Béatrice Coron: Stories cut from paper

Translator: Ingrid Rudi Reviewer: Amantia Gjikondi

(Applause)

(Duartrokitje)

(Applause)

(Duartrokitje)

I am a papercutter.

Une jam nje prerese letre.

(Laughter)

(Te qeshura)

I cut stories.

Une pres histori.

So my process is very straightforward.

Pra proçesi qe ndjek eshte shume i drejte per drejte.

I take a piece of paper,

Une marr nje cope leter.

I visualize my story,

Shikoj aty historine time,

sometimes I sketch, sometimes I don't.

ndonjehere bej nje skice mbi leter, here te tjera jo.

And as my image

Dhe ndersa figura ime

is already inside the paper,

eshte pothuaj brenda letres,

I just have to remove

mua thjesht me duhet te heq

what's not from that story.

ate ç'ka nuk ben pjese ne histori.

So I didn't come to papercutting

Pra, une nuk arrita tek prerja e letrave

in a straight line.

ne menyre direkte dhe te thjeshte.

In fact,

Faktikisht,

I see it more as a spiral.

mua rruga qe bera me duket me shume si spirale.

I was not born

Une nuk linda

with a blade in my hand.

me thike prerese ne dore.

And I don't remember papercutting as a child.

Dhe nuk mbaj mend te kem prere letra kur isha femije.

As a teenager,

Kur isha adoleshente,

I was sketching, drawing,

beja skica dhe vizatime,

and I wanted to be an artist.

dhe doja te behesha artiste.

But I was also a rebel.

Por isha rrebele.

And I left everything

Dhe lashe gjithçka

and went for a long series of odd jobs.

dhe bera rruge ta gjata e pune te çuditshme.

So among them,

Disa prej tyre,

I have been a shepherdess,

kam qene bareshe,

a truck driver,

shofere kamioni,

a factory worker,

punetore fabrike,

a cleaning lady.

pastruese.

I worked in tourism for one year

Kam punuar ne sektorin e turizmit per nje vit

in Mexico,

ne Meksike,

one year in Egypt.

nje vit ne Egjypt.

I moved for two years

Per dy vjet u trasferova

in Taiwan.

ne Taivan.

And then I settled in New York

Dhe me ne fund u stabilizova ne Nju Jork

where I became a tour guide.

ku punoj si guide turistesh.

And I still worked as a tour leader,

Dhe perseri vazhdoj te punoj si guide turistesh,

traveled back and forth

duke udhetuar sa andej ketej

in China, Tibet and Central Asia.

ne Kine, Tibet dhe Azine qendrore.

So of course, it took time, and I was nearly 40,

Dhe sigurisht qe u desh kohe, dhe isha gati 40 vjec,

and I decided it's time

kur vendosa se kishte ardhur koha

to start as an artist.

qe te filloja te isha nje artiste.

(Applause)

(Duartrokitje)

I chose papercutting

Zgjodha prerjen e letrave

because paper is cheap,

sepse letra eshte e lire,

it's light,

eshte e lehte,

and you can use it

dhe mund ta perdoresh

in a lot of different ways.

ne shume menyra te ndryshme.

And I chose the language of silhouette

Dhe zgjodha gjuhen e siluetave.

because graphically it's very efficient.

sepse nga ana grafike eshte shume efikase.

And it's also just getting to the essential of things.

Dhe eshte e lidhur me gjerat esenciale.

So the word "silhouette"

Pra fjala "siluete"

comes from a minister of finance,

vjen nga nje minister financash,

Etienne de Silhouette.

Etienne De Sihlouette.

And he slashed so many budgets

Dhe ai uli kaq shume bilancet

that people said they couldn't afford

sa njerezit filluan te thonin se nuk mund te blinin

paintings anymore,

me piktura,

and they needed to have their portrait

dhe se i duhej te kishin veç portrete

"a la silhouette."

"alla Siluete"

(Laughter)

(Te qeshura)

So I made series of images, cuttings,

Pra une bera nje seri me figura, prerje,

and I assembled them in portfolios.

dhe i grumbullova ne albume.

And people told me --

Dhe njerezit me thonin --

like these 36 views of the Empire State building --

si ne keto 36 pamje te Nderteses Empire State ---

they told me, "You're making artist books."

ata me thonin, "Ti po ben libra artistik".

So artist books have a lot of definitions.

Librat artistik kane shume perkufizime.

They come in a lot of different shapes.

Ata prezantohen ne lloj lloj formash.

But to me,

Por per mua,

they are fascinating objects

jane objekte shume terheqese

to visually narrate a story.

per te rrefyer nje histori ne menyre vizive.

They can be with words

Ato mund te jene me fjale

or without words.

ose pa fjale.

And I have a passion

Dhe kam nje pasion

for images and for words.

per imazhet dhe per fjalet.

I love pun

Me pelqejne shume lojrat e fjaleve

and the relation to the unconscious.

dhe lidhja me subkoshiencen.

I love oddities of languages.

Me pelqejne jashte mase gjerat e çuditshme te gjuheve.

And everywhere I lived, I learned the languages,

Dhe kudo qe kam jetuar, kam mesuar gjuhet,

but never mastered them.

por asnjehere ne menyre te persosur.

So I'm always looking

Dhe gjithnje jam ne kerkim te

for the false cognates

lidhjeve fallco

or identical words in different languages.

ose fjalesh identike ne gjuhe te ndryshme.

So as you can guess, my mother tongue is French.

Pra siç mund te hamendesoni, gjuha ime e nenes eshte Frengjishtja.

And my daily language is English.

Dhe gjuha ime e perditshme eshte Anglishtja.

So I did a series of work

Pra bera disa pune artistike

where it was identical words

ku kishte fjale identike

in French and in English.

ne Frengjisht dhe ne Anglisht.

So one of these works

Per shembull nje nga keto fjale

is the "Spelling Spider."

eshte "Merimanga korrigjuese e drejtshkrimit"

So the Spelling Spider

Pra "Merimanga korrigjuese e drejtshkrimit"

is a cousin of the spelling bee.

eshte kusherire e "Bletes korrigjuese te drejtshkrimit"

(Laughter)

(Te qeshura)

But it's much more connected to the Web.

Por ka me shume lidhje me Web-in (rrjetin e internetit).

(Laughter)

(Te qeshura)

And this spider

Kjo merimange

spins a bilingual alphabet.

tjerr nje alfabet bilinguist (dy gjuhesor)

So you can read "architecture active"

Per shembull ju mund te lexoni "arkitekture aktive"

or "active architecture."

"aktive arkitekture"

So this spider goes through the whole alphabet

Kjo merimange pershkon gjithe alfabetin

with identical adjectives and substantives.

me mbiemra dhe embra identike.

So if you don't know one of these languages,

Dhe nese ju nuk njihni nje nga keto gjuhe,

it's instant learning.

eshte nje menyre per te mesuar menjehere disa fjale.

And one ancient form of the book

Dhe nje forme antike e librit

is scrolls.

jane fletushkat

So scrolls are very convenient,

Fletushkat jane shume te leverdishme,

because you can create a large image

sepse mund te krijoni nje figure te madhe

on a very small table.

ne nje tavoline te vogel.

So the unexpected consequences of that

Dhe pasojat e papritura te kesaj zgjedhjeje

is that you only see one part of your image,

jane se shikoni vetem nje pjese te figures,

so it makes a very freestyle architecture.

pra kthehet ne nje arkitekture me stil te lire.

And I'm making all those kinds of windows.

Dhe une po bej gjithe keto lloje dritaresh.

So it's to look beyond the surface.

Ne menyre qe te shikohet pertej siperfaqes.

It's to have a look

Keshtu mund te hedhim nje sy

at different worlds.

ne bote te ndryshme.

And very often I've been an outsider.

Dhe shume shpesh une kam qene nje tip pak i vecante

So I want to see how things work

Dhe dua te shikoj se si funksionojne gjerat

and what's happening.

dhe se cfare ndodh perreth.

So each window

Pra çdo dritare

is an image

eshte nje pamje

and is a world

dhe eshte nje bote

that I often revisit.

qe une mund te rivizitoj shpesh.

And I revisit this world

Dhe une rivizitoj kete bote

thinking about the image

duke menduar per pamjet

or cliché about what we want to do,

ose klishete qe doni te beni,

and what are the words, colloquialisms,

dhe cilat jane fjalet, bisedat

that we have with the expressions.

qe kemi ne keto shprehi.

It's all if.

Gjithçka eshte nje "Sikur".

So what if we were living in balloon houses?

Po sikur te jetonim ne shtepi tullumbace

It would make a very uplifting world.

Bota do te ishte shume me e lehte.

And we would leave a very low footprint on the planet.

Dhe ne do te linin nje gjurme shume te vogel ne planetin tone.

It would be so light.

Do te ishte kaq e lehte.

So sometimes I view from the inside,

Ndersa disa here shikoj nga brenda,

like EgoCentriCity

si psh. ne QytetinEgoQendror

and the inner circles.

dhe rrathet e brendshme.

Sometimes it's a global view,

Ndonjehere eshte nje pamje globale,

to see our common roots

shikimi i rrenjeve te perbashketa

and how we can use them to catch dreams.

dhe se si mund ti perdorim qe te kapim endrrat.

And we can use them also

Biles mund ti perdorim

as a safety net.

dhe si rrjet shpetimi.

And my inspirations

Dhe frymezimet e mija

are very eclectic.

jane shume eklektike.

I'm influenced by everything I read,

Influencohem nga çdo gje qe lexoj,

everything I see.

çdo gje qe shikoj.

I have some stories that are humorous,

Kam disa histori qe jane humoristike,

like "Dead Beats."

si psh "Ritmi i te vdekurve".

(Laughter)

(Te qeshura)

Other ones are historical.

Te tjerat jane historike.

Here it's "CandyCity."

Ja ketu "QytetiKaramele".

It's a non-sugar-coated

Eshte nje histori sheqeri

history of sugar.

e pambuluar nga sheqeri.

It goes from slave trade

Perfshin tregtine e sklleverve

to over-consumption of sugar

deri tek konsumi i tepert i sheqerit

with some sweet moments in between.

me disa momente te embla aty ketu.

And sometimes I have an emotional response to news,

Ndersa disa here me ndodh te kem nje pergjigje emocionale ndaj lajmeve,

such as the 2010 Haitian earthquake.

si psh nga termeti ne Haiti ne 2010.

Other times, it's not even my stories.

Here te tjera, nuk jane historite e mia.

People tell me their lives,

Njerezit me tregojne per jeten e tyre,

their memories, their aspirations,

kujtimet e tyre dhe aspiratat,

and I create a mindscape.

dhe une krijoj nje harte mendore.

I channel their history

Kanalizoj historine e tyre

[so that] they have a place to go back

ne menyre qe te kene nje vend ku te kthehen

to look at their life and its possibilities.

dhe te mund te shikojne jeten e tyre dhe mundesite e saj.

I call them Freudian cities.

Keto i quaj qytete Frojdiane.

I cannot speak for all my images,

Une nuk mund te flas per te gjitha figurat e mia,

so I'll just go through a few of my worlds

pra thjesht do te pershkoj disa nga fjalet e mia

just with the title.

thjesht me titujt.

"ModiCity."

"QytetiLeviz"

"ElectriCity."

"ElektriQyteti"

"MAD Growth on Columbus Circle."

"Rritje e Cmendur ne rrethin e Kolombit."

"ReefCity."

"Qyteti nenujor"

"A Web of Time."

"Kohe rrjeti"

"Chaos City."

"KaosQyteti"

"Daily Battles."

"Beteja ditore"

"FeliCity."

"LumQyteti"

"Floating Islands."

"Ishujt lundrues"

And at one point,

Dhe ne nje moment,

I had to do "The Whole Nine Yards."

Mu desh te beja nje "Histori qe zgjat gati 8 metra"

So it's actually a papercut that's nine yards long.

Eshte faktikisht nje prerje e gjate 8 metra.

(Laughter)

(Te qeshura)

So in life and in papercutting,

Pra ne jete dhe ne prerjen e letrave,

everything is connected.

çdo gje eshte e lidhur.

One story leads to another.

Nje histori te çon tek tjetra.

I was also interested

Me interesonte shume dhe

in the physicality of this format,

fizikaliteti i ketij formati,

because you have to walk to see it.

sepse ju duhet te ecni per ta pare.

And parallel to my cutting

Dhe paralelisht me prerjet e mia

is my running.

shkon dhe vrapi im.

I started with small images,

Fillova me figura te vogla,

I started with a few miles.

Fillova me pak kilometra.

Larger images, I started to run marathons.

Ndersa figurat beheshin me te medha, fillova te vrapoja maratona.

Then I went to run 50K, then 60K.

Arrita 50 km, pastaj 60 km.

Then I ran 50 miles -- ultramarathons.

Pastaj 80 km -- Ultramaratona.

And I still feel I'm running,

Dhe prap me duket sikur vrapoj.

it's just the training

Eshte thjesht trainimi

to become a long-distance papercutter.

per tu bere nje prerese letre me distanca te gjata.

(Laughter)

(Te qeshura)

And running gives me a lot of energy.

Vrapi me jep shume energji.

Here is a three-week papercutting marathon

Kjo ketu eshte nje maratone tre-javore e prerjes se letres.

at the Museum of Arts and Design

ne Muzeun e Arteve dhe Dizenjimit

in New York City.

ne Nju Jork.

The result is "Hells and Heavens."

Rezultati quhet "Ferr dhe Parajse."

It's two panels 13 ft. high.

Jane dy panele gati 4 m te larte.

They were installed in the museum on two floors,

Jane instaluar ne Muze me dy kate,

but in fact, it's a continuous image.

por faktikisht eshte nje pamje ne vazhdim.

And I call it "Hells and Heavens"

Dhe e kam titulluar "Ferr dhe Parajse"

because it's daily hells and daily heavens.

sepse perfaqeson ferret dhe parajsat e çdo dite.

There is no border in between.

Nuk ka kufi e ndarje ne mes.

Some people are born in hells,

Disa njerez kane lindur ne ferr,

and against all odds, they make it to heavens.

dhe gjithesesi arrijne te shkojne ne parajse.

Other people make the opposite trip.

Ndersa te tjere bejne udhetimin e kundert.

That's the border.

Ky eshte kufiri.

You have sweatshops in hells.

Ne Ferr mund te gjeni dyqane embelsirash.

You have people renting their wings in the heavens.

Ndersa ne Parajse ka njerez qe japin hua krahet e tyre.

And then you have all those individual stories

Dhe pastaj ka shume histori personale

where sometimes we even have the same action,

ku shpesh ndodh te beni te njejtin veprim,

and the result puts you in hells or in heavens.

por rezultati ju ben te shkoni ne ferr ose ne parajse.

So the whole "Hells and Heavens"

Pra gjithe "Ferret e Parajsat"

is about free will

kane te bejne me deshiren e lire

and determinism.

dhe vendosmerine.

And in papercutting,

Dhe ne prerjen e letres,

you have the drawing as the structure itself.

vizatimi eshte nje strukture ne vetvete.

So you can take it off the wall.

Dhe mund ta hiqni kollaj nga muri.

Here it's an artist book installation

Ja nje shembull tjeter i instalimit te nje libri artistik

called "Identity Project."

te titulluar "Projekti i Identitetit".

It's not autobiographical identities.

Nuk jane identitete autobiografike.

They are more our social identities.

Jane me teper identitete sociale.

And then you can just walk behind them

Ju mund te viheni pas tyre

and try them on.

dhe te provoni se si ju rrine.

So it's like the different layers

Pra jane si shtresa te ndryshme

of what we are made of

prej te cilave jemi bere

and what we present to the world

dhe te cilat i prezantojme botes

as an identity.

si nje identitet.

That's another artist book project.

Ky eshte nje tjeter projekt libri artistik.

In fact, in the picture, you have two of them.

Faktikisht, ne figure, shikoni dy projekte.

It's one I'm wearing

Nje qe kam veshur

and one that's on exhibition

dhe nje qe kam ekspozuar

at the Center for Books Arts in New York City.

ne Qendren e Librave Artistike ne Nju Jork.

Why do I call it a book?

Pse i quaj Libra?

It's called "Fashion Statement,"

Titullohet "Deklarata Mode,"

and there are quotes about fashion,

dhe ne to ka te thena mbi moden

so you can read it,

ne menyre qe te mund ti lexoni,

and also,

dhe gjithashtu per faktin

because the definition of artist book

se perkufizimi i nje libri artistik

is very generous.

mund te jete shume i gjere.

So artist books, you take them off the wall.

Pra librat artistik, mund ti hiqni nga muri.

You take them for a walk.

Mund ti merrni per nje shetitje.

You can also install them as public art.

Mund ti instaloni si art publik.

Here it's in Scottsdale, Arizona,

Ketu jemi ne Scottsdale, Arizona,

and it's called "Floating Memories."

dhe titulli eshte "Kujtime lundruese"

So it's regional memories,

Pra jane kujtime rajonale,

and they are just randomly moved by the wind.

qe ne menyre te çrregullt levizin nga era.

I love public art.

Une e adhuroj artin publik.

And I entered competitions

Dhe per nje kohe shume te gjate

for a long time.

kam marre pjese ne konkurse.

After eight years of rejection,

Pas 8 vitesh refuzime,

I was thrilled to get my first commission

isha shume e lumtur kur mora porosine e pare

with the Percent for Art in New York City.

me nje perqindje nga Arti ne Nju Jork.

It was for a merger station

Porosia ishte per nje stacion

for emergency workers and firemen.

zjarrefikesish dhe punonjesish urgjencash.

I made an artist book

Dhe une bera nje liber artistik

that's in stainless steel

dhe perdora çelik

instead of paper.

ne vend te letres.

I called it "Working in the Same Direction."

Dhe punen e titullova "Duke punuar ne te njejtin drejtim."

But I added weathervanes on both sides

Por shtova dhe drejtimin e eres ne te dyja anet

to show that they cover all directions.

qe te tregoja se ata shkonin ne te gjtha drejtimet.

With public art,

Per artin publik,

I could also make cut glass.

une munda dhe te pres xhamin.

Here it's faceted glass in the Bronx.

Kjo eshte prerje xhami ne Bronx.

And each time I make public art,

Dhe sa here qe bej diçka per artin publik,

I want something that's really relevant

dua qe te jete diçka e rendesishme

to the place it's installed.

per vendin ne te cilin instalohet.

So for the subway in New York,

Keshtu qe per metrone ne Nju Jork,

I saw a correspondence

mendova per korespondencen

between riding the subway

midis udhetimit ne metro

and reading.

dhe leximit.

It is travel in time, travel on time.

Eshte koha per udhetim, udhetim ne kohe.

And Bronx literature,

Dhe letersia e Bronksit,

it's all about Bronx writers

ka te beje me shkrimtaret e Bronksit

and their stories.

dhe historite e tyre.

Another glass project

Nje projekt tjeter prej xhami

is in a public library

gjendet ne nje librari publike

in San Jose, California.

ne San Jose, Kaliforni.

So I made a vegetable point of view

Dhe imagjinova pikepamjen e nje perimeje

of the growth of San Jose.

per rritjen e San Joses.

So I started in the center

Dhe fillova ne qender

with the acorn

me simbolin

for the Ohlone Indian civilization.

e qyteterimit te Ohlone Indiane.

Then I have the fruit from Europe

Pastaj bera frutin prej Evropes

for the ranchers.

per kaubojsat.

And then the fruit of the world for Silicon Valley today.

Dhe pastaj frutin e botes per Silicon Valley-n sot.

And it's still growing.

Dhe prap vazhdon te rritet.

So the technique, it's cut,

Pra teknika, eshte prerje,

sandblasted, etched

gdhendje,

and printed glass into architectural glass.

dhe pastaj prodhim xhami ne xham arkitekturor.

And outside the library,

Dhe ne pjesen e jashtme te librarise,

I wanted to make a place to cultivate your mind.

Doja te beja nje vend qe te kish mundesine te kultivonte mendjen.

I took library material

Mora material nga libraria

that had fruit in their title

ne te cilin te ishte shkruar nje emer fruti ne titull

and I used them to make an orchard walk

dhe i perdora per te bere nje rruge shetitje me dru frutor

with these fruits of knowledge.

e me frutat e diturise.

I also planted the bibliotree.

Biles kam mbjelle dhe nje BiblioPeme.

So it's a tree,

Qe eshte nje peme,

and in its trunk you have the roots of languages.

qe ka nje trung ne te cilin rrenjet jane gjuhet.

And it's all about international writing systems.

Pra gjithe kjo ka te beje me sistemet e shkrimit nderkombetar.

And on the branches

Dhe me ne deget e tyre

you have library material growing.

gjeni material librarie qe rritet.

You can also have function and form

Me artin publik

with public art.

mund te kemi funksion dhe forme se bashku.

So in Aurora, Colorado it's a bench.

Per shembull ne Aurora, Colorado eshte nje stol.

But you have a bonus with this bench.

Por nga ky stol mund te keni nje bonus.

Because if you sit a long time in summer in shorts,

Sepse nese uleni per nje kohe te gjate ne vere kur keni veshur pantallona te shkurtra,

you will walk away

kur te ngriheni

with temporary branding of

do te keni nje lloj te veçante vule

the story element on your thighs.

me elementet e historise ne prapanicen tuaj.

(Laughter)

Tte qeshura)

Another functional work,

Nje pune tjeter funksionale,

it's in the south side of Chicago

gjindet ne pjesen jugore te Chikagos

for a subway station.

ne nje stacion metroje.

And it's called "Seeds of the Future are Planted Today."

Dhe titullohet "Farat e te ardhmes mbillen sot."

It's a story about transformation

Kjo histori ka te beje me trasformimin

and connections.

dhe lidhjet.

So it acts as a screen

Ne kete menyre funksionon si nje lloj ekrani

to protect the rail and the commuter,

qe mbron hekurudhen dhe banoret e periferise,

and not to have objects falling on the rails.

dhe nuk ka objekte qe bien ne hekurudhe.

To be able to change fences

Ne menyre qe te kemi mundesi te ndryshojme gardhet

and window guards into flowers,

dhe rojet e dritareve e ti kthejme ne lule,

it's fantastic.

eshte vertet shume bukur.

And here I've been working for the last three years

Dhe ja ketu, kam punuar per gati tre vitet e fundit

with a South Bronx developer

me nje artist te Bronksit jugor

to bring art to life

qe sjell artin ne jete

to low-income buildings

ne banesa me te ardhura te uleta

and affordable housing.

dhe shtepi te perballueshme.

So each building has its own personality.

Ne kete menyre çdo shtepi ka personalitetin e vet,

And sometimes it's about a legacy of the neighborhood,

Dhe disa here eshte e rendesishme dhe lidhja me komshinjte,

like in Morrisania, about the jazz history.

si ne Morrisania, qe ishte nje histori jazz-i.

And for other projects, like in Paris,

Dhe ne disa projekte te tjera ne Paris,

it's about the name of the street.

ku puna kishte lidhje me emrin e rruges.

It's called Rue des Prairies -- Prairie Street.

Dhe quhet Rue des Praires - rruga e Lugines.

So I brought back the rabbit,

Ne te cilen une vura nje lepur,

the dragonfly,

nje pilivese,

to stay in that street.

qe te rrinin ne ate rruge.

And in 2009,

Dhe ne vitin 2009,

I was asked to make a poster

me kerkuan te beja nje poster

to be placed in the subway cars in New York City

qe do te vihej ne vagonat e metrose ne Nju Jork

for a year.

per nje vit.

So that was a very captive audience.

Dhe ne kete rast audienca ishte shume terheqese.

And I wanted to give them an escape.

Dhe mendova tu jepja nje lloj arratisjeje.

I created "All Around Town."

Dhe e krijova "Rreth e perreth qytetit."

It is a papercutting,

Eshte prerje letre,

and then after, I added color on the computer.

dhe me pas, shtova pak ngjyre me kompjuter.

So I can call it techno-crafted.

Ne kete menyre mund ta quaj tekno-artizanat.

And along the way,

Dhe pergjate rruges,

I'm kind of making papercuttings

une vazhdoj te bej prerje letrash

and adding other techniques.

dhe te shtoj teknika te reja.

But the result is always to have stories.

Dhe rezultati eshte qe gjithnje kam histori.

So the stories, they have a lot of possibilities.

Dhe keto histori, kane shume mundesi.

They have a lot of scenarios.

Kane shume skenare.

I don't know the stories.

Une nuk i di historite.

I take images from our global imagination,

Une marr pamje nga imagjinata e pergjithshme,

from cliché, from things we are thinking about,

nga klisheja, dhe nga gjera per te cilat mendoj,

from history.

nga historia.

And everybody's a narrator,

Dhe çdokush eshte nje rrefyes,

because everybody has a story to tell.

sepse çdokush ka nje histori per te treguar.

But more important

Por ç'eshte me e rendesishme

is everybody has to make a story

eshte se çdo njeri duhet te beje nje histori

to make sense of the world.

qe ti jape nje kuptim botes.

And in all these universes,

Dhe ne gjithe keto universe,

it's like imagination is the vehicle

imagjinata ze vendin e nje mjeti

to be transported with,

qe te trasporton,

but the destination is our minds

por ama destinacionet jane ne mendjen tuaj

and how we can reconnect

dhe ju e dini se si mund te mbetemi ne lidhje

with the essential and with the magic.

me ate çka eshte esenciale dhe magjike.

And it's what story cutting is all about.

Ja pra me kete ka te beje prerja e letres.

(Applause)

(Duartrokitje)