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我要談談我自己,我很少這樣做。因為第一,我寧願談一些自己不懂的東西,我是個康復中的自戀症患者。(笑聲)我以前的確不知道自己很自戀,我以為自戀就是自愛。之後有人告訴我自戀還有另外一面,事實上,自戀比自愛更乏味,它是一種對自己的單相思,(笑聲)我的這個毛病千萬不要復發。
但我想談我是如何設計自己的喜劇品牌。因為我用過很多種不同的品牌形式,開始的時候是即興創作,這種即興形式叫戲劇遊戲。這有個規則,我一直覺得這對社會道德來說是個很好的規則。這個規則就是,你不能否定另一個人存在的現實,你只能以其為基礎。當然,我們生活著的社會都是和其他人存在現實相矛盾的,都是矛盾的。我在想的是為什麼我對一般的矛盾這麼敏感。我到處都看到這種現象,就像民意測驗那樣我一直覺得很好奇。在公共民意測驗中,對任何問題都沒有答案的美國人,其比率永遠是2%。75%的美國人覺得阿拉斯加屬於加拿大,但只有2%的人不知道阿根廷經濟潰盤會對IMF的貨幣政策造成影響。(笑聲)這看起來是矛盾的。
我在紐約時報讀到這樣一個廣告:「配戴上選手錶能張顯社會地位,而向我們選購將代表閣下非凡品味」。(笑聲)我還在一本叫《加州律師》的雜誌中讀到一篇文章,分明是關於Enron案的律師,題為「牢獄生存教戰手則」。(笑聲)其中有「不要吹牛」(笑聲)和「學習交際通用語」(笑聲)啐,說實話吧。(笑聲)
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以下為系統擷取之英文原文
I am going to talk about myself, which I rarely do, because I -- well for one thing, I prefer to talk about things I know nothing about. And secondly, I'm a recovering narcissist. (Laughter) I didn't know I was a narcissist actually. I thought narcissism meant you loved yourself. And then someone told me there is a flip side to it. So it's actually drearier than self-love. It's unrequited self-love. (Laughter) I don't feel I can afford a relapse.
But I want to, though, explain how I came to design my own particular brand of comedy because I've been through so many different forms of it. I started with improvisation. In a particular form of improvisation called theater games, which had one rule, which I always thought was a great rule for an ethic for a society. And the rule was, you couldn't deny the other person's reality, you could only build on it.
And of course we live in a society that's all about contradicting other peoples' reality. It's all about contradiction, which I think is why I'm so sensitive to contradiction in general. I see it everywhere. Like polls. You know, it's always curious to me that in public opinion polls the percentage of Americans who don't know the answer to any given question is always two percent. 75 percent of Americans think Alaska is part of Canada. But only two percent don't know the effect that the debacle in Argentina will have on the IMF's monetary policy -- (Laughter) seems a contradiction. Or this ad that I read in the New York Times: "Wearing a fine watch speaks loudly of your rank in society. Buying it from us screams good taste." (Laughter) Or this that I found in a magazine called California Lawyer, in an article that is surely meant for the lawyers at Enron. "Surviving the Slammer: Do's and Don'ts." (Laughter) "Don't use big words." (Laughter) "Learn the lingua franca." (Laughter) Yeah. Lingua this Frankie.
(Laughter)
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在我不懂數學的情況下,來談科學可能是矛盾的。因為…順便要說的是我十分感激Dean Kamen。他指出婦女和少數民族未能涉足科學技術領域,其中一個文化原因是,像我不做數學的原因是我被教導要同時學習數學和閱讀。當你才六歲,在讀白雪公主和七個小矮人時,你很快就清楚地明瞭到世上只有兩種男人——小矮人和白馬王子。找到王子與遇到矮人的機率是一比七。(笑聲)這就是為什麼小女孩不做數學的原因,因為太令人沮喪了。(笑聲)
當然,說起科學,我某天晚上做的事可能激起一些科學家的憤怒。他們對我感到不滿。因為我把「後現代」,這個詞很不嚴謹的亂用,他們覺得十分困擾,其中一位還想和我進行一場嚴肅的爭論。但我不喜歡嚴肅的爭論,我認為這種東西沒意義。當然,因為爭論都是矛盾的,都由價值觀決定,我對牛頓學說的價值有疑慮。例如理性,你應該在爭論中保持理性,Christie Hefner一直在說通過靈肉分離來建構理性。理智好,肉身不好。頭腦是自我,身體是本我。但我們說「我」像笛卡兒說:「我思故我在」的時候,我們說的是頭腦。David Lee Roth在《舞男》一曲裡面唱著「我的身體不存在」,這就是你如何獲得理性及為什麼有那麼多幽默都透過宣揚身體來與頭腦對抗,這也是廁所笑話和黃色笑話的來源,也是Raspyni兄弟為何會猛擊Richard生殖部位的原因。我們狂笑是因為身體,但還是Richard……Richard,我剛才說什麼了。(笑聲)Richard,但那也是頭腦,這場會議的主腦。
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And I suppose it's a contradiction that I talk about science when I don't know math. You know, because -- and by the way to I was so grateful to Dean Kamen for pointing out that one of the reasons, that there are cultural reasons that women and minorities don't enter the fields of science and technology -- because for instance, the reason I don't do math is, I was taught to do math and read at the same time. So you're six years old, you're reading Snow White and the Seven Dwarfs. It becomes rapidly obvious that there are only two kinds of men in the world, dwarfs and Prince Charmings. And the odds are seven to one against your finding the prince. (Laughter) That's why little girls don't do math. It's too depressing.
(Laughter)
Of course, by talking about science I also may, as I did the other night, incur the violent wrath of some scientists who were very upset with me. I used the word postmodern as if it were OK. And they got very upset. One of them, to his credit, I think just really wanted to engage me in a serious argument. But I don't engage in serious arguments. I don't approve of them because arguments, of course, are all about contradiction. And they're shaped by the values.
I have questions with the values of Newtonian science. Like rationality, you're supposed to be rational in an argument. Well rationality is constructed by what Christie Hefner was talking about today, that mind-body split. You know? The head is good, body bad. Head is ego, body id. When we say "I," -- as when Rene Descartes said, "I think therefore I am," -- we mean the head. And as David Lee Roth sang in "Just a Gigolo," "I ain't got no body." That's how you get rationality. And that's why so much of humor is the body asserting itself against the head. That's why you have toilet humor and sexual humor. That's why you have the Raspyni Brothers whacking Richard in the genital area. And we're laughing doubly then because he's the body, but it's also --
Voice offstage: Richard.
Emily Levine: Richard. What did I say? (Laughter) Richard. Yes but it's also the head, the head of the conference.
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還有另一種方式的幽默。例如:Art Buchwald以國家為主題進行創作,我肯定那不像幽身體默那麼賺錢。(笑聲)不過,這是我們珍惜你與喜愛你的原因,在美國國民的理性中存在著矛盾。事實是,我們很崇拜國家首腦,但卻極端反抗知識。我這樣說是因為讀了紐約時報。
在911之後,Ayn Rand基金會所做的一整版廣告。內容提到:「問題不是伊拉克還是伊朗,國家現存及要面對的問題是大學教授和他們的爪牙」。(笑聲)於是我又重讀她的小說《泉源》。(笑聲)不知道在座有多少人讀過這本書,我不是施虐受虐狂方面的專家。(笑聲)但我給大家讀一下217頁的行段:「主人在行為上藐視性的施虐佔有,正是她想要的那種狂喜。當他們一起躺在床上時,好像理應如此,也像這種暴力行為的本質所要求般。這是種令人齒寒與憤恨的行為,令人難以忍受。那不是愛撫,而是痛苦的波濤。作為一種激情的行為而言是極大的痛苦」。我在讀《紐約客》時看到聯邦儲備局主席格林斯潘表示,Ayn Rand是他的精神導師,你們可以想像我當時是多麼吃驚。(笑聲)就像發現你的保姆是個施虐淫女一樣。(笑聲)我們看到J.Edgar Hoover穿裙子的時候都覺得糟透了,現在我們要想像格林斯潘穿著黑皮馬甲,屁股刺青還寫著「該鞭打通膨了」。(笑聲)
當然,Ayn Rand有一個很出名的哲學理論叫「客觀主義」。反映牛頓物理學的另一個價值就是客觀性。從基本上來看,客觀性的建構方式也是施虐與被虐,主觀服從客觀。你是怎麼表達自己的?你自己用主動語態,客體用被動語態。我很喜歡Oxygen的廣告,不知道你們有沒有看,可能現在不同了,或者可能你有話要說。但根據Jessica Benjamin書中所提,直到現在,國內很多醫院和托兒所在男嬰兒床旁邊掛一個牌子寫著「我是男孩」,在女嬰兒床旁邊的牌子則寫著「這是女孩」所以從文化上可以看到在女孩子身上投射的被動性,這情況還在繼續。
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That's the other way that humor -- like Art Buchwald takes shots at the heads of state. Doesn't make quite as much money as body humor I'm sure -- (Laughter) but nevertheless, what makes us treasure you and adore you.
There's also a contradiction in rationality in this country though, which is, as much as we revere the head, we are very anti-intellectual. I know this because I read in the New York Times, the Ayn Rand foundation took out a full page ad after September 11, in which they said, "The problem is not Iraq or Iran, the problem in this country, facing this country is the university professors and their spawn." (Laughter) So I went back and re-read "The Fountainhead." (Laughter) I don't know how many of you have read it. And I'm not an expert on sadomasochism. (Laughter) But let me just read you a couple of random passages from page 217.
"The act of a master taking painful contemptuous possession of her, was the kind of rapture she wanted. When they lay together in bed it was, as it had to be, as the nature of the act demanded, an act of violence. It was an act of clenched teeth and hatred. It was the unendurable. Not a caress, but a wave of pain. The agony as an act of passion."
So you can imagine my surprise on reading in The New Yorker that Alan Greenspan, Chairman of the Federal Reserve, claims Ayn Rand as his intellectual mentor. (Laughter) It's like finding out your nanny is a dominatrix. (Laughter) Bad enough we had to see J. Edgar Hoover in a dress. Now we have to picture Alan Greenspan in a black leather corset, with a butt tattoo that says, "Whip inflation now."
(Laughter)
And Ayn Rand of course, Ayn Rand is famous for a philosophy called Objectivism, which reflects another value of Newtonian physics, which is objectivity. Objectivity basically is constructed in that same S and M way. It's the subject subjugating the object. That's how you assert yourself. You make yourself the active voice. And the object is the passive no-voice.
I was so fascinated by that Oxygen commercial. I don't know if you know this but -- maybe it's different now, or maybe you were making a statement -- but in many hospital nurseries across the country, until very recently anyway, according to a book by Jessica Benjamin, the signs over the little boys cribs read, "I'm a boy." And the signs over the little girls cribs read, "It's a girl." Yeah. So the passivity was culturally projected onto the little girls.
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我記得去年曾說過《時代雜誌》做了一次民意調查。這次調查專門向男性提問:「你是否曾經,和一個你主觀上不喜歡的女性發生性行為?」嗯,58%的人說:「有」,雖然我覺得這個比率太高了。但如果你只是問:「你是否曾經上過…」,「有」,他們沒等問題說完就會馬上回答。(笑聲)當然,有2%的人不知道自己有沒有發生過這種事。(笑聲)這是我第一個要收回的話,接下來可能還有四個。(笑聲)
主觀客觀的問題是我挺感興趣的一部分。坦白說,因為這是我相信政治正確性的原因。我相信,我想這會有點過火,我覺得Ringling Brothers馬戲團或許已經過火了。他們在紐約時報雜誌刊登廣告,上面說:「我們對自己的夥伴亞洲象報以終身情感和財政上的承諾」,(其因為「虐待動物」而受譴責)(笑聲)可能是過火了。但要知道,我認為,有色人種開白種人的玩笑和白種人開有色人種的玩笑不相同,女人開男人玩笑和男人開女人玩笑不相同,窮人開富人玩笑和富人開窮人玩笑也不相同。你可以開擁有者的玩笑,但不能開貧乏者的玩笑。所以你不會看到我開超有錢的Kenneth Lay和他迷人老婆的玩笑。(笑聲)剩下四幢房子有什麼可笑的。(笑聲)
我在克林頓性醜聞中的確吸取了教訓,我把這叫做過去的美好時光。(笑聲)我認識一些覺得自己很寬容什麼的人,當他們在開Jennifer Flowers和Paula Jones玩笑時,基本上,是在笑他們身為住拖車的窮人或是白人垃圾。我覺得這是一種不構成傷害的偏見,你沒有真正傷害任何人,直到你像我那樣在洛杉磯時報讀到一則廣告:「出售:白(人/色)垃圾壓縮機」(其意同白色垃圾處理機)(笑聲)這就是主觀和客觀,以這種方式搭上了幽默。
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And this still goes on as I think I told you last year. There's a poll that proves -- there was a poll that was given by Time magazine, in which only men were asked, "Have you ever had sex with a woman you actively disliked?" And well, yeah. Well, 58 percent said yes, which I think is overinflated though because so many men if you just say, "Have you ever had sex ... " "Yes!" They don't even wait for the rest of it. (Laughter) And of course two percent did not know whether they'd had -- (Laughter) That's the first callback, of my attempted quadruple.
(Laughter)
So this subject-object thing, is part of something I'm very interested in because this is why, frankly, I believe in political correctness. I do. I think it can go too far. I think Ringling Brothers may have gone too far with an ad they took out in the New York Times Magazine. "We have a lifelong emotional and financial commitment to our Asian Elephant partners." (Laughter) Maybe too far. But you know -- I don't think that a person of color making fun of white people is the same thing as a white person making fun of people of color. Or women making fun of men is the same as men making fun of ... Or poor people making fun of rich people, the same as rich people.
I think you can make fun of the have but not the have-nots, which is why you don't see me making fun of Kenneth Lay and his charming wife. (Laughter) What's funny about being down to four houses? (Laughter) And I really learned this lesson during the sex scandals of the Clinton administration. Or as I call them, the good old days. (Laughter) When people I knew, you know, people who considered themselves liberal, and everything else, were making fun of Jennifer Flowers and Paula Jones. Basically, they were making fun of them for being trailer trash or white trash. It seems, I suppose, a harmless prejudice and that you're not really hurting anybody. Until you read, as I did, an ad in the Los Angeles Times. "For sale: White trash compactor." (Laughter)So this whole subject-object thing has relevance to humor in this way.
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我讀過一位名為Amy Richlin所寫的書,她是南加州大學古典系的教授,那本書名為《男性繁殖神的花園》。她說,羅馬式的幽默反映出羅馬社會的結構,所以羅馬社會是從上到下,在某程度上和我們很相似。它的幽默也是這樣,經常會有笑柄,也經常有諷刺作家,像Juvenal或Marshall在娛樂觀眾。他要開外人的玩笑,笑那些並不在同一個主觀地位上的人。
獨角喜劇更是如此,獨角喜劇演員應該要能壓得住觀眾很多來亂的聲音,則製造了張力,檢測演員是否能壓得住來亂的人。我在做獨角喜劇的時候訓練得不錯,但我一直很討厭它,因為那支配著互動的關係。這和加入嚴肅爭論一樣。從某程度來說,決定了你說話的內容。我之前一直在找一種不同於這樣的形式,希望找到一些更有「互動性」的東西。這個詞被網路推銷員弄得一文不值。我真的很懷念以前的電話推銷員,我接下來會解釋。(笑聲)我的確懷念他們,是因為那樣你至少有個機會。我以前經常掛斷他們的電話,但之後我看到Dear Abby專欄上說那是沒有禮貌的行為。之後有人打電話來推銷。我讓他說到一半,然後說:「你的聲音很性感」。(笑聲)他馬上掛我電話!(笑聲)但互動讓觀眾,能夠影響你下一步的安排,就像你影響他們的感受一樣。
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I read a book by a woman named Amy Richlin, who is the chair of the Classics department at USC. And the book is called "The Garden of Priapus." And she says that Roman humor mirrors the construction of Roman society. So that Roman society was very top bottom, as ours is to some degree. And so was humor. There always had to the butt of a joke. So it was always the satirist, like Juvenal or Marshall, represented the audience, and he was going to make fun of the outsider, the person who didn't share that subject status.
And in stand-up of course, the stand-up comedian is supposed to dominate the audience. A lot of heckling is the tension of trying to make sure that the comedian is going to be able to dominate, and overcome the heckler. And I got good at that when I was in stand up. But I always hated it because they were dictating the terms of the interaction. In the same way that engaging in a serious argument determines the content, to some degree, of what you're talking about. And I was looking for a form that didn't have that. And so I wanted something that was more interactive. I know that word is so debased now by the use of it by Internet marketers.
I really miss the old telemarketers now, I'll tell you that. (Laughter) I do. Because at least there you stood a chance. You know? I used to actually hang up on them. But then I read in Dear Abby that that was rude. So the next time that one called I let him get halfway through his spiel and then I said, "You sound sexy." (Laughter) He hung up on me!
(Laughter)
But the interactivity allows the audience to shape what you're going to do as much as you shape their experience of the world.
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我現在就想找這種互動性。我開始分析自己在幹什麼的時候,我讀了Lewis Hyde寫的《喜劇表演者塑造世界》。就像在做心理分析治療那樣,他把事情都擺出來。在今天這裡,我發現這裡大多數人都有一些共同特質。因為事實上喜劇表演者,就是一個引起變化的媒介,他就是一個引起變化的媒介,我接下來要描述的特質,就是那些能讓改變發生的特質,其中一種就是「越界」的特質。我想這會讓科學家們很生氣,但我喜歡越界。我說過,我希望談論自己不知道的東西。(電話聲響)我希望這是我的經紀人,因為你們沒有給我任何報酬。(笑聲)我覺得談自己不懂的東西很好啊,因為我能賦予它新的觀點。我可以看到你們可能看不到的矛盾,就像是默劇演員或像他自稱的是迷因一樣。他是個自私得很的迷因,他說我要多尊重他一點,因為他花18年時間才學會默劇。我說:「看吧,只有蠢蛋才會去學默劇。(笑聲)學會說話,兩年就夠了」。(笑聲)(掌聲)
「客觀性」。有一個這樣的問題,當你周圍的人說的詞彙和你一樣,或者設想的東西和你一樣,你就會覺得那就是真實世界。例如經濟學家,他們對理性的定義是,在經濟上人們都是利己的。看看Michael Hawley或者Dean Kamen,或者我的祖母。我的祖母經常為他人付出,無論人家是否需要她。(笑聲)如果他們有殉教奧林匹克競賽的話,我祖母一定會故意輸掉。(笑聲)「不,你拿獎吧,你年輕,我老了,誰會看到那個獎?我要它幹嘛?我都快要死了」。(笑聲)這就是越界。有個叫Fritz Lanting的人說,自己就是一個中間人,那可是喜劇表演者應具備的特質。
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And that's really what I'm looking for. And I was sort of, as I was starting to analyze what exactly it is that I do, I read a book called "Trickster Makes This World," by Lewis Hyde. And it was like being psychoanalyzed. I mean he had laid it all out. And then coming to this conference, I realized that most everybody here shared those same qualities because really what trickster is is an agent of change. Trickster is a change agent. And the qualities that I'm about to describe are the qualities that make it possible to make change happen. And one of these is boundary crossing. I think this is what so, in fact, infuriated the scientists. But I like to cross boundaries. I like to, as I said, talk about things I know nothing about.
(Phone Ringing)
I hope that's my agent, because you aren't paying me anything.
(Laughter)
And I think it's good to talk about things I know nothing about because I bring a fresh viewpoint to it, you know? I'm able to see the contradiction that you may not be able to see. Like for instance a mime once -- or a meme as he called himself. He was a very selfish meme. And he said that I had to show more respect because it took up to 18 years to learn how to do mime properly. And I said, "Well, that's how you know only stupid people go into it." (Laughter) It only takes two years to learn how to talk.
(Laughter)
(Applause)
And you know people, this is the problem with quote, objectivity, unquote. When you're only surrounded by people who speak the same vocabulary as you, or share the same set of assumptions as you, you start to think that that's reality. Like economists, you know, their definition of rational, that we all act out of our own economic self-interest. Well, look at Michael Hawley, or look at Dean Kamen, or look at my grandmother.
My grandmother always acted in other people's interests, whether they wanted her to or not. (Laughter) If they had had an Olympics in martyrdom, my grandmother would have lost on purpose. (Laughter) "No, you take the prize. You're young. I'm old. Who's going to see it? Where am I going? I'm going to die soon."
(Laughter)
So that's one -- this boundary crossing, this go-between which -- Fritz Lanting, is that his name, actually said that he was a go-between. That's an actual quality of the trickster.
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另一種是不對抗策略。這不只是矛盾,即你否定另一個人存在的現實,你是在自相矛盾,你讓多個現實一同存在。還有一種哲學建構,我不肯定它叫什麼,但我有一個例子,在珠寶店看到的一個牌子,上面寫著:「等候時來穿個耳洞」。(笑聲)這樣的選擇讓人不敢想像。(笑聲)「噢,感謝,我把耳朵放在這裡,謝謝,我有事要做,如果可以的話,我五點左右回來拿。啊,什麼?聽不到」。(笑聲)
喜劇表演者的另一項特質是幸運。Louis Kahn談過意外,這是喜劇表演者的另外一種特質,他們已準備好應付突發事件。我會對科學家說,喜劇表演者可以淡淡地掌握自己的想法,這樣就有更多空間容納新思維,或者看到想法裡面的矛盾,或是隱藏的問題。我沒有這方面的笑話,只是想消遣一下科學家。(笑聲)
我喜歡改變,在關聯上做出改變,我想看到矛盾之外的東西。你們是怎麼叫那些壁虎腳的。壁虎的腳,像Michael Moschen那樣或彎或直的手指。我喜歡關聯,就像我會讀牛頓宇宙說裡面兩個物質特性的其中一個那樣。在牛頓宇宙說裡面,物質具有兩個特性。一個是空間佔有性,事情佔據空間。你的事情越多,就越佔空間,這就是運動型多功能車現象形成的原因。(笑聲)另外一個是無法穿透性。在古羅馬,不做被動交配是衡量男子氣概的標準。你要是主動交配者,才能顯示出男子氣概。在經濟學上,有主動生產者和被動消費者。這解釋了為什麼商業一直需要「進入」新市場。為什麼我們需要強迫中國開放她的市場,那感覺不是很爽嗎?(笑聲)現在我們反而被「進入」了,生物技術公司正在「進入」我們,在我們的基因上插上他們的旗幟,現在我們正被「進入」當中。我懷疑是那些一直不喜歡我們的人。(笑聲)這是我第二個要收回的話,當然你們能明白,謝謝,我還沒完。(笑聲)
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And another is, non-oppositional strategies. And this is instead of contradiction. Where you deny the other person's reality, you have paradox where you allow more than one reality to coexist,
I think there's another philosophical construction. I'm not sure what it's called. But my example of it is a sign that I saw in a jewelry store. It said, "Ears pierced while you wait." (Laughter) There the alternative just boggles the imagination. (Laughter) "Oh no. Thanks though, I'll leave them here. Thanks very much. I have some errands to run. So I'll be back to pick them up around five, if that's OK with you. Huh? Huh? What? Can't hear you."
(Laughter)
And another attribute of the trickster is smart luck. That accidents, that Louis Kahn, who talked about accidents, this is another quality of the trickster. The trickster has a mind that is prepared for the unprepared. That, and I will say this to the scientists, that the trickster has the ability to hold his ideas lightly so that he can let room in for new ideas or to see the contradictions or the hidden problems with his ideas. I had no joke for that. I just wanted to put the scientists in their place. (Laughter)
But here's how I think I like to make change, and that is in making connections. This is what I tend to see almost more than contradictions. Like the, what do you call those toes of the gecko? You know, the toes of the gecko, curling and uncurling like the fingers of Michael Moschen. I love connections.
Like I'll read that one of the two attributes of matter in the Newtonian universe -- there are two attributes of matter in the Newtonian universe -- one is space occupancy. Matter takes up space. I guess the more you matter the more space you take up, which explains the whole SUV phenomenon. (Laughter) And the other one though is impenetrability.
Well, in ancient Rome, impenetrability was the criterion of masculinity. Masculinity depended on you being the active penetrator. And then, in economics, there's an active producer and a passive consumer, which explains why business always has to penetrate new markets. Well yeah, I mean why we forced China to open her markets. And didn't that feel good? (Laughter) And now we're being penetrated. You know the biotech companies are actually going inside us and planting their little flags on our genes. You know we're being penetrated. And I suspect, by someone who actively dislikes us. (Laughter) That's the second of the quadruple. Yes of course you got that. Thank you very much. I still have a way to go.
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當我做這些關聯時,我希望讓人們的思維短路,讓你不按正常的思路來聯想,而是重新整理思路。當人們說到認知的衝擊時,從字面上看是重新認識、重構思路。我本來有個,關於這個的笑話,但已經忘了,真抱歉,我現在有點像那個笑話裡的女人。你們聽過一個女人和她母親一起開車的笑話嗎?母親年紀比較大了,母親開車闖了紅燈,女兒沒說什麼,她不想說「妳太老,開不了車了」這樣的話。然後那母親又闖了一次紅燈,女兒儘量委婉地說:「媽,你知道已經闖了兩次紅燈了嗎?」那母親說:「噢,我在開車啊?」(笑聲)這就是在重新認知的衝擊上,對重新認識的衝擊。四段要收回的話都說完了。(笑聲)
還有兩件事要說。一是喜劇表演者的另外一種特性就是,他們要走在邊界線上,要保持平衡。在現行工作中,我最大的困難就是構建表演,使其兼容可預備與無可準備起的表演。在其中找平衡,總是很危險,因為你可能會過度傾向無可準備起的那個方向。但如果準備得太充分,就沒有機會讓意外發生。我之前在想Safdie昨天說的,關於美的內容。他在自己的書裡面說,有時候喜劇表演者會沉浸於美麗當中,但這樣做你就要失去所有其他特質。因為一旦沉浸在美麗當中,你就達到了完美,你就變成了佔有空間,佔據時間的東西,是真實的東西。看到美好的東西,感覺是在太棒了,但如果你不這樣做,如果你繼續讓意外發生,你就有可能進入了同一個波型。我很喜歡想像自己變成機率波會怎樣,當你進入了美麗,機率波會退到只有一個可能性,我則想探尋所有的可能性,,希望會和觀眾達到融合一致。
我想說的最後一個喜劇表演者特質是,他沒有家,他一直四處流浪。最後,我想說Richard,在TED裡,你建立了一個家,感謝你邀請我來。非常感謝。(掌聲)
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And what I hope to do, when I make these connections, is short circuit people's thinking. You know, make you not follow your usual train of association, but make you rewire. It literally -- when people say about the shock of recognition, it's literally re-cognition, rewiring how you think -- I had a joke to go with this and I forgot it. I'm so sorry. I'm getting like the woman in that joke about --
have you heard this joke about the woman driving with her mother? And the mother is elderly. And the mother goes right through a red light. And the daughter doesn't want to say anything. She doesn't want to be like, "You're too old to drive." And the mother goes through a second red light. And the daughter says, as tactfully as possible, "Mom, are you aware that you just went through two red lights?" And the mother says, "Oh! Am I driving?"
(Laughter)
And that's the shock of recognition at the shock of recognition. That completes the quadruple.
(Laughter)
I just want to say two more things. One is, another characteristic of trickster is that the trickster has to walk this fine line. He has to have poise. And you know the biggest hurdle for me, in doing what I do, is constructing my performance so that it's prepared and unprepared. Finding the balance between those things is always dangerous because you might tip off too much in the direction of unprepared. But being too prepared doesn't leave room for the accidents to happen.
I was thinking about what Moshe Safdie said yesterday about beauty because in his book, Hyde says that sometimes trickster can tip over into beauty. But to do that you have to lose all the other qualities because once you're into beauty you're into a finished thing. You're into something that occupies space and inhabits time. It's an actual thing. And it is always extraordinary to see a thing of beauty. But if you don't do that, if you allow for the accident to keep on happening, you have the possibility of getting on a wavelength. I like to think of what I do as a probability wave. When you go into beauty the probability wave collapses into one possibility. And I like to explore all the possibilities in the hope that you'll be on the wavelength of your audience.
And the one final quality I want to say about trickster is that he doesn't have a home. He's always on the road. I want to say to you Richard, in closing, that in TED you've created a home. And thank you for inviting me into it. Thank you very much.