TED演讲【爱与使命同行】20160317

TED演讲【爱与使命同行】20160317
Now... let's go back in time. It's 1974. There is the gallery somewhere in the world, and there is a young girl, age 23, standing in the middle of the space. In the front of her is a table. On the table there are 76 objects for pleasure and for pain. Some of the objects are a glass of water, a coat, a shoe, a rose. But also the knife, the razor blade, the hammer and the pistol with one bullet. There are instructions which say, "I'm an object. You can use everything on the table on me. I'm taking all responsibility -- even killing me. And the time is six hours."
现在，让我们回到过去。

回到1974年。

世界上的某个角落有一个画廊，那里有一个年轻的姑娘，23岁，站在大厅中央。

她的面前有一张桌子。

桌上放了76件物品，有的带来欢乐，有的带来痛苦。

其中几样是一杯水，一件外套，一只鞋，一朵玫瑰。

但同时也有刀，剃须刀片，铁锤，还有一把上了膛的手枪。

有一段说明文字是这么写的，“我是一个物体。

你可以将桌上的任何一件东西用在我身上。

我会承担所有责任——即使你要杀死我。

时间是6小时。

”
The beginning of this performance was easy. People would give me the glass of water to drink, they'd give me the rose. But very soon after, there was a man who took the scissors and cut my clothes, and then they took the thorns of the rose and stuck them in my stomach. Somebody took the razor blade and cut my neck and drank the blood, and I still have the scar. The women would tell the men what to do. And the men didn't rape me because it was just a normal opening, and it was all public, and they were with their wives. They carried me around and put me on the table, and put the knife between my legs. And somebody took the pistol and bullet and put it against my temple. And another person took the pistol and they started a fight.
这个表演一开始是顺利的。

人们有的递给我水喝，有的给我玫瑰。

但不久之后，有个男人拿起剪刀剪我的衣服，有人把玫瑰上的刺扎在我肚子上。

还有人用剃须刀片划破我的脖子，喝我的血，这道疤现在还在。

女人给男人出主意。

男人没有强奸我，因为是在大庭广众之下，众目睽睽，而且他们的妻子就在身边。

他们把我抬起来放在桌上，把刀摆在我两腿之间。

有人拿起枪和子弹，顶着我的太阳穴。

另一个人把手枪抢走，然后他们开始打架。

And after six hours were finished, I... started walking towards the public. I was a mess. I was half-naked, I was full of blood and tears were running down my face. And everybody escaped, they just ran away. They could not confront myself, with myself as a normal human being. And then -- what happened is I went to the hotel, it was at two in the morning. And I looked at myself in the mirror, and I had a piece of gray hair. Alright -- please take off your blindfolds.
6个小时之后，我…… 开始走向人群。

我当时糟透了。

我光着一半身子，全身都是血，眼泪不停往下流。

所有人都逃走了，一个不剩。

他们无法面对我，因为我终究还是一个正常的人类（而不是物体）。

随后——发生的事情就是，我回到酒店，已经是凌晨两点。

然后，我看着镜子中的自己，发现自己竟生出了几缕白发。

好了——请摘下你们的眼罩。

Welcome to the performance world. First of all, let's explain what the performance is. So many artists, so many different explanations, but my explanation for performance is very simple. Performance is a mental and physical construction that the performer makes in a specific time in a space in front of an audience and then energy dialogue happens. The audience and the performer make the piece together. And the difference between performance and theater is huge. In the theater, the knife is not a knife and the blood is just ketchup. In the
performance, the blood is the material, and the razor blade or knife is the tool. It's all about being there in the real time, and you can't rehearse performance, because you can't do many of these types of things twice -- ever. Which is very important, the performance is -- you know, all human beings are always afraid of very simple things. We're afraid of suffering, we're afraid of pain, we're afraid of mortality. So what I'm doing -- I'm staging these kinds of fears in front of the audience. I'm using your energy, and with this energy I can go and push my body as far as I can. And then I liberate myself from these fears. And I'm your mirror. If I can do this for myself, you can do it for you.
欢迎来到表演的世界。

首先，让我们来解释一下什么是表演。

有如此多的艺术家，如此多的不同解释，而我对表演的理解非常简单。

表演就是一种心理和身体的结合，由表演者在特定时间和特定空间内，面对观众呈现出来，并由此产生一种能量的共鸣。

（表演）是由观众和表演者共同来完成的。

表演和戏剧的差别是巨大的。

在戏剧里，刀不是真刀，血也只是番茄酱。

而在表演中，血是材料，而剃须刀片或者刀是（加工材料的）工具。

所有东西都是实时呈现的，表演是没办法排练的，因为很多表演无法重复。

这一点很重要，因为表演是——大家都知道，人类总害怕一些非常简单的东西。

我们害怕受苦，害怕疼痛，我们恐惧死亡。

因此我的表演——我将这些恐惧都呈现在观众面前。

我运用你们的能量，有了这些能量，我尽可能地忍受这些恐惧。

然后再将自己从恐惧中解放出来。

我就是你们的镜子。

如果我能做到，那么你们也能。

After Belgrade, where I was born, I went to Amsterdam. And you know, I've been doing performances since the last 40 years. And here I met Ulay, and he was the person I actually fell in love with. And we made, for 12 years, performances together. You know the knife and the pistols and the bullets, I exchange into love and trust. So to do this kind work you have to trust the
person completely because this arrow is pointing to my heart. So, heart beating and adrenaline is rushing and so on, is about trust, is about total trust to another human being.
在离开我的家乡贝尔格莱德之后，我前往阿姆斯特丹。

在那里，我从事表演长达40年之久。

在这里，我遇到了乌拉伊，他是我真正爱上的人。

我们在一起从事表演12年。

我将刀、手枪和子弹，换成了爱和信任。

要完成这个表演，你得完全信任对方，因为那支箭正对着我的心脏。

我心跳加速，肾上腺素飙升，这就是信任，对另一个人完全的信任。

Our relationship was 12 years, and we worked on so many subjects, both male and female energy. And as every relationship comes to an end, ours went too. We didn't make phone calls like normal human beings do and say, you know, "This is over." We walked the Great Wall of China to say goodbye.
I started at the Yellow
Sea, and he started from the Gobi Desert. We walked, each of us, three months, two and a half thousand kilometers. It was the mountains, it was difficult. It was climbing, it was ruins. It was, you know, going through the 12 Chinese provinces, this was before China was open in '87. And we succeeded to meet in the middle to say goodbye. And then our relationship stopped.
我们的关系维持了12年，我们合作了非常多的项目，涉及到了男性和女性的能量。

但天下没有不散的筵席，我俩最终也分开了。

我们没有像其他人一样，通过打电话分手，说一句，“咱们结束吧。

” 我们以爬中国长城的方式来分手。

我从黄海启程，他从戈壁滩出发。

我们俩各自行走了3个月，走完了2500公里。

山高路险，困难重重。

我们翻山越岭，穿越废墟。

我们横跨了中国的12个省份，当时是1987年，中国尚未开放。

我俩成功在中点处碰头了，互相告别。

之后我们的关系就结束了。

And now, it completely changed how I see the public. And one very important piece I made in those days was "Balkan
Baroque." And this was the time of the Balkan Wars, and I wanted to create some very strong, charismatic image, something that could serve for any war at any time, because the Balkan Wars are now finished, but there's always some war, somewhere. So here I am washing two and a half thousand dead, big, bloody cow bones. You can't wash the blood, you never can wash shame off the wars. So I'm washing this six hours, six days, and wars are coming off these bones, and becoming possible -- an unbearable smell. But then something stays in the memory.
至此，我对公众的看法完全改变了。

在那段时间里，我完成的最重要的一个表演叫做“巴尔干巴洛克”。

那是在巴尔干战争期间，我想创造一些激烈的、富有感染力的画面，可以用来表现发生在任何时间的任何战争，因为尽管巴尔干战争已经结束了，但战争行为本身不会消失。

这是我在清洗2500根巨大的、血迹斑斑的牛骨。

你无法清洗掉血迹，就如同你无法清洗战争的耻辱。

我清洗了6天，每天6小时，战争的印记开始从骨头上消失，变得可以接受——那气味简直无法忍受。

但是会让你留下难以磨灭的印象。

I want to show you the one who really changed my life, and this was the performance in MoMa, which I just recently made. This performance -- when I said to the curator, "I'm just going to sit at the chair, and there will be an empty chair at the front, and anybody from the public can come and sit as long as they want." The curator said to me, "That's ridiculous, you know, this is New York, this chair will be empty, nobody has time to sit in front of you."
我想向大家介绍一个真正改变了我人生的表演，这是我在现代艺术博物馆（NoMa）的一个表演，最近才完成。

这个表演——当时我对馆长说，“我要坐在那把椅子上，对面是另一把椅子，任何人都可以坐在上面，想坐多久坐多久。

” 馆长对我说，“这太搞笑了，这里可是纽约，这椅子不会有人坐的，因为大家都忙得要死。

”
07:38 But I sit for three months. And I sit everyday, eight hours -- the opening of the museum -- and 10 hours on Friday when the museum is open 10 hours, and I never move. And I removed the table and I'm still sitting, and this changed everything. This performance, maybe 10 or 15 years ago -- nothing would have happened. But the need of people to actually experience something different, the public was not anymore the group -- relation was one to one. I was watching these people, they would come and sit in front of me, but they would have to wait for hours and hours and hours to get to this position, and finally, they sit.
但我坐了三个月。

每天八小时——跟博物馆营业时间一致——周五博物馆开门十小时，我就坐十小时，而且我一动不动。

后来我把桌子也挪走了，继续坐着，这改变了一切。

这个表演，如果放在10或15年前——不会有任何影响。

但如今人们都想体验点特别的东西，而公众不再是一个群体——而是（与我）变成了一对一的关系。

我一直在观察这些人，这些愿意坐在我面前的人，他们往往要等待数小时，才能排上队，最终坐下。

And what happened? They are observed by the other people, they're photographed, they're filmed by the camera, they're observed by me and they have nowhere to escape except in themselves. And that makes a difference. There was so much pain and loneliness, there's so much incredible things when you look in somebody else's eyes, because in the gaze with that total stranger, that you never even say one word -- everything happened. And I understood when I stood up from that chair after three months, I am not the same anymore. And I understood that I have a very strong mission, that I have to communicate this experience to everybody.
之后发生了什么呢？他们会被其他人观察，被相机拍，被摄影机拍，我也在观察他们，他们无处可逃，只能逃进自己的内心。

而这就
是我要的效果。

当你注视着一个人的眼睛的时候，会看到那么多的痛苦和孤独，还有那么多美妙的东西，因为在这凝视的过程中，尽管对方是个陌生人，你一言不发，却胜过千言万语。

我明白，三个月后当我从那把椅子上站起身来后，我已不再是原来的我。

我明白，我有一个使命，我要把这种体验传达给每一个人。

And this is how, for me, was born the idea to have an institute of immaterial performing arts. Because thinking about immateriality, performance is time-based art. It's not like a painting. You have the painting on the wall, the next day it's there. Performance, if you are missing it, you only have the memory, or the story of somebody else telling you, but you actually missed the whole thing. So you have to be there. And in my point, if you talk about immaterial art, music is the highest -- absolutely highest art of all, because it's the most immaterial. And then after this is performance, and then everything else. That's my subjective way.
这就是我想要成立一个“无形表演艺术”机构的初衷。

思考一下什么是无形，表演是基于时间的艺术。

不像绘画。

你在墙上作一幅画，第二天它还在那里。

而表演，如果你开始怀念，你就只能凭记忆，或者凭别人的描述来回味，但实际上你怀念的是整场表演。

因此你必须到现场观看。

在我看来，当我们讨论无形艺术时，音乐是其中最高级的形式，因为音乐是最无形的。

然后是表演，再然后是其他形式。

这是我的个人看法。

This institute is going to happen in Hudson, upstate New York, and we are trying to build with Rem Koolhaas, an idea. And it's very simple. If you want to get experience, you have to give me your time. You have to sign the contract before you enter the building, that you will spend there a full six hours, you have to give me your word of honor. It's something so old-fashioned, but if you don't respect your own word of honor and you leave before
-- that's not my problem. But it's six hours, the experience. And then after you finish, you get a certificate of accomplishment, so get home and frame it if you want.
这个机构将设在纽约州北部的哈德森，我们计划同雷姆·库哈斯（译注：荷兰建筑师）合作来建造，想法很简单。

如果你想过来体验的话，你必须把你的时间交给我。

在开始体验前你需要签一份合同，保证你将在里面待满6小时，你必须遵守自己的诺言。

这是一种老派的做法，但如果你不遵守诺言，提前离开了——那我也拿你没辙。

整个体验长达6小时。

当你完成之后，你会得到一份证书，可以拿回家装框挂起来。

This is orientation hall. The public comes in, and the first thing you have to do is dress in lab coats. It's this importance of stepping from being just a viewer into experimenter. And then you go to the lockers and you put your watch, your iPhone, your iPod, your computer and everything digital, electronic. And you are getting free time for yourself for the first time. Because there is nothing wrong with technology, our approach to technology is wrong. We are losing the time we have for ourselves. This is an institute to actually give you back this time.
这是接待大厅。

公众走进来，第一件事是换上实验室的白大褂。

这一步很重要，表示你从观众变成了实验者。

然后会来到储物柜前，把你的手表、iPhone、iPod、电脑等一切电子产品、数码产品都放进去。

第一次，你拥有了完全自由的时间。

科技本身并没有错，而是我们使用科技的方法错了。

我们失去了属于自己的时间。

而我们的机构则会将这些时间还给你。

So what you do here, first you start slow walking, you start slowing down. You're going back to simplicity. After slow walking, you're going to learn how to drink water -- very simple, drinking water for maybe half an hour. After this, you're going to the magnet chamber, where you're going to create some magnet streams on your body. Then after this, you go to crystal chamber.
After crystal chamber, you go to eye-gazing chamber, after eye-gazing chamber, you go to a chamber where you are lying down. So it's the three basic positions of the human body, sitting, standing and lying. And slow walking. And there is a sound chamber. And then after you've seen all of this, and prepared yourself mentally and physically, then you are ready to see something with a long duration, like in immaterial art. It can be music, it can be opera, it can be a theater piece, it can be film, it can be video dance. You go to the long duration chairs because now you are comfortable. In the long duration chairs, you're transported to the big place where you're going to see the work. And if you fall asleep, which is very possible because it's been a long day, you're going to be transported to the parking lot.
你在这里能做的，第一件事就是慢走，放慢速度。

回归简单。

慢走过后，你将学会如何喝水——非常简单，就是花半小时来喝水。

然后，你将进入磁力室，在那里，你的身体里将形成一些磁力流。

之后是水晶室。

水晶室之后，你将进入凝视室，凝视室之后，你将进入一个可以躺下的房间。

人体有三种基本姿势，坐、站和躺。

还有慢走。

还有一间声音室。

经历完所有这一切，你的心理和生理都准备就绪，你就可以开始体验一些需要较长时间的东西了，比如无形艺术。

可以是音乐、歌剧或者一段戏剧。

也可以是电影，视频或者舞蹈。

你坐上“长时间体验”专用椅，你现在处于十分舒服的状态。

坐在这把椅子上，你将被送到欣赏上述表演的地方那里非常大。

如果你睡着了，这很有可能，因为这一天很累人，你会被送到“停人场”。

And you know, sleeping is very important. In sleeping, you're still receiving art. So in the parking lot you stay for a certain amount of time, and then after this you just, you know, go back, you see more of the things you like to see or go home with your certificate.
睡觉非常重要，大家都懂。

即使在睡眠状态下，你依然在感受艺
术。

于是你会在“停人场”待一段时间，之后你继续进行体验，看更多自己感兴趣的东西，或者拿着自己的证书回家。

So this institute right now is virtual. Right now, I am just making my institute in Brazil, then it's going to be in Australia, then it's coming here, to Canada and everywhere. And this is to experience a kind of simple method, how you go back to simplicity in your own life. Counting rice will be another thing.
现在这个机构还只是一个设想。

目前，我正在巴西着手建第一家，之后会到澳大利亚，然后到这里，到加拿大，再推广到全世界。

我想提供一种简单的方法，让大家体验一下回归简单生活的感觉。

数米粒儿也是个好方法。

You know, if you count rice you can make life, too. How to count rice for six hours? It's incredibly important. You know, you go through this whole range of being bored, being angry, being completely frustrated, not finishing the amount of rice you're counting. And then this unbelievable amount of peace you get when satisfying work is finished -- or counting sand in the desert. Or having the sound-isolated situation -- that you have headphones, that you don't hear anything, and you're just there together without sound, with the people experiencing silence, just the simple silence.
知道吗，只要你能耐下性子数米粒儿，你就能创造人生。

你要怎样坚持数6小时的米呢？这点十分重要。

你要经历一系列过程，无聊、生气，因为没数完而心烦意乱。

之后你会收获意想不到的平静，这就是完成一项工作的满足感——就像数清楚沙漠中的沙粒。

或者体验一下无声的世界——你戴着耳机，听不见任何声音，你们聚在一起，悄无声息，大家都在体验安静，纯粹的安静。

We are always doing things we like in our life. And this is why you're not changing. You do things in life -- it's just nothing happens if you always do things
the same way. But my method is to do things I'm afraid of, the things I fear, the things I don't know, to go to territory that nobody's ever been.
我们总是选择喜欢的事情来做。

因此我们不会改变。

你们一生要做很多事情——如果总是以相同的方式做事，生活会波澜不惊。

我的方法是去尝试我害怕的事情，不敢做的事情，我不明白的事情，去探索未知的领域。

And then also to include the failure. I think failure is important because if you go, if you experiment, you can fail. If you don't go into that area and you don't fail, you are actually repeating yourself over and over again. And I think that human beings right now need a change, and the only change to be made is a personal level change. You have to make the change on yourself. Because the only way to change consciousness and to change the world around us, is to start with yourself. It's so easy to criticize how it's different, the things in the world and they're not right, and the governments are corrupted and there's hunger in the world and there's wars -- the killing. But what we do on the personal level -- what is our contribution to this whole thing?
也包括尝试失败。

失败非常重要，因为只有去尝试，才有可能失败。

如果你从不尝试，就永远不会失败，那你只是在不停重复自己。

我觉得人类现在需要改变，而这需要每个人从自身做起。

人人都需要改变自己。

因为改变自我意识，改变周遭世界的唯一方法，就是从改变自己做起。

抱怨某件事太难做，这很简单，世上有太多不公平，政府腐败，有人食不果腹，战争还在发生——充满杀戮。

但从个人角度出发，我们能做些什么——我们能做点什么来改变这一切？
Can you turn to your neighbor, the one you don't know, and look at them for two full minutes in their eyes, right now?
请大家转向自己的邻座，找一位你不认识的，然后注视对方的眼睛两分钟，好吗？
I'm asking two minutes of your time, that's so little. Breathe slowly, don't try to blink, don't be self-conscious. Be relaxed. And just look a complete stranger in your eyes, in his eyes.
仅仅占用大家两分钟，不长。

放慢呼吸，尽量别眨眼，尽量放空自己。

放轻松。

与这个完全陌生的人对视。

(Silence) Thank you for trusting me.
（安静）谢谢大家对我的信任。

Chris Anderson: Thank you. Thank you so much.
克里斯·安德森：谢谢你。

非常感谢。