A playful exploration of gender performance | Jo Michael Rezes

Transcriber: Ivana Korom Reviewer: Camille Martínez

翻译人员: Ivana Korom 校对人员: XU Gloria

( 音乐:《玫瑰人生》)

(Music: "La Vie en Rose")

塞西莉：啊，我感到很害怕。

我很担心他跟平常人没什么两样。

（阿尔杰农嗅了嗅）

Cecily: Ah, well, I feel rather frightened.

塞：真的没什么两样。

I'm so afraid he will look just like everyone else.

阿尔杰农：你一定是我的小表妹塞西莉。

(Algernon sniffs)

塞：你这可大错特错了。

我并不“小”。

C: He does.

实话说，我认为我比同龄人都要高。

Algernon: You are my little cousin Cecily, I'm sure.

但我的确是你的表妹塞西莉，

C: You are under some grave mistake.

我知道你来这里也是为了 帮助乔·迈克尔·赖泽什

I'm not little.

In fact, I do believe I'm actually more than usually tall for my age.

做 TEDx 演讲。

你是我的表哥欧内斯特， 邪恶的表哥欧内斯特。

But I am your cousin Cecily,

and you, I see, are also here helping Jo Michael Rezes

阿：塞西莉表妹， 我一点也不邪恶。

with their TEDx talk.

And you are my cousin Ernest, my wicked cousin Ernest.

你可千万不要这样看待我。

塞：我并不希望你表里不一，

表面一副老好人的样子 背地里却一肚子坏水。

A: Oh! Well, I'm not really wicked at all, cousin Cecily.

那可就是虚伪了。

You mustn't think that I am wicked.

阿：那老实说 我的确狂妄过一阵子。

C: Well, I hope you haven't been leading a double life,

pretending to be good and being really wicked all the time.

塞：还挺老实的嘛。

阿：塞西莉表妹，我对这个世界 感到挺满意的。

That would be hypocrisy.

A: Well, of course, I have been rather reckless.

塞：是呀，但是你自己 配得上这个世界吗？

C: I am glad to hear it.

阿：我恐怕要让你失望了。

A: But the world is good enough for me, cousin Cecily.

这就是为什么我希望你能改造我。

塞：我今天下午可没这个时间。

C: Yes, but are you good enough for it?

要做TED演讲这的那的。

A: I'm afraid I am not that.

（笑声）

That's why I want you to reform me.

阿：那你介不介意 今天下午我改造我自己？

C: Well, I'm afraid I have no time this afternoon.

塞：哦， 这听起来相当堂吉诃德，

但是我觉得你大可一试。

The TED talk and all.

阿：很好，我已经感觉不错了。

(Laughter)

A: Well, would you mind my reforming myself this afternoon?

塞：你看起来更糟糕了。

阿：那么可以给我那支粉色的玫瑰吗？

C: Oh, that's rather quixotic of you,

but I think you should try.

A: Good. I feel better already.

塞：为什么要给你？

阿：因为你看起来 像是一支粉色的玫瑰，塞西莉表妹。

C: You're looking a little worse.

塞：我觉得你现在跟我交谈的方式

A: Well, might I have that pink rose?

不太合适。

阿：你是我所见过的最漂亮的女孩。

C: Why?

A: Because you are like a pink rose, cousin Cecily.

塞：但是...那...我...

C: Well, I don't think it could be right for you

阿：还有就是

to talk to me like that.

A: You are the prettiest girl I ever saw.

塞：所有好看的皮囊不过是一个陷阱

C: But -- well, I -- I --

阿：可所有陷入其中的清醒之人

无不心甘情愿...

A: And, and ahem --

C: All good looks are a snare and --

乔·迈克尔·赖泽什：（叹气）

A: Well, it's a snare that every sensible man

很抱歉

would like to be caught in, and ...

Jo Michael Rezes: (Sighs)

我没有完成排练。

并不是因为我不能踩高跟，

I'm so sorry, I um --

其实高跟鞋难不倒我，

你要是不信我可以穿给你看 但是我真的感到很抱歉。

I didn't finish rehearsing.

麻烦稍等。

Um, well it's not because I can't walk in heels,

嗯。

I'm actually really good at that,

and I can prove it to you, too, but I really am sorry.

不管怎样。

Hold on.

不管怎样。

Uh, um.

好了。

好了，介绍现在开始。

今天是 TEDx 演讲，对吧。

No matter.

No matter.

大家好！（笑声）

Right.

我的名字叫乔·迈克尔·赖泽什

Right, introductions.

It's a TEDx talk. Right.

我是这里的戏剧及表演的博士生。

Hi, there! (Laughs) Um.

我的专业是 研究在坎普表演中

My name is Jo Michael Rezes,

酷儿身份认同如何控制和影响

and I'm a PhD student here in theater and performance studies.

对时间的认知

And I specialize in the study of queer identities

大家知道坎普吗？

as they maneuver and affect the perceptions of time

讥讽中见真诚的服饰？

in the performance of camp.

刻奇即合理？

You know camp?

没听说过吗？

看看 2019 年Met Gala的主题

超过 95 %的参加者离题万象？

Sincerity in irony's clothing?

Making the kitsch feel like home?

（笑声）

还是没有印象吗？好吧，不管了。

No?

大部分时间我也是一个 活跃在大波士顿地区的

The Met Gala theme from 2019

that was thoroughly misunderstood by over 95 percent of its attendees?

演员导演、戏剧教育者。

噢，失礼了。

(Laughter)

今天我带了两个朋友过来

No? OK, anyway.

I'm also an actor-director and theater educator at large

来自王尔德颇负盛名的戏剧 《认真的重要性》的两个角色，

in the greater Boston area.

阿尔杰农和塞西莉。

Oh, and where are my manners?

刚把他们吓跑了，

The friends I brought with me today are Algernon and Cecily

放心他们待会还会回来的。

实话说，

from Oscar Wilde's famously well-known play,

如果没有什么猛料结尾的话，

"The Importance of Being Earnest."

又怎能称得上是 TEDx 演讲呢？

And they'll be back, don't worry.

（笑声）

I've only scared them off a bit.

And let's be honest,

我希望效果不会太糟糕。

it wouldn't be a TEDx talk

without things wrapping up nicely at the end, would it?

看着我栽跟斗还蛮尴尬的。

(Laughter)

到底是在什么上栽跟斗呢？

You know, I hope that wasn't too awful, though.

同时扮演一个男人和一个女人？

It was awkward, I know, to watch me fail.

准确点说，我本身既不是男人 也不是女人却同时扮演两者？

To fail at what, exactly, though?

为什么当我们看到他人 在性别上栽跟斗会感到尴尬，

To play a man and a woman at the same time?

I mean, to play a man and a woman when I'm actually neither?

而为什么我们在乎这一切呢？

显然我刚刚是存心搞砸的。

Why does it feel so awkward when we see someone fail at gender,

这一切都经过精心设计

反复排练，对吧？

and why do we care?

I mean, obviously, me screwing this up was done on purpose.

对吧？

（笑声）

我今天想谈的是性别表演以及方法

Obviously, I had this all perfectly memorized

and rehearsed for today, right?

我把表演课堂用作一个

Right?

颠覆性别表演不可改变性的空间，

(Laughter)

Well, I'm here today to talk about gender performativity

通过对失败的支持，容许反复犯错， 鼓励坦诚沟通，

and the ways in which I've used my acting classroom

as a space to disrupt the finality of gender performance,

打开一个更为放松的空间，

来思考性别认同。

to open up a looser space for thinking about gender identity

我们这些演员，

都可以在日常生活中探索性别。

through supportive failure,

generous mistakes and honest communication.

我把这叫做“性别排演”。

We all, actors or otherwise,

在座的所有酷儿理论学家、 女性研究学者

can play with gender in our everyday lives.

And I call this "gender rehearsativity."

以及朱迪斯 · 巴特勒的狂热粉丝，

把我身上这件半男半女、 极其二元的服装撕烂之前，

Now, before all of the queer theorists and women's studies degree holders

请容我先来解释一下大众文化

and Judith Butler fanatics in the audience

早就对性别表演有所误解，

start to tear the half-and-half, hyperbinary costume off of my body,

之后我再来谈我最重视的性别排演。

let me first explain where popular culture

has already begun to misunderstand gender performativity,

作为一名教育从业者

且作为一个还算年轻、 二十来岁的变性人，

before I move into the rehearsativity I hold so dear.

我经常听到身边二十来岁的学生、

朋友和同事

Now, as an educator

说性别已“死”——

and as a youngish 20-something-year-old trans person,

说性别是流动的，无拘无束的

I'm constantly hearing from my 20-something-year-old students,

说社会、电影、电视 越来越接纳变性人，

friends and colleagues

that gender is "over" --

所以基本上性别已死。

that gender is so fluid and carefree

作为一个非二元的人， 我并不认同性别的二元划分。

and that society, film and television are so inclusive of transgender people,

但是性别肯定未”死“。

that it's basically over.

或者说，至少我不这么认为。

Now, I don't ascribe to the binary, as a nonbinary person myself.

也许，也只是一个想法， 性别永远只是一个开始。

But gender definitely isn't over.

Or, at least I don't think it is.

就在上一个学期，

大概在上午 10 : 23 左右，

And maybe, just maybe, gender is always beginning.

我的两个表演系学生，

在扮演迷人的兄弟会成员的时候，

This last semester,

at roughly 10:23am,

请原谅我忘记了他 或者另一位他的名字，

那是本节课的压轴表演，

two of my acting students,

这两位穿着松垮衣服、戴着棒球帽的女生

while embodying delicious caricatures of fraternity brothers --

forgive me, I don't remember his or his name --

张大嘴巴，显示出松垮的下巴， 同样松垮的男子气，

well, they rounded up the class,

and these two women in snapbacks and baggy clothing

看着就够令人吃惊的了，

slacked their mouths to reveal lax jaws and lax bro mentalities.

这两位女生游走在嘲讽与讥讽之间，

And, astounding as it was to watch,

在异常与残酷之间， 痛苦与愉悦之间，直到最后

these women fluctuated between irony and satire,

她们都不能好好表演 自己所选的男性角色。

the uncanny and the ruthlessly so, pain and joy, until ultimately

她们直接不说话了。

沉默。

they failed to be the men they were choosing to embody.

整个课堂陷入一片沉静当中，

时间似乎被一扫而尽。

They simply stopped talking.

就在这个振聋发聩的静止中，

Silence.

其中一位女生，

A lull hit the class,

and time seemed to be sucked clean out of the room.

依然用一口兄弟会男生的声音， 尽管完全跳脱了角色，

And in this moment of loud stillness,

近乎低语道，

one of the women,

（用兄弟会男生的声音） “性别是一种社会建构”。

still using her frat bro voice though fully out of character,

（笑声）

said, nearly in a whisper,

我得承认：那天早上 我和其他学生一起大笑，

(In frat bro voice) "Gender is a social construct."

部分原因是因为我的学生 在表演中掐中了制造笑点的时机，

(Laughter)

同时也是因为社会已经把性别表演

I'll admit: I laughed along with my students that morning,

partially at the comedic timing that my student had in her delivery

转变为性别作为一种社会建构的这一事实

but also at the fact that society has turned gender performativity

大家想想看：

我想这个想法来自著名的酷儿研究学者

into gender as social construct.

朱迪斯·巴特勒，

她对于性别表演的研究影响深远，

Now, listen to this:

I think that this idea has come from renowned queer studies scholar

已经成为文科学院研究生课堂

必备的内容。

Judith Butler,

whose seminal work in the performativity of gender

而在巴特勒著作的 Sparknotes 版本中

has gone on to be a staple

传递着性别存在于 重复的言辞与行动中这一想法。

in undergraduate classrooms at liberal arts institutions.

Now, this SparkNotes version of Butler's work

而这些表演创造的同时

is found in the idea that gender exists in repeated words and actions.

也被真实的人类身体所创造。

大家想想看：

“再者，在 1988 年的论文中，

And these performatives create and are created

巴特勒表示性别是一门需要排演的表演。

by the bodies of real human beings.

Now, listen to this:

"Moreover, in a 1988 essay,

如此一来，

Butler claims that gender is an act which has been rehearsed.

通过重复，性别变成了一个清晰的剧本，

需要演员来重现。”

In this way,

gender through repetition becomes a recognizable script,

巧了。

这跟我在《认真的重要性》的尝试 非常相似。

which requires actors to reproduce it."

我的意思是，看看我这身装束。

Huh.

（用深沉的声音）为什么这一半 让我感到男子气概、男性气质、精明，

Much like my attempt at "The Importance of Being Earnest."

（用高尖的声音）而这一半 让我感到女子气，曼妙，女性气质？

Ooh, I mean -- look at my costume.

有些人甚至忘记了明明性别不一样，

(In a deep voice) Why does this half make me feel manly, masculine, suave,

因为这是经过精心排练、 已经融入我们的身体。

(In a high voice) and this half makes me feel girly, fabulous and feminine?

但是我们永远无法达到某种性别理想。

I mean, some of us even forget that gender is there,

because it is so well-rehearsed into our bodies.

但是要不要去探索取决于我们。

作为一名演员 我整个事业生涯都在探索性别，

But there's always an ideal of gender that we can never quite achieve.

在念研究生的某个学期，

But it's up to us to play with it.

我需要同时扮演两个角色：

Now, I've played with gender throughout my own career as an actor,

《洛基恐怖秀》中的布拉德·梅杰斯，

and in one semester as an undergraduate student,

以及《樱桃园》的夏洛特·伊万洛娃。

I was cast in two roles simultaneously:

一个男人，一个女人但我只有一个。

Brad Majors in "The Rocky Horror Show,"

and Charlotte Ivanovna in "The Cherry Orchard."

我得从一个排练中

扮演着具备男子气概、 充满攻击性的布拉德，

One man, one woman and one me.

可没一会就得被拽出来戴上假发，

I would go from one rehearsal,

画上美丽的眼线扮演夏洛特， 一个德国家庭女教师。

playing the manly, aggressive Brad,

only to be pulled, moments later, into a wig

这种在不同身份之间的反复来回切换

and delicately blended eyeliner as Charlotte, a German governess.

对于我作为一名 尝试拓展性别角色图谱的演员而言，

不但无比珍贵，

The constant push and pull of these identities

同时也告诉我

was not only invaluable to my work as an actor,

我自身的酷儿身份

attempting to span the spectrum of gender in my work,

同样深深地影响了所饰演的性别的极端。

but it also revealed to me

that my own queer identities

这些角色是我的身份、

are deeply indebted to embodying the extremes of gender.

我的身体、

日常的苦楚、

我的社交、我的记忆等的重要构成部分。

These characters held important facets of my identities,

排练这些角色能让我探索这些身份，

of my body,

my daily pain,

of my social interactions, of my memories,

也让我作为一名表演教师需要

and rehearsing these characters allowed me to explore those identities,

向学生展示在探索性别排演的重要性。

which has opened up my need as an acting teacher

当我向你们表演

（用高尖的声音）塞西莉

to show the importance of playing with gender in rehearsal.

和（用低沉的声音）阿尔杰农的时候，

这两个角色当中有一些我尊重，

So when I present to you all

并能完全理解的地方，

(In a high voice) Cecily

那种我能感同身受的压迫， 那种我能完美演出的恐惧，

and (In a deep voice) Algernon,

there are these parts of these two characters that I respect,

那种我试图忘记的攻击倾向。

understand implicitly,

但是也有很多特性。

oppressions I can relate to, fears I can embody,

我并无任何个人经验，

aggressive tendencies that I try to forget.

无从借鉴。

But there are also plenty of characteristics

有时候在匆忙的排练中，

with which I have no personal experience,

读剧本的时候，

创造角色的时候，

nothing I can draw from.

我们难免会犯错。

And sometimes in a flurry of rehearsal,

阿尔杰农对塞西莉的具备攻击性的调情

of reading a script,

of creating a character,

跟我的身体不太兼容，

well ... we make a mistake.

又或者奥斯卡·王尔德笔下塞西莉的恬静

Algernon's aggressive flirtation towards Cecily

怎么演都不对劲，

真的一路跌跌撞撞。

doesn't sit well in my body,

or Cecily's calm demeanor as written by Oscar Wilde,

现在这个 TEDx 演讲就是一场

面向众多观众的表演。

just doesn't sit right,

and I literally trip up.

从这个层面来讲 跟我的课堂简直天差地别。

Now, this TEDx talk is a performance

in front of so many people.

但是在我们的日常生活中 表演我们的性别，

And it differs quite drastically from my classrooms in that regard.

我们自己

受承受的压力

But there is such a recognizable pressure in our daily lives

跟站在这个舞台是一样 一下子就能看出来。

老实点说，

to perform our gender,

无法令人相信你是一个男人或者一个女人

our selves,

on a stage like this.

对于变性人或性别不确定人士而言 依然是危险的。

Quite frankly,

大家听听：

failure to pass as a man or a woman effectively

根据2015年美国跨性别研究，

is still dangerous for transgender and gender nonconforming people.

接近一半的受访者表示

在过去一年因为他们的性别身份或表达，

And listen to this:

according to the 2015 US Transgender Survey,

受到言语上的侵犯。

而这个数字在有色人种群体中更高。

nearly half of respondents voiced

that they had been verbally harassed in the past year

现在很多人声称将性别看作是一个光谱，那当然是好事，

because of their gender identity or expression.

And that number is shown only to increase in communities of color.

这里面包括 60 %的 Z 世代人群。

Many of us now claim to view gender on a spectrum -- and that's great --

他们在 2019 年 皮尤研究中心的调查中表示，

他们认为但凡需性别信息的表格中，

including 60 percent of Generation Z individuals

除“男性”或“女性”之外 应该包含更多的性别选项。

who reported to the Pew Research Center in 2019

但是尽管如此，

that they believe forms with boxes for "male" or "female"

依然有不少对于搞错性别的隐忧

should include more gender options.

在办公场所中，在课堂上，

But in spite of this,

在政府的眼里，

there is still latent fear of making gender mistakes

在爱情的情景中，

对于我们一些人而言，

in offices, in classrooms,

甚至在早上起来看镜子的时候。

in the eyes of the government,

in romantic situations,

但是我们还是可以 利用性别误解做好事的。

and for some of us,

even in the mirror when we wake up in the morning.

哪怕在二元划分的性别架构中，

在舞台上作为男人或女人探索生命，

But our gender mistakes have the potential for something good.

我们在试验中相互支持，

跌跌撞撞，踉跄而行，

Even in the binary,

两个小时的沉思

approaching life on the stage as a man or a woman,

或者五秒换装出演不同性别。

we can support each other in experimentation,

失败是朱迪斯 · 巴特勒的表演理论中

trips and stumbles,

关键的一部分。

two-hour-long meditations on

但是我相信对于大部分人而言，

or five-second costume changes with gender.

就像在座各位，

And failure is a key part

你可能听说过“表演性” 听说过“表演”。

of Judith Butler's theory of performativity.

But I do believe that for most people,

也就是说对“表演”见怪不怪了

like you all out there,

要不然，

you might hear "performativity" and hear "perform."

可能普遍的表演都会让你感到焦虑。

That's to say, performance-ready

会让你感到我这种 直到今天还无法克服的舞台恐惧。

or if not performance-ready,

perhaps performance in general gives you anxiety.

我们需要理解的是在性别上栽跟斗

Or the stage fright that I have to this very day.

可以是，应该是 一个积极的、生成的过程。

What we need to understand is that failing at gender

我们在性别上犯下的错只会让我们成长

can and should be a positive, generative process.

更好地理解身边的不同性别。

但是我们需要创造 容许犯错的空间。

The mistakes we make with gender can only help us grow

and better understand the multitudes of gender around us.

我们需要创造容许失败的空间。

这也是排演登场的时候了。

But we need to make space for these mistakes.

We need to hold space for failure.

当我的表演系学生在上台前 还在为一段独白或一场戏发慌的时候

我常说的主要观点之一，

And that's where rehearsativity comes into play.

Now, one of the main points I like to make with my acting students

就是没有人能真正准备好。

when they're last-minute panicking about a monologue or a scene,

我们不可能真正排练好，

我们只是被推到观众面前。

is that no one is ever actually ready.

这个夏天当我在萨默维尔青年艺术

I mean, we're never actually done rehearsing,

教授性别颠倒工作坊的时候，

we're just put in front of an audience.

我对一群中学生年纪的学生明确说道

When I taught a workshop on gender-bending this last summer

你不可能同时是一个恶霸和一个好演员。

at Somerville Arts for Youth,

I made it quite clear to a group of middle school-aged students

这是不可能的。

表演这个行当

that you cannot be a bully and a good actor at the same time.

需要同理心才能生存。

It's impossible.

霸凌会阻止具备创造力的过程。

There is something about the act of embodiment

that requires empathy to survive.

当这群中学生在课堂上跑来跑去，

尝试着表演二元划分的性别两极，

Bullying prohibits the creative process.

As these middle schoolers moved about the room,

很快陷入一片混乱，

trying on the extremes of binary gender presentation,

笑声，

模仿所看过的电影和电视中 刻板的性别印象，

this dissolved into galumphing,

在理解性别的受挫中感受到愉悦。

laughter,

parodying of stereotypes they see in movies and on television,

甚至我那《表演入门》的大学学生，

joy in the failure to understand gender.

当我限制他们思考时间的时候

不会放过任何探索性别的机会。

Even my college students, in "Introduction to Acting,"

去年的万圣节上，

我要求学生穿好戏服再来教室

jumped on the opportunity to play with gender

让他们把帽子扔进一个圈中间，

when I restricted their time to think.

On Halloween last year,

真让他们这么做， 同时这也是一个比喻，

I asked my students to come to class in costume

这个游戏的唯一规则

and to, well, to throw their hats into the middle of a circle,

就是他们必须走到这个圈的中心去，

拿起一顶帽子，选一个角色，

metaphorically and literally,

然后调换。

and the only rule of the game

完全没有思考的时间。

was that they had to go into the center of the circle,

直到班里的两位男生

take on a hat, pick a character,

看到没人跑到圈的中间

and then switch.

No time to think.

他们一把跳进中间，

其中一个扮演

And it wasn't until two men in the class

（用低沉的声音）一个英国沙文主义者，

noticed no one running to the center of the circle

（用高尖的声音）另一个则是 一个声音尖尖的、羞答答的英国女士。

that they jumped into the center,

and one became

(In a deep voice) a British chauvinist,

这时候时间凝固了。

(In a high voice) and the other, a high-pitched, coy British lady.

笑声，

模仿，

再一次出现，

Time stood still.

在理解性别的受挫中感受到愉悦。

Laughter,

这就是性别排演的潜能所在。

mimicry,

joy, again,

in the failure to understand gender.

我向在座所有人发起挑战

That's the potential of gender rehearsativity.

把自己的日常想象为迷你排练，

在生活中为探索性别创造空间。

And I challenge you all

to think of your days as mini-rehearsals.

并且允许其他人探索他们的性别。

Cultivate spaces in your life to explore gender.

并且栽跟斗。

我希望我可以告诉你们更实在的方法 好让你们去尝试。

And allow other people to explore their gender.

但是性别就是那么有趣。

Fail at gender.

I wish I could give you more tangible ways to go out and do this.

性别是一种已被排练过的表演。

But gender is funny like that.

一些表演比其他排练得更好些。（笑）

Gender is an act which has been rehearsed.

但是性别并不完美。

Some acts more rehearsed than others. (Laughs)

有时候，

就像在排练中，

But gender is far from being perfect.

当我们在戏剧中

And sometimes,

在愉悦中，在痛苦中互相支持，

just like in rehearsal,

when we support each other in times of play,

我们最后会比不去尝试直接失败， 要成功得多。

in times of joy and times of pain,

阿：我认为有比这更成功的。

we wind up succeeding more than if we hadn't tried or failed at all.

那就是我爱上了塞西莉，已经足够了。

A: Well, I think that has been a great success.

但是在我走之前必须再见她一面。

她来了。

I'm in love with Cecily, and that is everything.

塞：我回来只是为了 给这些玫瑰浇水而已。

But I must see her before I go.

我们刚不是和乔 发表 TEDx 演讲吗？

Oh, there she is.

阿：是的。

他们给我叫马车去了。

C: Oh, I merely came back to water the roses.

I thought we were at a TEDx talk with Jo.

塞：好吧。

他们这是要带你好好游览一番吗？

A: Oh.

阿：其实他们要把我送走。

Well, they've gone to order the dogcart for me.

塞：啊

C: Oh.

也就是我们得分开了。

Are they going to take you for a nice drive?

阿：恐怕是的。

多么痛苦的离别。

A: They're going to send me away.

C: Oh.

塞：对于老朋友的离开， 人们尚且能沉静应对。

So we have to part.

A: I'm afraid so.

It's a very painful parting.

但是与刚刚相识的人

C: Well, the absence of old friends one can endure with equanimity.

哪怕分离片刻

But even a momentary separation

都叫人无法忍受。

from anyone whom they've just met

JMR：谢谢大家。

is almost unbearable.

（掌声）

JMR: Thank you.

(Applause)