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譯者: SF Huang
審譯者: Will Hung
00:18
(Music)
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(音樂)
01:45
(Applause)
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(掌聲)
01:56
Trevor Copp: When "Dancing With the Stars"
first hit the airwaves,
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崔佛‧卡普:當《與星共舞》
在電視上首播時,
01:59
that is not what it looked like.
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並不是像你現在看到的那樣。
02:01
(Laughter)
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(笑聲)
02:03
Jeff and I were full-time
ballroom dance instructors
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當電視上的國標舞再度引爆熱潮時,
02:06
when the big TV ballroom revival hit,
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傑夫和我還是全職的國標舞老師,
02:09
and this was incredible.
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這太令人不可置信了。
02:13
I mean, one day we would say "foxtrot,"
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我是指,某天當我們說:「狐步舞」,
02:15
and people were like "Foxes trotting."
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人們一付「狐狸在慢跑?」
02:18
(Laughter)
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(笑聲)
02:20
And the next day they were telling us
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然後,隔天他們竟會告訴我們
02:22
the finer points of a good feather step.
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跳好羽步的微小細節。
02:24
And this blew our minds.
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這令我們感到不可思議。
02:27
I mean, all of the ballroom dance
geeking out that we had always done
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對我們來說習以為常的,如
02:32
on why salsa worked differently
than the competitive rumba
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為什麼騷莎舞和競技倫巴舞不同?
02:36
and why tango traveled unlike the waltz,
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為什麼探戈的舞步與華爾茲不同?
02:38
all of that just hit
the public consciousness,
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這些國標舞的種種一切,
突然間引起人們的關注和過度興奮,
02:43
and it changed everything.
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這改變了一切。
02:45
But running parallel to this excitement,
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伴隨著人們國標舞瘋潮而來的,
02:48
the excitement that suddenly,
somehow, we were cool --
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就是突然間,不知為何,
我們變得很酷!
02:52
(Laughter)
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(笑聲)
02:55
there was also this reservation.
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我們也有這樣的猶疑,
02:57
Why this and why now?
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為何是國標舞?為何是現在?
03:01
Jeff Fox: When Trevor and I
would get together for training seminars
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傑夫‧福克斯:當崔佛和我
因為訓練課程
03:04
or just for fun,
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或好玩而聚在一起練舞時,
03:05
we'd toss each other around, mix it up,
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我們將對方拋出去、
接回來,輪流交換,
03:07
take a break from having
to lead all the time.
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這可讓我們相互喘口氣,
不用從頭領舞到尾。
03:10
We even came up with a system
for switching lead and follow
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我們甚至在跳舞當中,
想出了一套可以相互輪流、公平地
03:12
while we were dancing,
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03:14
as a way of taking turns and playing fair.
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領舞與跟舞的方法。
03:16
It wasn't until we used that system
as part of a performance
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直到有次在一個小型活動中,
03:19
in a small festival
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我們將輪流領舞的方法帶入演出中,
03:20
that we got an important tap
on the shoulder.
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這套方法才受到重量級的關注。
03:22
Lisa O'Connell, a dramaturge
and director of a playwright center,
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麗莎‧歐康乃爾
──戲劇家兼劇作中心主任,
03:25
pulled us aside after the show and said,
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於演出後把我們拉到一旁說道:
03:28
"Do you have any idea
how political that was?"
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「你們知道這有多具政治意涵嗎?」
03:30
(Laughter)
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(笑聲)
03:32
So that began an eight-year
collaboration to create a play
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從此我們展開了 8 年的合作,
並打造了一齣戲劇,
03:35
which not only further developed
our system for switching
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這不僅進一步開發了
輪流領舞的系統,
03:38
but also explored the impact
of being locked into a single role,
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而且也能探究被侷限在單一角色,
03:42
and what's worse,
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更甚者,
03:43
being defined by that single role.
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被單一角色畫地自限所帶來的影響。
03:45
TC: Because, of course,
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崔佛:當然,因為
03:47
classic Latin and ballroom dancing
isn't just a system of dancing;
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傳統的拉丁和國標舞
不僅只是一套舞蹈系統;
03:52
it's a way of thinking, of being,
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它是一種思維、存在、
03:55
of relating to each other
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人際間互動連結的展現方式,
03:57
that captured a whole period's values.
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記錄了整個時期的價值觀。
04:00
There's one thing that stayed
consistent, though:
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然而,有一件事卻始終不變:
04:02
the man leads
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男士領舞,
04:04
and the woman follows.
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女士跟舞。
04:06
So street salsa, championship tango,
it's all the same --
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所以,從街邊的騷莎舞
到探戈舞錦標賽,全都一樣,
04:08
he leads, she follows.
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他領舞,她跟舞。
04:11
So this was gender training.
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這是性別的訓練,
04:13
You weren't just learning to dance --
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你不只是學習跳舞,
04:15
you were learning to "man" and to "woman."
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你還要學習「男性」與「女性」,
04:19
It's a relic.
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這是傳統的遺風。
04:21
And in the way of relics,
you don't throw it out,
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傳統的遺風,
不代表我們要將之捨棄,
04:23
but you need to know
that this is the past.
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但,我們要知道那是過去式了。
04:26
This isn't the present.
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並不適合現在。
04:28
It's like Shakespeare:
respect it, revive it -- great!
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就像莎士比亞:
尊重它,復興它──很好!
04:31
But know that this is history.
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但是,這是歷史。
04:33
This doesn't represent how we think today.
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它不代表現代人們的思維。
04:37
So we asked ourselves:
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所以我們捫心自問:
04:38
If you strip it all down,
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假如你追根究底,
04:40
what is at the core of partner dancing?
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雙人舞的核心特質是什麼?
04:44
JF: Well, the core principle
of partner dancing
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傑夫:雙人舞的核心原則是
04:46
is that one person leads,
the other one follows.
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一個人領舞,另一個人跟舞。
04:49
The machine works the same,
regardless of who's playing which role.
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機器的運作亦同,
不管是誰在操作它。
04:52
The physics of movement doesn't really
give a crap about your gender.
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物理的運動現象也不會
因為你的性別而有所改變。
04:55
(Laughter)
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(笑聲)
04:56
So if we were to update the existing form,
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假如我們要讓現有的模式
更合乎時代,
04:58
we would need to make it
more representative
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我們就要讓之間的互動
更具代表性,
05:00
of how we interact here, now, in 2015.
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在 2015 年的現在。
05:04
When you watch ballroom,
don't just watch what's there.
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當你們觀賞國標舞時,
不要只是看那裡有什麼,
05:07
Watch what's not.
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而是要看那裡少了什麼。
05:09
The couple is always
only a man and a woman.
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雙人舞的搭檔,總是一男一女。
05:12
Together.
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一起。
05:13
Only.
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就這樣。
05:14
Ever.
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一成不變。
05:15
So, same-sex and gender nonconformist
couples just disappear.
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相同性別、不落俗套的
搭檔卻不存在。
05:19
In most mainstream international
ballroom competitions,
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絕大多數主流的世界國標舞競賽中,
05:22
same-sex couples are rarely
recognized on the floor,
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同性的舞伴極少在舞池上被認可,
05:25
and in many cases,
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從多數的例子來看,
05:26
the rules prohibit them completely.
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大會的規則是完全禁止的。
05:28
TC: Try this: Google-image,
"professional Latin dancer,"
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崔佛:試著在估狗圖片搜尋
「專業拉丁舞者」,
05:33
and then look for an actual Latino person.
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然後尋找一位真正的拉丁裔舞者。
05:35
(Laughter)
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(笑聲)
05:37
You'll be there for days.
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你將會花上好幾天。
05:39
What you will get is page after page
of white, straight Russian couples
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因為,你看到的會是一頁接著一頁的
白皮膚、純正的俄國舞者,
05:43
spray-tanned to the point of mahogany.
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全身使用定色噴霧噴成小麥色。
05:45
(Laughter)
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(笑聲)
05:47
There are no black people,
there are no Asians,
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沒有黑人、沒有亞洲人、
05:49
no mixed-race couples,
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沒有跨種族的搭檔,
05:50
so basically, non-white people
just disappeared.
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所以基本上,沒有非白人的舞者。
05:54
Even within the white-straight-
couple-only paradigm --
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即便是在只有純白人搭檔的
唯一制式範例中,
06:00
she can't be taller,
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她不能比較高,
06:01
he can't be shorter.
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他不能比較矮。
06:02
She can't be bolder,
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她不能大膽些,
06:05
he can't be gentler.
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他不能溫柔些。
06:07
If you were to take a ballroom dance
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假如將那刻板範例的國標舞,
06:09
and translate that into a conversation
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轉化成對話
06:11
and drop that into a movie,
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演繹成電影,
06:13
we, as a culture,
would never stand for this.
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在文化層面上,
我們絕不會容許這樣的現象。
06:16
He dictates, she reacts.
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他命令主導,她回應跟隨。
06:20
No relationship -- gay,
straight or anything --
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這樣的互動,不管在任何關係上──
同性戀、異性戀或其他關係──
06:23
that we would regard as remotely healthy
or functional looks like that,
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我們都會認為是不健康、不可行的。
06:28
and yet somehow,
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然而,不知何故,
06:29
you put it on prime time,
you slap some makeup on it,
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你把它放在黃金時段,
妝點上胭脂彩粉,
06:32
throw the glitter on, put it out there
as movement, not as text,
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灑上晶亮的五顏六色,
以動作的形式而非本質內涵來展現,
06:36
and we, as a culture,
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在文化上,
06:38
tune in and clap.
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我們觀賞它並給予掌聲。
06:41
We are applauding our own absence.
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我們在為自己的缺席而鼓掌。
06:46
Too many people have disappeared
from partner dancing.
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有太多人在雙人舞中缺席。
06:50
(Music)
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(音樂)
07:34
(Applause)
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(掌聲)
07:40
JF: Now, you just saw
two men dancing together.
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傑夫:現在,你看到
兩個男人在跳舞。
07:43
(Laughter)
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(笑聲)
07:44
And you thought it looked ...
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你覺得它看起來......
07:46
a little strange.
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有點奇怪。
07:48
Interesting -- appealing, even --
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有趣、甚至有魅力......
07:50
but a little bit odd.
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但是有點古怪。
07:52
Even avid followers of the same-sex
ballroom circuit can attest
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即便同性國標舞聯合會的
狂熱追隨者,可以證明
07:55
that while same-sex partner dancing
can be dynamic and strong and exciting,
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與同性舞伴共舞是充滿活力、
張力和令人振奮的,
07:59
it just doesn't quite seem to fit.
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但看起來就是不怎麼搭。
08:02
Aesthetically speaking,
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以美學的角度來看,
08:03
if Alida and I take the classic
closed ballroom hold ...
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假如婀麗達和我做出貼身握抱……
08:09
this is considered beautiful.
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大家會覺得很美。
08:14
(Laughter)
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(笑聲)
08:16
But why not this?
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但,為什麼這個就不美了呢?
08:17
(Laughter)
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(笑聲)
08:19
See, the standard image that the leader
must be larger and masculine
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看吧,領舞者必須
身材高大些、具男子氣概,
08:23
and the follower smaller and feminine --
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跟舞者則須嬌小些、
具女人味的制式印象──
08:25
this is a stumbling point.
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這就是障礙點。
08:27
TC: So we wanted to look at this
from a totally different angle.
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崔佛:我們想從全然不同的角度
來審視這件事。
08:33
So, what if we could keep
the idea of lead and follow
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如果我們保留住領舞和跟舞的觀念,
08:37
but toss the idea that this
was connected to gender?
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但是捨棄掉性別的概念,
會是如何呢?
08:40
Further, what if a couple
could lead and follow each other
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更甚者,如果舞伴間可以
08:45
and then switch?
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交替領舞和跟舞,又會如何呢?
08:47
And then switch back?
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然後再互換?
08:49
What if it could be like a conversation,
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如果可以將它變成一種溝通、對話,
08:52
taking turns listening and speaking,
just like we do in life?
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就像日常生活中彼此相互地
傾聽與訴說呢?
08:56
What if we could dance like that?
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如果我們能夠像那樣地跳著舞呢?
09:00
We call it "Liquid Lead Dancing."
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我們稱它做「流動領舞」。
09:04
JF: Let's try this with a Latin dance,
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傑夫:讓我們試著用這方法
來跳拉丁舞,
09:07
salsa.
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騷莎。
09:08
In salsa, there's a key transitional step,
called the cross-body lead.
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騷莎中有一個重要的過渡舞步,
稱為身體交錯引導。
09:12
We use it as punctuation
to break up the improvisation.
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我們把它當成標點符號
來分解即興發揮。
09:14
It can be a little tricky to spot
if you're not used to looking for it,
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如果你不習慣去注意它的話,
會比較難看出來。
09:18
so here it is.
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就像這樣。
09:25
One more time for the cheap seats.
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再一次,給坐在後面便宜票的觀眾。
09:26
(Laughter)
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(笑聲)
09:32
And here's the action one more time,
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再做一次動作給大家看,
09:34
nice and slow.
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放慢步調。
09:40
Now, if we apply liquid-lead thinking
to this transitional step,
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現在,如果我們將流動領舞的思維
應用在過渡舞步的話,
09:44
the cross-body lead becomes a point
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身體交錯引導,
09:46
where the lead and the follow can switch.
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將會是領舞與跟舞的關鍵轉換點。
09:48
The person following can elect
to take over the lead,
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跟舞者可以成為領舞者,
09:51
or the person leading can choose
to surrender it,
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而領舞者換位成為跟舞者,
09:53
essentially making it
a counter-cross-body lead.
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實際上就是相對的身體交錯引導。
09:56
Here's how that looks in slow motion.
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慢動作看起來是這樣的。
10:05
And here's how it looked
when we danced it in the opening dance.
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在開場舞中,它看起是這樣的。
10:14
With this simple tweak,
the dance moves from being a dictation
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一個簡單的扭轉動作,
舞蹈就從主導
10:18
to a negotiation.
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變成了協商。
10:19
Anyone can lead. Anyone can follow.
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任何人都可以領舞;
任何人都可以跟舞。
10:22
And more importantly,
you can change your mind.
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更重要的是,你可以改變心意。
10:25
Now, this is only one example
of how this applies,
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這只是其中的一個例子,
10:27
but once the blinkers come off,
anything can happen.
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一旦燈光熄滅,任何事都可能發生。
10:31
TC: Let's look at how Liquid Lead thinking
could apply to a classic waltz.
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崔佛:讓我們看看流動領舞的思維,
如何應用在經典的華爾滋上。
10:36
Because, of course,
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當然,因為
10:37
it isn't just a system of switching leads;
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它不僅只是輪流領舞的系統,
10:40
it's a way of thinking
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它是一種思維方式,
10:41
that can actually make
the dance itself more efficient.
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可讓舞跳起來更輕鬆優美。
10:44
So: the waltz.
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華爾滋。
10:46
The waltz is a turning dance.
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華爾滋是一種旋轉的舞蹈。
10:48
This means that for the lead,
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這表示領舞者,
10:50
you spend half of the dance
traveling backwards,
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一半的時間都是背對行進的方向,
10:53
completely blind.
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完全看不到背後的動線。
10:55
And because of the follower's position,
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因為跟舞者的位置,
10:57
basically, no one can see
where they're going.
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基本上,沒有人知道
他們要跳去哪裡。
11:00
(Laughter)
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(笑聲)
11:02
So you're out here on the floor,
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你在舞池的這裡,
11:04
and then imagine that coming right at you.
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然後想像他們向你逼近的情形。
11:06
JF: Raaaaaah!
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傑夫:(低吼聲)
11:08
(Laughter)
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(笑聲)
11:09
TC: There are actually a lot
of accidents out there
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崔佛:實際上,因為這個視覺的盲點,
11:13
that happen as a result
of this blind spot.
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造成很多的意外。
11:16
But what if the partners
were to just allow for
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但是,如果可以暫時讓舞伴
11:19
a switch of posture for a moment?
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變換一下姿勢呢?
11:21
A lot of accidents could be avoided.
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可以避免很多意外的發生。
11:24
Even if one person led the whole dance
but allowed this switch to happen,
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即便只有一個人領完整首舞曲,
但是允許舞伴們互換姿勢,
11:29
it would be a lot safer,
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不僅跳起來更加安全,
11:30
while at the same time,
offering new aesthetics into the waltz.
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同時,也將新的審美觀帶入華爾滋。
11:34
Because physics doesn't give a damn
about your gender.
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因為物理學才不在乎你的性別。
11:37
(Laughter)
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(笑聲)
11:40
JF: Now, we've danced Liquid Lead
in clubs, convention centers
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傑夫:現在,我們在俱樂部、
會議中心表演流動領舞,
11:43
and as part of "First Dance,"
the play we created with Lisa,
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還有在北美與歐洲的舞台上,
11:46
on stages in North America and in Europe.
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它成為我們和麗莎一起創作
「第一支舞」舞台劇的一部分。
11:48
And it never fails to engage.
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從不缺乏參與的人們。
11:50
I mean, beyond the unusual sight
of seeing two men dancing together,
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我是說,在罕見的
兩個男人共舞的畫面之外,
11:54
it always evokes and engages.
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它總能喚起人們的參與和互動。
11:57
But why?
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但,為什麼?
11:58
The secret lies in what made
Lisa see our initial demonstration
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秘訣就在於當初麗莎洞悉到
12:01
as "political."
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我們最初示範時的政治意涵。
12:02
It wasn't just that we were
switching lead and follow;
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它不僅只是大家表面上看到
輪流地領舞和跟舞,
12:05
it's that we stayed consistent
in our presence, our personality
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而是不論我們的角色為何,
12:08
and our power, regardless
of which role we were playing.
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我們的本質、個性
與力度展現始終如一。
12:11
We were still us.
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我們還是最真實的自我。
12:13
And that's where the true freedom lies --
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那是真正自由的所在,
12:15
not just the freedom to switch roles,
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不是只有舞伴角色的互換而已,
12:17
but the freedom from being defined
by whichever role you're playing,
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而是不論你的角色如何被界定,
12:21
the freedom to always remain
true to yourself.
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你始終都忠於自我的表現。
12:24
Forget what a lead is supposed
to look like, or a follow.
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忘掉領舞或跟舞者
應該看起來要像什麼樣子,
12:27
Be a masculine follow
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做個有男子氣概的跟舞者,
12:29
or a feminine lead.
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或女人味十足的領舞者。
12:30
Just be yourself.
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做你自己。
12:32
Obviously, this applies
off the dance floor as well,
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顯然,這也適用與舞池之外,
12:35
but on the floor, it gives us
the perfect opportunity
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但在舞池上,它給了我們絕妙的機會
12:38
to update an old paradigm,
reinvigorate an old relic,
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來創新舊有的典型,
復興優良的遺風,
12:41
and make it more representative
of our era and our current way of being.
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使其在當今時代更具有代表性。
12:46
TC: Jeff and I dance partner dancing
all the time with women and men
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崔佛:傑夫和我一直
與男性或女性搭檔雙人舞,
12:49
and we love it.
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我們很喜歡這樣。
12:51
But we dance with a consciousness
that this is a historic form
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但我們跳舞時意識到,
這是具歷史意義的呈現形式,
12:55
that can produce silence
and produce invisibility
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可使人們忘掉並無視於
制式的角色認同,
13:00
across the spectrum of identity
that we enjoy today.
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盡情地享受跳舞的樂趣。
13:03
We invented Liquid Lead
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我們創造了流動領舞,
13:05
as a way of stripping out
all the ideas that don't belong to us
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褪去了所有不屬於我們的想法,
13:10
and taking partner dancing back
to what it really always was:
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讓雙人舞回歸到它最真的本質:
13:15
the fine art of taking care of each other.
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那就是相互關懷、照顧的藝術。
13:20
(Music)
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(音樂)
15:20
(Applause)
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(掌聲)
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