Why theater is essential to democracy | Oskar Eustis

Prevodilac: Milenka Okuka Lektor: Tijana Mihajlović

Theater matters because democracy matters.

Pozorište je važno zato što je demokratija važna.

Theater is the essential art form of democracy,

Pozorište je suštinski umetnički oblik demokratije,

and we know this because they were born in the same city.

a to znamo jer su oboje rođeni u istom gradu.

In the late 6th century BC,

U kasnom VI veku pre nove ere,

the idea of Western democracy was born.

ideja o zapadnoj demokratiji je rođena.

It was, of course,

Radilo se, naravno,

a very partial and flawed democracy,

o krajnje parcijalnoj i faličnoj demokratiji,

but the idea that power should stem from the consent of the governed,

ali zamisao da bi moć trebalo da proizlazi iz saglasnosti onih kojima se vlada,

that power should flow from below to above,

da bi moć trebalo da potiče sa dna ka vrhu,

not the other way around,

a ne obrnuto,

was born in that decade.

rođena je u toj deceniji.

And in that same decade, somebody -- legend has it, somebody named Thespis --

A u toj istoj deceniji, neko - legenda kaže neko po imenu Tespid -

invented the idea of dialogue.

izumeo je ideju dijaloga.

What does that mean, to invent dialogue?

Šta znači izumeti dijalog?

Well, we know that the Festival of Dionysus gathered

Pa, znamo da je dionizijski festival okupljao

the entire citizenry of Athens

sve građane Atine

on the side of the Acropolis,

na padini Akropolja,

and they would listen to music, they would watch dancing,

i slušali bi muziku, posmatrali bi ples

and they would have stories told as part of the Festival of Dionysus.

i pripovedali bi im priče kao deo dionizijskog festivala.

And storytelling is much like what's happening right now:

A pripovedanje je prilično nalik onome što se trenutno dešava:

I'm standing up here,

stojim ovde gore,

the unitary authority,

centralni sam autoritet

and I am talking to you.

i razgovaram s vama.

And you are sitting back, and you are receiving what I have to say.

A vi sedite zavaljeni i primate ono što vam govorim.

And you may disagree with it, you may think I'm an insufferable fool,

I možete da se ne slažete s tim, možete da me smatrate za nepodnšljivu budalu,

you may be bored to death,

možete da se na smrt dosađujete,

but that dialogue is mostly taking place inside your own head.

ali taj dijalog se uglavnom dešava u vašoj sopstvenoj glavi.

But what happens if, instead of me talking to you --

Ali, šta se desi ako se, umesto da ja govorim vama,

and Thespis thought of this --

a Tepsid se dosetio ovoga,

I just shift 90 degrees to the left,

prosto okrenem za 90 stepeni nalevo

and I talk to another person onstage with me?

i razgovaram sa drugom osobom koja je na sceni sa mnom?

Everything changes,

Sve se menja

because at that moment, I'm not the possessor of truth;

jer u tom trenutku ja ne posedujem istinu;

I'm a guy with an opinion.

ja sam lik sa mišljenjem.

And I'm talking to somebody else.

I razgovaram s nekim drugim.

And you know what?

I znate šta?

That other person has an opinion too,

Ta druga osoba takođe ima mišljenje,

and it's drama, remember, conflict -- they disagree with me.

a, setite se, radi se o drami, sukobu - druga osoba se ne slaže sa mnom.

There's a conflict between two points of view.

Imamo sukob između dve tačke gledišta.

And the thesis of that is that the truth can only emerge

A teza iza toga glasi da istina jedino može da izraste

in the conflict of different points of view.

iz sukoba različitih tački gledišta.

It's not the possession of any one person.

Istinu ne poseduje bilo koji pojedinac.

And if you believe in democracy, you have to believe that.

A ako verujete u demokratiju, morate da verujete u to.

If you don't believe that, you're an autocrat

Ako ne verujete u to, autokrata ste koji trpi demokratiju.

who is putting up with democracy.

But that's the basic thesis of democracy,

Međutim, to je osnovna teza demokratije,

that the conflict of different points of views leads to the truth.

da sukob različitih tačaka gledišta vodi do istine.

What's the other thing that's happening?

Šta se još dešava?

Ne tražim od vas da sedite zavaljeni

I'm not asking you to sit back and listen to me.

i da me slušate.

I'm asking you to lean forward

Tražim od vas da se nagnete napred

and imagine my point of view --

i zamislite moju tačku gledišta -

what this looks like and feels like to me as a character.

kako ovo izgleda meni i kakav je osećaj biti lik kao ja.

And then I'm asking you to switch your mind

A onda tražim od vas da promenite mišljenje

and imagine what it feels like to the other person talking.

i da zamislite kako se oseća druga osoba koja govori.

I'm asking you to exercise empathy.

Tražim od vas da ispoljite empatiju.

And the idea that truth comes from the collision of different ideas

A zamisao da istina potiče iz sudara različitih ideja

and the emotional muscle of empathy

i emotivna snaga empatije

are the necessary tools for democratic citizenship.

su nužna sredstva za demokratsku pripadnost.

What else happens?

Šta se još dešava?

The third thing really is you,

Uistinu, treća stvar ste vi,

is the community itself, is the audience.

sama zajednica, publika.

And you know from personal experience that when you go to the movies,

A znate iz ličnog iskustva da, kada pođete u bioskop,

you walk into a movie theater, and if it's empty, you're delighted,

ušetate u bioskopsku salu, a ako je prazna, oduševljeni ste,

because nothing's going to be between you and the movie.

jer se ništa neće preprečiti između vas i filma.

Možete da se razbaškarite, podignete noge preko sedišta,

You can spread out, put your legs over the top of the stadium seats,

jedete kokice i prosto uživate.

eat your popcorn and just enjoy it.

But if you walk into a live theater

Međutim, ako ušetate u pozorište

and you see that the theater is half full,

i vidite da je sala polupuna,

your heart sinks.

pokunjite se.

You're disappointed immediately,

Istog trena se razočarate

because whether you knew it or not,

jer bili toga svesni ili ne,

you were coming to that theater

došli ste u to pozorište

to be part of an audience.

kako biste bili deo publike.

You were coming to have the collective experience

Došli ste radi kolektivnog iskustva

of laughing together, crying together, holding your breath together

smejanja zajedno, plakanja zajedno, zaustavljanja daha zajedno

to see what's going to happen next.

zbog onoga što sledi.

You may have walked into that theater as an individual consumer,

Možda ste ušetali u pozorište kao pojedinačni potrošač,

but if the theater does its job,

ali ako pozorište odradi svoj posao,

you've walked out with a sense of yourself as part of a whole,

išetali ste sa utiskom sebe kao dela celine,

as part of a community.

dela zajednice.

That's built into the DNA of my art form.

To je ugrađeno u DNK mog umetničkog oblika.

Twenty-five hundred years later, Joe Papp decided

Dve i po hiljade godina kasnije, Džo Pap je odlučio

that the culture should belong to everybody in the United States of America,

da kultura treba da pripada svima u Sjedinjenim Američkim Državama

and that it was his job to try to deliver on that promise.

i da je njegova dužnost da pokuša da ostvari to obećanje.

He created Free Shakespeare in the Park.

Osnovao je „Besplatnog Šekspira u parku“.

And Free Shakespeare in the Park is based on a very simple idea,

A „Besplatni Šekspir u parku“ je zasnovan na krajnje prostoj ideji,

the idea that the best theater, the best art that we can produce,

ideji da bi najbolje pozorište, najbolja umetnost koju možemo da stvorimo

should go to everybody and belong to everybody,

trebalo da je za sve i da pripada svima,

and to this day,

i dan-danas

every summer night in Central Park,

svake letnje večeri u Central parku

2,000 people are lining up

poređa se 2 000 ljudi

to see the best theater we can provide for free.

kako bi posmatrali najbolje pozorište koje možemo da pružimo besplatno.

It's not a commercial transaction.

Ne radi se o komercijalnoj razmeni.

In 1967, 13 years after he figured that out,

Godine 1967, 13 godina nakon što je to shvatio,

he figured out something else,

shvatio je još nešto,

which is that the democratic circle was not complete

a to je da demokratski krug nije bio dovršen

by just giving the people the classics.

pukim pružanjem klasika narodu.

We had to actually let the people create their own classics

Zapravo smo morali da dozvolimo ljudima da stvaraju sopstvene klasike

and take the stage.

i da preuzmu scenu.

And so in 1967,

Pa je 1967. godine

Joe opened the Public Theater downtown on Astor Place,

Džo otvorio Narodno pozorište u centru Njujorka na Astor plejsu,

and the first show he ever produced was the world premiere of "Hair."

a prva predstava koju je producirao je bila svetska premijera „Kose“.

That's the first thing he ever did that wasn't Shakespeare.

To je prva stvar koju je ikad postavio, a da nije Šekspir.

Clive Barnes in The Times said that it was as if Mr. Papp took a broom

Klajv Barns iz „Tajmsa“ je rekao da se činilo kao da je g. Pap uzeo metlu

and swept up all the refuse from the East Village streets

i pomeo sve otpatke sa ulica u Ist Vilidžu

onto the stage at the Public.

na scenu Narodnog.

(Laughter)

(Smeh)

He didn't mean it complimentarily,

Nije to mislio kao kompliment,

but Joe put it up in the lobby, he was so proud of it.

ali Džo je izjavu stavio u predvorje; bio je silno ponosan na nju.

(Laughter) (Applause)

(Smeh) (Aplauz)

And what the Public Theater did over the next years with amazing shows like

A ono što je Narodno pozoriše postiglo narednih godina sjajnim predstavama poput:

"For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf,"

„Za obojene devojke koje su razmatrale samoubistvo / Kad je duga dovoljna“,

"A Chorus Line,"

„Stih napeva",

and -- here's the most extraordinary example I can think of:

i - ovo je najizvanredniji primer kog mogu da se setim:

Larry Kramer's savage cry of rage about the AIDS crisis,

divlji izliv besa Lerija Kramera o krizi zbog side:

"The Normal Heart."

„Normalno srce".

Because when Joe produced that play in 1985,

Jer kad je Džo izveo tu predstavu 1985. godine,

there was more information about AIDS

više informacija o sidi je bilo

in Frank Rich's review in the New York Times

u kritici Frenka Riča iz „Njujork Tajmsa“

than the New York Times had published in the previous four years.

nego što je „Njujork Tajms“ objavio o tome u prethodne četiri godine.

Larry was actually changing the dialogue about AIDS

Leri je zapravo menjao dijalog o sidi,

through writing this play,

pišući ovu dramu,

and Joe was by producing it.

a Džo producirajući je.

I was blessed to commission and work on Tony Kushner's "Angels in America,"

Blagosloven sam sudelovanjem i radom na „Anđelima u Americi“ Tonija Kušnera,

and when doing that play and along with "Normal Heart,"

a radeći na toj predstavi, kao i na „Normalnom srcu",

we could see that the culture was actually shifting,

mogli smo da vidimo kako se kultura menja,

and it wasn't caused by the theater,

a za to nije krivo bilo pozorište,

but the theater was doing its part

ali pozorište je odradilo svoj deo

to change what it meant to be gay in the United States.

da bi se izmenilo značenje toga kako je biti gej u SAD-u.

And I'm incredibly proud of that.

I ja sam beskrajno ponosan na to.

(Applause)

(Aplauz)

When I took over Joe's old job at the Public in 2005,

Kada sam 2005. godine preuzeo Džoov stari posao u Narodnom,

I realized one of the problems we had was a victim of our own success,

shvatio sam da je jedan od naših problema to što smo žrtva sopstvenog uspeha,

which is: Shakespeare in the Park had been founded as a program for access,

a to je: „Šekspir u parku“ je osnovan kao pristupni program,

and it was now the hardest ticket to get in New York City.

a trenutno se radi o jednoj od karata koje je najteže nabaviti u Njujorku.

People slept out for two nights to get those tickets.

Ljudi spavaju napolju po dve noći da bi pribavili te karte.

What was that doing?

Šta se postizalo time?

That was eliminating 98 percent of the population

To je eliminisalo 98 procenata populacije

from even considering going to it.

od samog razmatranja da prisustvuju.

So we refounded the mobile unit

Pa smo nanovo osnovali pokretne jedinice

and took Shakespeare to prisons, to homeless shelters,

i nosili smo „Šekspira“ u zatvore, u prihvatilišta za beskućnike,

to community centers in all five boroughs

u mesne zajednice u svih pet delova Njujorka,

and even in New Jersey and Westchester County.

pa čak i u Nju Džerzi i okrug Vestčester.

And that program proved something to us that we knew intuitively:

A program nam je dokazao nešto što smo intuitivno znali:

people's need for theater is as powerful as their desire for food

potreba ljudi za pozorištem je jednako moćna

kao i žudnja za hranom ili pićem.

or for drink.

It's been an extraordinary success, and we've continued it.

Program je postigao neverovatan uspeh i nastavili smo ga.

And then there was yet another barrier that we realized we weren't crossing,

A zatim je tu bila još jedna prepreka za koju smo shvatili da je ne savlađujemo,

which is a barrier of participation.

a radi se o prepreci učestvovanja.

And the idea, we said, is:

A zamisao, rekli smo, glasi:

How can we turn theater from being a commodity, an object,

kako da pretvorimo pozorište iz robe, predmeta,

back into what it really is --

nazad u ono što ono jeste -

a set of relationships among people?

skup odnosa među ljudima?

And under the guidance of the amazing Lear deBessonet,

I pod vođstvom sjajnog Lira Debesonea,

we started the Public Works program,

započeli smo program Narodnog dela,

which now every summer produces

koji sada svakog leta producira

these immense Shakespearean musical pageants,

te beskrajne šekspirovske muzičke svečanosti,

where Tony Award-winning actors and musicians

gde glumci i muzičari, dobitnici nagrade Toni,

are side by side with nannies and domestic workers

stoje rame uz rame sa dadiljama i kućnim pomoćnicima

and military veterans and recently incarcerated prisoners,

i vojnim veteranima, a od skora i sa zatvorenicima;

amateurs and professionals,

amateri i profesionalci

performing together on the same stage.

nastupaju zajedno na istoj sceni.

And it's not just a great social program,

I nije to tek sjajan socijalni program;

it's the best art that we do.

radi se o najboljoj umetnosti koju izvodimo.

And the thesis of it is that artistry is not something

A njena teza je da umetnost nije nešto

that is the possession of a few.

što poseduje nekolicina.

Artistry is inherent in being a human being.

Umetnost je urođena nama kao ljudskim bićima.

Some of us just get to spend a lot more of our lives practicing it.

Samo što neki od nas uspeju da je upražnjavaju mnogo više u životu.

And then occasionally --

A onda povremeno -

(Applause)

(Aplauz)

you get a miracle like "Hamilton,"

dobijete čudo poput „Hamiltona“,

Lin-Manuel's extraordinary retelling of the foundational story of this country

Lin Manuelovu izvanrednu novu verziju priče o osnivanju ove države

through the eyes of the only Founding Father who was a bastard immigrant orphan

kroz oči jedinog oca osnivača koji je bio imigrantsko kopile i siroče

from the West Indies.

iz Zapadnih Indija.

And what Lin was doing

A Lin je radio

is exactly what Shakespeare was doing.

baš ono što i Šekspir.

He was taking the voice of the people, the language of the people,

Uzimao je glasove naroda, jezik naroda,

elevating it into verse,

uzvisivao ga je do stiha,

and by doing so,

a radeći to

ennobling the language

oplemenjivao je jezik

and ennobling the people who spoke the language.

i oplemenjivao je ljude koji su govorili taj jezik.

And by casting that show entirely with a cast of black and brown people,

A dodeljujući uloge u predstavi u potpunosti crnim i smeđim ljudima,

what Lin was saying to us,

Lin nam je saopštavao,

he was reviving in us

oživljavao je u nama

our greatest aspirations for the United States,

naše najveće težnje za Sjedinjene Države,

our better angels of America,

naše bolje anđele Amerike,

our sense of what this country could be,

naš doživljaj toga šta bi ova država mogla da bude,

the inclusion that was at the heart of the American Dream.

o inkluziji koja je bila u srcu američkog sna.

And it unleashed a wave of patriotism in me

I oslobodila je talas patriotizma u meni

and in our audience,

i u našoj publici,

the appetite for which is proving to be insatiable.

a ispostavilo se da je apetit za tim neutaživ.

But there was another side to that, and it's where I want to end,

No, to je imalo i drugu stranu i time želim da završim,

and it's the last story I want to talk about.

i to je poslednja priča o kojoj želim da govorim.

Some of you may have heard that Vice President-elect Pence

Neki od vas su možda čuli da je potpredsednik Pens

came to see "Hamilton" in New York.

došao da gleda „Hamiltona“ u Njujorku,

And when he came in, some of my fellow New Yorkers booed him.

a kada je došao, neki od mojih sugrađana Njujorčana su ga izviždali.

And beautifully, he said,

I on je prelepo rekao:

"That's what freedom sounds like."

„Tako zvuči sloboda.“

And at the end of the show,

A na kraju predstave,

we read what I feel was a very respectful statement from the stage,

čitali smo nešto što smatram veoma uviđajnom izjavom sa scene

and Vice President-elect Pence listened to it,

i potpredsednik Pens je to saslušao,

but it sparked a certain amount of outrage, a tweetstorm,

ali to je pokrenulo određenu količinu besa, oluju na Tviteru,

and also an internet boycott of "Hamilton"

kao i bojkot „Hamiltona“ na internetu

from outraged people who had felt we had treated him with disrespect.

od strane zgroženih ljudi koji su osećali

da smo se prema Pensu poneli sa nepoštovanjem.

I looked at that boycott and I said, we're getting something wrong here.

Razmotrio sam bojkot i rekao: „U nečemu grešimo ovde.“

All of these people who have signed this boycott petition,

Svi ovi ljudi koji su potpisali peticiju za bojkot

they were never going to see "Hamilton" anyway.

ionako nikad ne bi ni videli „Hamiltona“.

It was never going to come to a city near them.

Nikad ne bi stigao u grad u njihovoj blizini.

If it could come, they couldn't afford a ticket,

Ako bi stigao, oni ne bi mogli da priušte ulaznicu,

and if they could afford a ticket, they didn't have the connections

a ako bi mogli da priušte ulaznicu, nisu imali vezu

to get that ticket.

da pribave tu ulaznicu.

They weren't boycotting us;

Nisu bojkotovali nas;

we had boycotted them.

mi smo bojkotovali njih.

And if you look at the red and blue electoral map of the United States,

A ako pogledate crvenu i plavu izbornu mapu Sjedinjenih Država,

and if I were to tell you,

i ako bih vam rekao:

"Oh, the blue is what designates

„Oh, plavom su označene

all of the major nonprofit cultural institutions,"

sve veće neprofitne institucije kulture“,

I'd be telling you the truth.

govorio bih vam istinu.

You'd believe me.

Verovali biste mi.

We in the culture have done exactly what the economy,

Mi iz kulture smo uradili tačno ono što je ekonomija,

what the educational system, what technology has done,

što je obrazovni sistem, što je tehnologija učinila,

which is turn our back on a large part of the country.

a to je da smo okrenuli leđa velikom delu države.

So this idea of inclusion, it has to keep going.

Stoga moramo da nastavimo sa idejom inkluzije.

Next fall, we are sending out on tour

Sledeće jeseni, šaljemo na turneju

a production of Lynn Nottage's brilliant, Pulitzer Prize-winning play "Sweat."

produkciju briljantne predstave Lin Notaž, koja je dobila Pulicera: „Znoj“.

Years of research in Redding, Pennsylvania led her to write this play

Godine istraživanja u Redingu u Pensilvaniji su je navele

da napiše dramu o deindustrijalizaciji Pensilvanije,

about the deindustrialization of Pennsylvania:

what happened when steel left,

šta se desilo kad je otišao čelik,

the rage that was unleashed,

bes koji je oslobođen,

the tensions that were unleashed,

tenzije koje su oslobođene,

the racism that was unleashed

rasizam koji je oslobođen

by the loss of jobs.

zbog gubitka poslova.

We're taking that play and we're touring it

Uzećemo tu predstavu i s njom idemo na turneju

to rural counties in Pennsylvania,

u ruralne okruge u Pensilvaniji,

Ohio, Michigan,

Ohaju, Mičigenu,

Minnesota and Wisconsin.

Minesoti i Viskonsinu.

We're partnering with community organizations there to try and make sure

Udružujemo se sa mesnim organizacijama tamo kako bismo se postarali

not only that we reach the people that we're trying to reach,

ne samo da ćemo dopreti do ljudi do kojih pokušavamo da dopremo,

but that we find ways to listen to them back

već i da ćemo otkriti načine da ih saslušamo

and say, "The culture is here for you, too."

i kažemo: „Kultura je tu i za vas.“

Because --

Jer -

(Applause)

(Aplauz)

we in the culture industry,

mi iz industrije kulture,

we in the theater,

mi iz pozorišta,

have no right to say that we don't know what our job is.

nemamo pravo da kažemo da ne znamo šta je naša dužnost.

It's in the DNA of our art form.

Ona je u DNK našeg umetničkog oblika.

Our job "... is to hold up, as 'twere, a mirror to nature;

Naša dužnost je „da držimo nešto nalik ogledalu prirodi;

to show scorn her image,

da pokažemo preziru njegov lik,

to show virtue her appearance,

da pokažemo vrlini njenu pojavnost,

and the very age its form and pressure."

a samom našem dobu njegov oblik i pritiske.“

Our job is to try to hold up a vision to America

Naša dužnost je da Americi pokažemo viziju

that shows not only who all of us are individually,

koja pokazuje ne samo to ko smo svi mi pojedinačno,

but that welds us back into the commonality that we need to be,

već onu koja nas zakiva nazad u zajedništvo gde treba da budemo,

the sense of unity,

u osećaj jedinstva,

the sense of whole,

osećaj punoće,

the sense of who we are as a country.

osećaj toga ko smo mi kao država.

That's what the theater is supposed to do,

To je ono što bi pozorište trebalo da radi

and that's what we need to try to do as well as we can.

i to moramo da pokušamo da radimo što bolje možemo.

Thank you very much.

Mnogo vam hvala.

(Applause)

(Aplauz)