TED2011
Handspring Puppet Co.: The genius puppetry behind War Horse
漢斯普林木偶公司：戰馬背後的天才木偶製作
Filmed:
Readability: 4
1,963,143 views
"木偶總是試圖要活過來。"漢斯普林木偶公司的亞德里恩科勒所說。這是一隊由人和木頭演員們所組成無比有抱負的公司。從鬣狗靈活爪子的故事開始，科勒和貝索瓊斯這兩個木偶表演者逐步引出了他們最新的驚人之作：栩栩如生的戰馬喬依，他令人信服地慢跑（和奔馳）在TED的舞台上。
Handspring Puppet Company - Puppeteers
Basil Jones and Adrian Kohler, of Handspring Puppet Company, bring the emotional complexity of animals to the stage with their life-size puppets. Their latest triumph: "War Horse." Full bio
Basil Jones and Adrian Kohler, of Handspring Puppet Company, bring the emotional complexity of animals to the stage with their life-size puppets. Their latest triumph: "War Horse." Full bio
Double-click the English transcript below to play the video.
00:15
Adrian Kohler: Well, we're here today
0
0
2000
亞德里恩 科勒：我們今天來
00:17
to talk about the evolution of a puppet horse.
1
2000
3000
是要談論木偶馬的演化
00:21
Basil Jones: But actually we're going to start this evolution
2
6000
3000
貝索 瓊斯：事實上，我們要用鬣狗
00:24
with a hyena.
3
9000
2000
來開始說明
00:26
AK: The ancestor of the horse.
4
11000
2000
亞德里恩 科勒：鬣狗也就是木偶戰馬的祖先
00:28
Okay, we'll do something with it.
5
13000
2000
好，那現在我們開始表演
01:01
(Laughter)
6
46000
4000
（笑聲）
01:05
Hahahaha.
7
50000
7000
哈哈哈哈哈哈哈哈哈
01:24
The hyena is the ancestor of the horse
8
69000
3000
這隻鬣狗是木偶馬的先祖
01:27
because it was part of a production
9
72000
2000
因為他是一個叫做"非洲的浮士德"的
01:29
called "Faustus in Africa,"
10
74000
2000
製作的一部分
01:31
a Handspring Production from 1995,
11
76000
3000
是漢斯普林公司在1995年的作品
01:34
where it had to play draughts with Helen of Troy.
12
79000
3000
用來當木馬屠城記的戲劇草稿
01:37
This production was directed
13
82000
2000
這部作品是由一個
01:39
by South African artist and theater director,
14
84000
2000
南非的藝術家和導演指導
01:41
William Kentridge.
15
86000
2000
威廉肯崔吉
01:43
So it needed a very articulate front paw.
16
88000
3000
這隻鬣狗需要非常靈敏的前爪
01:51
But, like all puppets, it has other attributes.
17
96000
3000
但就像所有木偶一樣，他也有其他的特性
01:54
BJ: One of them is breath,
18
99000
3000
貝索 瓊斯：其中之一就是呼吸
01:57
and it kind of breathes.
19
102000
2000
他能呼吸
01:59
AK: Haa haa haaa.
20
104000
5000
亞德里恩 科勒：（呼吸聲）
02:04
BJ: Breath is really important for us.
21
109000
3000
貝索 瓊斯：呼吸對我們而言是很重要的
02:07
It's the kind of original movement
22
112000
2000
這是對於對於所有在舞台上的木偶
02:09
for any puppet for us onstage.
23
114000
3000
最基本的動作
02:12
It's the thing that distinguishes the puppet --
24
117000
3000
這是用來區分木偶 ......
02:15
AK: Oops.
25
120000
2000
亞德里恩 科勒：啊
02:17
BJ: From an actor.
26
122000
2000
貝索 瓊斯：和演員的一點
02:19
Puppets always have to try to be alive.
27
124000
3000
木偶總是試圖要活過來
02:22
It's their kind of ur-story onstage,
28
127000
4000
這是他們在舞台上的故事
02:26
that desperation to live.
29
131000
2000
他們對生命的渴望
02:28
AK: Yeah, it's basically a dead object, as you can see,
30
133000
3000
亞德里恩 科勒：就像大家看到的，這其實就是一個沒有生命的物體
02:31
and it only lives
31
136000
2000
只有在你使他活過來時
02:33
because you make it.
32
138000
2000
他才會有生命
02:35
An actor struggles to die onstage,
33
140000
2000
演員努力在台上演死去
02:37
but a puppet has to struggle to live.
34
142000
2000
木偶則努力想要活起來
02:39
And in a way that's a metaphor for life.
35
144000
2000
這也是一種生命的隱喻
02:41
BJ: So every moment it's on the stage, it's making the struggle.
36
146000
3000
貝索 瓊斯：所以任何時刻只要在台上，木偶都努力活起來
02:44
So we call this
37
149000
3000
我們就叫他
02:47
a piece of emotional engineering
38
152000
4000
一個情感工程
02:51
that uses up-to-the-minute
39
156000
3000
使用了最新的
02:54
17th century technology --
40
159000
2000
17世紀的技術
02:56
(Laughter)
41
161000
2000
（笑聲）
02:58
to turn nouns
42
163000
2000
來把名詞
03:00
into verbs.
43
165000
2000
變成動詞
03:02
AK: Well actually I prefer to say
44
167000
2000
事實上我比較喜歡說
03:04
that it's an object
45
169000
2000
這是一個物體
03:06
constructed out of wood and cloth
46
171000
2000
由木頭和布所做成
03:08
with movement built into it
47
173000
2000
並且有動作植入其中
03:10
to persuade you to believe that it has life.
48
175000
3000
來說服你相信他有生命
03:13
BJ: Okay so.
49
178000
2000
貝索 瓊斯：好的所以
03:15
AK: It has ears that move passively
50
180000
2000
亞德里恩 科勒：當他的頭轉動的時候
03:17
when the head goes.
51
182000
2000
耳朵可以跟著擺動
03:19
BJ: And it has these bulkheads
52
184000
3000
貝索 瓊斯：而且他有這些隔板
03:22
made out of plywood,
53
187000
2000
是由膠合板做成的
03:24
covered with fabric --
54
189000
2000
覆蓋上布料
03:26
curiously similar, in fact,
55
191000
2000
事實上就和
03:28
to the plywood canoes
56
193000
2000
亞德里恩父親孩童時
03:30
that Adrian's father used to make
57
195000
2000
在工作室所做的
03:32
when he was a boy in their workshop.
58
197000
3000
膠合板獨木舟出奇的相似
03:35
AK: In Port Elizabeth, the village outside Port Elizabeth in South Africa.
59
200000
3000
亞德里恩 科勒：在南非伊麗沙伯港，港外的小村莊
03:38
BJ: His mother was a puppeteer.
60
203000
2000
貝索 瓊斯：他的母親是個木偶表演者
03:40
And when we met at art school
61
205000
2000
當1971年
03:42
and fell in love
62
207000
2000
我們在藝術學校相遇
03:44
in 1971,
63
209000
2000
並且相愛時
03:46
I hated puppets.
64
211000
2000
我非常討厭木偶
03:48
I really thought they were so beneath me.
65
213000
3000
我真的覺得他們對我而言太低等了
03:51
I wanted to become an avant-garde artist --
66
216000
3000
我想成為一個前衛的藝術家
03:54
and Punch and Judy was certainly not where I wanted to go.
67
219000
3000
龐奇與茱蒂（英國傳統木偶劇）絕不是我想做的
03:57
And, in fact, it took about 10 years
68
222000
2000
事實上，我大概10年之後
03:59
to discover
69
224000
2000
才發現
04:01
the Bambara Bamana puppets of Mali in West Africa,
70
226000
4000
西非國家馬利的特有布偶
04:05
where there's a fabulous tradition of puppetry,
71
230000
4000
那裡有驚人的木偶製作傳統
04:09
to learn a renewed, or a new, respect
72
234000
4000
讓我學到了更新的，或者全新的
04:13
for this art form.
73
238000
2000
對於這種藝術形式的尊敬
04:15
AK: So in 1981, I persuaded Basil and some friends of mine
74
240000
3000
亞德里恩 科勒：所以在1981年，我說服貝索和我的一些朋友
04:18
to form a puppet company.
75
243000
2000
成立了一個木偶公司
04:20
And 20 years later, miraculously,
76
245000
3000
20年後，出乎意料地
04:23
we collaborated with a company from Mali,
77
248000
2000
我們和馬利的一間公司合作
04:25
the Sogolon Marionette Troupe of Bamako,
78
250000
3000
巴馬科的索格隆木馬團
04:28
where we made a piece about a tall giraffe.
79
253000
2000
我們做了一個很高的長頸鹿木偶
04:30
It was just called "Tall Horse," which was a life-sized giraffe.
80
255000
3000
他被稱做"高馬"，大小就和真的長頸鹿一樣
04:33
BJ: And here again, you see the same structure.
81
258000
2000
貝索 瓊斯：在這裡，你又可以看到同樣的結構
04:35
The bulkheads have now turned into hoops of cane,
82
260000
5000
只是隔板改用藤圈做成
04:40
but it's ultimately the same structure.
83
265000
2000
但終究是一樣的結構
04:42
It's got two people inside it on stilts,
84
267000
2000
他需要兩個踩著高蹺的人在裡面
04:44
which give them the height,
85
269000
2000
高蹺給他們所需要的高度
04:46
and somebody in the front
86
271000
2000
還有另一個人在前面
04:48
who's using a kind of steering wheel to move that head.
87
273000
3000
用類似方向盤的東西來移動頭部
04:51
AK: The person in the hind legs
88
276000
2000
亞德里恩 科勒：一個人在後腿
04:53
is also controlling the tail, a bit like the hyena --
89
278000
3000
同時控制尾巴，這有點像鬣狗
04:56
same mechanism, just a bit bigger.
90
281000
3000
同樣的機械結構，只是比較大
04:59
And he's controlling the ear movement.
91
284000
3000
另外他還控制耳朵的移動
05:03
BJ: So this production
92
288000
2000
貝索 瓊斯：這個製作
05:05
was seen by Tom Morris
93
290000
2000
被倫敦國家劇團的
05:07
of the National Theatre in London.
94
292000
2000
湯姆莫里斯看到了
05:09
And just around that time,
95
294000
3000
而且差不多在那時候
05:12
his mother had said,
96
297000
2000
他的母親說
05:14
"Have you seen this book by Michael Morpurgo
97
299000
3000
你有沒有看過一本麥克莫波格寫的書
05:17
called 'War Horse'?"
98
302000
2000
叫做"戰馬"？
05:19
AK: It's about a boy who falls in love with a horse.
99
304000
2000
亞德里恩 科勒：這是關於一個男孩愛上一匹馬的故事
05:21
The horse is sold to the First World War,
100
306000
2000
這批馬被賣去參加第一次世界大戰
05:23
and he joins up to find his horse.
101
308000
2000
男孩為了找到這批馬就參加了戰爭
05:25
BJ: So Tom gave us a call and said,
102
310000
2000
貝索 瓊斯：所以湯姆就打了通電話給我們說
05:27
"Do you think you could make us a horse
103
312000
3000
"你們覺得你們能不能為我們做出一匹馬
05:30
for a show to happen at the National Theatre?"
104
315000
2000
在國家劇院表演？"
05:32
AK: It seemed a lovely idea.
105
317000
2000
亞德里恩 科勒：這似乎是個極好的主意
05:34
BJ: But it had to ride. It had to have a rider.
106
319000
2000
貝索 瓊斯：但是這匹馬要可以騎，他需要扛起一個騎士
05:36
AK: It had to have a rider,
107
321000
2000
亞德里恩 科勒：他需要一個騎士
05:38
and it had to participate in cavalry charges.
108
323000
3000
他還得加入騎兵隊的進攻
05:41
(Laughter)
109
326000
3000
（笑聲）
05:44
A play about early 20th century plowing technology
110
329000
2000
對於倫敦的國家劇院來說
05:46
and cavalry charges
111
331000
2000
一個關於二十世紀早期的耕地技術
05:48
was a little bit of a challenge for the accounting department
112
333000
2000
和騎兵隊進攻的戲，這樣的費用
05:50
at the National Theatre in London.
113
335000
2000
是有點超支了
05:52
But they agreed to go along with it for a while.
114
337000
2000
但是他們同意先做一陣子再說
05:54
So we began with a test.
115
339000
2000
所以我們就開始測試
05:56
BJ: This is Adrian and Thys Stander,
116
341000
3000
貝索 瓊斯：這是亞德里恩和希斯斯丹德
05:59
who went on to actually design the cane system for the horse,
117
344000
4000
他們是戰馬藤圈系統的設計者
06:03
and our next-door neighbor Katherine,
118
348000
2000
我們的鄰居凱瑟琳
06:05
riding on a ladder.
119
350000
2000
在梯子上
06:07
The weight is really difficult when it's up above your head.
120
352000
3000
這樣的重量在懸在頭頂的時候其實是很重的
06:10
AK: And once we put Katherine
121
355000
2000
亞德里恩 科勒：一旦我們讓凱瑟琳
06:12
through that particular brand of hell,
122
357000
2000
經歷了這個特別的煉獄
06:14
we knew that we might be able to make a horse, which could be ridden.
123
359000
3000
我們就知道我們應該可以製作一匹馬，一匹可以騎的馬
06:17
So we made a model.
124
362000
2000
所以我們做了一個模型
06:19
This is a cardboard model,
125
364000
2000
這是個厚紙板模型
06:21
a little bit smaller than the hyena.
126
366000
2000
這比鬣狗小了一點
06:23
You'll notice that the legs are plywood legs
127
368000
2000
你們會注意到這些腿是膠合板做的
06:25
and the canoe structure is still there.
128
370000
2000
也使用了獨木舟的結構
06:27
BJ: And the two manipulators are inside.
129
372000
2000
貝索 瓊斯：兩個操縱者在裡面
06:29
But we didn't realize at the time
130
374000
2000
但是當時我們沒有意識到
06:31
that we actually needed a third manipulator,
131
376000
3000
事實上我們需要第三個操縱者
06:34
because we couldn't manipulate the neck
132
379000
2000
因為我們沒辦法從裡面
06:36
from inside
133
381000
2000
控制脖子
06:38
and walk the horse at the same time.
134
383000
3000
同時又讓馬行走
06:41
AK: We started work on the prototype
135
386000
2000
亞德里恩 科勒：在設計模型通過之後
06:43
after the model was approved,
136
388000
2000
我們開始製作雛形
06:45
and the prototype took a bit longer
137
390000
2000
製造這個雛形花的時間
06:47
than we anticipated.
138
392000
2000
比我們預期的要長
06:49
We had to throw out the plywood legs and make new cane ones.
139
394000
3000
我們必須丟棄膠合板的腿，用藤條製作新的
06:52
And we had a crate built for it.
140
397000
2000
而且我們還要為他製作一個大箱子
06:54
It had to be shipped to London.
141
399000
2000
這匹馬需要被運到倫敦
06:56
We were going to test-drive it on the street outside of our house in Cape Town,
142
401000
3000
我們原本要在開普敦的街上試跑
06:59
and it got to midnight and we hadn't done that yet.
143
404000
3000
但一直忙到半夜所以我們一直都沒這麼做
07:02
BJ: So we got a camera,
144
407000
2000
貝索 瓊斯：所以我們拿照相機
07:04
and we posed the puppet
145
409000
3000
把木馬擺出
07:07
in various galloping stances.
146
412000
5000
各種奔跑的姿勢
07:12
And we sent it off
147
417000
3000
然後把照片
07:15
to the National Theatre,
148
420000
2000
寄到國家劇院
07:17
hoping that they believed
149
422000
2000
希望他們相信
07:19
that we created something that worked.
150
424000
2000
我們製作出的這個東西是可以用的
07:21
(Laughter)
151
426000
2000
（笑聲）
07:23
AK: A month later, we were there in London
152
428000
2000
亞德里恩 科勒：一個月之後，我們帶著這個大箱子到達倫敦
07:25
with this big box and a studio full of people about to work with us.
153
430000
4000
見到一整個將要和我們合作的工作室的人員
07:29
BJ: About 40 people.
154
434000
2000
大概有四十個人
07:31
AK: We were terrified.
155
436000
2000
亞德里恩 科勒：我們很害怕
07:33
We opened the lid, we took the horse out,
156
438000
2000
我們打開蓋子，把馬拿出來
07:35
and it did work; it walked and it was able to be ridden.
157
440000
3000
他真的能動，他能走也能騎
07:38
Here I have an 18-second clip
158
443000
2000
這裡我有一個十八秒的影像
07:40
of the very first walk of the prototype.
159
445000
3000
是這個雛形真正第一次行走
07:43
This is in the National Theatre studio,
160
448000
2000
這是在國家劇院的劇場
07:45
the place where they cook new ideas.
161
450000
2000
是他們想出新題材的地方
07:47
It had by no means got the green light yet.
162
452000
3000
當時我們還沒有通過
07:57
The choreographer, Toby Sedgwick,
163
462000
2000
編舞者，陶比席德維克
07:59
invented a beautiful sequence
164
464000
2000
設計了一套優美的動作
08:01
where the baby horse,
165
466000
2000
這個小馬
08:03
which was made out of sticks and bits of twigs,
166
468000
3000
整個由樹枝和細棍做成的
08:06
grew up into the big horse.
167
471000
2000
長大變成了壯馬
08:08
And Nick Starr, the director of the National Theatre,
168
473000
3000
國家劇院的導演尼克史塔爾
08:11
saw that particular moment, he was standing next to me -- he nearly wet himself.
169
476000
3000
看到了這個特別的片段，他站在我旁邊，他差點要尿濕褲子了
08:14
And so the show was given the green light.
170
479000
3000
就這樣這個表演就通過了
08:17
And we went back to Cape Town and redesigned the horse completely.
171
482000
3000
然後我們回到開普敦，重新設計了整匹馬
08:20
Here is the plan.
172
485000
2000
這就是我們的計畫
08:22
(Laughter)
173
487000
2000
（笑聲）
08:26
And here is our factory in Cape Town
174
491000
2000
這是我們在開普敦的工廠
08:28
where we make horses.
175
493000
3000
我們製作馬的地方
08:31
You can see quite a lot of skeletons in the background there.
176
496000
3000
你可以看到在背景裡有很多的骨架
08:35
The horses are completely handmade.
177
500000
3000
這些馬都是手工製作的
08:38
There is very little 20th century technology in them.
178
503000
3000
很少有用到二十世紀的科技
08:41
We used a bit of laser cutting on the plywood
179
506000
2000
我們用一點鐳射技術切割膠合板
08:43
and some of the aluminum pieces.
180
508000
2000
和一些鋁片
08:45
But because they have to be light and flexible,
181
510000
2000
但是因為這些馬必須要很輕、很靈活
08:47
and each one of them is different,
182
512000
3000
而且每一匹都要不一樣
08:50
they can't be mass-produced, unfortunately.
183
515000
3000
所以很不幸，他們不能被批量生產
08:53
So here are some half-finished horses
184
518000
3000
所以這裡有一些半成品的馬
08:56
ready to be worked in London.
185
521000
3000
需要在倫敦繼續加工
08:59
And now we would like to introduce you
186
524000
2000
現在我們要向大家介紹
09:01
to Joey.
187
526000
2000
喬依
09:04
Joey boy, you there?
188
529000
3000
小喬依，你在哪裡？
09:07
Joey.
189
532000
2000
喬依
09:10
(Applause)
190
535000
3000
（掌聲）
09:28
(Applause)
191
553000
10000
（掌聲）
09:51
Joey.
192
576000
2000
喬依
09:53
Joey, come here.
193
578000
2000
喬依，來這裡
10:10
No, no, I haven't got it.
194
595000
2000
不，不，我這裡沒有（食物）
10:12
He's got it; it's in his pocket.
195
597000
3000
他口袋裡有
10:16
BJ: Joey.
196
601000
2000
貝索 瓊斯：喬依
10:28
AK: Joey, Joey, Joey, Joey.
197
613000
5000
亞德里恩 科勒：喬依，喬依，喬依，喬依
10:33
Come here. Stand here where people can see you.
198
618000
3000
來這裡，站在這裡大家才看得到你
10:43
Move around. Come on.
199
628000
2000
動一動，來吧
10:48
I'd just like to describe --
200
633000
2000
我想和大家說明一下
10:50
I won't talk too loud. He might get irritated.
201
635000
3000
我不會說太大聲，不然他可能會被激怒
10:55
Here, Craig is working the head.
202
640000
3000
這裡，克雷格在控制他的頭
10:58
He has bicycle brake cables
203
643000
2000
他用的是腳踏車的剎車線
11:00
going down to the head control in his hand.
204
645000
3000
每條都連接到他手裡握著的頭部控制中心
11:03
Each one of them
205
648000
2000
每一條
11:05
operates either an ear, separately,
206
650000
3000
分別控制一邊耳朵
11:08
or the head, up and down.
207
653000
2000
或是頭部的上下移動
11:10
But he also controls the head directly
208
655000
3000
他也用他的手直接
11:13
by using his hand.
209
658000
2000
控制馬的頭
11:15
The ears are obviously
210
660000
2000
顯然地，耳朵
11:17
a very important emotional indicator of the horse.
211
662000
3000
是表現馬兒情緒很重要的方式
11:20
When they point right back,
212
665000
4000
當耳朵向後指
11:24
the horse is fearful or angry,
213
669000
4000
馬是害怕或者生氣的
11:28
depending upon what's going on in front of him, around him.
214
673000
3000
取決於馬前面或周圍發生什麼事
11:31
Or, when he's more relaxed, the head comes down
215
676000
2000
或者當馬放鬆的時候，他的頭就會垂下來
11:33
and the ears listen, either side.
216
678000
3000
耳朵會聽，指向兩邊
11:38
Horses' hearing is very important.
217
683000
2000
馬的聽覺是非常重要的
11:40
It's almost more important than their eyesight.
218
685000
3000
幾乎比他們的視力還要重要
11:44
Over here,
219
689000
2000
看這裡
11:46
Tommy's got what you call the heart position.
220
691000
3000
湯姆掌握了所謂的心臟部位
11:49
He's working the leg.
221
694000
2000
他負責操控馬腿
11:51
You see the string tendon from the hyena,
222
696000
3000
看這裡的弦腱
11:54
the hyena's front leg,
223
699000
3000
像在鬣狗的前腿裡一樣
11:57
automatically pulls the hoop up.
224
702000
3000
自動把環拉起來
12:00
(Laughter)
225
705000
5000
（笑聲）
12:05
Horses are so unpredictable.
226
710000
2000
馬是不可預測的
12:07
(Laughter)
227
712000
4000
（笑聲）
12:11
The way a hoof comes up with a horse
228
716000
3000
馬抬蹄的方式
12:14
immediately gives you the feeling
229
719000
2000
馬上就讓你覺得
12:16
that it's a convincing horse action.
230
721000
2000
這是真的馬的動作
12:18
The hind legs have got the same action.
231
723000
3000
後腳也有一樣的動作
12:24
BJ: And Mikey also has,
232
729000
2000
貝索 瓊斯：另外麥奇還有
12:26
in his fingers,
233
731000
2000
在他的手指裡
12:28
the ability to move the tail
234
733000
2000
控制馬尾巴的能力
12:30
from left to right,
235
735000
2000
從左到右
12:32
and up and down with the other hand.
236
737000
2000
另外一手控制上下
12:34
And together, there's quite a complex possibility
237
739000
3000
這些合在一起，就是非常複雜的各種
12:37
of tail expression.
238
742000
2000
尾巴“表情”的組合
12:39
AK: You want to say something about the breathing?
239
744000
2000
亞德里恩 科勒：你想要說說關於呼吸的部分嗎
12:41
BJ: We had a big challenge with breathing.
240
746000
3000
貝索 瓊斯：呼吸方面我們遇到了很大的挑戰
12:44
Adrian thought
241
749000
2000
亞德里恩認為
12:46
that he was going to have to split the chest of the puppet in two
242
751000
2000
他必須要把木偶的胸切成兩半
12:48
and make it breathe like that --
243
753000
2000
來這樣呼吸
12:50
because that's how a horse would breathe, with an expanded chest.
244
755000
3000
因為這是真的馬呼吸的樣子，胸部擴張
12:53
But we realized
245
758000
2000
但是我們發現
12:55
that, if that were to be happening,
246
760000
2000
如果這樣做
12:57
you wouldn't, as an audience, see the breath.
247
762000
2000
身為一個觀眾，你們是看不到他呼吸的
12:59
So he made a channel in here,
248
764000
4000
所以他在這裡做了一個通道
13:03
and the chest moves up and down in that channel.
249
768000
3000
胸腔就會在這個通道裡上下動
13:06
So it's anti-naturalistic really, the up and down movement,
250
771000
2000
這個上下移動的動作是違反自然的
13:08
but it feels like breath.
251
773000
2000
但感覺上很像呼吸
13:10
And it's very, very simple
252
775000
2000
而且這非常非常的簡單
13:12
because all that happens
253
777000
2000
因為要馬呼吸
13:14
is that the puppeteer breathes with his knees.
254
779000
3000
只需要操控的人膝蓋的運動
13:20
AK: Other emotional stuff.
255
785000
2000
亞德里恩 科勒：另一個有關馬的情緒的事情。
13:22
If I were to touch the horse here
256
787000
2000
如果我從這裡摸馬
13:24
on his skin,
257
789000
3000
的皮膚
13:27
the heart puppeteer can shake the body from inside
258
792000
3000
在核心操控木馬的人可以從裡面搖動馬的身體
13:30
and get the skin to quiver.
259
795000
2000
讓皮膚顫動
13:32
You'll notice, of course,
260
797000
2000
當然，你會發現
13:34
that the puppet is made out of cane lines.
261
799000
2000
這個木偶是由藤條做成的
13:36
And I would like you to believe that it was an aesthetic choice,
262
801000
3000
而且我希望你們能相信這是個審美上的選擇
13:39
that I was making a three-dimensional drawing of a horse
263
804000
2000
就是這是一個我畫的馬的三維立體圖
13:41
that somehow moves in space.
264
806000
2000
這個圖不知怎的就在空間裡動起來的
13:43
But of course, it was the cane is light,
265
808000
2000
當然，這裡用的藤蔓很輕
13:45
the cane is flexible, the cane is durable
266
810000
2000
藤蔓有彈性、很耐用
13:47
and the cane is moldable.
267
812000
2000
可塑性也很強
13:49
And so it was a very practical reason why it was made of cane.
268
814000
3000
用藤蔓製作還有一個很實際的考慮
13:52
The skin itself
269
817000
2000
就是皮膚本身
13:54
is made out of a see-through nylon mesh,
270
819000
2000
是用透明的尼龍網製成的
13:56
which, if the lighting designer
271
821000
2000
如果燈光師
13:58
wants the horse to almost disappear,
272
823000
2000
想讓馬幾乎消失在舞台上
14:00
she can light the background
273
825000
2000
他可以打亮背景
14:02
and the horse becomes ghostlike.
274
827000
3000
讓馬變成幽靈一般
14:05
You see the skeletal structure of it.
275
830000
2000
你可以看見馬的骨骼結構
14:07
Or if you light it from above, it becomes more solid.
276
832000
3000
或者如果你從下面打燈，他會變得更厚實
14:10
Again, that was a practical consideration.
277
835000
3000
這又是一個很實際的考量
14:13
The guys inside the horse have to be able to see out.
278
838000
3000
馬裡面的人必須要可以看到外面
14:16
They have to be able to act
279
841000
2000
他們必須能夠反應
14:18
along with their fellow actors in the production.
280
843000
3000
和表演中其他演員演出對手戲
14:21
And it's very much an in-the-moment activity that they're engaged in.
281
846000
3000
他們所從事的這項活動是非常注重及時性的
14:24
It's three heads making one character.
282
849000
3000
三個人來呈現這一個角色
14:27
But now we would like you to put Joey through some paces.
283
852000
3000
現在我要你們讓喬依動起來
15:08
And plant.
284
893000
2000
然後停住
15:13
(Whinny)
285
898000
4000
（馬嘶聲）
15:25
Thank you.
286
910000
2000
謝謝
15:27
And now just --
287
912000
2000
現在
15:29
(Applause)
288
914000
8000
（掌聲）
15:37
All the way from sunny California
289
922000
2000
從美國加州遠道而來的
15:39
we have Zem Joaquin
290
924000
2000
森姆 喬安坤
15:41
who's going to ride the horse for us.
291
926000
2000
將要為我們騎乘這匹馬
15:43
(Applause)
292
928000
4000
（掌聲）
16:38
(Applause)
293
983000
10000
（掌聲）
16:48
(Music)
294
993000
6000
（音樂）
17:09
So we would like to stress
295
1014000
2000
我們想強調的是
17:11
that the performance you see in the horse
296
1016000
2000
你們看到在馬裡面表演的
17:13
is three guys
297
1018000
2000
是三個人
17:15
who have studied horse behavior incredibly thoroughly.
298
1020000
3000
他們都徹底仔細研究過馬的行為
17:18
BJ: Not being able to talk to one another
299
1023000
2000
貝索 瓊斯：他們在台上時
17:20
while they're onstage
300
1025000
2000
是不能互相交談的
17:22
because they're mic'd.
301
1027000
2000
因為他們都配戴著麥克風
17:24
The sound that that very large chest makes, of the horse --
302
1029000
3000
馬的胸腔發出的聲音
17:27
the whinnying and the nickering and everything --
303
1032000
3000
輕聲嘶鳴或大聲嘶吼等等的
17:30
that starts usually with one performer,
304
1035000
3000
通常都是由一個表演者發出的
17:33
carries on with a second person
305
1038000
2000
然後第二個人才接上去
17:35
and ends with a third.
306
1040000
2000
第三個人結束
17:37
AK: Mikey Brett from Leicestershire.
307
1042000
3000
亞德里恩 科勒：麥奇 布瑞特，來自英國列斯特郡
17:40
(Applause)
308
1045000
7000
（掌聲）
17:47
Mikey Brett, Craig, Leo,
309
1052000
3000
麥奇 布瑞特、克雷格、里奧
17:50
Zem Joaquin and Basil and me.
310
1055000
3000
森姆 喬安坤、貝索和我
17:53
(Applause)
311
1058000
3000
（掌聲）
17:56
Thank you. Thank you.
312
1061000
2000
謝謝，謝謝
17:58
(Applause)
313
1063000
7000
（掌聲）
ABOUT THE SPEAKER
Handspring Puppet Company - PuppeteersBasil Jones and Adrian Kohler, of Handspring Puppet Company, bring the emotional complexity of animals to the stage with their life-size puppets. Their latest triumph: "War Horse."
Why you should listen
Handspring Puppet Company was founded in 1981 by four graduates of the Michaelis School of Fine Art in Cape Town, South Africa. Two of the co-founders, Adrian Kohler and Basil Jones, continue to run the company. Originally they created shows for children and thereafter works for adult audiences. Arguably one of the greatest puppetry companies in the world, Handspring has since collaborated with a succession of innovative South Africa directors including Malcolm Purkey, Barney Simon and artist William Kentridge.
Apart from seasons throughout theatres across South Africa, Handspring has been presented at many international festivals including Edinburgh, the Avignon Festival, the Next Wave Festival at BAM in New York, The African Odyssey Festival at the Kennedy Centre in Washington, Theatre d' Automne in Paris, Theatre der Welt in Germany, as well as in Hong Kong, Singapore, Adelaide, Zurich and Bogota.
The company provides an artistic home and professional base for a core group of performers, designers, theatre artists and technicians who collaborate with them on a project basis. Based in South Africa they continue to explore the boundaries of adult puppet theatre within an African context.
"War Horse" is currently playing in London, at the New London Theatre, and opens in New York at Lincoln Center on April 14, 2011.
Handspring Puppet Company | Speaker | TED.com