PaulaScher_变得认真了【中英文对照】

1.My work is play.
我的工作就是发挥。
2.And I play when I design.
而且当我在设计的时候我就是在发挥。
3.I even looked it up in the dictionary, to make sure that I actually do that, and the definition of play, number one, was engaging in a childlike
我甚至曾在字典里查了这个词，来确定 我确实这样做了， 以及发挥的定义准确无误。 第一点，是要积极投身于如同孩童一般的
4.activity or endeavor, and number two was gambling.
活动或者用心去做。 第二点是要有冒险精神。
5.And I realize I do both when I’m designing.
并且当我在做设计的时候， 我意识到我是两者兼顾的。
6.I’m both a kid and I’m gambling all the time.
我始终如一的保持一颗童心并充满冒险精神。
7.And I think that if you’re not, there’s probably something inherently wrong with the structure or the situation you’re in, if you’re a designer.
而且我认为，如果你不这样的话， 很有可能是什么东西跟你不对路， 或跟你的处境不符， 如果你是个设计师。
8.But the serious part is what threw me, and I couldn’t quite get a handle on it until I remembered an essay.
然而严肃的部分正是让我困惑的， 而且我也无法很好的解决 直到我记起了一篇文章。
9.And it’s an essay I read 30 years ago.
那是一篇我30年前读过的文章。
10.It was written by Russell Baker, who used to write an “Observer” column in the New York Times.
作者是Russell Baker， 他曾经在纽约时报一个“观察者”专栏。
11.He’s a wonderful humorist. And I’m going to read you this essay, or an excerpt from it because it really hit home for me.
他是一个非常棒的幽默作家。现在让我来向你们读读 这篇文章。 或者说是一篇节选。 因为它真的击中了我的要害。
12.Here is a letter of friendly advice.
这是一封很友好的劝告信。
13.Be serious, it says.
严肃起来，信里写道。
14.What it means, of course, is, be solemn.
当然，这意味着要郑重其事起来。
15.Being solemn is easy.
郑重其事很简单。
16.Being serious is hard.
严肃却很难。
17.Children almost always begin by being serious, which is what makes them so entertaining when compared with adults as a class.
孩子们常常都由认真开始， 也就是让他们感到愉快的东西 当他们作为一个团体同成人相比时。
18.Adults, on the whole, are solemn.
成年人，整体上来说，都是郑重的。
19.In politics, the rare candidate who is serious, like Adlai Stevenson, is easily overwhelmed by one who is solemn, like  Eisenhower.
在政治上，很严肃的参选人很稀少， 比如 Adlai Stevenson， 会很轻易的被郑重其事的参选人打败，比如Eisenhower。
20.That’s because it is hard for most people to recognize seriousness, which is rare, but more comfortable to endorse solemnity, which is commonplace.
这是因为对于大多数人来说 认识到罕见的严肃是很难的， 但展示郑重却更加令人适宜。 这也是老生常谈了。
21.Jogging, which is commonplace, and widely accepted as good for you, is solemn.
慢跑，很常见， 也被广泛的认为对你有好处，就是郑重的。
22.Poker is serious.
而扑克却是严肃的。
23.Washington, D.C. is solemn.
华盛顿特区就是郑重的。
24.New York is serious.
而纽约却是严肃的。
25.Going to educational conferences to tell you anything about the future is solemn.
去参加那些将会告诉你未来所有事情的 教育会议是郑重的。
26.Taking a long walk by yourself, during which you devise a foolproof scheme for robbing Tiffany’s, is serious.
独自一人走很长一段路， 在此期间，琢磨出一套抢劫蒂凡尼珠宝店的完全方案， 这是严肃的。
27.(Laughter) Now, when I apply Russell Baker’s definition of solemnity or seriousness to design, it doesn’t necessarily make any particular point about quality.
（笑声） 现在，当我接受了Russell Bake的关于 郑重的或是严肃的去设计的定义的时候， 质量就不再意味着一些特殊的含义了。
28.Solemn design is often important and very effective design.
郑重的设计通常都是一些很重要而且很实用的设计。
29.Solemn design is also socially correct, and is accepted by appropriate audiences.
郑重的设计也会被社会大众认为是正确的， 同时也会被相应的观众所认可。
30.It’s what right-thinking designers and all the clients are striving for.
这就是那些想法正确的设计者 和所有的客户所努力的。
31.Serious design, serious play, is something else.
严肃的设计，严肃的娱乐， 却是另外一回事。
32.For one thing, it often happens spontaneously, intuitively, accidentally or incidentally.
一方面，严肃的设计通常 自发性的，直观的， 偶然的或者顺便的就发生了。
33.It can be achieved out of innocence, or arrogance, or out of selfishness, sometimes out of carelessness.
它可以通过无辜，或是傲慢， 或是自私，有时会是粗心大意。
34.But mostly, it’s achieved through all those kind of crazy parts of human behavior that don’t really make any sense.
但大部分情况下，它是通过各种形式的 毫无意义的人类行为 来实现的。
35.Serious design is imperfect.
严肃的设计不会完美。
36.It’s filled with the kind of craft laws that come from something being the first of its kind.
它充满了那种原始的 工艺法。
37.Serious design is also — often — quite unsuccessful from the solemn point of view.
严肃的设计通常也会非常的不成功 如果从郑重的角度来看的话。
38.That’s because the art of serious play is about invention, change, rebellion — not perfection.
这是因为严肃的艺术发挥 关乎创造，改变，反抗——而不是完美。
39.Perfection happens during solemn play.
完美只可能在郑重其事的艺术发挥中才会发生。
40.Now, I always saw design careers like surreal staircases.
现在，我时常认为设计生涯 就如同超现实的楼梯。
41.If you look at the staircase, you’ll see that in your 20s the risers are very high and the steps are very short, and you make huge discoveries.
如果你看看这个楼梯，你会看到 在你二十多岁的时候每一步阶梯都很高 而且横跨度很短， 因此你总能取得巨大的发现。
42.You sort of leap up very quickly in your youth.
在你年轻的时候你的飞跃迅速。
43.That’s because you don’t know anything and you have a lot to learn, and so that anything you do is a learning experience and you’re just jumping right up there.
那是因为你还不是无所不知，你有很多东西要学， 因此你所做的一切都是学习的经验， 和你在飞跃的过程。
44.As you get older, the risers get shallower and the steps get wider, and you start moving along at a slower pace because you’re making fewer discoveries.
随着你的年纪增长，楼梯渐渐变得矮了， 横跨度却变得宽了， 同时你也开始放慢了步伐 因为你的发现越来越少了。
45.And as you get older and more decrepit, you sort of inch along on this sort of depressing, long staircase, leading you into oblivion.
而且随着你变得更老，更加力不从心， 你步履艰难的在这个 令人沮丧的，长长的， 最终会带你通往灭亡的楼梯上行走。
46.(Laughter) I find it’s actually getting really hard to be serious.
（笑声） 我发现想严肃起来真的很难。
47.I’m hired to be solemn, but I find more and more that I’m solemn when I don’t have to be.
我的老板要求我要郑重，但我越来越发现 当我不必这么做的时候我依然很郑重。
48.And in my 35 years of working experience, I think I was really serious four times.
在我35年的工作经验中， 我认为我真真正正的严肃过四回。
49.And I’m going to show them to you now, because they came out of very specific conditions.
现在我就把它们展示给你们， 因为它们皆出自非常特殊的情况下。
50.It’s great to be a kid.
做个孩子真的很棒。
51.Now, when I was in my early 20s, I worked in the record business, designing record covers for CBS Records, and I had no idea what a great job I had.
那时，当我20岁出头的时候， 我在唱片公司工作，为CBS唱片公司设计唱片封面， 当时我并不知道我拥有一个多么棒的工作。
52.I thought everybody had a job like that.
我认为每个人都有一份像我这样的工作。
53.And what — the way I looked at design and the way I looked at the world was, what was going on around me and the things that came at the time I walked into design
并且– 我看待设计的方式和我看待世界的方式就是， 我周围正在发生什么 和我走进设计室的时候遇到的各种事
54.were the enemy.
都是我的对手。
55.I really, really, really hated the typeface Helvetica.
我真的，真的，真的非常讨厌 字体。
56.I thought the typeface Helvetica was the cleanest, most boring, most fascistic, really repressive typeface, and I hated everything that was designed in Helvetica.
我曾认为字体 是最干净，最枯燥，最法西斯， 非常独裁的字体， 并且我讨厌一切用字体设计的东西。
57.And when I was in my college days, this was the sort of design that was fashionable and popular.
当我还在 上大学那会儿， 这却是一种 时尚而且流行的设计。
58.This is actually quite a lovely book jacket by Rudi de Harra’, but I just hated it, because it was designed with Helvetica, and I made parodies about it.
这是一个由Rudi de Harra’设计的非常可爱的书皮， 但我非常讨厌它，就是因为它用了字体， 而且生搬硬套的模仿了它。
59.I just thought it was, you know, completely boring.
我只是认为它，你知道的，非常的枯燥。
60.(Laughter) So — so, my goal in life was to do stuff that wasn’t made out of Helvetica.
（笑声） 因此——因此，我的人生目标 就是不用字体来做一些设计。
61.And to do stuff that wasn’t made out of Helvetica was actually kind of hard because you had to find it.
而且不用字体做设计 确实很困难，因为你到处碰到这种字体设计。
62.And there weren’t a lot of books about the history of design in the early 70s. There weren’t — there wasn’t a plethora of design publishing.
在70年代初，并没有很多 关于设计历史的书。也没有—— 也没有过多的设计出版。
63.You actually had to go to antique stores. You had to go to Europe.
你得去古董店，你得去欧洲。
64.You had to go places and find the stuff.
你得去很多地方来找你想要的东西。
65.And what I responded to was, you know, Art Nouveau, or deco, or Victorian typography, or things that were just completely not Helvetica.
我的回应是，你知道的， Art Nouveau，或者deco， 或者维多利亚排版， 或者一些完全不用字体的东西。
66.And I taught myself design this way, and this was sort of my early years, and I used these things in really goofy ways on record covers and in my design.
我教会了我自己用这种方式设计， 这就是我的早年经历， 我用这些东西 以一些很拙劣的方式 放在唱片封面上和我的设计里面。
67.I wasn’t educated. I just sort of put these things together.
我没有学过这个。我只是 把这些东西拼凑在一起。
68.I mixed up Victorian designs with pop, and I mixed up Art Nouveau with something else.
我把维多利亚式的设计混合进了流行元素， 同时也把新艺术派风格掺杂进了一些其他元素。
69.And I made these very lush, very elaborate record covers, not because I was being a post-modernist or a historicist — because I didn’t know what those things were.
我把这些专辑封面都弄得非常华丽， 非常精巧， 这并不是因为我曾是个后现代主义者或是历史批判主义者—— 只是因为我根本不知道那些东西到底是些什么。
70.I just hated Helvetica.
我只是讨厌字体设计。
71.(Laughter) And that kind of passion drove me into very serious play, a kind of play I could never do now because I’m too well-educated.
（笑声） 而且这种激情 促使我去非常严肃的发挥， 一种我从来没有尝试过的发挥 因为我受过非常良好的教育。
72.And there’s something wonderful about that form of youth, where you can let yourself grow and play, and be really a brat, and then accomplish things.
那种年轻生命里 存在着一些很有意思的东西， 在这种青春鼓舞下你可以让你自己 成长并且发挥，同时 让自己成为一个初出茅庐者，然后设计出与众不同的东西。
73.By the end of the ’70s, actually, the stuff became known.
直到70年代末，事实上， 我的这些作品才崭露头角。
74.I mean, these covers appeared all over the world, and they started winning awards, and people knew them.
我的意思是，那些封面风靡全球， 而且开始拿了不少奖， 与此同时，人们知道了我的作品。
75.And I was suddenly a post-modernist, and I began a career as — in my own business.
而我也突然变成了一个后现代主义者， 那时，我创办了自己的生意。
76.And first I was praised for it, then criticized for it, but the fact of the matter was, I had become solemn.
起初，我因为它受到嘉奖，后来又因为它饱受批评， 但关键在于，我变得郑重起来。
77.I didn’t do what I think was a piece of serious work again  for about 14 years.
大约14年间我都没有 照我所想的一个严肃的艺术品应该做的去做。
78.I spent most of the ’80s being quite solemn, turning out these sorts of designs that I was expected to do because that’s who I was,
80年代的大部分时间我都相当的郑重， 设计出这样的艺术 就像我所期望的那样 因为那就是我，
79.and I was living in this cycle of going from serious to solemn to hackneyed to dead, and getting rediscovered all over again.
我就在从严肃到郑重的圈子里生活 直到陈腐直到死亡，然后再重新开始。
80.So, here was the second condition for which I think I accomplished some serious play.
好的，下面是我的第二个状态 此时我认为完成了一些很严肃的发挥。
81.There’s a Paul Newman movie that I love called “The Verdict.”
这是一部我很钟爱的Paul Newman保罗纽曼的电影 名字叫做“The Verdict大审判”。
82.I don’t know how many of you have seen it, but it’s a beaut.
我不知道你们中间有多少人看过它，但它真的很棒。
83.And in the movie, he plays a down-and-out lawyer who’s become an ambulance chaser.
在这部电影里，他饰演了 一位想成为专办交通事故损害赔偿的 落魄的律师。
84.And he’s taken on — he’s given, actually — a malpractice suit to handle that’s sort of an easy deal, and in the midst of trying to connect the deal,
他采取- 实际上–他开始了一次不法行为的诉讼来解决 其实还算容易的一次交易， 在这诉讼交易联系中，
85.he starts to empathize and identify with his client, and he regains his morality and purpose, and he goes on to win the case.
他开始强调重视 和鉴别他的客户， 他重新拾回了他的道德和目标， 他继而赢得了这次诉讼。
86.And in the depth of despair, in the midst of the movie, when it looks like he can’t pull this thing off, and he needs this case, he needs to win this case so badly.
在绝望的深渊， 在电影中间部分，当一切看其来他不能够放下这件事， 他需要这个官司， 他特别需要赢这场官司。
87.There’s a shot of Paul Newman alone, in his office, saying, “This is the case. There are no other cases.
这是保罗纽曼单独一人的镜头， 在他的办公室，他说道， “这个案件就是了。没有其他的案件了。
88.This is the case. There are no other cases.”
这就是了。没有其他的了。”
89.And in that moment of desire and focus, he can win.
在那个时刻 充满了渴望和关注， 他能赢。
90.And that is a wonderful position to be in to create some serious play.
那是个绝妙的 角色来创作一些严肃的演技。
91.And I had that moment in 1994 when I met a theater director named George Wolf, who was going to have me design an identity for the New York Shakespeare Festival,
在1994年我曾有过这样的时刻， 当我遇到一个剧场导演 名叫乔治沃尔夫， 他打算让我设计 纽约莎士比亚节的象征画，
92.then known, and then became the Public Theater.
后来， 成为公共剧场的象征画。
93.And I began getting immersed in this project in a way I never was before.
我开始沉浸在 这个项目中 我从来没有过这样。
94.This is what theater advertising looked like at that time.
这就是那个时候剧场广告的样子。
95.This is what was in the newspapers and in the New York Times.
这就是在报纸上和纽约时报上的。
96.So, this is sort of a comment on the time.
所以说，这算是那时的评论。
97.And the Public Theater actually had much better advertising than this.
公共剧场实际上有比这个更好的广告。
98.They had no logo and no identity, but they had these very iconic posters painted by Paul Davis.
它们没有标志，没有象征画， 但是他们有这些很具有讽刺意味的宣传画， 这些宣传画是由保罗戴维斯做的。
99.And George Wolf had taken over from another director and he wanted to change the theater, and he wanted to make it urban and loud and a place that was inclusive.
乔治沃尔夫是从另一位导演那里接手的， 他想改变剧场， 他想让它变得更城市化，更喧闹， 成为一个广泛的地方。
100.So, drawing on my love of typography, I immersed myself into this project.
所以，运用我对伙伴印刷的热爱， 我将我自己沉浸在这个项目中。
101.And what was different about it was the totality of it, was that I really became the voice, the visual voice, of a place in a way I had never done before,
它不同的地方是它的总体艺术性， 是我真的成为了代表一个地方的声音，视觉上的声音， 这是我从未有过的方式，
102.where every aspect — the smallest ad, the ticket, whatever it was — was designed by me.
无论什么方面– 最小型的广告，车票，无论是什么– 都是由我设计的。
103.There was no format.
没有格式化。
104.There was no in-house department that these things were pushed to.
没有部门内部的压力。
105.I literally for three years made everything — every scrap of paper, everything online, that this theater did.
我真的花了三年时间创造了这一切– 每张剪报，网站上的一切， 剧场的一切。
106.And it was the only job, even though I was doing other jobs.
这就是我唯一的工作， 即便我也做其他的事情。
107.I lived and breathed it in a way I haven’t with a client since.
我生活在，呼吸在我从来没有过的 跟客户的亲密联系中。
108.It enabled me to really express myself and grow.
它使我真正地将我自己表述出来，并成长起来。
109.And I think that you know when you’re going to be given this position, and it’s rare, but when you get it and you have this opportunity,
我认为大家知道 当你要被授予这个职位的时候， 这很不寻常，但是当你得到它，你就有了这个机会
110.it’s the moment of serious play.
来展示发挥严肃艺术的时刻。
111.I did these things, and I still do them.
我做了这些事，我仍然继续做着。
112.I still work for the Public Theater.
我仍然为公共剧场工作。
113.I’m on their board, and I still am involved with it.
我是董事会成员，并且 我积极参与其中。
114.The high point of the Public Theater, I think, was in 1996, two years after I designed it, which was the “Bring in ‘da Noise, Bring in ‘da Funk” campaign
我认为，公共剧场最辉煌的时刻是在1996年， 我设计完成之后的两年， 也是”Bring in ‘da Noise, Bring in ‘da Funk”比赛的时候，
115.that was all over New York.
那比赛遍布纽约。
116.But something happened to it, and what happened to it was, it became very popular.
但是发生了一些事，那就是 它非常受欢迎。
117.And that is a kiss of death for something serious because it makes it solemn.
对于一些严肃的事情来说那意味着死亡之吻 因为它庄重。
118.And what happened was identity, that New York City, to a degree, ate my identity because people began to copy it.
象征画也发生了变化， 纽约市，从某种程度上说， 复制了我的象征画， 因为人人都开始模仿它。
119.Here’s an ad in the New York Times somebody did for a play called “Mind Games.”
这是纽约时报上的一则广告 有人为一场叫“头脑游戏”的戏剧设计的。
120.Then Chicago came out, used some more graphics, and the Public Theater’s identity was just totally eaten and taken away, which meant I had to change it.
然后芝加哥出现了，适用了更多的图形， 然后公共剧场的象征画算是完全地被夺走了， 也就是说我要修改它了。
121.So, I changed it so that every season was different, and I continued to do these posters, but they never had the seriousness of the first identity
所以，我修改了它，这样每一季都不同， 我继续设计这些宣传画， 因为它们从来没有 我在第一次创作象征画的艺术严肃性，
122.because they were too individual, and they didn’t have that heft of everything being the same thing.
因为它们太个体化了，他们没有同等价值 让每件事都变成相同的。
123.Now — and I think since the Public Theater, I must have done more than a dozen cultural identities for major institutions, and I don’t think I ever — I ever
现在，我想着既然公共剧场， 我需要做比那些主流机构所作的 还要多，在文化象征画上， 我从来没有想过，–我
124.grasped that seriousness again — I do them for very big, important institutions in New York City.
又一次把握住严肃性设计– 在纽约市我为非常大型的，重要的机构设计 。
125.The institutions are solemn, and so is the design.
机构是很庄重的， 设计也是一样。
126.They’re better crafted than the Public Theater was, and they spend more money on them, but I think that that moment comes and goes.
它们比公共剧场要更容易制造， 它们花更多的钱，但是我认为 那样的时光会过去。
127.The best way to accomplish serious design — which I think we all have the opportunity to do — is to be totally and completely unqualified for the job.
完成严肃的设计最好的方式是– 我认为我们都有机会去做– 那就是完完全全地不能胜任这份工作。
128.That doesn’t happen very often, but it happened to me in the year 2000, when for some reason or another, a whole pile of different architects
这并不经常发生， 但是2000年却发生在我身上， 基于某些原因， 整个的不同设计师团队
129.started to ask me to design the insides of theaters with them, where I would take environmental graphics and work them into buildings.
开始要我跟他们一起设计 剧场内部， 我会设计环境型图案并将他们融入建筑中。
130.I’d never done this kind of work before.
我从来没有做过这样的工作。
131.I didn’t know how to read an architectural plan, I didn’t know what they were talking about, and I really couldn’t handle the fact that a job —
我不知道如何看懂建筑计划， 我不知道他们都在讲什么， 我真的不能接受这个事实–