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Nancy Duarte: The secret structure of great talks
Nancy Duarte: A estrutura secreta das grandes charlas
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Dende o discurso "Teño un soño" ata o lanzamento do iPhone de Steve Jobs, moitas grandes charlas teñen unha estrutura común que axuda a que a súa mensaxe provoque impacto en quen as escoita. Nesta charla, a experta en presentacións, Nancy Duarte comparte leccións prácticas sobre como facer un poderoso chamamento á acción.
Nancy Duarte - CEO, presentation designer
Nancy Duarte believes that ideas are the most powerful tools people have. Her passion is to help every person learn to communicate their world-changing idea effectively. Full bio
Nancy Duarte believes that ideas are the most powerful tools people have. Her passion is to help every person learn to communicate their world-changing idea effectively. Full bio
Double-click the English transcript below to play the video.
00:12
It's really, really great to be here.
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É realmente xenial estar aquí.
00:14
You have the power to change the world.
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Vostedes teñen o poder de cambiar o mundo.
00:16
I’m not saying that to be cliché,
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Non o digo como un cliché,
00:18
you really have the power
to change the world.
to change the world.
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Teñen de verdade
o poder de cambiar o mundo.
o poder de cambiar o mundo.
Moi dentro de vostedes,
de cada un de vostedes
de cada un de vostedes
00:21
Deep inside of you,
every single one of you
every single one of you
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00:23
has the most powerful device known to man.
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atópase o dispositivo máis poderoso
coñecido polo ser home.
coñecido polo ser home.
00:27
And that's an idea.
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Unha idea.
00:29
So a single idea, from the human mind,
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Unha soa idea, dende a mente humana,
00:32
it could start a groundswell,
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podería comezar unha onda,
00:33
it could be a flash point for a movement
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que podería ser un punto de inflexión
para un movemento
para un movemento
00:36
and it can actually rewrite our future.
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e pode realmente reescribir o noso futuro.
00:39
But an idea is powerless
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Pero unha idea non ten forza
00:42
if it stays inside of you.
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se fica dentro de nós.
00:44
If you never pull that idea out
for others to contend with,
for others to contend with,
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Se nunca a expoñen
para que outros a discutan,
para que outros a discutan,
00:47
it will die with you.
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morrerá con vostedes.
00:49
Now, maybe some of you guys
have tried to convey your idea
have tried to convey your idea
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Talvez algúns de vostedes
tentaron transmitir a súa idea
tentaron transmitir a súa idea
00:52
and it wasn't adopted, it was rejected,
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e non foi adoptada, foi rexeitada,
00:54
and some other mediocre
or average idea was adopted.
or average idea was adopted.
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mentres que si se aceptou
outra mediocre.
outra mediocre.
00:57
And the only difference between those two
is in the way it was communicated.
is in the way it was communicated.
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E a única diferenza entre ambas
é a forma en que se comunicaron.
é a forma en que se comunicaron.
01:01
Because if you communicate an idea
in a way that resonates,
in a way that resonates,
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Porque se se comunica unha idea
de modo que teña repercusión,
de modo que teña repercusión,
01:04
change will happen,
and you can change the world.
and you can change the world.
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o cambio producirase,
e poderán cambiar o mundo.
e poderán cambiar o mundo.
Na miña familia coleccionamos
eses carteis europeos vintage.
eses carteis europeos vintage.
01:07
In my family, we collect
these vintage European posters.
these vintage European posters.
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01:10
Every time we go to Maui,
we go to the dealer there,
we go to the dealer there,
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Cada vez que imos a Maui,
imos xunta o vendedor,
imos xunta o vendedor,
01:13
and he turns these great big posters.
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e el amósanos eses grandes carteis.
01:14
I love them. They all have one idea
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Encántanme. Todos teñen unha idea
01:16
and one really clear visual
that conveys the idea.
that conveys the idea.
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e elementos visuais moi claros
que a transmiten.
que a transmiten.
01:19
They are about the size of a mattress.
They're really big.
They're really big.
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Son case do tamaño dun colchón.
Son moi grandes.
Son moi grandes.
Non son tan grosos coma un colchón,
pero son enormes.
pero son enormes.
01:22
They're not as thick as a mattress,
but they're big.
but they're big.
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E o tipo conta a historia
mentres pasa as páxinas.
mentres pasa as páxinas.
01:24
And the guy will tell the story
as he turns the pages.
as he turns the pages.
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E unha vez que estaba
cos meus dous fillos
cos meus dous fillos
01:27
And this one time
I was flanked by my two kids
I was flanked by my two kids
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el pasou a páxina
e este cartel estaba debaixo,
e este cartel estaba debaixo,
01:29
and he turns the page
and this poster is underneath,
and this poster is underneath,
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01:32
and right when I lean forward and say,
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e xusto cando me inclino
cara a diante e digo:
cara a diante e digo:
01:34
"Oh my God, I love this poster,"
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"Mi madriña, encántame este cartel!"
os meus dous fillos
saltan cara a atrás e din:
saltan cara a atrás e din:
01:36
both of my kids jumped back
and they are like,
and they are like,
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"Mamá, es ti!
01:38
"Oh my God, mom, it's you."
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01:40
And this is the poster.
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Velaquí o cartel.
01:41
(Laughter)
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(Risas)
01:42
See, I'm like "Fire it up!"
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Parece que estou dicindo: "Acéndeo!"
01:45
The thing I loved
about this poster was the irony.
about this poster was the irony.
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O que me encantou deste cartel
foi a ironía.
foi a ironía.
01:47
Here's this chick all fired up,
headed into battle --
headed into battle --
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Aquí está esta rapaza toda acesa,
camiño da batalla,
camiño da batalla,
01:50
as the standard bearer --
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a portadora do estandarte,
01:51
and she's holding these
little Suavitos baking spices,
little Suavitos baking spices,
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termando deses Suavitos;
unhas especias de cociña,
unhas especias de cociña,
01:54
like something so seemingly insignificant,
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algo tan insignificante,
01:57
though she's willing to risk, you know,
life and limb to promote this thing.
life and limb to promote this thing.
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como se estivese disposta a arriscar
a súa vida para publicitalos.
a súa vida para publicitalos.
02:02
So if you are to swap out
those little Suavitos baking spices
those little Suavitos baking spices
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Se queren substitúan
esas especias de cociña
esas especias de cociña
02:05
with a presentation --
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por unha presentación...
02:07
Yeah, it's me, pretty fired up.
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Si, son eu, moi entusiasmada.
02:09
I was fired up about presentations
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Estaba apaixonada polas presentacións
02:11
back when it wasn't cool
to be fired up about presentations.
to be fired up about presentations.
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cando aínda non estaba de moda
apaixonarse por elas.
apaixonarse por elas.
02:14
I really think they have the power
to change the world
to change the world
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Pero creo realmente
que teñen o poder de cambiar o mundo
que teñen o poder de cambiar o mundo
02:16
when you communicate
effectively through them.
effectively through them.
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se un se comunica con efectividade
a través delas.
a través delas.
02:19
And changing the world is hard.
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E cambiar o mundo é difícil.
02:21
It won't happen with just one person
with one single idea.
with one single idea.
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Non vai pasar cunha soa persoa
e cunha única idea.
e cunha única idea.
02:24
That idea has got to spread,
or it won't be effective.
or it won't be effective.
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Esa idea debe difundirse
ou non producirá efectos.
ou non producirá efectos.
02:28
So it has to come out of you
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Ten que saír de vostedes
02:30
and out into the open for people to see.
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e ir cara ao exterior
para que a xente a vexa.
para que a xente a vexa.
02:33
And the way that ideas are conveyed
the most effectively is through story.
the most effectively is through story.
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E a forma máis efectiva
de transmitir ideas é usar historias.
de transmitir ideas é usar historias.
Durante milleiros de anos
as xeracións iletradas
as xeracións iletradas
02:38
You know, for thousands of years,
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02:39
illiterate generations would pass on
their values and their culture
their values and their culture
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transmitían mediante historias
os seus valores e a súa cultura
os seus valores e a súa cultura
02:43
from generation to generation,
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de xeración en xeración,
02:44
and they would stay intact.
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e estas mantíñanse intactas.
02:46
So there's something kind of magical
about a story structure
about a story structure
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Hai algo máxico
na estrutura dunha historia
na estrutura dunha historia
02:49
that makes it so that when it's assembled,
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que fai que cando está ensamblada,
02:51
it can be ingested and then recalled
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poida ser asimilada e despois difundida
02:53
by the person who's receiving it.
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pola persoa que a escoita.
02:56
So basically a story,
you get a physical reaction;
you get a physical reaction;
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Así que, basicamente, cunha historia
obtense unha reacción física;
obtense unha reacción física;
03:00
your heart can race, your eyes can dilate,
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o corazón pode acelerarse
e os ollos dilatarse.
e os ollos dilatarse.
03:03
you could talk about,
"Oh, I got a chill down my spine"
"Oh, I got a chill down my spine"
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Pódese dicir:
"Teño arreguizos no espiñazo."
"Teño arreguizos no espiñazo."
03:05
or, "I could feel it
in the pit of my stomach."
in the pit of my stomach."
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ou: "Podo sentila na boca do estómago".
03:08
We actually physically react
when someone is telling us a story.
when someone is telling us a story.
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En verdade, reaccionamos fisicamente
cando nos contan unha historia.
cando nos contan unha historia.
03:11
So even though the stage is the same,
a story can be told,
a story can be told,
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E, aínda sendo a mesma situación,
pódese contar como historia,
pódese contar como historia,
03:13
but once a presentation is told,
it completely flatlines.
it completely flatlines.
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pero contada como presentación,
vólvese totalmente plana.
vólvese totalmente plana.
03:16
And I wanted to figure out why.
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E quería descubrir por que.
03:18
Why is it that we physically sit
with rapt attention during a story,
with rapt attention during a story,
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Por que nos sentimos
fisicamente cativados por unha historia,
fisicamente cativados por unha historia,
03:21
but it just dies for a presentation.
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pero morremos nunha presentación?
03:24
So I wanted to figure out, how do you
incorporate story into presentations.
incorporate story into presentations.
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Por iso quería saber como engadir
unha historia ás presentacións.
unha historia ás presentacións.
03:27
So we've had thousands of presentations
back at the shop --
back at the shop --
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Tivemos miles de presentacións na tenda,
03:30
hundreds of thousands
of presentations, actually,
of presentations, actually,
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centos de miles, en realidade,
03:32
so I knew the context
of a really bad presentation.
of a really bad presentation.
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así que sabía o contexto
dunha presentación moi mala.
dunha presentación moi mala.
03:35
I decided to study cinema and literature,
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Decidín estudar cine e literatura,
03:38
and really dig in
and figure out what was going on
and figure out what was going on
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e realmente afondar e descubrir
que acontecía
que acontecía
03:40
and why it was broken.
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e por que non funcionaban.
03:42
So, I want to show you
some of the findings
some of the findings
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Quero amosarlles algúns resultados
03:45
that led up to what I've uncovered
as a presentation form.
as a presentation form.
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que nos levan ao que poderiamos chamar
un modelo de presentación.
un modelo de presentación.
03:50
So it was obvious to start with Aristotle,
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Era obvio comezar con Aristóteles,
03:52
he had a three-act structure,
a beginning, a middle and an end.
a beginning, a middle and an end.
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que tiña una estrutura en tres actos:
comezo, corpo e final.
comezo, corpo e final.
03:55
We studied poetics and rhetoric,
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Estudamos poética e retórica,
03:56
and a lot of presentations don't even
have that in its most simple form.
have that in its most simple form.
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e moitas presentacións nin sequera
teñen iso na súa forma máis sinxela.
teñen iso na súa forma máis sinxela.
04:00
And then when I moved on
to studying hero archetypes,
to studying hero archetypes,
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E logo, cando pasei a estudar
arquetipos de heroes,
arquetipos de heroes,
04:02
I thought, "OK, the presenter is the hero,
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pensei: "Vale, quen presenta é o heroe,
04:04
they're up on the stage,
they're the star of the show."
they're the star of the show."
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está no escenario,
é a estrela do espectáculo".
é a estrela do espectáculo".
Se es quen presenta, é doado véreste
como a estrela do espectáculo.
como a estrela do espectáculo.
04:07
It's easy to feel, as the presenter,
that you're the star of the show.
that you're the star of the show.
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Pero axiña me decatei
de que iso non funciona.
de que iso non funciona.
04:10
I realized right away,
that that's really broken.
that that's really broken.
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Porque se teño unha idea,
podo poñérllela diante,
podo poñérllela diante,
04:13
Because I have an idea,
I can put it out there,
I can put it out there,
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pero se non a collen e a asumen,
04:16
but if you guys don't grab that idea
and hold it as dear,
and hold it as dear,
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a idea non vai a ningures
e o mundo non cambia.
e o mundo non cambia.
04:18
the idea goes nowhere
and the world is never changed.
and the world is never changed.
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Así que, en realidade,
quen presenta non é o heroe,
quen presenta non é o heroe,
04:21
So in reality,
the presenter isn't the hero,
the presenter isn't the hero,
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é o público o heroe da nosa idea.
04:23
the audience is the hero of our idea.
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04:26
So if you look at
Joseph Campbell's hero's journey,
Joseph Campbell's hero's journey,
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Se se fixan en A viaxe do heroe
de Joseph Campbell,
de Joseph Campbell,
04:29
just in the front part, there were
some really interesting insights there.
some really interesting insights there.
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na primeira parte había algunhas ideas
verdadeiramente interesantes.
verdadeiramente interesantes.
Está este simpático heroe nun mundo común,
04:32
So there is this likable hero
in an ordinary world,
in an ordinary world,
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e chégalle esa chamada á aventura.
04:35
and they get this call to adventure.
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Entón, o mundo desequilíbrase.
04:36
So the world is
kind of brought out of balance.
kind of brought out of balance.
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E ao principio resístense.
04:39
And at first they're resistant.
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Pensan: "Non sei se quero meterme nisto"
04:40
They're like, "I don't know
if I want to jump into this,"
if I want to jump into this,"
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e daquela aparece un mentor
04:43
and then a mentor comes along
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que lles axuda a pasar
do seu mundo común
do seu mundo común
04:44
and helps them move
from their ordinary world
from their ordinary world
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a un mundo especial.
04:46
into a special world.
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Velaquí o papel de quen presenta.
04:48
And that's the role of the presenter.
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Ser o mentor.
Vostedes non son Luke Skywalker, son Yoda.
Vostedes non son Luke Skywalker, son Yoda.
04:49
It's to be the mentor.
You're not Luke Skywalker, you're Yoda.
You're not Luke Skywalker, you're Yoda.
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Son os que realmente
lle axudan á audiencia
lle axudan á audiencia
04:52
You're the one
that actually helps the audience
that actually helps the audience
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a pasar dun punto
á súa nova idea especial,
á súa nova idea especial,
04:55
move from one thing
and into your new special idea,
and into your new special idea,
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e ese é o poder dunha historia.
04:58
and that's the power of a story.
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05:01
So in its most simple structure,
it's a three-part structure of a story.
it's a three-part structure of a story.
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Na súa estrutura máis sinxela,
consta de tres partes.
consta de tres partes.
05:05
You have a likable hero who has a desire,
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Hai un heroe agradable que ten un desexo,
05:07
they encounter a roadblock
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atópanse cun obstáculo
05:09
and ultimately they emerge, transform,
and that's the basic structure.
and that's the basic structure.
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e finalmente emerxen, transfórmanse.
Esa é a estrutura básica.
Esa é a estrutura básica.
05:14
But it wasn't until I came across
a Gustav Freytag's pyramid --
a Gustav Freytag's pyramid --
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Pero non foi ata que atopei
a pirámide de Gustav Freytag:
a pirámide de Gustav Freytag:
05:18
he drew this shape in 1863.
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el debuxouna en 1863.
05:21
Now, he was a German dramatist ...
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Era un dramaturgo alemán...
05:24
he was a German dramatist
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un dramaturgo alemán
05:25
and he believed
there is a five-act structure,
there is a five-act structure,
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que cría que hai
unha estrutura de cinco actos,
unha estrutura de cinco actos,
05:28
which has an exposition, a rising action,
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cunha exposición,
un aumento da acción,
un aumento da acción,
05:31
a climax, a falling action
and a denouement,
and a denouement,
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un clímax, un descenso da acción
e un desenlace,
e un desenlace,
05:34
which is the unraveling
or the resolution of the story.
or the resolution of the story.
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que é o desenredo
ou a resolución da historia.
ou a resolución da historia.
05:37
I love this shape.
So we talk about shapes.
So we talk about shapes.
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Encántame esta forma.
Así que falemos de formas.
Así que falemos de formas.
05:39
A story has an arc --
well, an arc is a shape.
well, an arc is a shape.
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Unha historia ten un arco,
ben, un arco é unha forma.
ben, un arco é unha forma.
05:41
We talk about classical music
having a shapeliness to it.
having a shapeliness to it.
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Falamos de música clásica
que ten unha beleza de formas.
que ten unha beleza de formas.
05:45
So I thought, hey,
if presentations had a shape,
if presentations had a shape,
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Así que pensei,
se as presentacións tiveran forma,
se as presentacións tiveran forma,
05:47
what would that shape be?
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cal sería?
05:49
And how did the greatest
communicators use that shape,
communicators use that shape,
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E como usaron esa forma
os mellores comunicadores,
os mellores comunicadores,
05:52
or do they use a shape?
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ou como a seguen usando?
05:53
So I'll never forget,
it was a Saturday morning.
it was a Saturday morning.
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Nunca o esquecerei,
era sábado pola mañá.
era sábado pola mañá.
Despois de todo este estudo,
--foran un par de anos--
--foran un par de anos--
05:56
After all this study --
it was a couple of years of study --
it was a couple of years of study --
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debuxei unha forma.
05:58
I drew a shape.
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E pensei: "Mi madriña,
se esta forma é real,
se esta forma é real,
06:00
And I was like,
"Oh my gosh, if this shape is real,
"Oh my gosh, if this shape is real,
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debería poder coller
dúas presentacións totalmente diferentes
dúas presentacións totalmente diferentes
06:02
I should be able to take
two completely different presentations
two completely different presentations
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e superpoñelas,
e a forma debería ser correcta".
e a forma debería ser correcta".
06:05
and overlay it, and it should be true."
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06:07
So I took the obvious,
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Así que fun ao obvio:
06:08
I took Martin Luther King's
"I Have a Dream" speech,
"I Have a Dream" speech,
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o discurso de Martin Luther King
"Teño un soño",
"Teño un soño",
e o discurso de lanzamento do iPhone
de Steve Jobs en 2007,
de Steve Jobs en 2007,
06:11
and I took Steve Jobs'
2007 iPhone launch speech,
2007 iPhone launch speech,
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06:13
I overlaid it over it, and it worked.
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superpúxenos e funcionou.
06:16
I sat in my office, just astounded.
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Senteime no meu despacho,
asombrada.
asombrada.
06:17
I actually cried a little,
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En realidade, chorei un pouco,
porque pensaba: "Déronme este regalo",
06:19
because I was like,
"I've been given this gift,"
"I've been given this gift,"
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e velaquí está,
06:22
and here it is,
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a forma dunha gran presentación.
06:23
this is the shape of a great presentation.
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06:26
Isn't it amazing?
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Non é asombroso?
06:28
(Laughter)
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(Risas)
06:29
I was crying.
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Estiven chorando.
06:30
I want to walk you through it,
it's pretty astounding.
it's pretty astounding.
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Quero guialos a través dela,
é bastante sorprendente.
é bastante sorprendente.
06:33
There is a beginning, a middle and an end,
and I want to walk you through it.
and I want to walk you through it.
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Hai un comezo, un corpo e un final.
E quero guialos a través deles.
E quero guialos a través deles.
Porque os mellores comunicadores
--analiceino todo dos discursos,
--analiceino todo dos discursos,
06:36
Because the greatest communicators --
I went through speeches, everything --
I went through speeches, everything --
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e podo solapar a forma:
06:40
I can overlay the shape.
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incluso o discurso de Gettysburg
segue esta forma.
segue esta forma.
06:41
Even the Gettysburg Address
follows the shape.
follows the shape.
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06:43
At the beginning of any presentation,
you need to establish what is.
you need to establish what is.
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Ao comezo de calquera presentación,
deben establecer o que é.
deben establecer o que é.
06:47
You know, here's the status quo,
here's what's going on.
here's what's going on.
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É dicir, o statu quo,
o que está pasando.
o que está pasando.
06:49
And then you need
to compare that to what could be.
to compare that to what could be.
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E logo hai que comparalo
co que podería ser.
co que podería ser.
06:52
You need to make that gap
as big as possible,
as big as possible,
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Deben agrandar esa fenda
todo o posíbel,
todo o posíbel,
06:55
because there is this commonplace
of the status quo,
of the status quo,
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porque existe este lugar común
do statu quo,
do statu quo,
06:58
and you need to contrast that
with the loftiness of your idea.
with the loftiness of your idea.
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e cómpre que o contrasten
coa excelencia da súa idea.
coa excelencia da súa idea.
07:01
So it's like, you know,
here's the past, here's the present,
here's the past, here's the present,
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É dicir, velaquí o pasado,
e velaquí o presente,
e velaquí o presente,
07:04
but look at our future.
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pero ollen o noso futuro.
07:06
Here's a problem,
but look at that problem removed.
but look at that problem removed.
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Aquí hai un problema,
pero mira como o resolvemos.
pero mira como o resolvemos.
07:09
Here's a roadblock,
let's annihilate the roadblock.
let's annihilate the roadblock.
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Aquí hai un obstáculo,
imos eliminalo.
imos eliminalo.
07:12
You need to really amplify that gap.
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Deben ampliar esa fenda.
07:14
This would be like
the inciting incident in a movie.
the inciting incident in a movie.
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Isto sería como o incidente incitador
dunha película.
dunha película.
07:17
That's when suddenly
the audience has to contend
the audience has to contend
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Daquela, a audiencia
debe enfrontarse de súpeto
debe enfrontarse de súpeto
07:19
with what you just put out there:
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co que se lle acaba de presentar:
07:20
"Wow, do I want to agree
with this and align with it or not?"
with this and align with it or not?"
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"Quero estar de acordo con isto
e aliñarme con el, ou non?"
e aliñarme con el, ou non?"
07:23
And in the rest of your presentation
should support that.
should support that.
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E o resto da súa presentación
debe apoiar iso.
debe apoiar iso.
07:27
So the middle goes back and forth,
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E o corpo da presentación
vai dun lado ao outro,
vai dun lado ao outro,
07:29
it traverses between
what is and what could be,
what is and what could be,
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cruza desde o que é
ao que podería ser,
ao que podería ser,
o que é e o que podería ser.
07:31
what is and what could be.
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07:33
Because what you are trying to do
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Porque o que se trata de facer
07:34
is make the status quo
and the normal unappealing,
and the normal unappealing,
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é converter o statu quo
e o normal en pouco atractivo,
e o normal en pouco atractivo,
07:37
and you're wanting to draw them
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e conducir ao público
07:39
towards what could be
in the future with your idea adopted.
in the future with your idea adopted.
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ao que podería ser o futuro
se asumen esa idea.
se asumen esa idea.
07:42
Now, on your way to change the world,
people are going to resist.
people are going to resist.
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Na súa ruta para cambiar o mundo,
a xente vaise resistir.
a xente vaise resistir.
07:45
They're not going to be excited,
they may love the world the way it is.
they may love the world the way it is.
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Non se entusiasmarán,
se cadra gústalles o mundo como é.
se cadra gústalles o mundo como é.
Así que haberá resistencia.
07:49
So you'll encounter resistance.
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Por iso cómpre ir dun lado ao outro.
07:50
That's why you
have to move back and forth.
have to move back and forth.
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É como navegar.
07:52
It's similar to sailing.
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Cando se navega contra o vento
e hai resistencia,
e hai resistencia,
07:54
When you're sailing against the wind
and there is wind resistance,
and there is wind resistance,
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hai que mover o barco dun lado ao outro.
07:57
you have to move your boat back and forth,
and back and forth.
and back and forth.
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Faise para coller o vento.
08:00
That's so you can capture the wind.
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Vostedes deben coller a resistencia
08:02
You have to actually
capture the resistance
capture the resistance
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que vén en contra súa
cando están a navegar.
cando están a navegar.
08:04
coming against you when you're sailing.
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1936
É interesante,
se se colle o vento adecuado
se se colle o vento adecuado
08:06
Now interesting,
if you capture the wind just right
if you capture the wind just right
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e se pon a vela axeitadamente,
08:08
and you set your sail just right,
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entón o barco navegará
máis rápido ca o propio vento.
máis rápido ca o propio vento.
08:10
your ship will actually
sail faster than the wind itself.
sail faster than the wind itself.
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08:12
It is a physics phenomenon.
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É un fenómeno físico.
Así que, facendo iso,
08:14
So by planting in there
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o xeito en que se van resistir
entre o que é e o que pode ser,
entre o que é e o que pode ser,
08:15
the way they're going to resist
between what is and what can be,
between what is and what can be,
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en realidade vainos atraer
cara á súa idea
cara á súa idea
08:18
is actually going to draw
them towards your idea
them towards your idea
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máis rápido ca se non o fixeran.
08:20
quicker than should you not do that.
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Despois de navegar dun lado a outro
entre o que é e o que podería ser,
entre o que é e o que podería ser,
08:22
So after you've moved back and forth
between what is and what could be,
between what is and what could be,
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o último punto de inflexión
é unha chamada á acción,
é unha chamada á acción,
08:26
the last turning point
is a call to action,
is a call to action,
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08:28
which every presentation should have,
but at the very end.
but at the very end.
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algo que toda presentación debería ter,
pero ao final.
pero ao final.
08:30
You need to describe the world
as a new bliss.
as a new bliss.
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Cómpre describir o mundo
coma unha nova bendición.
coma unha nova bendición.
08:33
"This is utopia with my idea adopted."
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"Esta é a utopía,
cando se adopte a miña idea".
cando se adopte a miña idea".
08:35
"This is the way
the world is going to look,
the world is going to look,
201
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"Este é o aspecto que terá o mundo,
cando nos unamos e resolvamos
este gran problema".
este gran problema".
08:37
when we join together
and we solve this big problem."
and we solve this big problem."
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Hai que usar isto como remate,
08:40
You need to use that as your ending,
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dun xeito moi poético e dramático.
08:41
in a very poetic and dramatic way.
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08:45
So, interestingly, when I was done,
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Así que, curiosamente, cando rematei,
pensei: "Podería usar isto
como unha ferramenta de análise".
como unha ferramenta de análise".
08:47
I was like, "You know what?
I could use this as an analysis tool."
I could use this as an analysis tool."
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Agora transcribo discursos,
08:51
I actually transcribe speeches,
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2017
e quería verificar ata que punto
encaixan con esta ferramenta.
encaixan con esta ferramenta.
08:53
and I would actually map out,
how much they map to this tool.
how much they map to this tool.
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Así que quero amosarlles algúns hoxe,
08:56
So I want to show you some of that today,
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e quero comezar coas dúas persoas
08:58
and I want to start
with the very two people
with the very two people
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con que o fixen por primeira vez.
09:00
that I used when I first did.
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09:02
Here's Mr. Jobs,
has completely changed the world.
has completely changed the world.
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Velaquí o Sr. Jobs,
que cambiou completamente o mundo.
que cambiou completamente o mundo.
09:04
Changed the world of personal computing,
changed the music industry
changed the music industry
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Cambiou o mundo da informática persoal,
a industria da música
a industria da música
e leva camiño de cambiar
a industria dos dispositivos móbiles.
a industria dos dispositivos móbiles.
09:08
and now he's on his way
to change the mobile device industry.
to change the mobile device industry.
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09:11
So he's definitely changed the world.
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Sen dúbida, cambiou o mundo.
09:12
And this is the shape
of his iPhone launch 2007,
of his iPhone launch 2007,
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E esta é a forma do seu lanzamento
do iPhone en 2007,
do iPhone en 2007,
09:15
when he launched his iPhone.
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cando lanzou o seu iPhone.
09:17
It's a 90-minute talk
and you can see he starts with what is,
and you can see he starts with what is,
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É unha charla de 90 minutos
que comeza co que é,
que comeza co que é,
09:20
traverses back and forth
and ends with what could be.
and ends with what could be.
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segue indo dun lado ao outro,
e remata co que podería ser.
e remata co que podería ser.
09:23
So I want to zoom in on this:
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Quero centrarme nisto:
A liña branca é el falando,
contando.
contando.
09:25
the white line
is him speaking, he's talking.
is him speaking, he's talking.
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A seguinte liña de cor que ven alí,
09:29
The next color line
you'll see popped up there,
you'll see popped up there,
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é cando amosa vídeos.
09:31
that's when he cuts to video.
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Está engadindo algo de variedade
e corta a demostración.
e corta a demostración.
09:32
So he's adding some variety
and he cuts to demo.
and he cuts to demo.
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09:34
So it's not just him
talking the whole time.
talking the whole time.
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Non está falando todo o tempo.
E estas liñas de alí son a representación.
09:37
And these lines are representative there.
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09:40
And then towards the end
you'll see a blue line,
you'll see a blue line,
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E logo cara ao final vese unha liña azul,
que é o orador invitado.
09:42
which will be the guest speaker.
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E aquí é onde se pon interesante:
09:44
So this is where it gets
kind of interesting:
kind of interesting:
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cada marca destas sinala
cando lles fixo rir.
cando lles fixo rir.
09:46
every tick mark here
is when he made them laugh.
is when he made them laugh.
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E cada unha destas
cando lles fixo aplaudir.
cando lles fixo aplaudir.
09:48
And every tick mark here
is when he made them clap.
is when he made them clap.
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Están tan implicados fisicamente,
09:51
They are so involved physically,
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1856
están reaccionando fisicamente
ao que el está dicindo,
ao que el está dicindo,
09:53
they are physically reacting
to what he is saying,
to what he is saying,
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09:55
which is actually fantastic,
234
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o que é realmente fantástico,
09:56
because then you know
you have the audience in your hand.
you have the audience in your hand.
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porque entón sabes
que tes a audiencia nas túas mans.
que tes a audiencia nas túas mans.
E entón comeza co que podería ser,
10:00
So he kicks off what could be with,
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"Levo agardando por este día
dous anos e medio".
dous anos e medio".
10:03
"This is a day I've been looking
forward to for two and a half years."
forward to for two and a half years."
237
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3336
Está lanzando un produto
10:06
So he is launching a product
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que xa se coñece dende hai un par de anos.
10:07
that he's known about already
for a couple of years.
for a couple of years.
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Non é un produto novo para el.
10:10
So this is not a new product to him.
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Pero miren isto,
10:12
But look at this,
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fai tamén isto outro: marabíllase.
10:13
he does this other thing: he marvels.
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Marabíllase co seu propio produto.
10:15
He marvels at his own product.
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10:16
He marvels himself
more than the audience laughs or claps.
more than the audience laughs or claps.
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Marabíllase aínda máis
do que a audiencia ri ou aplaude.
do que a audiencia ri ou aplaude.
E entón di: "Non é impresionante?
Non é fermoso?
Non é fermoso?
10:19
So he is like, "Isn't this awesome?
Isn't this beautiful?"
Isn't this beautiful?"
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Está modelando a audiencia
para sinta o que el quere.
para sinta o que el quere.
10:23
He is modeling for the audience
what he wants them to feel.
what he wants them to feel.
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Fai o traballo de obrigalos a sentirse
dun xeito determinado.
dun xeito determinado.
10:26
So he is actually doing a job
of compelling them to feel a certain way.
of compelling them to feel a certain way.
247
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10:31
So he kicks off with what could be with,
"Every once in a while,
"Every once in a while,
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3496
Entón comeza co que podería ser:
"De cando en vez,
"De cando en vez,
aparece un produto revolucionario
que o cambia todo".
que o cambia todo".
10:34
a revolutionary product comes along
that changes everything."
that changes everything."
249
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E dá en falar e falar
do seu novo produto.
do seu novo produto.
10:37
So he starts to kick in
and talk about his new product.
and talk about his new product.
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Ao inicio, en realidade
ten o teléfono apagado.
ten o teléfono apagado.
10:40
Now, at the beginning of it,
he actually keeps the phone off.
he actually keeps the phone off.
251
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Verán que a liña é bastante branca
ata este punto,
ata este punto,
10:43
You'll see that the line
is pretty white up until this point,
is pretty white up until this point,
252
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e entón vai entre
10:46
so he goes off between,
253
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1416
"Velaquí este novo teléfono
e velaquí os malos competidores.
e velaquí os malos competidores.
10:48
"Here's this new phone,
and here's the sucky competitors.
and here's the sucky competitors.
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10:50
Here's this new phone,
and here's the sucky competitors."
and here's the sucky competitors."
255
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3216
Velaquí este novo teléfono
e velaquí os malos competidores”.
e velaquí os malos competidores”.
E logo, xusto aquí,
ten o seu momento estelar,
ten o seu momento estelar,
10:54
And then, right about here,
he has the star moment --
he has the star moment --
256
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2776
10:57
and that something we'll always remember.
257
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ese algo que sempre lembraremos.
10:59
He turns the phone on.
258
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1496
Acende o teléfono.
11:00
The audience sees scrolling
for the first time,
for the first time,
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2216
A pantalla desprázase
por primeira vez,
por primeira vez,
11:02
you can hear the oxygen
sucked out of the room.
sucked out of the room.
260
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2216
pódese escoitar como se inspira
o aire na sala.
o aire na sala.
11:05
They gasped. You can actually hear it.
261
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A xente arfaba. Pódese escoitar.
E entón crea un momento
que sempre lembrarán.
que sempre lembrarán.
11:07
So he creates a moment
that they'll always remember.
that they'll always remember.
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E se nos movemos neste esquema,
pódese ver o azul,
pódese ver o azul,
11:09
So if we move along this model,
you can see the blue,
you can see the blue,
263
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2496
onde van os oradores externos,
11:12
where the external speakers are going,
264
660000
2016
e na parte inferior dereita,
a liña rompe.
a liña rompe.
11:14
and towards the bottom right,
the line breaks.
the line breaks.
265
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2176
É porque lle rompeu o mando.
11:16
That's because his clicker broke.
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El quere manter esa sensación de emoción.
11:17
He wants to keep
this heightened sense of excitement.
this heightened sense of excitement.
267
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E conta unha historia persoal,
11:20
He tells a personal story,
268
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xusto alí onde a tecnoloxía non funcionou.
11:21
right there, where
the technology didn't work.
the technology didn't work.
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É o mestre de comunicadores
11:24
So he's the master communicator,
270
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1576
e recorre á historia
para manter a audiencia implicada.
para manter a audiencia implicada.
11:25
and he turns to story
to keep the audience involved.
to keep the audience involved.
271
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2440
11:28
So the top right
he ends with the new bliss.
he ends with the new bliss.
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2376
E arriba á dereita
acaba coa nova bendición.
acaba coa nova bendición.
Déixanos coa promesa
11:31
He leaves them with the promise
273
679000
1576
de que Apple seguirá construíndo
novos produtos revolucionarios.
novos produtos revolucionarios.
11:32
that Apple will continue
to build revolutionary new products.
to build revolutionary new products.
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E di:
11:36
And he says,
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1200
11:38
"There's an old Wayne Gretzky
quote that I love:
quote that I love:
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"Hai unha vella cita de Wayne Gretzky
que me encanta:
que me encanta:
11:40
'I skate to where the puck is going to be,
not to where it has been.'
not to where it has been.'
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`Patino cara a onde o disco vai estar,
non cara a onde xa estivo´.
non cara a onde xa estivo´.
11:43
We've always tried to do that
at Apple since the very beginning
at Apple since the very beginning
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En Apple sempre tentamos
facer iso dende os comezos
facer iso dende os comezos
e sempre o faremos".
11:46
and we always will."
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E así remata coa nova bendición.
11:48
So he ends with the new bliss.
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11:49
So let's look at Mr. King.
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Vexamos agora ao Sr. King.
11:50
He was an amazing visionary, a clergyman
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Era un visionario incrible, un clérigo
11:53
who spent his life
working hard for equality.
working hard for equality.
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que pasou a vida
pelexando pola igualdade.
pelexando pola igualdade.
11:56
And this is the shape
of the "I Have a Dream" speech.
of the "I Have a Dream" speech.
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E esta é a forma
do discurso "Teño un soño".
do discurso "Teño un soño".
11:58
You can see he starts with what is,
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Poden ver que comeza co que é,
12:00
moves back and forth
between what is and what could be,
between what is and what could be,
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móvese dun lado ao outro
entre o que é e o que podería ser,
entre o que é e o que podería ser,
12:03
and ends with a very poetic new bliss,
which is the famous part we all know.
which is the famous part we all know.
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e remata cunha bendición moi poética,
a parte famosa que todos coñecemos.
a parte famosa que todos coñecemos.
12:07
So I'm going to spread it out
a little bit here,
a little bit here,
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Así que vou estendelo un pouco aquí,
12:09
stretch it for you,
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descompoñelo para vostedes,
12:11
and what I'm doing here is
I put the actual transcript there
I put the actual transcript there
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e poño a transcrición real
12:14
along with the text.
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canda o texto.
Sei que non poden lelo.
12:15
I know you can't read it.
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Pero ao final de cada salto de liña,
cortei a liña,
cortei a liña,
12:16
But at the end of every line break,
I broke the line,
I broke the line,
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porque colleu aire e fixo unha pausa.
12:19
because he took a breath and he paused.
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Era un predicador baptista do sur,
moita xente non o sabía,
moita xente non o sabía,
12:21
Now he was a Southern Baptist preacher,
most people hadn't heard that,
most people hadn't heard that,
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así que tiña unha cadencia e un ritmo
realmente novo para a xente de alí.
realmente novo para a xente de alí.
12:24
so he had a real cadence and a rhythm
that was really new for people there.
that was really new for people there.
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Quero cubrir
esas liñas de texto cunha barra
esas liñas de texto cunha barra
12:28
So I want to cover up
these lines of text with a bar
these lines of text with a bar
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porque quero usala
como dispositivo de información.
como dispositivo de información.
12:30
because I want to use this bar
as an information device here.
as an information device here.
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12:33
So let's walk through
how he actually spoke to the people.
how he actually spoke to the people.
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Vexamos como lle falou á xente.
12:38
The blue bars here
are going to be when he used
are going to be when he used
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Aquí, as barras azuis amosan
os momentos en que usou
os momentos en que usou
12:40
the actual rhetorical device
of repetition.
of repetition.
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a figura retórica da repetición.
Estábase repetindo,
12:42
So he was repeating himself,
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usaba as mesmas palabras e frases,
12:43
he was using the same words and phrases,
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1936
para que a xente
puidera lembralas.
puidera lembralas.
12:45
so people could remember and recall them.
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12:48
But then he also used
a lot of metaphors and visual words.
a lot of metaphors and visual words.
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Pero tamén usou moitas metáforas
e palabras visuais.
e palabras visuais.
12:51
This was a way to take
really complicated ideas
really complicated ideas
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Era un xeito de expresar ideas
moi complexas
moi complexas
e facelas doadas de recoñecer e lembrar,
para que a xente as entendera.
para que a xente as entendera.
12:53
and make them memorable
and knowledgeable, so people got it.
and knowledgeable, so people got it.
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12:56
He actually created very --
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En realidade, case creou
12:58
almost like scenes
with his words to make it
with his words to make it
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escenas a través das súas palabras
13:00
so they could envision what he was saying.
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para que a xente
puidera imaxinar o que dicía.
puidera imaxinar o que dicía.
E logo tamén usou moitas cancións
familiares e pasaxes relixiosas.
familiares e pasaxes relixiosas.
13:03
And then there were also a lot of familiar
songs and scriptures that he used.
songs and scriptures that he used.
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Isto é só a parte máis visible.
13:07
This is just the front end of it
that you're seeing.
that you're seeing.
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E logo tamén fixo
moitas referencias políticas
moitas referencias políticas
13:09
And then he also made
a lot of political references
a lot of political references
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das promesas que lle fixeron á xente.
13:12
of the promises
that were made to the people.
that were made to the people.
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E se ollamos o extremo final do que é,
13:14
So if we look at
the very first end of what is,
the very first end of what is,
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foi esa a primeira vez
13:16
at the very end of what is
was the very first time
was the very first time
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que a xente aplaudiu
e ruxiu realmente forte.
e ruxiu realmente forte.
13:19
that people actually clapped
and roared really loud.
and roared really loud.
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E ao final dixo:
13:21
So the end of what is
what he did is he said,
what he did is he said,
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2136
"EE.UU deulle
un cheque sen fondos aos negros,
un cheque sen fondos aos negros,
13:23
"America has given
the Negro people a bad check,
the Negro people a bad check,
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791800
2256
13:26
a check which has come back
marked insufficient funds."
marked insufficient funds."
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794080
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un cheque devolto
por falta de fondos".
por falta de fondos".
13:28
Well, everyone knows what it's like
to not have money in your account.
to not have money in your account.
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Todos saben o que é
non ter cartos na conta.
non ter cartos na conta.
E usou a metáfora
coa que a xente estaba moi familiarizada.
coa que a xente estaba moi familiarizada.
13:32
So he used the metaphor
people were very familiar with.
people were very familiar with.
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Pero cando estouparon de verdade,
13:34
But when they really charged up,
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a primeira vez que realmente gritaron
foi cando dixo:
foi cando dixo:
13:36
the very first time
they really screamed was:
they really screamed was:
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13:38
"So we have come to cash this check,
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"Así que viñemos cobrar ese cheque,
13:40
a check that will give us upon demand
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un cheque que nos dará acceso
13:42
the riches of freedom
and the security of justice."
and the security of justice."
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810640
2776
á riqueza da liberdade
e á seguridade da xustiza".
e á seguridade da xustiza".
Foi entón cando aplaudiron de verdade.
13:45
That's when they really clapped.
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1576
13:47
It was when he compared
what currently is to what could be.
what currently is to what could be.
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3136
Cando comparou o que actualmente é,
co que podería ser.
co que podería ser.
Ao avanzar un pouco máis no modelo,
13:50
So when we move along
a little farther in the model,
a little farther in the model,
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818200
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verán que vai e vén
a un ritmo máis frenético.
a un ritmo máis frenético.
13:52
you'll see it goes back and forth
at a more frenzied pace.
at a more frenzied pace.
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E aquí é cando vai e vén, e vai e vén.
13:55
And this is when he goes
back and forth, and back and forth.
back and forth, and back and forth.
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Agora a audiencia vivía nun frenesí.
13:58
Now the audience was in a frenzy.
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826560
1616
14:00
They were all excited,
and so you can actually do this
and so you can actually do this
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828200
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Estaban todos emocionados,
e así pódese facer algo de verdade
e así pódese facer algo de verdade
14:02
to keep them in a heightened
sense of excitement.
sense of excitement.
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830800
2600
para conservar
esa gran sensación de emoción.
esa gran sensación de emoción.
14:06
So he says, "I have a dream
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E entón dixo: "Teño un soño,
14:08
that one day this nation will rise up
and live out the meaning of its creed.
and live out the meaning of its creed.
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4376
que un día esta nación se erga
e viva o significado das súas crenzas.
e viva o significado das súas crenzas.
14:13
'We hold these truths to be self-evident,
that all men are created equal.'"
that all men are created equal.'"
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841120
3696
Sostemos como certeza evidente
que todas as persoas foron creadas iguais.
que todas as persoas foron creadas iguais.
Entón usa o pequeno texto laranxa
para recordarlles a promesa
para recordarlles a promesa
14:16
So he uses the little orange text there
to remind them of the promise
to remind them of the promise
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que os políticos lles fixeran
ou que este país lles fixera.
ou que este país lles fixera.
14:20
that the politicians had made to him
or that this country had made.
or that this country had made.
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848120
3176
Logo vai e vén entre:
14:23
Then he moves back and forth between
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851320
1736
"Teño o soño de que un día,
teño o soño de que un día,
teño o soño de que un día,
14:25
"I have a dream that one day,
I have a dream that one day,
I have a dream that one day,
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853080
2715
teño o soño de que un día",
14:27
I have a dream that one day,"
343
855819
1397
e ao final, vólvese realmente interesante.
14:29
and at the end,
it gets really interesting.
it gets really interesting.
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2096
Porque usa
--poden ver os catro tons de verde,
--poden ver os catro tons de verde,
14:31
Because he uses --
you can look at the four shades of green,
you can look at the four shades of green,
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859360
2856
14:34
there's a lot of blue there,
which was a lot of repetition --
which was a lot of repetition --
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862240
2896
hai moito azul alí,
que amosa moita repetición--
que amosa moita repetición--
tiña un gran sentido da repetición.
14:37
he had a heightened sense of repetition.
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865160
1936
14:39
And the green was a heightened sense
of songs and scriptures.
of songs and scriptures.
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867120
3136
E o verde representa un uso elevado
de cancións e escrituras.
de cancións e escrituras.
Así que o primeiro lote verde
14:42
So the first batch of green
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870280
1776
era a escritura do Libro de Isaías.
14:44
was the actual scripture
from the Book of Isaiah.
from the Book of Isaiah.
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2536
O segundo lote de verde
era My Country, 'Tis of Thee".
era My Country, 'Tis of Thee".
14:46
The second batch of green
was "My Country, 'Tis of Thee."
was "My Country, 'Tis of Thee."
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3256
Unha canción familiar que era
particularmente significativa
particularmente significativa
14:49
Now, that's a familiar song
that was specifically very significant
that was specifically very significant
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3296
para os negros daquela época,
14:53
for the black people at the time,
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881240
1616
porque a esa canción cambiáranlle a letra
como forma de protesta,
como forma de protesta,
14:54
because this song was the song they
chose to change the words to as an outcry,
chose to change the words to as an outcry,
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para dicir que as promesas
non se cumpriran.
non se cumpriran.
14:59
saying that promises had not been kept.
355
887120
1960
15:01
So the third batch of green was actually
a stanza from "My Country, 'Tis of Thee."
a stanza from "My Country, 'Tis of Thee."
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889720
4016
O terceiro lote de verde era en realidade
unha estrofa de My Country, 'Tis of Thee.
unha estrofa de My Country, 'Tis of Thee.
15:05
And then the fourth was a Negro spiritual.
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893760
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E o cuarto era un espiritual negro.
15:08
"Free at last! Free at last!
Thank God Almighty, I'm free at last!"
Thank God Almighty, I'm free at last!"
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896800
3143
"¡Ceibe ó fin! ¡Ceibe ó fin! ¡Grazas
Deus todopoderoso, son ceibe ó fin!"
Deus todopoderoso, son ceibe ó fin!"
15:11
So what he did is he actually reached
inside of the hearts of the audience.
inside of the hearts of the audience.
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4369
E ao facelo acadou o fondo
dos corazóns da audiencia.
dos corazóns da audiencia.
Sacou cousas das escrituras,
algo relevante.
algo relevante.
15:16
He pulled from scriptures,
which is important.
which is important.
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2176
Sacou cousas das cancións
que cantaran xuntos
que cantaran xuntos
15:18
He pulled from songs
that they'd sung together
that they'd sung together
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906560
2216
en protesta contra esta ultraxe,
15:20
as an outcry against this outrage,
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1656
e usounas como ferramenta
para conectarse co público.
para conectarse co público.
15:22
and he used those as a device
to connect and resonate with the audience.
to connect and resonate with the audience.
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3416
15:25
Ending -- painting a picture
of this new bliss,
of this new bliss,
364
913920
2296
E o remate, debuxando unha imaxe
desta nova bendición,
desta nova bendición,
15:28
using the very things inside of them
that they already held as sacred.
that they already held as sacred.
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usando cousas xa queridas para o público,
que xa consideraban sagradas.
que xa consideraban sagradas.
15:33
So he was a great man.
He had a big, big dream.
He had a big, big dream.
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Era un gran home.
Tivo un gran, gran soño.
Tivo un gran, gran soño.
Hai moita xente aquí,
vostedes, que ten grandes soños.
vostedes, que ten grandes soños.
15:35
There's a lot of people here,
you guys have really big dreams.
you guys have really big dreams.
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2936
Teñen no seu interior
ideas realmente grandes
ideas realmente grandes
15:38
You have really big ideas inside of you
368
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1936
que deben expresar.
15:40
that you need to get out.
369
928880
1216
Pero, saben que?
Atopamos dificultades.
Atopamos dificultades.
15:42
But you know what? We encounter hardships.
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2000
Non é doado cambiar o mundo;
15:44
It's not easy to change the world;
371
932144
1632
é un gran traballo.
15:45
it's a big job.
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933800
1536
vostedes saben que el foi...
15:47
You know he was --
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935360
1256
puxéronlle bombas na casa,
apuñalárono cun abrecartas,
apuñalárono cun abrecartas,
15:48
his house was bombed,
he was stabbed with a letter opener,
he was stabbed with a letter opener,
374
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2736
15:51
ultimately, he lost his life,
375
939400
1416
e ao final, perdeu a vida
15:52
you know, for what he cared about.
376
940840
1816
polo que lle importaba.
15:54
But a lot of us aren't going to
be required to pay that kind of sacrifice.
be required to pay that kind of sacrifice.
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4096
Pero a moitos de nós
non se nos esixe facer ese sacrificio.
non se nos esixe facer ese sacrificio.
15:58
But what happens is
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946800
1256
Mais, en esencia,
16:00
that it basically is a little bit
like that basic story structure.
like that basic story structure.
379
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3296
parécese un pouco
á estrutura básica da historia.
á estrutura básica da historia.
16:03
Life can be like that.
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951400
1376
A vida pode ser así.
16:04
You know, you guys are all likable people,
381
952800
2256
Todos vostedes son persoas agradábeis.
16:07
you have a desire,
you encounter roadblocks,
you encounter roadblocks,
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3056
teñen un desexo, atópanse con obstáculos,
e parámonos aí.
16:10
and we stop there.
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1376
É como dicirnos: "Tiven esta idea,
16:11
We're just like, you know,
"I had this idea,
"I had this idea,
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2096
pero non vou expoñela.
16:13
but I'm not going to put it out there.
385
961680
1856
Rexeitárona".
16:15
It's been rejected."
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963560
1256
Ben saben, autosabotamos
as nosas propias ideas,
as nosas propias ideas,
16:16
You know, we self-sabotage our own ideas,
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964840
3896
simplemente chocamos
contra as barricadas unha e outra vez
contra as barricadas unha e outra vez
16:20
we just butt up against the roadblocks
and butt up against the roadblocks
and butt up against the roadblocks
388
968760
3456
no canto de optar por deixar
que a loita nos transforme
que a loita nos transforme
16:24
instead of choosing
to let the struggle transform us
to let the struggle transform us
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e elixir seguir adiante,
ter un soño e facelo realidade.
ter un soño e facelo realidade.
16:26
and choosing to go ahead
and have a dream and make it real.
and have a dream and make it real.
390
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3240
16:30
And you know, if anyone --
if I can do this, anybody can do this.
if I can do this, anybody can do this.
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4256
E xa saben, se eu poido facelo,
calquera pode.
calquera pode.
Medrei nun ambiente famento
económica e emocionalmente.
económica e emocionalmente.
16:34
I was raised in an economically
and emotionally starved environment.
and emotionally starved environment.
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3696
A primeira vez que fun a un campamento
coa miña irmá, maltratáronme.
coa miña irmá, maltratáronme.
16:38
First time I got to go to a camp
with my sister, I was abused.
with my sister, I was abused.
393
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3656
Non foi a primeira vez que mo fixeron,
soamente foi a máis agresiva.
soamente foi a máis agresiva.
16:42
Wasn't the first time I was abused,
it was just the most aggressive.
it was just the most aggressive.
394
990080
3216
16:45
And my mom and dad --
they married each other three times,
they married each other three times,
395
993320
2736
E miña nai e meu pai
casaron tres veces,
casaron tres veces,
16:48
(Audience murmurs)
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1216
(A audiencia murmura.)
16:49
Yeah, that was tumultuous,
and when they weren't fighting
and when they weren't fighting
397
997320
3016
Si, aquilo era moi movido,
e cando non estaban pelexando
e cando non estaban pelexando
16:52
they were helping sober up
some alcoholic that was living with us
some alcoholic that was living with us
398
1000360
3096
estaban axudando a acougar
a un alcohólico que vivía con nós
a un alcohólico que vivía con nós
porque os dous eran alcohólicos sobrios.
16:55
because they were both sober alcoholics.
399
1003480
1936
16:57
So my mom abandoned us
when I was sixteen years old.
when I was sixteen years old.
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1005440
2456
A miña nai abandonounos
cando eu tiña 16 anos.
cando eu tiña 16 anos.
16:59
And I took on a role of caretaker
of my home and of my siblings.
of my home and of my siblings.
401
1007920
3336
E asumín o rol de encargada da casa
e dos meus irmáns.
e dos meus irmáns.
E caseime. Coñecín un home.
17:03
And I married. I met a man.
402
1011280
3136
Namoreime. Fun un ano á universidade.
17:06
Fell in love. I went to a year of college.
403
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2256
Fixen o que todas a rapazas novas
e brillantes deberían facer:
e brillantes deberían facer:
17:08
I did what every single,
bright, young girl should do --
bright, young girl should do --
404
1016720
2686
17:11
I got married when
I was eighteen years old.
I was eighteen years old.
405
1019440
2216
Casei cando tiña 18 anos.
17:13
And you know what?
406
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1256
E saben que?
17:14
I knew, I knew
407
1022960
2495
Sabíao, sabía
17:17
that I was born for more than this.
408
1025480
2016
que nacera para algo máis que para isto.
17:19
And right at the point
in the story of my life I had a choice.
in the story of my life I had a choice.
409
1027520
3056
E xusto nese momento da historia
da miña vida, tiven que elixir.
da miña vida, tiven que elixir.
17:22
I could let all these things push me down
410
1030599
2816
Podía deixar que todas estas cousas
me superasen
me superasen
e que todas as miñas ideas
morreran dentro de min.
morreran dentro de min.
17:25
and I could let all my ideas
die inside of me.
die inside of me.
411
1033440
2176
17:27
I could just say, you know,
life is too hard to change the world.
life is too hard to change the world.
412
1035640
3055
Puiden dicir, a vida é difícil de máis
como para cambiar o mundo.
como para cambiar o mundo.
17:30
It's just too tough.
413
1038720
1215
Dura de máis.
17:31
But I chose a different story for my life.
414
1039960
2080
Pero elixín unha historia diferente
para a miña vida.
para a miña vida.
17:34
(Laughter)
415
1042839
1336
(Risas)
17:36
Don't you know it?
416
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1399
Non o saben?
17:38
And so I feel like
there's people in this room --
there's people in this room --
417
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2336
E sinto que hai xente nesta sala
17:41
you got those little
Suavitos baking spices
Suavitos baking spices
418
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2096
que ten esas especias de cociña
17:43
and you're just like,
"You know, It's not that big a deal."
"You know, It's not that big a deal."
419
1051240
2776
e pensa: "Boh, non é gran cousa".
"En realidade, non podo cambiar o mundo".
17:46
"It's really not
the whole world I can change."
the whole world I can change."
420
1054040
2216
Pero si que poden cambiar o seu mundo.
17:48
But you know, you can change your world.
421
1056280
1905
Poden cambiar a súa vida.
17:50
You can change your life.
422
1058209
1207
Poden cambiar o mundo
sobre o que teñen control,
sobre o que teñen control,
17:51
You can change the world
that you have control over,
that you have control over,
423
1059440
2456
poden cambiar a súa esfera.
17:53
you can change your sphere.
424
1061920
1536
Quero animalos a facelo.
17:55
I want to encourage you to do that.
425
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1667
17:57
Because you know what?
426
1065680
1256
Porque, saben que?
O futuro non é un lugar ao que vaiamos ir.
17:58
The future isn't a place
that we're going to go.
that we're going to go.
427
1066960
2840
18:02
It's a place that you get to create.
428
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2880
É un lugar que podemos crear.
18:05
I want to thank you.
Bless you. God bless you.
Bless you. God bless you.
429
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2143
Quero darlles as grazas.
Que Deus os bendiga.
Que Deus os bendiga.
18:08
(Applause)
430
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1320
(Aplausos)
ABOUT THE SPEAKER
Nancy Duarte - CEO, presentation designerNancy Duarte believes that ideas are the most powerful tools people have. Her passion is to help every person learn to communicate their world-changing idea effectively.
Why you should listen
Nancy Duarte is an expert in presentation design and principal of Duarte Design, where she has served as CEO for 21 years. Nancy speaks around the world, seeking to improve the power of public presentations. She is the author of Slide:ology: The Art and Science of Creating Great Presentations as well as Resonate: Present Visual Stories that Transform Audiences and the recent HBR Guide to Persuasive Presentations.
Watch Duarte's recent webinar on making presentations remotely >>
Nancy Duarte | Speaker | TED.com