Why women should tell the stories of humanity | Jude Kelly

譯者: Hejun Zhuang 審譯者: Melody Tang

Why do we think

為什麼我們認為

that stories by men are deemed to be of universal importance,

由男性寫的故事具有普世的重要性，

and stories by women are thought to be merely about women?

而女性寫的故事 則被認為僅僅是關於女人？

My grandmother left school when she was 12.

當我奶奶 12 歲時，她就離開了學校。

She had 14 children.

她有 14 個小孩。

My mother left school when she was 15.

我母親 15 歲時離開了學校，

She was a secretary.

她是一個秘書。

I graduated from university to become a theater director,

我從大學畢業後成為了一名舞臺導演，

and that progress is entirely to do with the fact that people I'll never meet

這一進步完全歸功於，

那些我從未見過 而為爭取女權奮鬥的人。

fought for women to have rights,

get the vote, get education, have progress.

包括女性的投票權、受教育權、 取得進步。

And I'm determined to do the same, and obviously you are, too.

我決心做一樣的事， 很顯然你們也可以。

Why not?

何不呢？

(Applause)

（掌聲）

So I started a festival called WOW, Women of the World, seven years ago,

所以七年前，我創立了一個叫 WOW 的節日——世界上的女人。

and it's now in 20 countries across five continents.

現在 WOW 遍佈五大洲的 20 個國家。

And one of those countries is Somaliland in Africa.

其中一個國家是在非洲的索馬利蘭，

So I traveled there last year,

我去年去那裡旅行，

and part of the joy I had in going there was going to these caves.

我去那兒的樂趣之一 是去這個岩洞穴，

The Laas Geel caves.

拉絲·吉爾洞穴，

Now, these caves contain some of the oldest cave paintings in the world.

這些洞穴裡有一些世界上 最古老的洞穴壁畫。

These paintings are thought to be round about 9,000 to 11,000 years old.

這些壁畫被認為是在大約 9,000 到 11,000 年前完成的。

Art:

藝術：

what humanity has done ever since it evolved.

是人類從進化以來所做的。

It's how we speak about ourselves,

它詮釋我們怎樣談論自己，

how we understand our identity,

我們如何了解自我，

how we look at our surroundings,

我們怎樣看待周圍的事物，

who we find out about each other

因為我們生命的意義，

because of the meaning of our lives.

我們發現彼此。

That's what art is for.

這就是藝術的目的。

So look at this little picture.

請看看這張小圖片。

I think it's a little girl.

我覺得這是一個小女孩。

I thought it was a bit like me when I was a little girl.

我認為她有點像小時候的我。

And I thought, well, who painted this joyful, youthful figure?

我思索，誰畫了 這個快樂、年輕的畫像？

And I asked the curator of the caves.

我詢問了這些岩洞的負責人。

I said, "Tell me about the men and women who painted these."

「請告訴我是男人還是女人 畫了這些畫。」

And he looked at me absolutely askance, and he said,

他充滿疑問地看著我，說：

"Women didn't paint these pictures."

「女人不會畫這些畫」。

And I said, "Well, it was 11,000 years ago."

接著我說：「嗯，這是在 11,000 年前畫的吧。」

I said, "How do you know?"

我又說：「你怎麼能確定？」

(Laughter)

（笑聲）

And he said, "Women don't do these things.

他說：「女人不幹這些事。

Men made these marks. Women don't."

男人做了這些標記。女人不行的。」

Now, I wasn't really surprised,

我不太驚訝，

because that's an attitude that I've seen continuously

因為這是我作為舞台製作人，

一生中持續看到的一種態度。

all my life as a theater maker.

We are told that divine knowledge comes down through the masculine,

我們被告知， 神的啟示是通過男性傳播的,

whether it be to the imam, the priest, the rabbi, the holy man.

無論是傳給伊瑪目、 牧師、拉比、還是聖人，

Similarly, we're told that creative genius resides in the masculine,

同樣，我們被告知， 最有創造力的天才是在男性之中，

that it is the masculine

正是男性，

that will be able to tell us about who we really are,

能告訴我們自己是誰。

that the masculine will tell the universal story

男性將會代表我們所有人，

on behalf of all of us,

講述全體的故事。

whereas women artists will really just talk about women's experiences,

但女性藝術家僅僅只能 談論關於女性的經驗，

women's issues only really relevant to women

僅僅關於女性的問題，

and of passing interest to men --

男性頂多短暫的關心——

and really only some men.

而且真的只有某些男性會關心。

And it's that conviction,

就是那個信念，

that that we are taught,

我們被告知的，

that I think colors so much of whether we're prepared to believe

我認為大大的影響了 我們是否準備去相信

that women's stories really matter.

女性的故事真的很重要，

And unless we're prepared to believe that women's stories really matter,

除非我們準備去相信 女性的故事真的很重要，

then women's rights don't really matter,

否則女性的權利就會無關緊要，

and then change can't really come.

改變就不會真的發生。

I want to tell you about two examples of stories

我想要告訴你兩個故事的例子，

that are thought to be of universal importance:

是被公認為普遍重要的兩個故事：

"E.T." and "Hamlet."

「E.T. 外星人」和「哈姆雷特」。

(Laughter)

（笑聲）

So I took my two children when they were little --

在他們小的時候， 我帶著我的兩個孩子——

Caroline was eight and Robby was five --

卡洛琳八歲，羅比五歲——

to see "E.T."

去看「E.T. 外星人」。

And it's a fantastic story of this little alien

這是關於一個小外星人的奇妙故事，

who ends up in an American family

他降落到了一個美國家庭，

with a mum, two brothers and a sister,

有一個媽媽，兩個兄弟和一個妹妹，

but he wants to go home.

但是他還是想回家。

Not only that, but some really bad scientists

不只如此，還有一些邪惡的科學家

want to do some experiments on him,

想在他身上進行一些實驗，

and they're looking for him.

他們正在尋找 E.T.。

So the children have a plot.

所以孩子們想出了一個計畫。

They decide they're going to take him back to his spaceship

他們決定儘快帶他返回太空飛船。

as soon as they can,

and they plop him in a bicycle basket,

他們把他放到腳踏車的籃子裡，

and off they ride.

騎著離開了。

But unfortunately, the baddies have found out, and they're catching up

然而不幸的是， 壞蛋們發現了並追捕他們。

and they've got sirens and they've got their guns,

他們有警報器，他們有槍，

they've got the loud-hailers, it's terribly frightening,

他們有擴音器，真是嚇人。

他們幾乎追趕上孩子們了。

and they're closing up on the children,

看起來孩子們不能帶 E.T. 回去了。

and the children are never going to make it.

就在這時，突然，神奇地， 他們的腳踏車飛到了空中，

And then all of a sudden, magically, the bikes fly up in the air,

over the clouds,

越過雲層，

over the moon,

越過月亮，

and they're going to save "E.T."

他們保護了 E.T.。

So I turn to see my children's faces,

我回頭去看我兩個孩子的臉，

and Robby is enraptured, he's there with them, he's saving E.T.,

羅比沈浸在電影中， 他好像就和那些孩子一起救了 E.T.，

he's a happy boy.

他很高興。

And I turn to Caroline, and she's crying her eyes out.

我轉頭看卡洛琳，她把眼睛哭紅了。

And I said, "What's the matter?"

我問她：「怎麼啦？」

And she said, "Why can't I save E.T.? Why can't I come?"

她說：「為什麼我不能去救 E.T.， 為什麼我不能去？」

And then all of a sudden I realized:

我猛然意識到：

they weren't children;

救 E.T. 的不是孩子，

they were boys --

他們都是男孩——

all boys.

全部都是男孩。

And Caroline, who had invested so much in E.T.,

卡洛琳投入了如此多的 感情在 E.T. 上，

well, she wasn't invited to save him,

她卻沒有被邀請去救他，

and she felt humiliated and spurned.

她感到羞辱和被冷落。

So I wrote to Steven Spielberg --

所以我寫信給史蒂芬·史匹柏——

(Laughter) (Applause)

（笑）（掌聲）

and I said, "I don't know if you understand

我說：「我不知道你是否理解

the psychological importance of what's happened,

你的故事對小女孩的心理 產生什麼影響，

and are you prepared to pay for the therapy bills?"

你準備好支付心裡醫療費了嗎？」

(Laughter)

（笑）

Twenty years later, I haven't had a word back from him,

二十多年過去了， 我還沒收到他寫的隻字片語，

but I'm still hopeful.

但我仍抱有希望。

(Laughter)

（笑）

But I thought it was interesting,

但我認為這是有趣的，

because if you read reviews of what he intended with E.T.,

因為如果你讀了 他製作 E.T. 的用意，

he says very specifically,

他說得很明確：

"I wanted the world to understand

「我想讓這個世界了解

that we should love and embrace difference."

我們應該兼愛和擁抱不同。」

But somehow he didn't include the idea of girls' difference

但不知何故他沒有把女孩子的不同

in this thinking.

包括在這個想法裡。

He thought he was writing a story about all humanity.

他認為他在寫關於全人類的故事。

Caroline thought he was marginalizing

卡洛琳認為他忽視了

half of humanity.

一半的人類。

He thought he was writing a story about human goodness;

他認為他在寫關於人類善的故事；

she thought he was writing a lad's heroic adventure.

卡洛琳則認為他在寫的是 有關一個小伙子的英雄歷險記。

And this is common.

這是很普遍的。

Men feel they have been given the mantle for universal communication,

男人感覺他們 被賦予為全人類溝通的權利，

but of course, how could they be?

但顯然，他們怎麼可能？

They are writing from male experience through male's eyes.

他們都是根據從男人的雙眼 得到的男性經驗來寫。

We have to have a look at this ourselves.

我們自己必須看清這一點。

We have to be prepared to go back through all our books and our films,

我們必須審查我們所有的書， 所有的電影，

all our favorite things,

以及所有我們喜愛的東西。

and say, "Actually, this is written by a male artist --

然後說：「事實上， 這是由男性藝術家所寫的——

not an artist.

而非一位藝術家。」

We have to see that so many of these stories

我們必須看清許多這種故事，

are written through a male perspective.

是以男性的視角寫的。

Which is fine,

這點沒有問題。

but then females need to have 50 percent of the rights

但女性應該擁有 50% 的權利，

for the stage, the film, the novel,

在舞台上、電影、小說等

the place of creativity.

發揮創造力的地方。

Let me talk about "Hamlet."

讓我談談「哈姆雷特」，

To be or not to be.

生存還是毀滅，

That is the question.

這是一個問題。

But it's not my question.

但這不是我的問題。

My question is: Why was I taught as a young woman

我的問題是：

為什麼在我年輕的時候，我被教導

that this was the quintessential example of human dilemma

這是一個關於人類困境和人類經驗

and human experience?

最經典的例子？

It's a marvelous story,

這是一個非凡的故事，

but actually, it's about a young man fearful that he won't be able to make it

但實際上，這是關於一個年輕人，

害怕自己不能夠在男性世界中 成為一個強有力的人物，

as a powerful figure in a male world

unless he takes revenge for his father's murder.

除非他向他父親的謀殺者報復。

He talks a great deal to us about suicide being an option,

哈姆雷特一再對我們說， 自殺是一個選擇。

but the reality is that the person who actually commits suicide, Ophelia,

但在現實中，

那個真正自殺了的人，奧菲莉亞，

after she's been humiliated and abused by him,

在她被哈姆雷特羞辱和謾罵之後，

never gets a chance to talk to the audience about her feelings.

她從沒有機會向觀眾訴說她的感受。

And then when he's finished with Ophelia, he turns on his mum,

接著當他懲罰完奧菲莉亞後， 他轉向他的母親，

because basically she has the audacity to fall in love with his uncle

基本上因為她厚顏無恥地 愛上他的舅舅，

and enjoy sex.

並享受性愛。

(Laughter)

（笑聲）

It is a great story,

這確實是個很棒的故事，

but it is a story about male conflict, male dilemma, male struggle.

但這是個關於男性的矛盾、

男性的困境、 以及男性的掙扎的故事。

But I was told this was the story of human beings,

但我被教導這是個關於人類的故事，

despite the fact that it only had two women in it.

儘管事實上這個故事裡 只有兩個女性。

And unless I reeducate myself,

除非我將我自己洗腦了，

I am always going to think

我將會一直認為：

that women's stories matter less than men's.

女性的故事遠不如男性的故事重要。

A woman could have written "Hamlet,"

若是一個女人寫了「哈姆雷特」，

but she would have written it differently,

她可能會寫的很不同，

and it wouldn't have had global recognition.

它也不會得到全世界的認可。

As the writer Margaret Atwood says,

就如作家瑪格麗特·愛德華說的，

"When a man writes about doing the dishes,

「當一個男人寫關於洗碗的時候，

it's realism.

就是寫實主義。

When a woman writes about doing it,

當一個女人寫說她在洗碗，

it's an unfortunate genetic disposition."

那是她作為女人的本分。」

(Laughter)

（笑聲）

Now, this is not just something that belongs to then.

這不僅是「那時」的故事。

I mean, when I was a young girl,

我是說，當我是年輕女孩的時候，

wanting desperately to be a theater director,

拼命想要成為一名舞臺導演，

this is what my male lecturer said to me:

這是我的男導師跟我說：

"Well, there are three women directors in Britain," he said, "Jude."

他說：「裘德，英國只有三位女導。

"There's Joan Knight, who's a lesbian, there's Joan Littlewood, who's retired,

一位是瓊·納特，她是女同性戀， 一個叫瓊·莉特伍德，她退休了，

and there's Buzz Goodbody, who's just killed herself.

還有一個是布茲·古德博蒂， 她最近自殺了。

So, which of those three would you like to be?"

所以，你想成為她們中的哪一位？」

(Laughter)

（笑聲）

Now, leaving aside the disgusting slur on gay women,

先拋開對女同性戀者的噁心誹謗，

the fact is, he wanted to humiliate me.

事實上，他想讓我丟臉。

He thought it was silly that I wanted to be a director.

他覺得我想成為一名導演是愚蠢的。

And I told my friend Marin Alsop, the conductor, and she said,

我告訴了我的朋友瑪琳·奧爾索普， 她是一位指揮家，

"Oh yes, well, my music teacher said exactly the same.

她說：「喔是的，我的音樂老師 說過一模一樣的話」。

He said, 'Women don't conduct.'"

他說：「女人不能指揮。」

But all these years later, we've made our mark.

但這麼多年過去了， 我們都有所成就。

You think, "Well, it'll be different now."

你會想，「嗯，現在不一樣了。」

I'm afraid it's not different now.

恐怕現在並沒有什麼不同。

The current head of the Paris Conservatoire

巴黎音樂學校的現任領導者，

said recently, "It takes great physical strength

最近說：「指揮一個交響樂團

to conduct a symphony,

需要很大的體力，

and women are too weak."

但女性太虛弱了。」

(Laughter)

（笑聲）

The artist George Baselitz said,

藝術家喬治·巴塞利兹說：

"Well, the fact is women can't paint.

「嗯，事實上女性不能畫畫。

Well -- they can't paint very well."

她們畫不好。」

The writer V.S. Naipaul said two years ago,

作家 V·S· 奈波爾在兩年前說：

"I can read two paragraphs and know immediately if it's written by a woman,

「我只要讀兩段 就立刻知道是女性寫的，

and I just stop reading, because it's not worthy of me."

然後我馬上停止閱讀， 因為不值得我去讀。」

Audience: Whoa!

（觀眾： 哇！）

And it goes on.

這種情況言之不盡。

We have to find a way

我們必須找到一種方法，

of stopping young girls and women

讓年輕的女孩和女人

feeling not only that their story doesn't matter,

不會認為她們的故事不重要，

but they're not allowed to be the storyteller.

或者她們不能成為故事的講述者。

Because once you feel that you can't stand in the central space

因為一旦你覺得 你不能站在中心的位置，

and speak on behalf of the world,

代表世界講話，

you will feel that you can offer your goods up to a small, select group.

你就會覺得你只能向一個小的、 特定的團體提供你的產品。

You will tend to do smaller work on smaller stages,

你將會傾向於在小舞台做小的作品，

your economic power will be less,

你的經濟實力將會比較弱，

your reach of audiences will be less,

你的觀眾將會更少，

and your credit will be less as an artist.

你比較不容易被當成藝術家。

And we do finally give artists these incredible, prominent spaces

我們最後將世界上絕妙、

顯著的空間，拱手讓給所謂的藝術家，

in the world,

because they are our storytellers.

因為他們是全體人類的說故事人。

Now, why should it matter to you if you're not an artist?

如果你不是藝術家， 為什麼這對你也很重要？

Supposing you're an accountant or an entrepreneur or a medic

假設你是一位會計師、企業家、醫師

or a scientist:

或是科學家，

Should you care about women artists?

你應該關心女性藝術家嗎？

Absolutely, you must,

你們絕對應該。

because as you can see from the cave paintings,

因為你可從那些洞穴的壁畫裡看到，

all civilizations,

所有的文明，

all of humanity

全部的人類，

have relied upon artists to tell the human story,

都依賴藝術家來講述人類故事，

and if the human story is finally told by men,

如果人類故事 最終都由男性來講敘述，

take my word for it,

相信我，

it will be about men.

它一定是關於男性。

So let's make a change.

所以讓我們做一個改變。

Let's make a change to all our institutions,

讓我們改變所有的機構，

and not just in the West.

不只在西方國家。

Don't forget -- this message of incapability of women

不要忘記——

女性無法成為 有創造力的天才的訊息，

to hold creative genius

is being told to girls and women in Nigeria, in China, in Russia,

正在被教導給在 奈及利亞、中國、俄羅斯，

以及在印尼的女孩和女人。

in Indonesia.

All over the world, girls and women are being told

全世界的女孩和女人都被告知

that they can't finally hold the idea of creative inspiration.

她們不能最終持有創意靈感的想法。

And I want to ask you:

但是我想問你們，

Do you believe that?

你相信這個說法嗎？

Do you believe that women can be a creative genius?

你相信女人能夠成為一位 富有創造力的天才嗎？

(Applause and cheers)

（歡呼聲）（掌聲）

Well then, please go forward,

若是如此，請大步向前，

support women artists,

支持女性藝術家，

buy their work,

購買她們的作品，

insist that their voices are heard,

堅持她們的聲音被聽到，

find platforms on which their voices will be made.

找到能讓她們發出聲音的舞台。

And remember this:

然後請記住：

that in a sense, if we're going to get past this moment

在某種意義上， 如果我們想要跨越這一刻，

of a world where we know that we are unequal,

跨過這個我們已知是不平等的世界，

it's artists who have to imagine a different world.

藝術家必須想像一個不同的世界，

And I'm calling on all artists, women and men,

我呼籲所有女性和男性藝術家，

to imagine a gender-equal world.

想像一個性別平等的世界。

Let's paint it. Let's draw it.

讓我們畫出它。讓我們描繪它。

Let's write about it. Let's film it.

讓我們寫出它。讓我們拍出它。

And if we could imagine it,

如果我們能夠想像它，

then we would have the energy and the stamina

我們就會擁有能量和活力，

to work towards it.

為朝向它而奮鬥。

When I see this little girl,

當我看到這個小女孩，

11,000 years ago,

11,000 年以前的畫像，

I want to know that the little girl now

我想要知道這小女孩

can stand there and think she's entitled to her dreams,

現在能站在這兒，想像她有權夢想，

she's entitled to her destiny

她有權決定她的命運，

and she's entitled to speak on behalf of the whole world,

她有權代表整個世界發言，

be recognized for it

被認可，

and applauded.

然後被喝采。

Thank you.

謝謝。

(Applause)

（掌聲）