Oskar Eustis: Why theater is essential to democracy
Oskar Eustis: Miért nélkülözhetetlen a színház szerepe a demokráciában?
As the artistic director of New York's legendary Public Theater, Oskar Eustis nurtures new, groundbreaking works that shift the cultural conversation. Full bio
Double-click the English transcript below to play the video.
szorosan összefüggnek.
art form of democracy,
alapvető művészetbeli formája.
they were born in the same city.
from the consent of the governed,
a többség kezében legyen
from below to above,
évszázadban alkotta meg Thespis
legend has it, somebody named Thespis --
the Festival of Dionysus gathered
they would watch dancing,
as part of the Festival of Dionysus.
az ünnepség keretei közt.
what's happening right now:
mint ami épp most történik:
and you are receiving what I have to say.
you may think I'm an insufferable fool,
talán ki sem állhatnak
taking place inside your own head.
megtartják maguknak.
instead of me talking to you --
hogy magukhoz beszélek,
kezdek beszélni a színpadon?
onstage with me?
I'm not the possessor of truth;
van saját látásmódja.
conflict -- they disagree with me.
two points of view.
is that the truth can only emerge
ütköztetéséből kerülhet felszínre,
of different points of view.
you have to believe that.
annak ebben is hinnie kell.
you're an autocrat
points of views leads to the truth.
vezet el az igazsághoz.
hátra, és hallgassanak meg.
and listen to me.
hogy milyen érzés itt lenni.
to me as a character.
to switch your mind
és gondoljanak bele,
to the other person talking.
a másik személynek itt beszélni.
hogy tanúsítsanak empátiát.
from the collision of different ideas
for democratic citizenship.
that when you go to the movies,
hogy amikor moziba mennek,
and if it's empty, you're delighted,
between you and the movie.
állhat a film és önök közé.
over the top of the stadium seats,
élvezhetik a filmet.
the collective experience
holding your breath together
fogyasztóként léptek be,
as an individual consumer,
of yourself as part of a whole,
érezhetik magukat.
Joe Papp decided
everybody in the United States of America,
mindenkit megillet,
to try to deliver on that promise.
szervezett.
is based on a very simple idea,
the best art that we can produce,
hogy a lehető legjobb színháznak
and belong to everybody,
mindenkihez el kell jutnia.
we can provide for free.
melyet nyújthatunk, ingyen.
after he figured that out,
circle was not complete
create their own classics
saját remekműveiket,
downtown on Astor Place,
a New York-i Astor Place-en.
was the world premiere of "Hair."
a Hair világpremierje volt.
mely nem Shakespeare-darab volt.
that wasn't Shakespeare.
hogy mintha Joe seprűt fogott volna,
that it was as if Mr. Papp took a broom
from the East Village streets
színpadára söpörte volna
he was so proud of it.
büszke volt erre.
the next years with amazing shows like
produkciókat valósított meg,
Suicide / When the Rainbow Is Enuf,"
example I can think of:
melyet említeni tudok,
about the AIDS crisis,
Igaz szívvel című
that play in 1985,
bemutatta ezt a darabot,
megjelent beszámolójában
in the New York Times
in the previous four years.
az azt megelőző négy évben.
the dialogue about AIDS
voltaképp megváltoztatta
on Tony Kushner's "Angels in America,"
Angyalok Amerikában című
and along with "Normal Heart,"
was actually shifting,
változást, melyet nem a színház okozott,
in the United States.
az USA-ban melegnek lenni,
at the Public in 2005,
Joe munkáját a Public Theaterben,
a sikerünk gyökere okozza:
was a victim of our own success,
had been founded as a program for access,
to get in New York City.
volt jegyet szerezni New Yorkban.
to get those tickets.
hogy jegyet szerezhessenek.
98 percent of the population
hajléktalanszállásokra,
to homeless shelters,
közösségi központjaiba,
and Westchester County.
és Westchester Countrybe is.
that we knew intuitively:
amit ösztönösen addig is tudtunk:
is as powerful as their desire for food
számunkra a színház,
and we've continued it.
értünk el, és folytattuk.
that we realized we weren't crossing,
amelyet még nem küzdtünk le.
from being a commodity, an object,
sokaságát mutatja be.
of the amazing Lear deBessonet,
irányítása alatt
Shakespeare-remekművek
musical pageants,
actors and musicians
and domestic workers
and recently incarcerated prisoners,
kelnek életre.
melyet nyújthatunk.
that artistry is not something
néhány ember kiváltsága.
in being a human being.
a lot more of our lives practicing it.
több időt töltenek gyakorlással,
mint Lin-Manuel Hamilton című műve,
of the foundational story of this country
az USA megalakulásának történetét
Father who was a bastard immigrant orphan
aki nyugati indiánok törvénytelen gyermeke
the language of the people,
who spoke the language.
with a cast of black and brown people,
és fekete bőrű embereket válogatott be.
for the United States,
of the American Dream.
amely az amerikai álom lényege.
a wave of patriotism in me
ébresztette bennem
is proving to be insatiable.
and it's where I want to end,
szeretném befejezni az előadást.
I want to talk about.
hogy amikor Mike Pence,
that Vice President-elect Pence
a Hamilton egyik előadására,
some of my fellow New Yorkers booed him.
respectful statement from the stage,
hallhattunk a színpadról,
listened to it,
of outrage, a tweetstorm,
és kifütyülésekből,
internetes bojkottból indult ki,
we had treated him with disrespect.
érezték, megsértettük őket.
we're getting something wrong here.
Azt mondtam, valamit félreértünk.
this boycott petition,
megnézni a darabot,
"Hamilton" anyway.
egy hozzájuk közeli városba.
to a city near them.
nem tudták volna kifizetni,
they couldn't afford a ticket,
they didn't have the connections
nem lettek volna kapcsolataik,
electoral map of the United States,
cultural institutions,"
kulturális intézményeket,
exactly what the economy,
vagy a technológia terén.
what technology has done,
on a large part of the country.
az ország nagy részének.
gondolatának továbbra is teret kell adni.
it has to keep going.
Pulitzer Prize-winning play "Sweat."
briliáns darabját.
led her to write this play
leépülését Reddingben és Pennsylvaniában,
of Pennsylvania:
and we're touring it
organizations there to try and make sure
közösségi szervezetekkel is,
that we're trying to reach,
legtöbb embert érjük el,
to listen to them back
is meghallgathassuk,
is here for you, too."
számukra is elérhető.
dolgozunk, nem mondhatjuk,
that we don't know what our job is.
miről szól a munkánk.
as 'twere, a mirror to nature;
tartson mintegy a természetnek;
és lenyomatát."
a vision to America
tárjunk Amerika elé,
who all of us are individually,
milyenek legyünk egyénenként,
the commonality that we need to be,
újra olyan közösséggé,
akarjuk közvetíteni.
as well as we can.
ahogyan csak tudjuk.
ABOUT THE SPEAKER
Oskar Eustis - Theater directorAs the artistic director of New York's legendary Public Theater, Oskar Eustis nurtures new, groundbreaking works that shift the cultural conversation.
Why you should listen
Throughout his career, Oskar Eustis has been dedicated to the development of new plays and the classics as a director, dramaturg and producer. Among the plays he's helped bring into being, you can count Angels in America, the Tony-winning Hamilton and Fun Home, with more new work constantly on the bubble. Throughout his career, he has also produced and directed Shakespeare in venues around the US, from prisons to Broadway, including The Public's 2017 free Shakespeare in the Park staging of Julius Ceasar that generated a national conversation.
Eustis has also directed the world premieres of plays by Philip Kan Gotanda, David Henry Hwang, Emily Mann, Suzan-Lori Parks, Ellen McLaughlin and Eduardo Machado, among many others. He's a professor of dramatic writing and arts and public policy at New York University and has held professorships at UCLA, Middlebury College and Brown University, where he founded and chaired the Trinity Rep/Brown University consortium for professional theater training. He has been Artistic Director of The Public Theater in New York since 2005.
Oskar Eustis | Speaker | TED.com