Ben Cameron: The true power of the performing arts

76,797 views ・ 2010-09-10

TED


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譯者: Huiwen Xu 審譯者: Shelley Krishna Tsang
00:15
I am a cultural omnivore,
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我喜歡各種類型的文化
00:17
one whose daily commute is made possible by attachment to an iPod --
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每天上下班
我幾乎都戴著iPod
00:22
an iPod that contains Wagner and Mozart,
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聽瓦格納、莫札特歌劇或古典音樂
00:24
pop diva Christina Aguilera,
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流行樂天後克莉絲蒂娜•阿奎萊拉
00:26
country singer Josh Turner,
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鄉村歌手喬什•特納
00:28
gangsta rap artist Kirk Franklin,
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還有,說唱歌手柯克•佛蘭克林的歌
00:30
concerti, symphonies and more and more.
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以及協奏曲、交響樂等等
00:32
I'm a voracious reader,
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我也廣泛涉獵各類讀物
00:34
a reader who deals with Ian McEwan down to Stephanie Meyer.
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比如,伊恩•麥克尤恩、斯蒂芬妮•梅爾的作品
00:37
I have read the Twilight tetralogy.
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梅爾的《暮光之城》四部曲我都讀過呢~
00:40
And one who lives for my home theater,
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而且,我也喜歡和家庭影院泡在一起
00:43
a home theater where I devour DVDs, video on demand
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有了家庭影院,我就能看各種各樣的DVD、視頻點播節目
及電視節目
00:46
and a lot of television.
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00:47
For me, "Law & Order: SVU," Tina Fey and "30 Rock"
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尤其喜歡《法律與秩序:特殊受害者》
喜歡蒂娜•費和她的《我為喜劇狂》(30 Rock)
00:50
and "Judge Judy" --
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還有《朱蒂法官》(Judge Judy)
00:52
"The people are real, the cases are real, the rulings are final."
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"人沒錯,案子沒錯,就這麼判了"(《朱蒂法官》臺詞)
00:55
(Laughter)
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00:56
Now, I'm convinced a lot of you probably share my passions,
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現在,我可確定,你們當中的許多人
或許都和我有同樣的感受
01:00
especially my passion for "Judge Judy,"
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尤其是對“朱蒂法官”的感受
01:02
and you'd fight anybody who attempted to take her away from us,
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因為,我看得出來
倘若誰要把她給搶走了,你們會和這個傢伙拼了老命的
01:06
but I'm a little less convinced that you share the central passion of my life,
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但有一點我還不能肯定,即你我生命中是否都有一份非常重要的感情
01:09
a passion for the live professional performing arts,
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一份對現場職業表演藝術的感情
01:12
performing arts that represent the orchestral repertoire, yes,
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這種現場表演藝術包括管弦樂
01:15
but jazz as well, modern dance, opera,
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當然,也包括爵士、現代舞、歌劇
01:18
theater and more and more and more.
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戲劇等等
然而
01:21
Frankly, it's a sector that many of us who work in the field
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很多在這一行工作的人都擔心
01:24
worry is being endangered and possibly dismantled by technology.
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這一領域有滅絕的危險
有遭到現代技術瓦解的危險
01:28
While we initially heralded the Internet as the fantastic new marketing device
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最初,我們把互聯網視為
神奇、新型的行銷工具
01:32
that was going to solve all our problems,
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認為互聯網能解決所有問題
01:34
we now realize that the Internet is, if anything,
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現在,我們意識到,互聯網在這方面的效力
似乎有些過頭了
01:37
too effective in that regard.
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01:38
Depending on who you read, an arts organization
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藝術組織或藝術家
01:41
or an artist, who tries to attract the attention
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努力工作、表演來吸引
01:43
of a potential single ticket buyer,
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那些有可能買票的消費者
01:45
now competes with between three and 5,000 different marketing messages
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然而,他們現在卻要和各種各樣(網路)行銷資訊競爭
這些資訊每天少則幾條
多則幾千條
01:51
a typical citizen sees every single day.
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充斥著人們的日常生活
01:54
We now know, in fact,
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現在我們知道了
01:56
that technology is our biggest competitor for leisure time.
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科技才是奪走我們休閒生活最主要的因素
五年前的資料顯示
01:59
Five years ago,
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02:00
Gen Xers spent 20.7 hours online and TV, the majority on TV.
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新生第一代(X代)花在上網和電視上的時間達到20.7小時(每天)
以電視為主
02:05
Gen Yers spent even more --
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而新生第二代(Y代),他們所花的時間更多
02:06
23.8 hours, the majority online.
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達到23.8小時(每天),主要是上網
02:09
And now, a typical university-entering student arrives at college
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如今
大學新生
一般都會
02:15
already having spent 20,000 hours online
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花上
兩萬小時(每年)的時間來上網
02:19
and an additional 10,000 hours playing video games --
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再花另外一萬小時(每年)的時間
玩電子遊戲
02:23
a stark reminder that we operate in a cultural context
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這讓我們看清
我們現在的文化環境裏
02:26
where video games now outsell music and movie recordings combined.
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電子遊戲大賣
而音樂、電影產品加起來都趕不上電子遊戲
02:33
Moreover, we're afraid that technology
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而且我們還擔心
02:35
has altered our very assumptions of cultural consumption.
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科技已經改變了我們的文化消費模式
有了互聯網
02:39
Thanks to the Internet,
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02:40
we believe we can get anything we want whenever we want it,
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我們就認為,我們可以隨時獲取我們想得到的東西
02:43
delivered to our own doorstep.
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還會送貨上門
02:45
We can shop at three in the morning or eight at night,
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我們可以在淩晨三點或者晚上八點
02:47
ordering jeans tailor-made for our unique body types.
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選購量身定制的牛仔褲
02:50
Expectations of personalization and customization
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然而,對於個性化
定制化的要求
02:54
that the live performing arts --
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現場表演藝術是無法滿足的
02:56
which have set curtain times, set venues,
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因為現場表演藝術有固定的開演時間,固定的場地
02:59
attendant inconveniences of travel, parking and the like --
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去看表演的路上、停車等等都可能會有不便
03:02
simply cannot meet.
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所以說,現場表演藝術無法滿足部份人的要求
03:04
And we're all acutely aware:
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我們已經在想
03:06
what's it going to mean in the future
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這種情況,在未來意味著什麽
03:08
when we ask someone to pay a hundred dollars
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尤其是我們叫別人花一百塊
03:10
for a symphony, opera or ballet ticket,
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去看場交響樂、歌劇或者芭蕾舞表演時
03:13
when that cultural consumer is used to downloading on the internet
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尤其是人們已經習慣全天候地
03:16
24 hours a day for 99 cents a song or for free?
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在上網下載文化產品,而且一首歌花不到一塊錢,甚至還可以免費下載時
這對現場表演藝術的未來意味著什麽?
03:22
These are enormous questions for those of us that work in this terrain.
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這裡面有很多問題
需要在這一領域工作的我們去解決
03:26
But as particular as they feel to us, we know we're not alone.
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但是這些問題也有其特殊性
我們知道,我們並非孤立無助
03:30
All of us are engaged
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所有人都一起努力
03:31
in a seismic, fundamental realignment of culture and communications,
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實現根本性的改變
即重組我們的文化形式,重組我們的交流方式
03:36
a realignment that is shaking and decimating the newspaper industry,
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這些改變正動搖、削弱
報刊業
03:40
the magazine industry, the book and publishing industry and more.
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出版業,等等
03:44
Saddled in the performing arts as we are, by antiquated union agreements
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我們對現場藝術負有責任
03:48
that inhibit and often prohibit mechanical reproduction and streaming,
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陳舊的聯盟協議,規定了我們對此的責任
機械的複製、下載
03:53
locked into large facilities that were designed to ossify
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我們被困在這些龐大的機構裏
這些機構束縛了
03:57
the ideal relationship between artist and audience
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藝術家與觀眾之間
完美的關係
04:01
most appropriate to the 19th century
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這在19世紀就有所體現
04:03
and locked into a business model dependent on high ticket revenues,
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我們也被困在唯高票房收入是好的商業模式當中
04:06
where we charge exorbitant prices.
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在這個模式下,我們收取過高的票價
04:09
Many of us shudder in the wake of the collapse of Tower Records
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“淘兒唱片”(Tower Records)倒閉後,許多人都害怕了
04:12
and ask ourselves, "Are we next?"
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不禁自問,下一個崩潰的,會不會是我們?
04:16
Everyone I talk to in performing arts resonates to the words of Adrienne Rich,
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和現場表演藝術工作的人交談時
他們都會對艾德裏安娜•裏奇的一句話產生共鳴
04:21
who, in "Dreams of a Common Language," wrote,
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在她《一種共同語言的夢想》裏寫到
04:23
"We are out in a country that has no language, no laws.
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“我們所處的國度
沒有語言,沒有法律。
04:27
Whatever we do together is pure invention.
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我們在活在一個虛構的世界裏。
04:29
The maps they gave us are out of date by years."
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給我們的地圖
都是非常過時的。
04:35
And for those of you who love the arts,
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對於在座喜歡藝術的朋友
04:37
aren't you glad you invited me here to brighten your day?
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你們邀請我來到這兒,照亮你們的生活,是不是很高興啊?
04:40
(Laughter)
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(笑聲)
04:42
(Applause)
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(掌聲)
04:43
Now, rather than saying that we're on the brink of our own annihilation,
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現在,與其說我們處在滅絕的邊緣
04:47
I prefer to believe that we are engaged in a fundamental reformation,
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我更認同,我們要進行一次根本的改革
04:50
a reformation like the religious Reformation of the 16th century.
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就像宗教改革那樣
即16世紀的宗教改革
04:55
The arts reformation, like the religious Reformation,
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與宗教改革一樣,我們的藝術改革
04:58
is spurred in part by technology,
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也或多或少受到了技術的推動
04:59
with indeed, the printing press really leading the charge
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因為,印刷術的發明
05:02
on the religious Reformation.
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實際上就推動了當時的宗教改革
05:04
Both reformations were predicated on fractious discussion,
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富有爭議的討論
05:07
internal self-doubt
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內部自我懷疑
05:09
and massive realignment of antiquated business models.
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及對陳舊商業模式大範圍的調整都預示這兩項改革的出現
而且,我認為,這兩項不同的改革
05:13
And at heart, both reformations, I think, were asking the questions:
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實際都提出了幾個問題
05:16
who's entitled to practice?
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即,誰去改革?
05:18
How are they entitled to practice?
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如何去改革?
05:19
And indeed, do we need anyone to intermediate for us
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以及需不需要找一個人
來其媒介的作用?
05:24
in order to have an experience with a spiritual divine?
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即我們和神靈之間的媒介
05:29
Chris Anderson, someone I trust you all know,
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克裏斯•安德森,我很信賴的一個人
05:31
editor in chief of Wired magazine and author of The Long Tail,
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他是美國《聯機》雜誌的總編,《長尾理論》的作者
05:34
really was the first, for me, to nail a lot of this.
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在我看來,他是第一個在這方面做了很多的人
05:37
He wrote a long time ago, you know,
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很久之前,他就寫到過
05:39
thanks to the invention of the Internet, web technology, minicams and more,
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由於互聯網
網路技術
迷你攝像頭及其它技術的發明
05:45
the means of artistic production have been democratized
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藝術作品創作
出現平民化
05:48
for the first time in all of human history.
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這是人類歷史上首次出現這種情況
05:52
In the 1930s, if any of you wanted to make a movie,
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世紀30年代,想要製作一部電影
05:54
you had to work for Warner Brothers or RKO,
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你必須找華納兄弟或者雷電華公司
05:57
because who could afford a movie set
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試想,那個時候誰能用得起電影場地
05:59
and lighting equipment and editing equipment
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燈光設施、編輯
06:01
and scoring, and more?
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配音這些設備?
06:03
And now who in this room doesn't know a 14 year-old
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而現在,在座的各位或許都不知道,一個14歲的孩子
06:06
hard at work on her second, third, or fourth movie?
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已經在抓緊製作她的第二部、第三部、第四部電影了……?
06:08
(Laughter)
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(笑聲)
06:10
Similarly, the means of artistic distribution
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同樣,藝術作品的傳播方式
06:13
have been democratized for the first time in human history.
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也首次在人類歷史上平民化
06:16
Again, in the '30s, Warner Brothers, RKO did that for you.
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依然是在上世紀30年代,藝術作品的傳播也是靠華納兄弟和雷電華
06:19
Now, go to YouTube, Facebook;
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而現在,你只需登入YouTube, Facebook
06:21
you have worldwide distribution
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你能足不出戶
06:23
without leaving the privacy of your own bedroom.
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欣賞世界各地的藝術作品
06:27
This double impact is occasioning
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上述的雙重影響,
06:29
a massive redefinition of the cultural market,
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使得人們對文化市場的定義做了重大的調整
06:32
a time when anyone is a potential author.
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這個時代,任何人都有可能成為作家
06:36
Frankly, what we're seeing now in this environment
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坦言說,在這種環境下
06:38
is a massive time, when the entire world is changing
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我們現在所處的整個世界
不斷變化著
06:42
as we move from a time when audience numbers are plummeting.
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觀眾數量下滑的時代早已漸遠
06:45
But the number of arts participants,
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但是,藝術創作者
06:47
people who write poetry, who sing songs, who perform in church choirs,
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即那些寫詩歌的人、唱歌的人
及唱詩班的 人
06:51
is exploding beyond our wildest imaginations.
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他們的數量在激增,超出我們的想像
06:55
This group, others have called the pro-ams,
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這個群體被人們稱為“專業餘者”(“pro am”/ “professional–amateur”)
06:58
amateur artists doing work at a professional level.
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即有著專業水準的業餘藝術家
你可以在YouTube,,舞蹈比賽,電影節這些地方
07:01
You see them on YouTube, in dance competitions,
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看到他們的身影
07:03
film festivals and more.
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07:04
They are radically expanding
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這一群體迫使我們
07:06
our notions of the potential of an aesthetic vocabulary,
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對美學的概念有了更多的理解
但同時,他們也挑戰、削弱著
07:10
while they are challenging and undermining
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07:12
the cultural autonomy of our traditional institutions.
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傳統機構的文化獨立性
07:15
Ultimately, we now live in a world defined not by consumption,
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最終,這個世界
不再是觀眾為主的世界
07:19
but by participation.
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而是參與者為主的世界
07:22
But I want to be clear,
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但有一點很明確
07:24
just as the religious Reformation did not spell the end
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就如宗教改革並未終結
正規的教堂和神職一樣
07:27
to the formal Church or to the priesthood;
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07:29
I believe that our artistic institutions will continue to have importance.
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我相信,我們這些藝術機構
依舊會發揮重要作用
07:33
They currently are the best opportunities
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就目前,這些機構仍是
07:35
for artists to have lives of economic dignity --
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藝術家保障經濟來源的最好途徑
07:37
not opulence, of dignity.
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注意,不是賺大錢,而只是保證經濟上還有尊嚴
07:40
And they are the places where artists
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而且,這些地方
07:41
who deserve and want to work at a certain scale of resources
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既屬於他們,也是他們想去的
07:44
will find a home.
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在那,他們的才華才有歸屬
07:46
But to view them as synonymous with the entirety of the arts community
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但是,將他們等同於
整個藝術界
07:50
is, by far, too shortsighted.
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顯然是錯誤的
07:53
And indeed, while we've tended to polarize the amateur from the professional,
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即使我們習慣
將業餘和專業兩極化
07:57
the single most exciting development in the last five to 10 years
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但在過去5年到10年的時間裏
唯一讓人倍感興奮的
08:01
has been the rise of the professional hybrid artist,
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就是造詣極高的專業藝術家
他们的影響力有了提升
08:05
the professional artist who works,
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这些專業藝術家
08:07
not primarily in the concert hall or on the stage;
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最開始並不在音樂廳或舞臺上表演
08:09
but most frequently around women's rights, or human rights,
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而是經常圍繞
女權、人權
08:13
or on global warming issues or AIDS relief for more --
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全球氣候變暖、愛滋病援助等問題表演
08:16
not out of economic necessity,
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不是為了賺錢
08:18
but out of a deep, organic conviction
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而是因為,他們內心深信
08:20
that the work that she or he is called to do
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這些號召他們去做的工作
08:23
cannot be accomplished in the traditional hermetic arts environment.
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無法在一個傳統的、
封閉的藝術環境下完成。
08:27
Today's dance world is not defined solely
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如今的舞蹈世界
08:30
by the Royal Winnipeg Ballet or the National Ballet of Canada,
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不再只由皇家溫尼伯芭蕾舞團(即加拿大國家芭蕾舞團)來詮釋了
08:33
but by Liz Lerman's Dance Exchange --
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而是由LLDE(Liz Lerman’s Dance Exchange)公司來詮釋
08:36
a multi-generational, professional dance company,
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這是一家專業的舞蹈公司
08:39
whose dancers range in age from 18 to 82,
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該公司的舞蹈家年齡跨度很大,最小的只有18歲,最大的有82歲高齡
08:42
and who work with genomic scientists to embody the DNA strand
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LLDE與基因學科學家合作
研究基因與舞蹈的關係
08:46
and with nuclear physicists at CERN.
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此外,還與歐洲原子核研究委員會(CERN)的核子物理學家有所合作。
08:49
Today's professional theater community
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如今,專業劇場
08:51
is defined, not only the Shaw and Stratford Festivals,
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也非只由蕭伯納戲劇節及斯特拉福德戲劇節來詮釋
08:54
but by the Cornerstone Theater of Los Angeles --
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而是由“洛杉磯基石戲劇公司”(the Cornerstone Theater of Los Angeles)來詮釋
08:57
a collective of artists that after 9/11,
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它也是一家藝術家公司
09:00
brought together 10 different religious communities --
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時間之後,該公司將10類不同的宗教團體集中起來 --
09:03
the Baha'i, the Catholic,
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這些團體除了巴伊亞、天主教
09:05
the Muslim, the Jewish,
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穆斯林、猶太教外
09:07
even the Native American
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甚至還有印第安人
09:09
and the gay and lesbian communities of faith,
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和同性戀者
09:11
helping them create their own individual plays
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該公司幫助這些人創作自己獨特的、
09:14
and one massive play,
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龐大的戲劇
09:16
where they explored the differences in their faith
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在這個龐大的戲劇裏,他們探尋各信仰間的不同
09:18
and found commonality
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並找到共同點,
09:20
as an important first step toward cross-community healing.
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邁出促進跨群體藝術健康發展
重要的一步
09:25
Today's performers, like Rhodessa Jones, work in women's prisons,
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今天的表演家,比如Rhodessa Jones
他在女子監獄工作
09:28
helping women prisoners articulate the pain of incarceration,
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幫助女囚犯輕鬆地吐露監禁的痛苦
09:32
while today's playwrights and directors work with youth gangs
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如今,劇作家和導演和青年惡勢力合作
以發現不同的犯罪形式
09:35
to find alternate channels to violence and more and more and more.
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此外,還有很多很多这样的例子
09:40
And indeed, I think, rather than being annihilated,
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實際上,我認為,與其說現場表演藝術正走向滅亡
09:43
the performing arts are poised on the brink of a time
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不如說它處在一個時代的邊緣。
09:45
when we will be more important than we have ever been.
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在這個時代,我們這些人的作用,比起以前
會更為重要
09:49
You know, we've said for a long time,
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我們一直都在強調
09:51
we are critical to the health of the economic communities in your town.
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我們對城鎮社區經濟的作用極其重要
09:54
And absolutely --
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或者說,絕對重要
09:56
I hope you know that every dollar spent on a performing arts ticket in a community
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我想告訴大家,在現場藝術門票花的每一塊錢,
都會給地方經濟帶來額外的7塊錢的收入
10:00
generates five to seven additional dollars for the local economy,
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例如,會帶來餐廳或停車場的收入
10:03
dollars spent in restaurants or on parking,
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帶來綢布店的生意,因為我們要從那購買戲裝的布料
10:05
at the fabric stores where we buy fabric for costumes,
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10:07
the piano tuner who tunes the instruments, and more.
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我們還要雇傭調音師給鋼琴調音等等
而且,我們不斷前進的話,
10:11
But the arts are going to be more important to economies as we go forward,
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現場藝術對經濟起到越來越重要的作用
10:14
especially in industries we can't even imagine yet,
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尤其是對一些我們想都沒想過的行業
10:17
just as they have been central to the iPod and the computer game industries,
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就像我們已經對電子音樂、
電腦遊戲所起的關鍵作用那樣
10:21
which few, if any of us, could have foreseen 10 to 15 years ago.
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在十多年前,
我們都未曾預見
10:26
Business leadership will depend more and more on emotional intelligence,
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商業領導能力越來越取決於
情商
10:30
the ability to listen deeply,
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以及傾聽
10:32
to have empathy,
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分享情感
10:33
to articulate change, to motivate others --
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清楚表達細微變化、激發他人鬥志的能力 --
10:36
the very capacities that the arts cultivate with every encounter.
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不管你所處的是什麼領域
現場藝術都能培養你這些方面的能力
10:41
Especially now,
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尤其是現在
10:43
as we all must confront the fallacy of a market-only orientation,
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尤其是我們面對的是
“市場為唯一導向”的謬論
10:48
uninformed by social conscience;
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一個不提倡社會良知的謬論時
10:50
we must seize and celebrate the power of the arts
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我們必須利用、宣揚藝術的力量
10:53
to shape our individual and national characters,
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以此來塑造我們個人及國家的特性
10:56
and especially characters of the young people,
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尤其是年輕人的特性
10:59
who all too often are subjected to bombardment of sensation,
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因為年輕人過於感性
11:02
rather than digested experience.
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而且缺乏已被自己消化了的經驗
11:05
Ultimately, especially now in this world,
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歸根結底
11:08
where we live in a context of regressive and onerous immigration laws,
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4621
我們的世界
存在著倒退、複雜的移民法令
11:13
in reality TV that thrives on humiliation,
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3339
電視節目也大肆播放讓人蒙羞的節目
11:16
and in a context of analysis,
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此外
11:18
where the thing we hear most repeatedly, day in, day out in the United States,
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在美國
我們每天都要反反復複
11:22
in every train station, every bus station, every plane station is,
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3105
在各個火車站、汽車站、飛機場,聽到:
女士們、先生們
11:26
"Ladies and gentlemen,
226
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1263
11:27
please report any suspicious behavior or suspicious individuals
227
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4030
若您發現可疑行為
或可疑人物
11:31
to the authorities nearest to you,"
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1962
請您協助我們向離您最近的警察局舉報,謝謝合作。”
11:33
when all of these ways we are encouraged
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就因為這樣,我們受到鼓動,
11:35
to view our fellow human being with hostility and fear
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用敵意
恐懼、輕視、懷疑的眼光去看待身邊的人
11:38
and contempt and suspicion.
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11:41
The arts, whatever they do, whenever they call us together,
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藝術,不管如何起作用,何時將我們召集起來,
11:44
invite us to look at our fellow human being with generosity and curiosity.
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它都會讓我們用寬巨集、好奇的心態
去看待我們的同胞
11:50
God knows, if we ever needed that capacity in human history,
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倘若,我們在過往的人類史上,
曾有過這種能力
11:54
we need it now.
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我們現在也需要這樣的能力
12:00
You know, we're bound together,
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我想,我們能夠相互依存
12:02
not, I think by technology, entertainment and design,
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不是因為技術、娛樂及設計
12:05
but by common cause.
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而是常識
12:07
We work to promote healthy vibrant societies,
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我們一起努力,推動建設健康、有活力的社會
減輕人類的痛苦
12:11
to ameliorate human suffering,
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12:13
to promote a more thoughtful, substantive, empathic world order.
241
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構建一個更為周全
實質、情感分享世界秩序。
我要向各位在這一領域努力的人表示讚賞
12:20
I salute all of you as activists in that quest
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12:22
and urge you to embrace and hold dear the arts in your work,
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也強烈希望你們能支持、重視你們所從事的藝術活動
12:25
whatever your purpose may be.
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即使大家的目的不盡相同
12:28
I promise you the hand of the Doris Duke Charitable Foundation
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我向大家保證,現在及將來
12:31
is stretched out in friendship for now and years to come.
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桃莉絲•杜克慈善基金會(DDCF)會伸出其友誼之手
12:34
And I thank you for your kindness and your patience
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最後,感謝各位的捧場。
12:36
in listening to me this afternoon.
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謝謝,願諸位安好!
12:38
Thank you, and Godspeed.
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