TED2018
Oskar Eustis: Why theater is essential to democracy
Oskar Justis (Oskar Eustis): Zašto je pozorište od suštinskog značaja za demokratiju
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Istina proisitče iz sudara različitih ideja, a pozorište igra ključnu ulogu u pokazivanju te istine, kaže legendarni umetnički direktor Oskar Justis. U ovom snažnom govoru, Justis iznosi svoj plan da sasluša i dopre do ljudi u mestima širom SAD-a kojima je pozorište, poput mnogih drugih institucija, okrenulo leđa - poput deindustrijalizovanog Pojasa rđe. „Naša dužnost je da pokažemo viziju Amerike koja prikazuje ne samo to ko smo svi mi pojedinačno, već i koja nas zakiva nazad u zajedništvo koje moramo da budemo“, kaže Justis. „To je ono što bi pozorište trebalo da radi.“
Oskar Eustis - Theater director
As the artistic director of New York's legendary Public Theater, Oskar Eustis nurtures new, groundbreaking works that shift the cultural conversation. Full bio
As the artistic director of New York's legendary Public Theater, Oskar Eustis nurtures new, groundbreaking works that shift the cultural conversation. Full bio
Double-click the English transcript below to play the video.
00:13
Theater matters because democracy matters.
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Pozorište je važno
zato što je demokratija važna.
zato što je demokratija važna.
00:17
Theater is the essential
art form of democracy,
art form of democracy,
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Pozorište je suštinski
umetnički oblik demokratije,
umetnički oblik demokratije,
00:21
and we know this because
they were born in the same city.
they were born in the same city.
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a to znamo jer su oboje
rođeni u istom gradu.
rođeni u istom gradu.
00:26
In the late 6th century BC,
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U kasnom VI veku pre nove ere,
00:28
the idea of Western democracy was born.
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ideja o zapadnoj demokratiji je rođena.
00:30
It was, of course,
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Radilo se, naravno,
00:31
a very partial and flawed democracy,
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o krajnje parcijalnoj
i faličnoj demokratiji,
i faličnoj demokratiji,
00:34
but the idea that power should stem
from the consent of the governed,
from the consent of the governed,
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ali zamisao da bi moć trebalo da proizlazi
iz saglasnosti onih kojima se vlada,
iz saglasnosti onih kojima se vlada,
00:39
that power should flow
from below to above,
from below to above,
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da bi moć trebalo da potiče
sa dna ka vrhu,
sa dna ka vrhu,
00:42
not the other way around,
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a ne obrnuto,
00:44
was born in that decade.
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rođena je u toj deceniji.
00:45
And in that same decade, somebody --
legend has it, somebody named Thespis --
legend has it, somebody named Thespis --
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A u toj istoj deceniji, neko -
legenda kaže neko po imenu Tespid -
legenda kaže neko po imenu Tespid -
00:51
invented the idea of dialogue.
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izumeo je ideju dijaloga.
00:53
What does that mean, to invent dialogue?
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Šta znači izumeti dijalog?
00:55
Well, we know that
the Festival of Dionysus gathered
the Festival of Dionysus gathered
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Pa, znamo da je
dionizijski festival okupljao
dionizijski festival okupljao
00:57
the entire citizenry of Athens
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sve građane Atine
00:59
on the side of the Acropolis,
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na padini Akropolja,
01:01
and they would listen to music,
they would watch dancing,
they would watch dancing,
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i slušali bi muziku, posmatrali bi ples
01:04
and they would have stories told
as part of the Festival of Dionysus.
as part of the Festival of Dionysus.
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i pripovedali bi im priče
kao deo dionizijskog festivala.
kao deo dionizijskog festivala.
A pripovedanje je prilično nalik
onome što se trenutno dešava:
onome što se trenutno dešava:
01:08
And storytelling is much like
what's happening right now:
what's happening right now:
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01:11
I'm standing up here,
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stojim ovde gore,
01:12
the unitary authority,
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centralni sam autoritet
01:14
and I am talking to you.
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i razgovaram s vama.
01:16
And you are sitting back,
and you are receiving what I have to say.
and you are receiving what I have to say.
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A vi sedite zavaljeni
i primate ono što vam govorim.
i primate ono što vam govorim.
I možete da se ne slažete s tim, možete
da me smatrate za nepodnšljivu budalu,
da me smatrate za nepodnšljivu budalu,
01:19
And you may disagree with it,
you may think I'm an insufferable fool,
you may think I'm an insufferable fool,
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01:23
you may be bored to death,
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možete da se na smrt dosađujete,
01:24
but that dialogue is mostly
taking place inside your own head.
taking place inside your own head.
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ali taj dijalog se uglavnom
dešava u vašoj sopstvenoj glavi.
dešava u vašoj sopstvenoj glavi.
01:28
But what happens if,
instead of me talking to you --
instead of me talking to you --
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Ali, šta se desi ako se,
umesto da ja govorim vama,
umesto da ja govorim vama,
01:32
and Thespis thought of this --
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a Tepsid se dosetio ovoga,
01:34
I just shift 90 degrees to the left,
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prosto okrenem za 90 stepeni nalevo
01:37
and I talk to another person
onstage with me?
onstage with me?
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i razgovaram sa drugom osobom
koja je na sceni sa mnom?
koja je na sceni sa mnom?
01:41
Everything changes,
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Sve se menja
01:43
because at that moment,
I'm not the possessor of truth;
I'm not the possessor of truth;
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jer u tom trenutku ja ne posedujem istinu;
01:47
I'm a guy with an opinion.
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ja sam lik sa mišljenjem.
01:50
And I'm talking to somebody else.
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I razgovaram s nekim drugim.
01:51
And you know what?
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I znate šta?
01:53
That other person has an opinion too,
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Ta druga osoba takođe ima mišljenje,
01:55
and it's drama, remember,
conflict -- they disagree with me.
conflict -- they disagree with me.
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a, setite se, radi se o drami,
sukobu - druga osoba se ne slaže sa mnom.
sukobu - druga osoba se ne slaže sa mnom.
01:59
There's a conflict between
two points of view.
two points of view.
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Imamo sukob između dve tačke gledišta.
02:02
And the thesis of that
is that the truth can only emerge
is that the truth can only emerge
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A teza iza toga glasi
da istina jedino može da izraste
da istina jedino može da izraste
02:08
in the conflict
of different points of view.
of different points of view.
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iz sukoba različitih tački gledišta.
02:11
It's not the possession of any one person.
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Istinu ne poseduje bilo koji pojedinac.
02:13
And if you believe in democracy,
you have to believe that.
you have to believe that.
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A ako verujete u demokratiju,
morate da verujete u to.
morate da verujete u to.
02:18
If you don't believe that,
you're an autocrat
you're an autocrat
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Ako ne verujete u to,
autokrata ste koji trpi demokratiju.
autokrata ste koji trpi demokratiju.
02:20
who is putting up with democracy.
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02:22
But that's the basic thesis of democracy,
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Međutim, to je osnovna teza demokratije,
02:25
that the conflict of different
points of views leads to the truth.
points of views leads to the truth.
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da sukob različitih
tačaka gledišta vodi do istine.
tačaka gledišta vodi do istine.
02:28
What's the other thing that's happening?
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Šta se još dešava?
Ne tražim od vas da sedite zavaljeni
02:30
I'm not asking you to sit back
and listen to me.
and listen to me.
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i da me slušate.
02:33
I'm asking you to lean forward
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Tražim od vas da se nagnete napred
02:35
and imagine my point of view --
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i zamislite moju tačku gledišta -
02:38
what this looks like and feels like
to me as a character.
to me as a character.
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kako ovo izgleda meni
i kakav je osećaj biti lik kao ja.
i kakav je osećaj biti lik kao ja.
02:42
And then I'm asking you
to switch your mind
to switch your mind
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A onda tražim od vas
da promenite mišljenje
da promenite mišljenje
02:45
and imagine what it feels like
to the other person talking.
to the other person talking.
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i da zamislite kako se oseća
druga osoba koja govori.
druga osoba koja govori.
02:49
I'm asking you to exercise empathy.
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Tražim od vas da ispoljite empatiju.
02:52
And the idea that truth comes
from the collision of different ideas
from the collision of different ideas
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A zamisao da istina potiče
iz sudara različitih ideja
iz sudara različitih ideja
02:56
and the emotional muscle of empathy
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i emotivna snaga empatije
02:59
are the necessary tools
for democratic citizenship.
for democratic citizenship.
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su nužna sredstva
za demokratsku pripadnost.
za demokratsku pripadnost.
03:03
What else happens?
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Šta se još dešava?
03:05
The third thing really is you,
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Uistinu, treća stvar ste vi,
03:08
is the community itself, is the audience.
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sama zajednica, publika.
03:11
And you know from personal experience
that when you go to the movies,
that when you go to the movies,
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A znate iz ličnog iskustva
da, kada pođete u bioskop,
da, kada pođete u bioskop,
03:15
you walk into a movie theater,
and if it's empty, you're delighted,
and if it's empty, you're delighted,
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ušetate u bioskopsku salu,
a ako je prazna, oduševljeni ste,
a ako je prazna, oduševljeni ste,
03:18
because nothing's going to be
between you and the movie.
between you and the movie.
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jer se ništa neće preprečiti
između vas i filma.
između vas i filma.
Možete da se razbaškarite,
podignete noge preko sedišta,
podignete noge preko sedišta,
03:21
You can spread out, put your legs
over the top of the stadium seats,
over the top of the stadium seats,
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jedete kokice i prosto uživate.
03:24
eat your popcorn and just enjoy it.
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Međutim, ako ušetate u pozorište
03:26
But if you walk into a live theater
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03:28
and you see that the theater is half full,
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i vidite da je sala polupuna,
03:30
your heart sinks.
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pokunjite se.
03:32
You're disappointed immediately,
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Istog trena se razočarate
03:34
because whether you knew it or not,
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jer bili toga svesni ili ne,
03:36
you were coming to that theater
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došli ste u to pozorište
03:38
to be part of an audience.
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kako biste bili deo publike.
03:40
You were coming to have
the collective experience
the collective experience
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Došli ste radi kolektivnog iskustva
03:43
of laughing together, crying together,
holding your breath together
holding your breath together
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smejanja zajedno, plakanja zajedno,
zaustavljanja daha zajedno
zaustavljanja daha zajedno
03:46
to see what's going to happen next.
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zbog onoga što sledi.
Možda ste ušetali u pozorište
kao pojedinačni potrošač,
kao pojedinačni potrošač,
03:48
You may have walked into that theater
as an individual consumer,
as an individual consumer,
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03:53
but if the theater does its job,
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ali ako pozorište odradi svoj posao,
03:55
you've walked out with a sense
of yourself as part of a whole,
of yourself as part of a whole,
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išetali ste sa utiskom
sebe kao dela celine,
sebe kao dela celine,
03:59
as part of a community.
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dela zajednice.
04:01
That's built into the DNA of my art form.
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To je ugrađeno u DNK
mog umetničkog oblika.
mog umetničkog oblika.
04:06
Twenty-five hundred years later,
Joe Papp decided
Joe Papp decided
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Dve i po hiljade godina kasnije,
Džo Pap je odlučio
Džo Pap je odlučio
04:11
that the culture should belong to
everybody in the United States of America,
everybody in the United States of America,
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da kultura treba da pripada svima
u Sjedinjenim Američkim Državama
u Sjedinjenim Američkim Državama
04:15
and that it was his job
to try to deliver on that promise.
to try to deliver on that promise.
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i da je njegova dužnost
da pokuša da ostvari to obećanje.
da pokuša da ostvari to obećanje.
04:19
He created Free Shakespeare in the Park.
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Osnovao je „Besplatnog Šekspira u parku“.
04:21
And Free Shakespeare in the Park
is based on a very simple idea,
is based on a very simple idea,
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A „Besplatni Šekspir u parku“
je zasnovan na krajnje prostoj ideji,
je zasnovan na krajnje prostoj ideji,
04:25
the idea that the best theater,
the best art that we can produce,
the best art that we can produce,
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ideji da bi najbolje pozorište,
najbolja umetnost koju možemo da stvorimo
najbolja umetnost koju možemo da stvorimo
04:29
should go to everybody
and belong to everybody,
and belong to everybody,
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trebalo da je za sve i da pripada svima,
04:32
and to this day,
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i dan-danas
04:34
every summer night in Central Park,
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svake letnje večeri u Central parku
04:36
2,000 people are lining up
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poređa se 2 000 ljudi
04:39
to see the best theater
we can provide for free.
we can provide for free.
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kako bi posmatrali najbolje pozorište
koje možemo da pružimo besplatno.
koje možemo da pružimo besplatno.
04:42
It's not a commercial transaction.
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Ne radi se o komercijalnoj razmeni.
04:45
In 1967, 13 years
after he figured that out,
after he figured that out,
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Godine 1967, 13 godina
nakon što je to shvatio,
nakon što je to shvatio,
04:50
he figured out something else,
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shvatio je još nešto,
04:51
which is that the democratic
circle was not complete
circle was not complete
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a to je da demokratski krug
nije bio dovršen
nije bio dovršen
04:55
by just giving the people the classics.
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pukim pružanjem klasika narodu.
04:58
We had to actually let the people
create their own classics
create their own classics
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Zapravo smo morali da dozvolimo ljudima
da stvaraju sopstvene klasike
da stvaraju sopstvene klasike
05:02
and take the stage.
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i da preuzmu scenu.
05:03
And so in 1967,
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Pa je 1967. godine
05:06
Joe opened the Public Theater
downtown on Astor Place,
downtown on Astor Place,
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Džo otvorio Narodno pozorište
u centru Njujorka na Astor plejsu,
u centru Njujorka na Astor plejsu,
05:09
and the first show he ever produced
was the world premiere of "Hair."
was the world premiere of "Hair."
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a prva predstava koju je producirao
je bila svetska premijera „Kose“.
je bila svetska premijera „Kose“.
05:13
That's the first thing he ever did
that wasn't Shakespeare.
that wasn't Shakespeare.
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To je prva stvar koju je ikad
postavio, a da nije Šekspir.
postavio, a da nije Šekspir.
Klajv Barns iz „Tajmsa“ je rekao
da se činilo kao da je g. Pap uzeo metlu
da se činilo kao da je g. Pap uzeo metlu
05:16
Clive Barnes in The Times said
that it was as if Mr. Papp took a broom
that it was as if Mr. Papp took a broom
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05:19
and swept up all the refuse
from the East Village streets
from the East Village streets
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i pomeo sve otpatke sa ulica u Ist Vilidžu
05:22
onto the stage at the Public.
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na scenu Narodnog.
05:25
(Laughter)
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(Smeh)
05:26
He didn't mean it complementarily,
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Nije to mislio kao kompliment,
05:28
but Joe put it up in the lobby,
he was so proud of it.
he was so proud of it.
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ali Džo je izjavu stavio u predvorje;
bio je silno ponosan na nju.
bio je silno ponosan na nju.
05:31
(Laughter) (Applause)
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(Smeh) (Aplauz)
05:33
And what the Public Theater did over
the next years with amazing shows like
the next years with amazing shows like
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A ono što je Narodno pozoriše postiglo
narednih godina sjajnim predstavama poput:
narednih godina sjajnim predstavama poput:
05:37
"For Colored Girls Who Have Considered
Suicide / When the Rainbow Is Enuf,"
Suicide / When the Rainbow Is Enuf,"
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„Za obojene devojke koje su razmatrale
samoubistvo / Kad je duga dovoljna“,
samoubistvo / Kad je duga dovoljna“,
05:41
"A Chorus Line,"
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„Stih napeva",
05:43
and -- here's the most extraordinary
example I can think of:
example I can think of:
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i - ovo je najizvanredniji primer
kog mogu da se setim:
kog mogu da se setim:
05:47
Larry Kramer's savage cry of rage
about the AIDS crisis,
about the AIDS crisis,
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divlji izliv besa Lerija Kramera
o krizi zbog side:
o krizi zbog side:
05:53
"The Normal Heart."
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„Normalno srce".
05:54
Because when Joe produced
that play in 1985,
that play in 1985,
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Jer kad je Džo izveo
tu predstavu 1985. godine,
tu predstavu 1985. godine,
05:58
there was more information about AIDS
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više informacija o sidi je bilo
06:02
in Frank Rich's review
in the New York Times
in the New York Times
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u kritici Frenka Riča iz „Njujork Tajmsa“
06:05
than the New York Times had published
in the previous four years.
in the previous four years.
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nego što je „Njujork Tajms“ objavio o tome
u prethodne četiri godine.
u prethodne četiri godine.
06:08
Larry was actually changing
the dialogue about AIDS
the dialogue about AIDS
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Leri je zapravo menjao dijalog o sidi,
06:13
through writing this play,
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pišući ovu dramu,
a Džo producirajući je.
06:14
and Joe was by producing it.
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06:15
I was blessed to commission and work
on Tony Kushner's "Angels in America,"
on Tony Kushner's "Angels in America,"
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Blagosloven sam sudelovanjem i radom
na „Anđelima u Americi“ Tonija Kušnera,
na „Anđelima u Americi“ Tonija Kušnera,
06:20
and when doing that play
and along with "Normal Heart,"
and along with "Normal Heart,"
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a radeći na toj predstavi,
kao i na „Normalnom srcu",
kao i na „Normalnom srcu",
06:24
we could see that the culture
was actually shifting,
was actually shifting,
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mogli smo da vidimo
kako se kultura menja,
kako se kultura menja,
06:27
and it wasn't caused by the theater,
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a za to nije krivo bilo pozorište,
06:29
but the theater was doing its part
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ali pozorište je odradilo svoj deo
06:31
to change what it meant to be gay
in the United States.
in the United States.
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da bi se izmenilo značenje
toga kako je biti gej u SAD-u.
toga kako je biti gej u SAD-u.
06:36
And I'm incredibly proud of that.
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I ja sam beskrajno ponosan na to.
06:38
(Applause)
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(Aplauz)
06:40
When I took over Joe's old job
at the Public in 2005,
at the Public in 2005,
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Kada sam 2005. godine preuzeo
Džoov stari posao u Narodnom,
Džoov stari posao u Narodnom,
06:45
I realized one of the problems we had
was a victim of our own success,
was a victim of our own success,
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shvatio sam da je jedan od naših problema
to što smo žrtva sopstvenog uspeha,
to što smo žrtva sopstvenog uspeha,
06:49
which is: Shakespeare in the Park
had been founded as a program for access,
had been founded as a program for access,
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a to je: „Šekspir u parku“ je osnovan
kao pristupni program,
kao pristupni program,
06:54
and it was now the hardest ticket
to get in New York City.
to get in New York City.
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a trenutno se radi o jednoj od karata
koje je najteže nabaviti u Njujorku.
koje je najteže nabaviti u Njujorku.
06:57
People slept out for two nights
to get those tickets.
to get those tickets.
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Ljudi spavaju napolju po dve noći
da bi pribavili te karte.
da bi pribavili te karte.
07:01
What was that doing?
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Šta se postizalo time?
07:02
That was eliminating
98 percent of the population
98 percent of the population
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To je eliminisalo 98 procenata populacije
07:05
from even considering going to it.
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od samog razmatranja da prisustvuju.
07:07
So we refounded the mobile unit
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Pa smo nanovo osnovali pokretne jedinice
07:09
and took Shakespeare to prisons,
to homeless shelters,
to homeless shelters,
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i nosili smo „Šekspira“ u zatvore,
u prihvatilišta za beskućnike,
u prihvatilišta za beskućnike,
07:12
to community centers in all five boroughs
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u mesne zajednice
u svih pet delova Njujorka,
u svih pet delova Njujorka,
07:15
and even in New Jersey
and Westchester County.
and Westchester County.
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pa čak i u Nju Džerzi i okrug Vestčester.
07:17
And that program proved something to us
that we knew intuitively:
that we knew intuitively:
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A program nam je dokazao nešto
što smo intuitivno znali:
što smo intuitivno znali:
07:22
people's need for theater
is as powerful as their desire for food
is as powerful as their desire for food
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potreba ljudi za pozorištem
je jednako moćna
je jednako moćna
kao i žudnja za hranom ili pićem.
07:26
or for drink.
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07:28
It's been an extraordinary success,
and we've continued it.
and we've continued it.
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Program je postigao neverovatan uspeh
i nastavili smo ga.
i nastavili smo ga.
A zatim je tu bila još jedna prepreka
za koju smo shvatili da je ne savlađujemo,
za koju smo shvatili da je ne savlađujemo,
07:31
And then there was yet another barrier
that we realized we weren't crossing,
that we realized we weren't crossing,
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07:35
which is a barrier of participation.
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a radi se o prepreci učestvovanja.
A zamisao, rekli smo, glasi:
07:37
And the idea, we said, is:
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07:38
How can we turn theater
from being a commodity, an object,
from being a commodity, an object,
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kako da pretvorimo pozorište
iz robe, predmeta,
iz robe, predmeta,
07:43
back into what it really is --
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nazad u ono što ono jeste -
07:45
a set of relationships among people?
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skup odnosa među ljudima?
07:48
And under the guidance
of the amazing Lear deBessonet,
of the amazing Lear deBessonet,
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I pod vođstvom sjajnog Lira Debesonea,
07:51
we started the Public Works program,
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započeli smo program Narodnog dela,
07:52
which now every summer produces
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koji sada svakog leta producira
07:54
these immense Shakespearean
musical pageants,
musical pageants,
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te beskrajne šekspirovske
muzičke svečanosti,
muzičke svečanosti,
07:57
where Tony Award-winning
actors and musicians
actors and musicians
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gde glumci i muzičari,
dobitnici nagrade Toni,
dobitnici nagrade Toni,
08:00
are side by side with nannies
and domestic workers
and domestic workers
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stoje rame uz rame
sa dadiljama i kućnim pomoćnicima
sa dadiljama i kućnim pomoćnicima
08:04
and military veterans
and recently incarcerated prisoners,
and recently incarcerated prisoners,
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i vojnim veteranima,
a od skora i sa zatvorenicima;
a od skora i sa zatvorenicima;
08:08
amateurs and professionals,
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amateri i profesionalci
08:09
performing together on the same stage.
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nastupaju zajedno na istoj sceni.
I nije to tek sjajan socijalni program;
08:12
And it's not just a great social program,
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08:14
it's the best art that we do.
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radi se o najboljoj
umetnosti koju izvodimo.
umetnosti koju izvodimo.
08:16
And the thesis of it is
that artistry is not something
that artistry is not something
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A njena teza je da umetnost nije nešto
08:20
that is the possession of a few.
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što poseduje nekolicina.
08:23
Artistry is inherent
in being a human being.
in being a human being.
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Umetnost je urođena
nama kao ljudskim bićima.
nama kao ljudskim bićima.
08:26
Some of us just get to spend
a lot more of our lives practicing it.
a lot more of our lives practicing it.
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Samo što neki od nas uspeju
da je upražnjavaju mnogo više u životu.
da je upražnjavaju mnogo više u životu.
08:31
And then occasionally --
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A onda povremeno -
08:32
(Applause)
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(Aplauz)
08:34
you get a miracle like "Hamilton,"
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dobijete čudo poput „Hamiltona“,
08:36
Lin-Manuel's extraordinary retelling
of the foundational story of this country
of the foundational story of this country
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Lin Manuelovu izvanrednu novu verziju
priče o osnivanju ove države
priče o osnivanju ove države
08:42
through the eyes of the only Founding
Father who was a bastard immigrant orphan
Father who was a bastard immigrant orphan
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kroz oči jedinog oca osnivača
koji je bio imigrantsko kopile i siroče
koji je bio imigrantsko kopile i siroče
08:47
from the West Indies.
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iz Zapadnih Indija.
08:49
And what Lin was doing
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A Lin je radio
08:50
is exactly what Shakespeare was doing.
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baš ono što i Šekspir.
08:53
He was taking the voice of the people,
the language of the people,
the language of the people,
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Uzimao je glasove naroda, jezik naroda,
08:57
elevating it into verse,
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uzvisivao ga je do stiha,
09:00
and by doing so,
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a radeći to
09:01
ennobling the language
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oplemenjivao je jezik
09:03
and ennobling the people
who spoke the language.
who spoke the language.
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i oplemenjivao je ljude
koji su govorili taj jezik.
koji su govorili taj jezik.
09:06
And by casting that show entirely
with a cast of black and brown people,
with a cast of black and brown people,
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A dodeljujući uloge u predstavi
u potpunosti crnim i smeđim ljudima,
u potpunosti crnim i smeđim ljudima,
09:11
what Lin was saying to us,
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Lin nam je saopštavao,
09:14
he was reviving in us
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oživljavao je u nama
09:16
our greatest aspirations
for the United States,
for the United States,
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naše najveće težnje za Sjedinjene Države,
09:20
our better angels of America,
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naše bolje anđele Amerike,
09:22
our sense of what this country could be,
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naš doživljaj toga šta bi
ova država mogla da bude,
ova država mogla da bude,
09:25
the inclusion that was at the heart
of the American Dream.
of the American Dream.
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o inkluziji koja je bila
u srcu američkog sna.
u srcu američkog sna.
09:29
And it unleashed
a wave of patriotism in me
a wave of patriotism in me
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I oslobodila je talas patriotizma u meni
09:33
and in our audience,
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i u našoj publici,
09:35
the appetite for which
is proving to be insatiable.
is proving to be insatiable.
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a ispostavilo se da je apetit
za tim neutaživ.
za tim neutaživ.
09:40
But there was another side to that,
and it's where I want to end,
and it's where I want to end,
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No, to je imalo i drugu stranu
i time želim da završim,
i time želim da završim,
i to je poslednja priča
o kojoj želim da govorim.
o kojoj želim da govorim.
09:43
and it's the last story
I want to talk about.
I want to talk about.
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09:45
Some of you may have heard
that Vice President-elect Pence
that Vice President-elect Pence
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Neki od vas su možda čuli
da je potpredsednik Pens
da je potpredsednik Pens
09:48
came to see "Hamilton" in New York.
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došao da gleda „Hamiltona“ u Njujorku,
09:50
And when he came in,
some of my fellow New Yorkers booed him.
some of my fellow New Yorkers booed him.
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a kada je došao, neki od mojih sugrađana
Njujorčana su ga izviždali.
Njujorčana su ga izviždali.
09:55
And beautifully, he said,
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I on je prelepo rekao:
09:56
"That's what freedom sounds like."
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„Tako zvuči sloboda.“
09:59
And at the end of the show,
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A na kraju predstave,
10:01
we read what I feel was a very
respectful statement from the stage,
respectful statement from the stage,
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čitali smo nešto što smatram
veoma uviđajnom izjavom sa scene
veoma uviđajnom izjavom sa scene
10:04
and Vice President-elect Pence
listened to it,
listened to it,
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i potpredsednik Pens je to saslušao,
10:07
but it sparked a certain amount
of outrage, a tweetstorm,
of outrage, a tweetstorm,
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ali to je pokrenulo određenu količinu
besa, oluju na Tviteru,
besa, oluju na Tviteru,
10:11
and also an internet boycott of "Hamilton"
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kao i bojkot „Hamiltona“ na internetu
od strane zgroženih ljudi koji su osećali
10:15
from outraged people who had felt
we had treated him with disrespect.
we had treated him with disrespect.
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da smo se prema Pensu
poneli sa nepoštovanjem.
poneli sa nepoštovanjem.
10:20
I looked at that boycott and I said,
we're getting something wrong here.
we're getting something wrong here.
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Razmotrio sam bojkot i rekao:
„U nečemu grešimo ovde.“
„U nečemu grešimo ovde.“
10:24
All of these people who have signed
this boycott petition,
this boycott petition,
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Svi ovi ljudi koji su potpisali
peticiju za bojkot
peticiju za bojkot
10:27
they were never going to see
"Hamilton" anyway.
"Hamilton" anyway.
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ionako nikad ne bi ni videli „Hamiltona“.
10:30
It was never going to come
to a city near them.
to a city near them.
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Nikad ne bi stigao
u grad u njihovoj blizini.
u grad u njihovoj blizini.
10:32
If it could come,
they couldn't afford a ticket,
they couldn't afford a ticket,
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Ako bi stigao, oni ne bi mogli
da priušte ulaznicu,
da priušte ulaznicu,
10:35
and if they could afford a ticket,
they didn't have the connections
they didn't have the connections
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a ako bi mogli da priušte
ulaznicu, nisu imali vezu
ulaznicu, nisu imali vezu
10:38
to get that ticket.
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da pribave tu ulaznicu.
10:40
They weren't boycotting us;
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Nisu bojkotovali nas;
10:43
we had boycotted them.
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mi smo bojkotovali njih.
10:46
And if you look at the red and blue
electoral map of the United States,
electoral map of the United States,
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A ako pogledate crvenu i plavu
izbornu mapu Sjedinjenih Država,
izbornu mapu Sjedinjenih Država,
10:50
and if I were to tell you,
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i ako bih vam rekao:
10:51
"Oh, the blue is what designates
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„Oh, plavom su označene
10:53
all of the major nonprofit
cultural institutions,"
cultural institutions,"
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sve veće neprofitne institucije kulture“,
10:56
I'd be telling you the truth.
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govorio bih vam istinu.
10:58
You'd believe me.
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Verovali biste mi.
10:59
We in the culture have done
exactly what the economy,
exactly what the economy,
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Mi iz kulture smo uradili
tačno ono što je ekonomija,
tačno ono što je ekonomija,
11:04
what the educational system,
what technology has done,
what technology has done,
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što je obrazovni sistem,
što je tehnologija učinila,
što je tehnologija učinila,
11:07
which is turn our back
on a large part of the country.
on a large part of the country.
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a to je da smo okrenuli leđa
velikom delu države.
velikom delu države.
11:12
So this idea of inclusion,
it has to keep going.
it has to keep going.
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Stoga moramo da nastavimo
sa idejom inkluzije.
sa idejom inkluzije.
11:15
Next fall, we are sending out on tour
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Sledeće jeseni, šaljemo na turneju
11:18
a production of Lynn Nottage's brilliant,
Pulitzer Prize-winning play "Sweat."
Pulitzer Prize-winning play "Sweat."
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produkciju briljantne predstave Lin Notaž,
koja je dobila Pulicera: „Znoj“.
koja je dobila Pulicera: „Znoj“.
11:23
Years of research in Redding, Pennsylvania
led her to write this play
led her to write this play
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Godine istraživanja u Redingu
u Pensilvaniji su je navele
u Pensilvaniji su je navele
da napiše dramu
o deindustrijalizaciji Pensilvanije,
o deindustrijalizaciji Pensilvanije,
11:27
about the deindustrialization
of Pennsylvania:
of Pennsylvania:
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11:31
what happened when steel left,
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šta se desilo kad je otišao čelik,
11:33
the rage that was unleashed,
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bes koji je oslobođen,
11:36
the tensions that were unleashed,
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tenzije koje su oslobođene,
11:37
the racism that was unleashed
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rasizam koji je oslobođen
11:40
by the loss of jobs.
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zbog gubitka poslova.
11:41
We're taking that play
and we're touring it
and we're touring it
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Uzećemo tu predstavu
i s njom idemo na turneju
i s njom idemo na turneju
11:44
to rural counties in Pennsylvania,
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u ruralne okruge u Pensilvaniji,
11:47
Ohio, Michigan,
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Ohaju, Mičigenu,
11:50
Minnesota and Wisconsin.
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Minesoti i Viskonsinu.
11:52
We're partnering with community
organizations there to try and make sure
organizations there to try and make sure
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Udružujemo se sa mesnim organizacijama
tamo kako bismo se postarali
tamo kako bismo se postarali
11:56
not only that we reach the people
that we're trying to reach,
that we're trying to reach,
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ne samo da ćemo dopreti do ljudi
do kojih pokušavamo da dopremo,
do kojih pokušavamo da dopremo,
12:00
but that we find ways
to listen to them back
to listen to them back
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već i da ćemo otkriti načine
da ih saslušamo
da ih saslušamo
12:03
and say, "The culture
is here for you, too."
is here for you, too."
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i kažemo: „Kultura je tu i za vas.“
12:07
Because --
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Jer -
12:09
(Applause)
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(Aplauz)
12:11
we in the culture industry,
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mi iz industrije kulture,
12:13
we in the theater,
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mi iz pozorišta,
12:15
have no right to say
that we don't know what our job is.
that we don't know what our job is.
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nemamo pravo da kažemo
da ne znamo šta je naša dužnost.
da ne znamo šta je naša dužnost.
12:19
It's in the DNA of our art form.
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Ona je u DNK našeg umetničkog oblika.
12:21
Our job "... is to hold up,
as 'twere, a mirror to nature;
as 'twere, a mirror to nature;
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Naša dužnost je „da držimo
nešto nalik ogledalu prirodi;
nešto nalik ogledalu prirodi;
12:26
to show scorn her image,
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da pokažemo preziru njegov lik,
12:28
to show virtue her appearance,
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da pokažemo vrlini njenu pojavnost,
12:32
and the very age its form and pressure."
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a samom našem dobu
njegov oblik i pritiske.“
njegov oblik i pritiske.“
12:35
Our job is to try to hold up
a vision to America
a vision to America
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Naša dužnost je da Americi
pokažemo viziju
pokažemo viziju
12:39
that shows not only
who all of us are individually,
who all of us are individually,
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koja pokazuje ne samo to
ko smo svi mi pojedinačno,
ko smo svi mi pojedinačno,
12:43
but that welds us back into
the commonality that we need to be,
the commonality that we need to be,
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već onu koja nas zakiva nazad
u zajedništvo gde treba da budemo,
u zajedništvo gde treba da budemo,
12:48
the sense of unity,
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u osećaj jedinstva,
12:49
the sense of whole,
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osećaj punoće,
12:51
the sense of who we are as a country.
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osećaj toga ko smo mi kao država.
12:54
That's what the theater is supposed to do,
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To je ono što bi pozorište trebalo da radi
i to moramo da pokušamo
da radimo što bolje možemo.
da radimo što bolje možemo.
12:57
and that's what we need to try to do
as well as we can.
as well as we can.
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12:59
Thank you very much.
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Mnogo vam hvala.
13:01
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Oskar Eustis - Theater directorAs the artistic director of New York's legendary Public Theater, Oskar Eustis nurtures new, groundbreaking works that shift the cultural conversation.
Why you should listen
Throughout his career, Oskar Eustis has been dedicated to the development of new plays and the classics as a director, dramaturg and producer. Among the plays he's helped bring into being, you can count Angels in America, the Tony-winning Hamilton and Fun Home, with more new work constantly on the bubble. Throughout his career, he has also produced and directed Shakespeare in venues around the US, from prisons to Broadway, including The Public's 2017 free Shakespeare in the Park staging of Julius Ceasar that generated a national conversation.
Eustis has also directed the world premieres of plays by Philip Kan Gotanda, David Henry Hwang, Emily Mann, Suzan-Lori Parks, Ellen McLaughlin and Eduardo Machado, among many others. He's a professor of dramatic writing and arts and public policy at New York University and has held professorships at UCLA, Middlebury College and Brown University, where he founded and chaired the Trinity Rep/Brown University consortium for professional theater training. He has been Artistic Director of The Public Theater in New York since 2005.
Oskar Eustis | Speaker | TED.com