What’s Possible When the Arts Belong to Everybody | Lear deBessonet with Brian Stokes Mitchell | TED

翻译人员: Muzhi Li 校对人员: Manlin Fang

Let me tell you,

让我告诉你，

as a little girl growing up in Baton Rouge, Louisiana,

作为一个 在路易斯安那州巴吞鲁日长大的小女孩，

everyday life was full of spectacle.

日常生活充满了奇观。

In the months leading up to Mardi Gras,

在狂欢节之前的几个月里，来自我们社区各地

people from all over our community knit beads into dresses,

的人们将珠子 编织成连衣裙，

stirred steaming pots of gumbo,

搅拌热气腾腾的浓汤锅，

shaped chicken wire into grand, majestic carriages

将鸡肉串成

stuffed with brightly colored tissue paper.

装满色彩鲜艳的薄纸的宏伟马车。

On the day of the parades,

在游行当天，大人们会像

grownups would walk out of their homes as mermaids and alligators

美人鱼、鳄鱼、

and kings and queens.

国王和王后一样走出家门。

You could see your second grade teacher

你可以看到你的二年级老师

suddenly a peacock with beautiful sparkly feathers.

突然变成一只长 着漂亮闪亮羽毛的孔雀。

We would paint our faces and flow into the street

我们会画出自己的脸 然后流入街道，整天城市

where all day long, the city sang and danced together.

Regular people of all ages, races and classes

所有年龄、种族、和阶层的普通人，

who stepped outside of their daily life

他们走出日常生活。

and into a collective radiance.

展现集体光彩。

In my world, pageantry was not just reserved for Mardi Gras.

在我的世界里，盛会不仅限 于狂欢节。

Every Sunday at church, voices lifted together,

每个星期天在教堂里， 声音都会响起，

inviting the holy down into daily life.

邀请圣徒进入日常生活。

Our church staged epic annual Christmas pageants,

我们的教堂 每年都会举办史诗般的圣诞节选美

complete with real, smelly sheep.

大赛，还有真正的臭绵羊。

And down the road at LSU football games on Saturdays,

在周六的路易斯安那州立大学 足球比赛

the stomp of the roaring crowd,

中，在我八岁

led by the marching band and the color guard,

的时候，由游行乐队 和色彩卫队带

registered as an official earthquake on the Richter scale

领的咆哮人群的脚步被

when I was eight years old.

记录为里氏规模的官方地震。

Big surprise, I became a theater director.

令人惊讶的是，我成为了一名戏剧导演。

I did so with the belief that these spectacles were more than just fun,

我之所以这样做，是因为我相信这些 奇观不仅仅是乐趣

that something profound was happening

，

when our community came together in the realm of the imagination.

当我们的社区在想象的世界 中走到一起时，会发生一些深刻的事情。

Pageantry and spectacle are in fact ancient,

实际上，盛会和奇观 是人类体验的古老而

universal aspects of human experience.

普遍的方面。

Going back as far as we can trace the presence of humans on this planet.

尽我们所能追溯 到人类在这个星球上的存在。

Religious ritual and celebration, or carnival,

宗教仪式 和庆典，或狂欢节，

provided our ancestors much needed joy,

为我们的祖先提供了急需的欢乐，

and the unique kind of group bonding

以及面对 日常生存挑战所

necessary for facing their daily challenge of survival.

必需的独特群体纽带。

The question is,

问题是，在当今时代，

what do these spectacles mean in our day,

当我们生存

when the interconnectedness of our survival

的相互关联性 不那么明显，科技为隔离提供了持续 的机会时

is less immediately visible

，这些奇观意味着

and technology offers the constant opportunity for isolation?

什么？

As a theater director,

作为一名戏剧导演，

I search for what a communal gathering in the realm of the imagination

我正在寻找想象

can mean in our time.

中的公共聚会对我们这个时代意味着什么。

And that quest led me to wonder,

那次探索使我想知道，

inspired by the Mardi Gras of my childhood,

受童年狂欢节 的启发，是否

would it be possible to create the feeling

有可能在舞台上共同营造出整座城市

of a whole city on stage together?

的感觉？

Well, what better way to try than to stage a production

好吧，还有什么 比上演一

of "The Odyssey"

部由181人组成、 来自圣地亚哥各地的《奥德赛》

with 181 people in the cast, drawn from all over San Diego?

更好的尝试方式呢？

I chose "The Odyssey" because as an epic story of a journey towards home,

我之所以选择《奥德赛》，是因为作为一部关于回家之旅的史诗 故事，

it felt large enough for us to all find ourselves inside of it.

它感觉足够大，我们 都能发现自己身处其中。

As I wandered around San Diego, I started to wonder,

当我在圣地亚哥漫步时， 我开始怀疑，

what if that amazing gospel choir played the goddess Athena

如果那个神奇的福音合唱团 扮演了雅典娜女神

and those salsa dancers,

和那些萨尔萨舞者，如果他们创造了瑟西的巢穴

what if they created Cersei's lair

和那个神奇的高中鼓声

and that amazing high school drumline?

呢？

What if they took care of the big archery contest that saves Odysseus at the end?

如果他们负责了最后拯救奥德修斯的大型射箭 比赛呢？

Sort of like medieval passion plays

有点像中世纪的激情，

when it was like, "Bakers, you take the Last Supper,

当时就像：“面包师， 你吃最后的晚餐，

butchers, you do the crucifixion."

屠夫，你钉十字架。”

When "The Odyssey" opened in 2011 at the Old Globe,

当《奥德赛》于2011年 在旧环球上映时，

even I was not prepared for the wave of joy it unleashed.

即使是我也没有 为它释放的欢乐浪潮做好准备。

Look, I'm not a social worker.

听着，我不是社会工作者。

I'm an artist.

我是一个艺术家。

But the show surprised me.

但是这个节目让我感到惊讶。

I did the show thinking it would be beautiful,

我做这个节目时以为 它会很漂亮，

but it was so much more than that.

但远不止于此。

People were overcoming the challenges of fear and self-doubt

人们

in the imaginary process,

在虚构 的过程中克服了恐惧和自我怀疑的挑战，

and somehow it was making them feel equipped

不知何故，这使 他们感到有能力

to face the challenges in their real life.

面对现实生活中的挑战。

After the show, we stayed in touch

演出结束后，我们保持了联系

and I started hearing anecdotally

，我开始以传闻的方式听到

what I would later learn scientifically.

我以后的科学知识。

Students who had been part of the show were doing better in school.

参加过该节 目的学生在学校表现更好。

Some of our elders experienced noticeable health benefits

我们的一些长者体验到了 明显的健康益处，

like better blood flow and increased mobility.

例如改善血液流动 和增加活动能力。

A remarkable man in his early 50s

一位五十出头的杰出人 物

who had come to us through a homeless shelter,

是 通过无家可归者收容所来到我们这里的，他在演出结束后成年后第一次

got a job, a steady job,

找到了工作，

for the first time in his adult life after the show.

一份稳定的工作。

And ten years later, he was still employed.

十年后， 他仍在工作。

He traced it back to performing in "The Odyssey."

他把它追溯 到在《奥德赛》中的表演。

Why?

为什么？

I asked him, and his answer was simple.

我问他，他的回答很简单。

He said being part of the show reminded him that he had value,

他说，参与这个节目 提醒他自己有价值，

and he knew that if other people were counting on him,

而且他知道如果其他 人指望他，

he could show up.

他可以露面。

Well, the Public Theater in New York

好吧，纽约的公共剧院愿意

was willing to give me a home for this work.

为这部作品给我 一个家。

And in 2012, I started Public Works,

2012年，我启动了公共工程，

a program that brings together community members from all over New York City,

该计划汇集了来自纽约市各地的社区 成员，

including children and senior citizens,

包括儿童和老年人、

domestic workers, military veterans,

家庭佣工、退伍军人，

men and women rebuilding their lives after prison,

在狱后重建 生活的男人和女人，

and Broadway stars,

以及百老汇的明星，

all to create 200-person pageants

都将

annually at the Delacorte Theater in Central Park.

每年在中央公园的德拉科特 剧院举办200人的选美大赛。

(Applause)

（掌声）

I want to share with you for fun

我想和大家分享一下 我们如何

the quick math of how we put a city on stage

通过公共工程让城市登上舞台的简短数学运算。

through Public Works.

In, for example, our production of "The Winter's Tale,"

例如，在我们制作 的《冬日故事》中，

we had 107 community ensemble members,

我们有107名社区合奏团成员，

ages 2 to 92,

年龄在2至92岁之间，

34 choir singers,

34名合唱团歌手，

16 bhangra dancers,

16名班格拉舞者，

12 ballerinas,

12名芭蕾舞演员，

seven "Sesame Street" characters,

七个 “芝麻街” 角色，

six stilt walkers,

六名高跷行者，

five Broadway actors,

五名百老汇演员，

four Capoeiristas,

四名卡波埃里斯塔斯，

three park rangers,

三名公园护林员，

two Chinese lions,

两只中国狮子，

one bear puppet

一只熊木偶

and one Big bird.

和一只大鸟。

(Laughter)

（笑声）

And that's how we made a city.

我们就是这样建成一座城市的。

(Applause)

（掌声）

But why stop there?

但是为什么就此止步呢？

This July,

今年7月，全美

18 cities and towns across America

18个城镇

will simultaneously premiere their own large-scale public artwork,

将同时首演他们自己的 大型公共艺术

responding to the theme "No Place Like Home."

作品，主题是 “没有地方像家”。

Local artists partnering with their municipality

当地艺术家 与他们的市政当局

and their local community health centers

和当地社区卫生中心

to manifest what is possible when the arts belong to everybody.

合作，展示 当艺术属于每个人时可能发生的事情。

(Applause)

（掌声）

The beauty of this type of art-making

这种艺术创作的美妙之处在

is that people who might not encounter each other

于， 除了陪审团职责外，在生活的任何其他

in any other aspect of life, except jury duty,

方面可能 不会相遇的人

gather together around life's deepest questions.

聚集在一起围绕着生活中最 深刻的问题。

This collaboration reinforces that we all deal with the same emotions.

这种合作进一步证实了 我们所有人的情感都是一样的。

We have all known love,

我们都知道爱、

fear,

恐惧、

frustration,

挫折、

joy.

快乐。

And because we meet as equals in the realm of the imagination,

而且，因为我们在想象 中是平等相遇

something is possible that's often not when we're separated

的，所以 当我们被分离

and boxed into our social roles.

并被束缚在社交角色中时，这种可能性往往是不可能的。

Whereas in San Diego, my observations about transformation were anecdotal,

而在圣地亚哥，我 对转型的观察只是传闻，

with Public Works, we brought on a linguistic anthropologist

而在公共工程方面，我们

from the very beginning

从一开始就聘请 了一位语言人类学家

to trace the impact of the work over many years.

来追踪这项工作多年来的影响 。

And the results were the same.

结果是一样的。

In my now 20 years of directing theater,

在我执导戏剧的20年中，从监狱 、

everywhere from prisons and shelters to Broadway,

庇护所到百老汇，

I have seen seniors recover from strokes and surgery

我看到老年人 从中风和手术中恢复过来的速度

more quickly than their doctors said was possible.

比 医生所说的要快。

I've seen children diagnosed with autism

我见过被诊断

who had been told higher education was not an option,

患有自闭症的孩子被告知不能接受高等教育 ，

go on to thrive in college and graduate.

他们在大学里茁壮成长并毕业。

I've seen a homeless man in Philadelphia

我在费城看到一个无家可归的人

suffering from severe AIDS-related complications,

患有严重的 艾滋病相关并发症，他在离开医院的病床 后立即

show up at our rehearsal immediately after leaving his hospital bed

出现在我们的排练中，

because he wanted to dance

因为他想

in our production of "Don Quixote" that night.

在当晚我们制作的《堂吉诃德 》中跳舞。

So after all of this,

因此，在所有这些之后，

I am not surprised to learn

得知

that the World Health Organization pooled 3,000 studies

世界卫生组织 汇集了3,000项

on the relationship between arts and health,

关于艺术与健康 之间关系的研究，

and found that arts interventions have a significant role to play

发现艺术干预措施

in the reduction of ill health,

在减少不良健康、

the promotion of good health,

促进健康

and the management and treatment of disease.

The good news is

好消息是

that this type of health benefit comes from things

，这种健康益处 来自加入合唱团、

as simple as joining a choir,

去博物馆、

going to a museum,

参加每周一次的绘画课

being part of a weekly drawing class.

等简单的事情。

Loneliness is now an epidemic in our world,

孤独感现在已 成为我们世界的流行病，

and the growing belief that we have nothing in common

人们越来越 相信我们

with people who believe differently from us,

与在

politically or religiously,

政治或宗教上与我们信仰 不同的人没有任何共同之处，这

is tearing our social fabric apart.

正在使我们的社会结构四分五裂。

Participating in something much bigger than yourself,

参与比自己 更大的事情，

working hard towards a shared good,

努力实现共同的利益，

this restores our sense of connection.

这可以恢复我们的联系感。

And in the realm of the imagination,

在想象的领域，

perhaps even behind feathers and sequins,

甚至在羽毛和亮片的背后，显而易见

what becomes visible is the divine spark in every human being

的是每个人

and in our one collective humanity.

和我们人类集体中的神圣 火花。

Friends, the sociologist Emile Durkheim says something I love and believe in.

朋友们，社会学家埃米尔·涂尔克海姆 说了我喜欢和相信的话。

"They find a remedy because they seek it together."

“他们之所以找到补救措施， 是因为他们共同寻求补救措施。”

Thank you.

谢谢。

(Applause)

（掌声）

Thank you.

谢谢。

It was so fun to talk to you all about that.

和大家聊一聊这件 事真是太有趣了。

But now I want to give you a little taste of it.

但是现在我想让你尝 一尝。

So I do notice an unused piano here.

所以我确实注意到这里有一架未使用的钢琴。

That's never right.

那永远是不对的。

I want to bring to the stage now, my good friends,

我现在想带上舞台， 我的好朋友们，

Broadway legend Brian Stokes Mitchell

百老汇传奇人物布莱恩·斯托克斯·米切尔

and Todd Almond,

和托德·阿尔蒙德，他们是

my frequent collaborator on many of the things you saw on that screen.

我在屏幕上看到 的许多内容的经常合作者。

(Applause)

（掌声）

(Piano music starts)

（钢琴音乐开始）

Brian Stokes Mitchell: (Singing) To dream the impossible dream /

布莱恩·斯托克斯·米切尔：（唱歌） 梦想不可能的梦想/

To fight the unbeatable foe /

与无与伦比的敌人作战/

To bear with unbearable sorrow /

忍受难以忍受的悲伤/

To run where the brave dare not go /

跑到勇者不敢去的地方/

To right the unrightable wrong /

纠正不可改正的错误/

To love pure and chaste from afar /

从远处爱纯洁的爱/

To try when your arms are too weary /

在手臂太疲劳时尝试/

To reach the unreachable star /

到达遥不可及的星星/

This is my quest /

这是我的使命/

To follow that star /

追随那颗星星

No matter how hopeless /

无论多么绝望/

No matter how far /

不管多远/

To fight for the right /

为正义而战/

Without question or pause /

毫无疑问或停顿/

To be willing to march into hell for a heavenly cause /

为了天堂的事业 进入地狱/

And I know if I'll only be true /

而且我知道自己是否会/

To this glorious quest /

忠于这个光荣的追求/

That my heart will lie peaceful and calm /

我的心会平静而安宁/

When I'm laid to my rest /

当我安息的时候/

And the world will be better for this /

世界会因此变得更美好/

That one man, scorned and covered with scars /

那个被嘲笑 并布满伤疤的人/

Still strove with his last ounce of courage /

仍在用最后 一点勇气

To reach the unreachable stars /

努力到达遥不可及的星星/

This is my quest!

这是我的追求！

Audience member: This is my quest!

观众： 这是我的任务！

BSM: To follow that star!

BSM：追随那颗星星！

Audience members: To follow that star!

观众： 追随那位星星！

BSM: No matter how hopeless!

BSM：不管多么绝望！

Audience members: No matter how hopeless!

观众： 不管多么绝望！

BSM: No matter how far!

BSM：不管多远！

Audience members: No matter how far!

观众： 不管多远！

BSM: To fight for the rights!

BSM：为权利而战！

Audience members: To fight for the rights!

观众： 为权利而战！

BSM: Without question or pause!

BSM：毫无疑问或停顿！

Audience members: Without question or pause!

观众： 毫无疑问或暂停！

BSM: To be willing to march into hell /

BSM：愿意进入地狱/

For a heavenly cause /

为了天堂的事业/

(Marching band starts)

（游行乐队开始了）

And I know if I'll only be true to this glorious quest /

而且我知道我是否会忠 于这个光荣的追求/

That my heart will lie peaceful and calm /

我的心会平静下来/

when I'm laid to my rest /

当我安息的时候/

And the world /

世界会因此变得更美好/

Will be better for this /

That one man,

那个被嘲笑并布满伤疤的人/

Scorned and covered with scars /

Still strove with his last ounce of courage /

还在用最后一点勇气努力/

To reach /

到达/

The unreachable /

遥不可及的/

Stars!

星星！

(Music ends)

（音乐结束）

(Cheers and applause)

（欢呼和掌声）