๋„ค์š”.
11:57
so I'm scaling that "E" so it's absolutely massive,
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์ด๋ ‡๊ฒŒ E์˜ ํฌ๊ธฐ๋ฅผ ์žฌ๋Š”๊ฑฐ์ฃ . ์—„์ฒญ๋‚˜๊ฒŒ ํฝ๋‹ˆ๋‹ค.
11:59
and then I'm going to give it dimensionality.
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๊ทธ ๊ธ€์ž์— ์ž…์ฒด๊ฐ์„ ์ค„๊ฑฐ์—์š”.
12:00
I'm going to think about it in 3D space. So now,
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3์ฐจ์› ์ž…์ฒด ํ˜•์ƒ์œผ๋กœ ์ƒ๊ฐํ•˜๋ฉด,
12:03
instead of it just being a letter that's in front of me,
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E๋Š” ๋‹จ์ˆœํžˆ ๋‚ด ์•ž์— ์žˆ๋Š” ๊ธ€์ž๊ฐ€ ์•„๋‹ˆ๋ผ
12:05
it's a space that my body can go inside of.
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๋‚ด ๋ชธ์ด ๋“ค์–ด๊ฐˆ ์ˆ˜ ์žˆ๋Š” ๊ณต๊ฐ„์ด ๋˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
12:08
I now decide where I'm going to be in that space,
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์ด์ œ ์ œ๊ฐ€ ์ด ๊ณต๊ฐ„์˜ ์–ด๋””์— ์žˆ์„๊ฑด์ง€ ์ •ํ•  ๊ฒ๋‹ˆ๋‹ค.
12:11
so I'm down on this small part of the bottom rib
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์—ฌ๊ธฐ E์ž์˜ ์•„๋žซ ์ˆ˜ํ‰์„ ์˜ ์ž‘์€ ๋ถ€๋ถ„์— ์žˆ๋Š”๊ฑฐ์—์š”.
12:15
of the letter "E," and I'm thinking about it, and I'm imagining
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์ง€๊ธˆ ๊ทธ๊ฒƒ์„ ์ƒ๊ฐํ•˜๊ณ  ์žˆ์–ด์š”, ๊ทธ๋ฆฌ๊ณ 
12:18
this space that's really high and above. If I asked you to
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์ด ๊ณต๊ฐ„์ด ๋งค์šฐ ๋†’๋‹ค๊ณ  ์ƒ์ƒํ•˜๊ณ  ์žˆ์–ด์š”.
12:22
reach out โ€” you don't have to literally do it, but in mind โ€”
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๋งŒ์•ฝ, ์‹ค์ œ๋กœ ํ•˜์‹ค ํ•„์š”๋Š” ์—†์ง€๋งŒ, ์ƒ์ƒ ์†์—์„œ
12:24
reach out to the top of the "E," where would you reach?
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E์ž์˜ ๊ผญ๋Œ€๊ธฐ์— ๋‹ฟ์œผ๋ ค๋ฉด, ์–ด๋””๊นŒ์ง€ ๊ฐ€ ๋‹ฟ์„๊นŒ์š”?
12:27
If you reach with your finger, where would it be?
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์†๊ฐ€๋ฝ์œผ๋กœ ๊ฐ€๋ฆฌํ‚ค๋ ค๋ฉด ์–ด๋””์ฏค์ผ๊นŒ์š”?
12:29
If you reach with your elbow, where would it be?
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ํŒ”๊ฟˆ์น˜๋กœ ๊ฐ€๋ฆฌํ‚ค๋ฉด์š”?
12:32
If I already then said about that space that you're in,
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์ด๋ฏธ ์—ฌ๋Ÿฌ๋ถ„์ด ์žˆ๋Š” ๊ณต๊ฐ„์— ๋Œ€ํ•ด ๋ง์”€๋“œ๋ ธ๋‹ค๋ฉด
12:36
let's infuse it with the color red, what does that do
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๊ทธ๊ณณ์„ ๋ถ‰์€ ์ƒ‰์œผ๋กœ ๋ฌผ๋“ค์—ฌ ๋ณด์„ธ์š”
12:38
to the body? If I then said to you, what happens if
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๋ชธ์—๋Š” ์–ด๋–ค ์ผ์ด ์ผ์–ด๋‚ ๊นŒ์š”?
12:41
that whole wall on the side of "E" collapses and you have to
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๊ทธ๋ฆฌ๊ณ  ์ด์ œ ์ œ๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ E์ž ์˜†๋ถ€๋ถ„์ธ ์ˆ˜์ง์„ ์ด ๋ฌด๋„ˆ์ง€๊ณ  ์žˆ์–ด์„œ
12:44
use your weight to put it back up,
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๋‹น์‹ ์˜ ๋ชธ์„ ์ด์šฉํ•ด ์ œ์ž๋ฆฌ๋กœ ๋Œ๋ ค ๋†“์•„์•ผ ํ•œ๋‹ค๊ณ  ํ•˜๋ฉด
12:46
what would you be able to do with it?
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์–ด๋–ป๊ฒŒ ํ•˜๋Š”๊ฒŒ ์ข‹์„๊นŒ์š”?
12:49
So this is a mental picture, I'm describing a mental,
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์ด๊ฒƒ์ด ์ •์‹ ์  ๊ทธ๋ฆผ์ž…๋‹ˆ๋‹ค. ์ œ๊ฐ€ ๋ฌ˜์‚ฌํ•œ ๊ฒƒ์€ ์ •์‹ ์ ์œผ๋กœ
12:51
vivid picture that enables dancers to make choices
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์„ ๋ช…ํ•œ ๊ทธ๋ฆผ์„ ๊ทธ๋ ค ๋ฌด์šฉ์ˆ˜๋“ค์ด ๋ฌด์—‡์„ ๋งŒ๋“ค์ง€
12:55
for themselves about what to make.
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์„ ํƒ์„ ํ•  ์ˆ˜ ์žˆ๋„๋ก ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
12:57
Okay, you can open your eyes if you had them closed.
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์ž, ๋ˆˆ์„ ๊ฐ์œผ์…จ๋˜ ๋ถ„๋“ค์€ ์ด์ œ ๋– ์ฃผ์‹œ๊ณ ์š”.
12:58
So the dancers have been working on them.
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๋ฌด์šฉ์ˆ˜๋“ค์ด ์ž‘์—…์„ ํ–ˆ์—ˆ์ฃ .
13:00
So just keep working on them for a little second.
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์กฐ๊ธˆ๋งŒ ์‹œ๊ฐ„์„ ๋” ์ค์‹œ๋‹ค.
13:02
So they've been working on those mental architectures in the here.
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๋ฐ”๋กœ ์—ฌ๊ธฐ์„œ ์ด๋“ค์ด ๋จธ๋ฆฌ ์†์—์„œ ์„ค๊ณ„๋ฅผ ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
13:05
I know, I think we should keep them as a surprise.
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๋„ค, ๋งž์•„์š”. ๊นœ์ง ๋†€๋ผ๋„๋ก ๊ทธ๋Œ€๋กœ ๋‘์–ด์•ผ์ฃ 
13:07
So here goes, world premiere dance. Yeah? Here we go.
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์ž, ์ด์ œ ๊ฐ‘๋‹ˆ๋‹ค. ์„ธ๊ณ„ ์ตœ์ดˆ ๊ณต์—ฐ์„ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
13:10
TED dance. Okay. Here it comes. I'm going to organize it quickly.
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TED ๋Œ„์Šค๋ฅผ ๊ณต๊ฐœํ•ฉ๋‹ˆ๋‹ค. ๋น ๋ฅด๊ฒŒ ์ •๋ฆฌํ•ด๋ณผ๊ป˜์š”.
13:13
So, you're going to do the first solo that we made,
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๋จผ์ € ๊ฐ™์ด ๋งŒ๋“ค์—ˆ๋˜ ์†”๋กœ ๋ถ€๋ถ„์„ ํ•˜๊ณ ,
13:17
yeah blah blah blah blah, we go into the duet, yeah,
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์ข‹์•„์š”, ์ด๋ ‡๊ฒŒ ์ด๋ ‡๊ฒŒ, ์ด์ œ ๋“€์—ฃ ๋ถ€๋ถ„์ž…๋‹ˆ๋‹ค
13:19
blah blah blah blah. The next solo, blah blah blah blah,
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์ด๋ ‡๊ฒŒ ์ด๋ ‡๊ฒŒ, ๊ทธ ๋‹ค์Œ ์†”๋กœ, ์ด๋ ‡๊ฒŒ ์ด๋ ‡๊ฒŒ
13:23
yeah, and both at the same time, you do the last solutions.
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์ข‹์•„์š”, ๋‘˜ ๋‹ค ๋™์‹œ์—, ๋งˆ์ง€๋ง‰ ๊ฒฐ๋ง ๋ถ€๋ถ„์„ ํ•˜๊ณ ์š”.
13:27
Okay? Okay. Ladies and gentlemen, world premiere,
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์ž˜ ๋์ฃ ? ์ข‹์Šต๋‹ˆ๋‹ค, ์‹ ์‚ฌ์ˆ™๋…€ ์—ฌ๋Ÿฌ๋ถ„, ์„ธ๊ณ„ ์ตœ์ดˆ์˜
13:29
TED dance, three versions of physical thinking. (Applause)
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์„ธ ๊ฐ€์ง€ ๋ฐฉ์‹์˜ ์œก์ฒด์  ์‚ฌ๊ณ ๋ฅผ ํ†ตํ•œ TED ๋Œ„์Šค๋ฅผ ๊ณต๊ฐœํ•ฉ๋‹ˆ๋‹ค. (๋ฐ•์ˆ˜)
13:32
Well, clap afterwards, let's see if it's any good, yeah? (Laughter)
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์ž, ๋ฐ•์ˆ˜๋Š” ๋‚˜์ค‘์— ๋ถ€ํƒํ•ฉ๋‹ˆ๋‹ค. ์–ด๋”” ๊ดœ์ฐฎ์€์ง€ ํ•œ ๋ฒˆ ๋ณด์ง€์š”. (์›ƒ์Œ)
13:35
So yeah, let's clap -- yeah, let's clap afterwards.
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๋ฐ•์ˆ˜, ์•„๋‹ˆ์š”, ๋ฐ•์ˆ˜๋Š” ๋‚˜์ค‘์— ์น˜๋„๋ก ํ•˜์„ธ์š”.
13:37
Here we go. Catarina, big moment, here we go, one.
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์ž ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค, ์นดํƒ€๋ฆฌ๋‚˜, ์ค‘์š”ํ•œ ์ˆœ๊ฐ„์ด์—์š”. ์ž ๊ฐ‘์‹œ๋‹ค, ํ•˜๋‚˜
13:40
(Clicks metronome)
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(๋ฐ•์ž)
14:05
Here it comes, Cat. (Clicks metronome)
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์ž ์ด์ œ ์นดํƒ€๋ฆฌ๋‚˜ (๋ฐ•์ž)
14:10
Paolo, go. (Clicks metronome) Last you solo.
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ํŒŒ์˜ฌ๋กœ, ์‹œ์ž‘ (๋ฐ•์ž) ๋งˆ์ง€๋ง‰ ์†”๋กœ
14:15
The one you made. (Clicks metronome)
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์ง์ ‘ ๋งŒ๋“  ๋ถ€๋ถ„์ด์ฃ . (๋ฐ•์ž)
14:18
(Clicks metronome)
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(๋ฐ•์ž)
14:30
Well done. Okay, good. Super. So --
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์•„์ฃผ ์ข‹์•„์š”. ์ž˜ํ–ˆ์Šต๋‹ˆ๋‹ค.
14:32
(Applause)
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(๋ฐ•์ˆ˜)
14:34
So -- (Applause)
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์ž, (๋ฐ•์ˆ˜)
14:36
Thank you. (Applause)
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๊ณ ๋ง™์Šต๋‹ˆ๋‹ค. (๋ฐ•์ˆ˜)
14:38
So -- three versions. (Applause) Oh. (Laughs)
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์ž, ์„ธ๊ฐ€์ง€ ๋ฐฉ์‹์˜ (๋ฐ•์ˆ˜) ์˜ค (์›ƒ์Œ)
14:47
(Applause) Three versions of physical thinking, yeah?
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(๋ฐ•์ˆ˜) ์„ธ ๊ฐ€์ง€ ๋ฐฉ์‹์˜ ์œก์ฒด์  ์‚ฌ๊ณ ,
14:50
Three versions of physical thinking. I'm hoping that today,
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์„ธ ๊ฐ€์ง€ ๋ฐฉ์‹์˜ ์œก์ฒด์  ์‚ฌ๊ณ ๋ฅผ ๋ณด์…จ์Šต๋‹ˆ๋‹ค.
14:53
what you're going to do is go away and make a dance
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์˜ค๋Š˜ ์—ฌ๋Ÿฌ๋ถ„์ด ํ•˜์‹ค ์ผ์€ ์ง‘์— ๊ฐ€์…”์„œ
14:54
for yourself, and if not that,
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์—ฌ๋Ÿฌ๋ถ„ ์Šค์Šค๋กœ ์ถค์„ ๋งŒ๋“ค์–ด ๋ณด๋Š” ๊ฑฐ์—์š”.
14:56
at least misbehave more beautifully, more often.
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๊ทธ๊ฒŒ ์•„๋‹ˆ๋ผ๋ฉด, ์ตœ์†Œํ•œ ๋” ์•„๋ฆ„๋‹ค์šด ์ผํƒˆ์„ ๋” ์ž์ฃผ ํ•ด๋ณด์„ธ์š”.
14:58
Thank you very much. (Applause)
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์ •๋ง ๊ณ ๋ง™์Šต๋‹ˆ๋‹ค. (๋ฐ•์ˆ˜)
15:01
Thank you. Thank you. (Applause)
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๊ณ ๋ง™์Šต๋‹ˆ๋‹ค. ๊ณ ๋ง™์Šต๋‹ˆ๋‹ค. (๋ฐ•์ˆ˜)
15:06
Here we go. (Applause)
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์ž, ๊ฐ‘์‹œ๋‹ค. (๋ฐ•์ˆ˜)
15:08
(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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