3 ways to create a space that moves you, from a Broadway set designer | David Korins

譯者: Lilian Chiu 審譯者: Yanyan Hong

You're sitting there,

你坐在那裡，

and it's incredibly frustrating.

感到非常挫折。

這實在讓人抓狂。 你在那裡坐了數個小時，

It's maddening.

You've been sitting there for hours,

filling in those little tiny circles with your No. 2 pencil --

用你的二號鉛筆 把那些小圓圈塗滿——

this is a standardized test.

這是學測。

You look up, half-erased chalkboard,

你抬頭看，黑板上的字

擦掉了一半，

you can see that perfectly written cursive alphabet,

你可以看見寫得很完美的草寫字母，

the pull-down maps,

下拉地圖，

you can hear, tick, tick, tick, ticking on the wall, that industrial clock.

你能聽到牆上的工業風格時鐘

不停地滴答、滴答、滴答。

But most importantly, you can feel that oppressive fluorescent light,

但，最重要的是，你能感受到

很有壓迫感的日光燈，

that death ray over your head.

你頭頂上的死亡光線。

Bzzzzzz.

滋滋滋滋滋。

And you can't take it anymore, but you don't have to,

你無法再忍受了， 但你也不用再忍受，

因為達林老師說： 「好了，各位，到此為止。」

because Miss Darling says, "OK, boys and girls, you're done."

你跳起來——我是指，你已經 什麼都不剩，只留下雲霧狀尾跡。

So you jump up -- I mean, there is nothing left of you but a vapor trail.

You move so quickly, you slam that little molded plastic chair,

你的動作超快，猛然推開 那張模壓塑膠小椅子，

and you sprint down the hallway;

你立馬衝向走廊；

you go past the Lysol smell and the BO smell and the cubbies,

你經過了消毒藥水味、 汗臭味，和置物櫃，

and you push the door --

你推開門——

(Inhales deeply)

（深吸氣）

and finally, you're outside.

終於，你到了室外。

Oh, you can feel the wind on your face,

喔，你能感受到吹拂在臉上的風，

then the sun on your skin

照射在皮膚上的陽光，

and most importantly, the big blue sky.

最重要的，還有那廣闊的藍天。

That is a revelation of space.

那是空間的揭示。

Making revelations of space is what I do; I'm a designer and creative director,

我的工作就是在做空間的揭示。

我是設計師和創意總監， 那是我的工作。

and that's what I do for a living.

我用各式各樣的方式， 為各式各樣的人做空間的揭示，

I do it for all sorts of people in all kinds of different ways,

and it might seem complicated, but it's not.

聽起來似乎很複雜，但其實不然。

And over the next couple of minutes, I'm going to give you three ways

在接下來的幾分鐘， 我會告訴各位三種方法，

讓你能在你的世界中穿梭，

that I think you can move through your world

so that you, too, can make revelations of space, or at least reveal them.

這麼一來，你也能做空間的揭示，

或至少展示它們。

Step one: therapy.

步驟一：治療。

I know, I know, I know: blah, blah, blah, New Yorker, blah, blah, blah, therapy.

我知道，我知道，有的沒的， 紐約客，有的沒的，治療。

但，說真的，治療——你得要 知道你為什麼要做這些事，對吧？

But seriously, therapy -- you have to know why you're doing these things, right?

當我拿到設計 《漢密爾頓》的工作時，

When I got the job of designing "Hamilton,"

我和編劇林曼努爾米蘭達

I sat with Lin-Manuel Miranda, writer,

Tommy Kail, director, and I said,

及導演托馬斯凱爾坐下來談，我說：

"Why are we telling this 246-year-old story?

「我們為什麼要說 這個已經 246 歲的故事？

What is it about the story that you want to say,

關於這個故事， 你們想說的是什麼？

and what do you want people to feel like when they experience the show?"

當觀眾體驗這齣劇的時候， 你們希望他們有什麼感覺？

It's important. When we get that, we move into step two: the design phase.

這很重要。這步驟完成了， 我們就要進行步驟二：設計階段。

And I'll give you some little tricks about that,

我會告訴你們一些密技，

but the design phase is important because we get to make these cool toys.

但設計階段之所以重要，

是因為我們能做出很酷的玩具。

I reach into Lin's brain, he reaches into mine,

我進入林的腦袋裡， 他進入我的腦袋裡，

this monologue becomes a dialogue.

這段獨白變成了對話。

And I make these cool toys,

我做出這些很酷的玩具， 我說：「這個世界看起來

and I say, "Does this world look like the world

是你們認為能夠把你們的劇 給呈現出來的地方嗎？」

that you think could be a place where we could house your show?"

If the answer is yes -- and when the answer is yes --

若答案是「是」—— 且當答案是「是」——

we move into what I think is the most terrifying part,

我們就要進入我認為 最讓人害怕的部分，

which is the execution phase.

執行階段。

The execution phase is when we get to build this thing,

執行階段就要開始把它打造出來了，

and when this conversation goes from a few people to a few hundred people

對話的人數也從只有幾個人， 變成幾百個人，

now translating this idea.

把想法實際呈現出來。

We put it in this beautiful little thing,

我們把這個美麗的小東西放進來，

put it in the "Honey, I Shrunk the Kids" super-sizer machine

把它放在《親愛的，我把孩子縮小了》

戲裡的放大縮小機裡，

and blow it up full-scale,

再把它放大成原尺寸， 我們不會知道是否做對了，

and we never know if we did it right

until we show up onstage and go, "Is it OK? Is it OK?"

直到我們出現在舞台上， 說：「可以嗎？可以嗎？」

Here's the thing:

重點來了：你不需要是林，

you don't have to be Lin,

you don't have to have a book that you want to turn into a show

你不需要有一本書， 然後想要把它變成一齣劇，

in order to do this in your real life.

一樣能在你的真實人生中這樣做。

You're already starring in a show, by the way. It's called your life.

你已經在一齣劇中演出了， 這齣劇叫做「你的人生」。恭喜。

Congratulations. (Laughter)

（笑聲）

But seriously, Shakespeare said it: "All the world's a stage."

但，說真的，莎士比亞說過： 「全世界就是舞台。」

He nailed that part.

那個部分他說得很好。 他很莊嚴地搞砸的部分，

What he screwed up royally was that part where he said,

是他說：「而我們只是演員。」

"And we are merely players."

It's ridiculous. We're not merely players.

這太荒唐了。我們不只是演員。

We are the costume designers and the lighting designers

我們也是我們自己世界中的

服裝設計師、燈光師，和化妝師，

and the makeup artists in our own world,

我想要讓你思考去擔任 你的世界中的舞台設計師。

and I want to get you to think about being the set designer in your world.

Because I think you can leave here if you do these three steps

因為我認為，離開這裡之後， 如果你能做這三個步驟，

and a couple of little tricks, as I said, I'm going to tell you,

還有一些我剛說過我等下 會告訴你們的小技倆，

那麼你就能開始 依你想要的方式改變世界，

and you can begin to change the world

the way you want to.

You want to do it?

你們想做嗎？ 好，大家去寫一齣劇。

OK. Everybody write a show.

(Laughter)

（笑聲）沒啦，開玩笑。

No. Just kidding.

好。步驟一：治療。對吧？

OK. Step one: therapy. Right?

How are you feeling?

你們感覺如何？

That's what the therapist says: "How are you feeling today?"

治療師都這樣說： 「你今天感覺如何？」

記住這一點是很重要的，因為

It's important to remember that, because when we design the world for you,

當我們為你設計世界場景的時候，

the therapy is important.

治療很重要。

It tells you that emotion is going to become light and color.

它告訴你，情緒會變成光線和顏色。

A good example of that light and color

關於那種光線，有一個很好的例子，

is a show I designed called "Dear Evan Hansen."

就是我設計的劇 《致埃文漢森》。（歡呼）

(Cheers)

《致埃文漢森》——喔，天——

"Dear Evan Hansen" exists -- oh my God --

《致埃文漢森》所處的世界，

"Dear Evan Hansen" exists in a world of almost all light and color.

是個幾乎有所有光線和顏色的世界。

So I chose a color: inky-black darkness.

所以我選擇了一個顏色： 墨黑的黑暗色。（笑聲）

(Laughter)

Inky-black darkness is a color the way that sadness is an emotion.

在墨黑的黑暗色中的情緒是悲傷。

And this show transforms people, but not before it wrecks people.

這齣劇會改變人， 但在這之前會先給人挫折。

I bet you're wondering, "How expensive could the set possibly be to transform you

我打賭你們在納悶：

「舞台場景要多貴才能 爲你帶來煥然一新的體驗？

if you sit for two hours and 20 minutes

畢竟你是在墨黑的黑暗色中 坐了兩小時二十分鐘。」

in inky-black darkness?"

The answer is: cheap!

答案是：很便宜！

Inky-black darkness,

墨黑的黑暗色，

turn the lights on at the right time.

在對的時間點把燈打開。

Seriously, think about leaving Miss Darling's class.

說真的，想想看離開 達林老師的教室時，

Inky-black darkness gives way at the right moment,

墨黑的黑暗色在對的時刻退去，

we fly away that wall and reveal a beautiful blue sky.

我們遠離那道牆，揭示出

美麗的藍天。

It blows people away and it transports them,

它能讓人驚訝，

帶他們去不同的地方， 給予他們希望。

and it makes them feel hopeful.

我們知道這一點， 因為顏色就是情緒，

And we know this because color is emotion,

and when you paint with color, you're painting with feelings.

當你用顏色來作畫， 你就是用感受來作畫。

So think about that emotion, the one I had you file away in your mental Rolodex.

所以，想想我讓你歸檔到 你的心理名片盒中的那種情緒。

What color is it?

它是什麼顏色的？ 它在你衣櫥裡的哪個地方？

Where in your wardrobe does it exist, and where in your home does it exist?

它在你家裡的哪個地方？

When we design the show for you,

當我們為你設計一齣劇時，

we're going to use that color to tell you how you feel in certain times.

我們會使用那種顏色來告訴你 在某些時候你要有什麼感覺。

But also, you know this exists because you put the hero in white,

但，你也知道它存在， 因為你讓英雄穿白色，

you put the lead character in red, you put the villain in all black.

讓主角穿紅色，讓壞蛋穿全黑。

It's typecasting. You know that.

你知道演員會定型。所以，想想它。

So think about it.

But there's also something else that happens in the world

但世界上還有其他的事物在發生，

能協助我們以安全的方式 在世界中穿梭。

that helps us move through the world in a safe way.

They're called architectural standards.

它們叫做建築標準。

They make us not fall down and go boom.

它們讓我們不會掉下去而搞砸。

Doorknobs are all at the same height. Light switches are all at the same height.

門把都設在同樣的高度。 燈光開關都設在同樣的高度。

Toilet bowls are always -- thank God -- at the same height,

小便斗都——謝天謝地—— 設在同樣的高度，

because no one ever misses the toilet bowl.

因為大家用小便斗時都能命中。

But seriously,

但，說真的，

what would happen if we started to tweak those architectural standards

如果我們開始微調那些建築標準， 來得到我們想要的，會如何？

to get what we wanted?

It reminds me of the stairs I made for Pee-Wee Herman.

這讓我想起我為 皮威赫爾曼製作的樓梯。

Pee-Wee Herman is a child,

皮威赫爾曼是個孩子，

and his entire world is created so that we perceive Pee-Wee as a child.

他的整個世界被創造出來的方式，

讓我們覺得皮威是個孩子。

The architecture and the furniture and everything come to life,

建築、家具，一切都活了過來，

but nothing more important than those stairs.

但沒有什麼比那樓梯更重要。

Those stairs are 12 inches high,

那樓梯每階有十二英吋高，

so when Pee-Wee clomps up and down those stairs,

當皮威沉重地爬上爬下那樓梯，

he interacts with them like a kid.

他以孩子的方式和樓梯互動。

You can't fake that kind of interaction,

那種互動是無法假造的，

and that's the exact opposite of what we ask people in opera to do.

這和我們要求歌劇中的人

所做的完全相反。

In opera, we shrink those stairs

在歌劇中，我們把那樓梯縮小，

so that our main characters can glide up and down effortlessly

讓主要的角色能

毫不費力地滑上滑下，

without ever breaking their voice.

聲音完全不受影響。

You could never put an opera singer in Pee-Wee's Playhouse,

把歌劇中的演唱者放到 皮威的劇場中是不可能的，

(Sings in Pee-Wee's voice) or they wouldn't be able to do their job.

（皮威的唱法）他們不可能 唱好他們的歌。（笑聲）

(Laughter)

但你也不能把皮威放到歌劇場景。

But you couldn't put Pee-Wee in an opera set.

He couldn't climb up and down those stairs.

他不能爬上爬下那種樓梯。 那就不是皮威了。

There'd be no Pee-Wee.

他會像詹姆士龐德很優雅地 上下樓梯。（笑聲）

He'd be like James Bond slinking elegantly up and down the stairs.

那是行不通的。 想想你的場景、你的家、

It wouldn't work.

(Laughter)

你每天生活的環境。

Now think of your set, your home, what you exist in every single day.

如果你跟我很像，垃圾筒總是太小，

If you're anything like me, the trash can is just too small

for the amount of takeout that you buy every night, right?

裝不下你每天晚上 買回家的外帶食物，對吧？

And I find myself jamming like I'm kneading dough at a pizza place,

我會不斷在擠壓， 好像我在比薩店捏麵團一樣，

I'm jamming it in because I don't understand.

我要把東西壓進去，因為我不了解。

Or, maybe the light switch in your foyer

喔，也許你門廳的燈光開關

is just stashed behind too many precariously placed coats,

被一大堆亂放的外套擋住，

and so you don't even go for it.

所以你甚至不會去動它。

Therefore, day after day,

因此，一天又一天，

you wind up walking in and out of a chasm of darkness.

你就只是在黑暗中進進出出。

(Laughter)

（笑聲）這是真的。

It's true.

But what would happen if the space revealed something about yourself

但如果空間能揭示出 關於你自己的一些事，

連你自己都不知道的事呢？

that you didn't even know?

Kanye never told me specifically that he wanted to be God.

肯伊從來沒有明確 告訴我他想要當上帝。

But --

但——（笑聲）

(Laughter)

當我們開始合作，

when we started working together, we were sending images back and forth,

我們之間來來回回傳著影像，

and he sent me a picture of the aurora borealis

他給了我一張北極光的照片，

with lightning strikes through it.

有一道閃電穿過它。

And he sent me pictures from a mountaintop looking down

他也給我一些從上頂向下看的照片，

at a smoke-filled canyon,

那是個滿是雲霧的峽谷，

or smoke underneath the surface of water --

或是水面之下有煙霧——

like, epic stuff.

都是史詩般的景。

So the first set I designed for him was a huge light box

所以我為他設計的第一個場景

是一個大型的光箱， 上面有他唱片公司的名字。

with the name of his record label.

他要耀武揚威地站在前面， 它會閃光，就像雷電。

He would stand triumphantly in front of it,

and it would flash lights like a lightning bolt.

史詩般的畫面， 卻像入門工具包的史詩。

And it was epic, but, like, starter-kit epic.

我們接著用了一天片天空， 中間有一道裂痕，

We moved on to a large swath of sky with a tear down the middle,

and through the tear, you could see deep parts of the cosmos.

透過裂痕，你能看見

宇宙深處的某些部分。

Getting closer.

越來越靠近。

We evolved to standing on top of an obelisk,

我們演進成站在方尖塔的上面，

standing on top of a mountainside, standing on top of boxes.

站在山腰的上面，站在箱子的上面。

You know, he was evolving as an artist through space,

他身為藝術家，透過空間不斷演進，

and it was my job to try and keep up.

我的工作就是要試著跟上去。

When we did Coachella,

我們合作科切拉音樂節時，

there he was,

他就站在八十英呎寬，

standing in front of an 80-foot-wide by 40-foot-tall ancient artifact,

四十英呎高的古老工藝品前面，

literally handed down from God to man.

真的是從神變成了人。

He was evolving, and we were all witness to it.

他在演進，我們都是見證人。

And in his last show, which I didn't design but I witnessed,

他的最後一場演出不是我 設計的，我只是見證，

he had self-actualized.

在劇中，他完成了自我實現。

He was literally standing on a floating plexiglass deck

他真的就站在漂浮的 塑膠玻璃甲板上，

over his adoring fans,

下面是愛慕他的粉絲，

who had no choice but to praise to Yeezus up above.

他們沒有選擇，

只能讚頌上面的伊穌基督。

(Laughter)

（笑聲）他神話了他自己。

He had deified himself.

You can't become Yeezus in your living room.

你不能在你的客廳裡變成伊穌基督。

The space told him who he was about himself,

空間告訴了他他是誰，

and then he delivered that to us.

接著他把那訊息傳遞給我們。

When I was 20 years old,

我二十歲時，

I was driving through a parking lot, and I saw a puddle.

我開車穿過停車場，

看見一個水坑時，我心想： 「我要左轉，不——壓過它。」

I thought, "I'm going to veer to the left. No -- I'm going through it."

我直駛向那水坑， 接著——噗噗噗——

And I hit the puddle, and -- ffftt! -- all the water underneath my car,

水在我的車底下飛濺，

and instantly, I have an aha moment.

馬上，我也有了一個 「啊哈」的時刻。

Light bulb goes off.

車燈熄了。

Everything in the world needs to be designed.

世界上的一切都需要好好設計。

I mean, I'm sure I was thinking, "The drainage needs to be designed

我是指，我確定我當時在想：

「這停車場的排水需要好好設計。」

in this parking lot."

但接著，我說：「世界上的一切 都需要好好設計。」

But then I was like, "Everything in the world needs to be designed."

那是真的：如果讓大自然自己來，

And it's true: left to its own devices,

它不會為你刻出一條有趣

Mother Nature isn't going to carve an interesting or necessarily helpful path

或有幫助的路徑。

for you.

I've spent my career reaching into people's minds

我把我的職涯都投入在 接觸人們的心靈，

and creating worlds out here that we can all interact with.

在外頭創造出能與我們互動的世界。

And yeah, you might not get to do this with fancy collaborators,

是的，你可能無法找到很炫的 合作者一起做這件事，

but I think if you leave here, those three easy steps --

但我想，離開這裡之後， 那三個簡單的步驟——

therapy, who do I want to be, why do I do the things that I do;

治療，我想要成為誰？

我為什麼要做我所做的事？

design, create a plan and try and follow through with it,

設計，創造出一個計畫，

試著把它實現，

what can I do;

我能做什麼？

execute it --

執行它——

I think if you add that with a little color theory --

我想如果你能再加上 一點顏色理論——

(Laughter)

（笑聲）

some cool design choices and a general disrespect for architectural standards,

一些很酷的設計選擇，

及對建築標準有一般性的不尊重，

you can go out

你就能走出去，

and create the world that you want to live in,

創造一個你會想要住在其中的世界，

and I am going to go home and buy a new trash can.

而我要回家去買一個新的垃圾筒。

Thank you.

謝謝。

(Applause)

（掌聲）