"Once There Was III" -- A Mesmerizing Blend of Dance, Animation and Tech | Nina McNeely | TED

翻译人员: Xinyun Zheng 校对人员: Yip Yan Yeung

(Music)

（音乐）

(Applause and cheers)

（鼓掌和欢呼）

Helen Walters: Technology, entertainment, design.

海伦·沃尔特斯（Helen Walters）： 科技、娱乐、设计。

Holy shit.

天呐。

OK, that piece was called “Once There Was III”,

刚才那个作品叫 《曾有三个人》 (Once There Was III)，

and it came from the brain of Nina McNeely, who is here.

它是今天在场的妮娜·麦克尼利 （Nina McNeely）智慧的结晶。

And I’m going to invite her for that standing O, if you don’t mind.

如果你们不介意的话， 请大家为她起立鼓掌。

Nina.

妮娜。

(Applause and cheers)

（鼓掌和欢呼）

Please take the stage.

请享受这个舞台。

Take your moment, take your bow.

享受你的时刻，给你的鞠躬。

(Applause)

（鼓掌）

OK.

好的。

OK, Nina, I have a few questions for you.

妮娜，我有几个问题想问你。

I know that you don't always want to speak,

我知道你不是很想口头表达，

that your work speaks for itself.

因为你的作品足够表达它自己。

But nonetheless, thank you for joining me up here.

尽管如此，感谢你到舞台上加入我。

So you are a visual artist, a choreographer and an animator,

你是一个视觉艺术家、一个编舞师 和一个动画制作者，

and somehow you're bringing everything together.

而且你把所有这些融合到了一起。

What are you doing?

你在做什么？

You're blending technology and dance?

你在融合科技和舞蹈吗？

What's happening?

究竟是怎么一回事？

Nina McNeely: Yes.

妮娜·麦克尼利：是的。

I've always been intrigued by the human experience,

我一直惊叹于人类的经历，

the world of dreams

这个充满梦想的世界

and whatever may be lurking in the shadows of the subconscious mind.

和隐藏在潜意识里的各种。

So I use dance to tell stories about sisterhood

所以，我通过舞蹈来讲述 关于姐妹情、

and struggle and transcendence.

关于斗争、关于超越的故事。

And I combine that with live projection mapping

我将那些与实时立体投影结合在一起，

to create surrealist environments that I can shift in and out of quickly.

创造出我可以迅速进出的 超现实的环境。

So it feels just like a dream.

它感觉就像梦一样。

And it also allows me to create illusions

它还让我能创造

that the dancers are controlling the animations with their bodies.

舞者用身体控制动画的错觉。

HW: Tell us a little bit -- There's a lot of precision here.

HW：告诉我们一些—— 这儿有许多细节。

What's actually going on?

到底是怎么一回事？

NM: Well, this piece was actually commissioned

妮娜·麦克尼利：这其实是

by Entity Contemporary Dance in Los Angeles, as a film.

由洛杉矶的实体现代舞 (Entity Contemporary Dance) 定制的电影。

And this is the first time it's ever been performed live.

这是它第一次现场直播演出。

HW: First time.

HW：第一次！

Oh, my God, that's so awesome.

天呐，这太棒了。

NM: So my process always starts with music.

妮娜：我的创作过程 总是由音乐开始。

Music is like a psychedelic to me,

音乐对我来说像迷幻剂一样，

so I'm always searching for music that's going to take me

所以我一直在寻找能把我带上

on the most imaginative journey possible.

最有想象力的旅途的音乐。

And then I envision the piece, I set the choreography on the dancers,

然后我想象出了这个舞蹈， 我对着舞者编舞，

I shoot that choreography, usually with my phone,

我常用手机拍舞蹈，

and then I bring that into my animation software.

然后把它放到动画软件里。

I create the animations,

我制作出动画，

then we get back in the studio and combine the two together,

然后我们回到工作室， 把两者结合到一起，

which actually takes hours and hours of trial and error.

这当中有不断的尝试和错误。

And I heavily rely on the impeccable music timing of my dancers

我大量依赖我的舞者 对于音乐时间无可挑剔的把控

and their talent and precision.

以及他们的天赋和精确度。

HW: They're amazing.

HW：他们非常棒。

So I love that you brought up music.

我很喜欢你用了音乐。

Tell us about the music that we just heard.

分享一些关于我们听到的音乐吧。

NM: So this music was composed by an artist named umru

妮娜：音乐是由一个叫 昂姆如 (Umru) 的艺术家编写的，

with a feature by another artist named warpstr.

其中一些特色是另一位艺术家 沃普斯特 (Warpstr) 创作的。

And I found umru’s music on SoundCloud around five years ago

我在大概五年前在声云 (Sound Cloud) 上发现了昂姆如 (Umru) 的音乐，

and was just blown away by his use of these visceral, crunchy sounds

我叹服于他对于这些震撼人心的 清脆音效的运用，

combined with these angelic vocal samples.

再加上天使般的歌声。

And I really loved that his music sounded both ancient and futuristic

我非常喜欢他的音乐 听起来复古又充满未来感。

at the same time.

So I started choreographing to his music in my dance class,

我根据他的音乐 在我的舞蹈班里开始了编舞，

and we started talking on Instagram,

我们在Instagram上聊天，

and the collaboration was born.

合作就是这样开始的。

HW: So this session is all about imagination.

HW：所以这个舞蹈全是关于想象。

Tell us a little bit about your creative process

跟我们讲讲你的创作过程

and how imagination clearly plays into that.

以及想象力如何成为 其中重要的一部分的。

NM: So at this point in my career as an artist,

妮娜：我现在的职业是一个艺术家，

I've decided to just let my influences flow into me without question,

我决定让我的影响 不经质疑地进入我的脑海，

even if they're not on trend or unpopular.

即使它们不流行不热门。

And this music really struck me with these visions

这个音乐以它的宗教图腾画面 给我这个在天主教教堂长大的人，

of the religious iconography I was exposed to

growing up in the Catholic Church.

留下了深刻的印象，

And because of my Mexican and Filipino heritage,

由于我的墨西哥和菲律宾血统，

that imagery was intense,

那样的画面更有冲击力，

a little bloody and dramatic.

有点血腥和夸张。

(Laughs)

（笑声）

And I just remember being surrounded by these paintings and figurines

我只记得我被环绕在 这些图画和雕像中间，

whose faces expressed such sorrow and piety and ecstasy.

它们的脸表现出这样的 悲恸、虔诚和狂喜。

And I just remember being completely awestruck

我记得它们的美丽与黑暗 让我完全沉浸在敬畏中，

and put in the state of pure, childlike wonderment

把我放在如孩童般纯洁的惊异中。

by their beauty and darkness.

And it's my greatest desire to recreate that experience

重塑出这样的经历并 与世界分享成了我最大的愿望。

and share it with the world.

HW: Well, you sure did that.

HW：你当然做到了。

Nina McNeely, thank you so much.

妮娜·麦克尼利，衷心感谢你。

NM: Thank you.

妮娜：谢谢。

(Applause)

（鼓掌）