TEDGlobal 2012
David Binder: The arts festival revolution
دەیڤد بیندەر: شۆڕشی ڤیستیڤاڵە هونەریەکان
Filmed:
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707,582 views
دەیڤد بیندەر بەرهەمهێنەرێکی برۆدوەیە، بەڵام هاوینی ڕابردوو خۆی لە کۆڵانێکی بچووکی ئوستورالیادا بینییەوە تەماشای ڕەقسی ناوچەیی دەکرد کە لەسەر گیاکان نمایش دەکرا ،وە زۆر بەلایەوە جوان بوو. ڕێگەی نوێی ڤیستیڤاڵی هونەریمان پیشان دەدات کە بەربەستی نێوان بینەران و نمایشکەران دەشکێنێت و یارمەتی شارەکان دەدات کە دەربڕین لەخۆیان بکەن.
David Binder - Theater producer
A Tony Award winner, theater producer David Binder is interested in taking performances off the stage. Full bio
A Tony Award winner, theater producer David Binder is interested in taking performances off the stage. Full bio
Double-click the English transcript below to play the video.
00:16
Sydney. I had been waiting my whole life to get to Sydney.
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سیدنی. له‌هه‌موو ژیانمدا چاوه‌ڕێ بووم بچم بۆ سیدنی
00:20
I got to the airport, to the hotel, checked in,
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چووم بۆ فڕۆکه‌خانه، بۆ هۆتێله‌که، شوێنم گرت
00:23
and, sitting there in the lobby, was a brochure
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له‌هۆڵه‌که دانیشتبووم، نامیلکه‌یه‌کی لێبوو
00:26
for the Sydney Festival. I thumbed through it,
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بۆ ڤیستیڤاڵی سیدنی، چاوێکم پیاخشاند
00:28
and I came across a show called "Minto: Live."
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چووم بۆ به‌رنامه‌یه‌ک به‌ناوی، مینتۆ ده‌ژی
00:31
The description read: "The suburban streets of Minto
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ناونیشانه‌که‌ی: شه‌قامه‌کانی قه‌راخ شاری منتۆ
00:35
become the stage for performances
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ده‌بێت به شانۆ بۆ نواندن
00:38
created by international artists
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له‌لایه‌ن هونه‌رمه‌ندانی نیوده‌وڵه‌تی دروست کراوه
00:40
in collaboration with the people of Minto."
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به‌هاوکاری خه‌ڵکی مینتۆ
00:43
What was this place called Minto?
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ئه‌و شوێنه‌ی ناوی مینتۆ بوو چی بوو
00:45
Sydney, as I would learn, is a city of suburbs,
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سیدنی، کاتێک فێر ده‌بم، شاری ناوچه قه‌راخییه‌کان
00:48
and Minto lies southwest, about an hour away.
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وه مینتۆ ده‌که‌وێته باشوری خۆرئاوا، کاتژمێرێک دووره
00:51
I have to say, it wasn't exactly what I had in mind
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ده‌بێت بڵێم، به‌و شێوه‌یه نه‌بوو که له‌مێشکی مندا بوو
00:55
for my first day down under.
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له‌یه‌که‌م ڕۆژدا
00:56
I mean, I'd thought about the Harbour Bridge or Bondi Beach,
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مه‌به‌ستم له‌وه‌یه، من بیرم له پردی به‌نده‌ره‌کان یان قه‌راخ ده‌ریای بۆندی ده‌کرده‌وه
00:59
but Minto? But still, I'm a producer,
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به‌ڵام، مینتۆ؟ به‌ڵام هێشتا، من به‌رهه‌م هێنم
01:02
and the lure of a site-specific theater project
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سه‌رم سوڕماوه به شوێنی تایبه‌تی پڕۆژه‌ی شانۆیی
01:05
was more than I could resist. (Laughter)
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زیاتر بوو له‌وه‌ی که‌بتوانم به‌رگه‌ی بگرم، پێکه‌نین
01:08
So, off I went into Friday afternoon traffic,
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که‌واته، که‌وتمه ناوترافیکی دوانیوه‌ڕۆی هه‌ینی
01:10
and I'll never forget what I saw when I got there.
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وه هه‌رگیز له‌بیرم ناچێت چیم بینی گه‌یشتمه ئه‌وێ
01:13
For the performance, the audience walked
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بۆ نواندنه‌که، خه‌ڵکه‌که به‌پێ ده‌ڕۆیشت
01:15
around the neighborhood from house to house,
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له ده‌ورووبه‌ری کۆڵانه‌کاندا له ماڵێکه‌وه بۆ ماڵێکی تر
01:18
and the residents, who were the performers,
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وه دانیشتوانه‌کان که ئه‌کته‌راکان بوون
01:21
they came out of their houses, and they performed
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ئه‌وان له ماڵه‌کانیان هاتنه ده‌ره‌وه و نواندنیان دەکرد
01:23
these autobiographical dances on their lawns,
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سه‌ما کۆنه‌کانی خۆیان ده‌کرد له‌سه‌ر پاوانه‌کانیان
01:27
on their driveways. (Laughter)
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له‌سه‌ر ڕێگه‌ی ڕۆشتنه‌که‌یان، پێکه‌نین
01:29
The show is a collaboration with a U.K.-based
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پێشانگاکه به‌هاوکاری به‌ریتانیا له لایه‌ن
01:32
performance company called Lone Twin.
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کۆمپانیای نواندنەوه به‌ناوی، لۆن توین
01:35
Lone Twin had come to Minto and worked
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لۆن توین هاتن بۆ منتۆ و کاریان
01:37
with the residents, and they had created these dances.
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له‌گه‌ڵ دانیشتوانه‌که کرد و ئه‌و سه‌ما کردنه‌یان دروست کردووه
01:40
This Australian-Indian girl, she came out and started
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ئه‌م کچه ئوستڕالییه - هیندییه، ئه‌و هاتۆته ده‌ره‌وه و ده‌ستی کردووه
01:44
to dance on her front lawn,
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به سه‌ماکردن له‌به‌رده‌م پاوانه‌کانی دا
01:46
and her father peered out the window to see
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وە باوکی له په‌نجه‌ره‌که‌وه ته‌ماشا ده‌کات
01:49
what all the noise and commotion was about,
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بزانێت ئه‌و هه‌موو ده‌نگه ده‌نگ و ئاژاوه‌یه چییه
01:51
and he soon joined her.
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وه ماوه‌یه‌ک دوای ئه‌وه هاته لای کچه‌که‌ی
01:53
And he was followed by her little sister.
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ئه‌ویش خوشکه بچوکه‌که‌ی به‌دواوەبوو
01:56
And soon they were all dancing this joyous,
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ده‌ستبه‌جێ، هه‌موویان به ئاسوده‌یی سه‌مایان ده‌کرد
01:59
exuberant dance right there on their lawn. (Laughter)
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به دڵخۆشییه‌ک و زه‌وقێکه‌وه له‌وێ له‌سه‌ر پاوه‌نه‌که‌یان. پێکه‌نین
02:04
And as I walked through the neighborhood,
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کاتێک به‌ناو ناوچه‌که‌دا ڕۆشتم
02:06
I was amazed and I was moved by the incredible
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سه‌رسام بووم هه‌ستم ده‌جوڵا به‌هۆی
02:10
sense of ownership this community clearly felt
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هه‌ست کردنی ئه‌م کۆمه‌ڵگایه به خاوه‌ندارێتی
02:13
about this event.
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له‌باره‌ی ئه‌م بۆنه‌یه‌وه
02:15
"Minto: Live" brought Sydneysiders into dialogue
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مینتۆ: ده‌ژی، خه‌ڵکانی قه‌راخ سیدنی هێنایه قسه‌کردن
02:18
with international artists, and really celebrated
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له‌گه‌ڵ هونه‌رمه‌ندانی نێوده‌وڵه‌تی و هه‌ستیان به‌خۆشی کرد
02:21
the diversity of Sydney on its own terms.
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له جیاوازی سیدنی له شێوه‌ی خۆیدا
02:25
The Sydney Festival which produced "Minto: Live" I think
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وابزانم، ڤیستیڤاڵی سیدنی :مینتۆ: ده‌ژی" به‌رهه‌م هێناوه
02:29
represents a new kind of 21st-century arts festival.
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نوێنه‌رایه‌تی جۆرێکی تازه‌ی ڤیستیڤاڵی هونه‌ری ده‌کات له‌سه‌ده‌ی (٢١)دا
02:32
These festivals are radically open.
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به‌شێوه‌یه‌کی بنه‌ڕه‌تی، ئه‌م ڤیستیڤاڵانه کراوه‌ن
02:36
They can transform cities and communities.
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ده‌توانن کۆمه‌ڵگاکان و شاره‌کان بگۆرن
02:40
To understand this, I think it kind of makes sense
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بۆ تێگه‌یشتن له‌مه، وابزانم باشتره
02:42
to look where we've come from.
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ته‌ماشای ئه‌و شوێنه بکه‌ین که لێوه‌ی هاتوین
02:45
Modern arts festivals were born
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ڤیستڤاڵی هونه‌ری مۆدێرن له‌دایک بوو
02:47
in the rubble of World War II.
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له‌ناو کاولکاری جه‌نگی جیهانی دووه‌م دا
02:48
Civic leaders created these annual events
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سه‌رکرده‌کانی شارستانی ئه‌م بۆنه ساڵانه‌یان دروست کرد
02:51
to celebrate culture as the highest
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بۆ ئاهه‌نگ گێڕانی کلتوری له به‌رزترین
02:54
expression of the human spirit.
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ڕوخساری ڕۆحی مرۆڤ
02:56
In 1947, the Edinburgh Festival was born
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له‌ساڵی ١٩٤٧، ڤیستیڤاڵی ئیدینبوراهه له‌دایک بوو
03:00
and Avignon was born and hundreds of others
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وه (ئه‌ڤیگنون) و سه‌دانی تر له‌دایک بوون
03:02
would follow in their wake.
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که داوای گه‌شاندنه‌وه‌ی ئه‌وان که‌وتن
03:04
The work they did was very, very high art,
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ئه‌و کاره‌ی ئه‌وان کردیان زۆر هونه‌ری بوو
03:07
and stars came along like Laurie Anderson
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ئه‌ستێره‌کان ده‌هاتن وه‌ک لاوی ئه‌ندرسۆن
03:10
and Merce Cunningham and Robert Lepage
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مێرس کونینگهام و ڕۆبێرت لێپه‌یج
03:12
who made work for this circuit,
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که له‌خۆڵی خۆیدا کاری ده‌کرد
03:14
and you had these seminal shows like "The Mahabharata"
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تۆ ئه‌م جۆره کۆبونه‌وانه‌ت هه‌بوو وه‌ک، ماهابهاراتا
03:16
and the monumental "Einstein on the Beach."
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وه، ئینشتاین له‌سه‌ر قه‌راخ ده‌ریای گه‌وره‌ت هه‌بوو
03:19
But as the decades passed,
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به‌ڵام، کاتێک سه‌رده‌مه‌کان ده‌ڕۆشتن
03:22
these festivals, they really became the establishment,
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ئه‌م ڤیستیڤاڵانه، به‌ڕاستی بوون به دامه‌زره‌وه‌یه‌ک
03:25
and as the culture and capital accelerated,
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وە کاتێك کلتوری و پایته‌خت فراوان بوو
03:28
the Internet brought us all together,
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ئینته‌رنێت هه‌موومانی کۆکرده‌وه
03:30
high and low kind of disappeared,
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ئاست به‌رز و نزم به‌جۆرێک وون بوو
03:33
a new kind of festival emerged.
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جۆرێکی تازه‌ی ڤیستیڤاڵی ده‌رکه‌وت
03:35
The old festivals, they continued to thrive, but
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ڤیستیڤاڵه کۆنه‌کان، به‌رده‌وام بوون له ده‌رچون، به‌ڵام
03:38
from Brighton to Rio to Perth, something new was emerging,
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له بریکتۆن بۆ ڕیۆ بۆپێرث، شتێکی تازه ده‌رکه‌وت
03:43
and these festivals were really different.
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ئه‌م ڤیستیڤاڵانه به‌ڕاستی جیاواز بوون
03:45
They're open, these festivals, because, like in Minto,
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ئه‌م ڤیستیڤاڵانه کراوه‌بوون چونکه، وه‌ک له مینتۆ
03:48
they understand that the dialogue
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ئه‌وان تێده‌گه‌شتن که گفتوگۆکردن
03:51
between the local and the global is essential.
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له‌نێوان خۆجێیه‌کان و ده‌ره‌وه گرنگه
03:54
They're open because they ask the audience to be a player,
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ئه‌وان کراوه‌ن چونکه ئه‌وان داوا له‌بینه‌ران ده‌که‌ن تا ببنه یاریکه‌رێک
03:59
a protagonist, a partner, rather than a passive spectator,
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ئه‌کته‌ری سه‌ره‌کی، هاوڕێیه‌ک، له‌جیاتی بینه‌رێکی نادیار
04:03
and they're open because they know that imagination
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وه ئه‌وان کراوه‌ن چونکه ده‌زانن خەیاڵ
04:07
cannot be contained in buildings,
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ناتوانێت بیناکان له‌خۆی بگرێت
04:09
and so much of the work they do
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زۆرێک له‌و کارانه‌ی ئه‌وان ده‌یکه‌ن
04:11
is site-specific or outdoor work.
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شوێنی تایبه‌تیان کاری ده‌ره‌وه‌یه
04:14
So, the new festival, it asks the audience to play
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که‌واته، ڤیستیڤاڵه تازه‌که، داوا له‌بینه‌ران ده‌کات که
04:17
an essential role in shaping the performance.
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ده‌ورێکی گرنگیان له بینه‌ره‌که‌دا هه‌بێت
04:21
Companies like De La Guarda, which I produce, and Punchdrunk
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کۆمپانیاکانی وه‌ک، (دێ لاگواردا)، که من به‌رهه‌می دێنم
04:26
create these completely immersive experiences
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ئه‌م جۆره دۆخانه دروست ده‌کات
04:28
that put the audience at the center of the action,
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که بینه‌ران ده‌خاته ناو سه‌نته‌ری جوڵه‌کردنه‌وه
04:32
but the German performance company Rimini Protokoll
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به‌ڵام، کۆمپانیای (ڕیمی پڕۆتۆکۆڵ)ی ئه‌ڵمانی بۆ نواندن
04:35
takes this all to a whole new level.
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ئه‌مانه هه‌موو ده‌باته ئاستێکی تازه
04:38
In a series of shows that includes "100 Percent Vancouver,"
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له‌زنجیره‌یه‌ک به‌رنامه‌دا که "%100 ڤانگۆڤه‌ر
04:42
"100 Percent Berlin," Rimini Protokoll makes shows
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لە (%١٠) به‌رلین، ده‌گرێته‌وه، ڕیمی پڕۆتۆکۆڵ به‌رنامه‌کان
04:46
that actually reflect society.
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به‌شێوه‌یه‌ک ده‌کات که به‌ڕاستی کاردانه‌وه‌ی له‌سه‌ر کۆمه‌ڵگه هه‌بێت
04:49
Rimini Protokoll chooses 100 people that represent that city
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ڕیمی پڕۆتۆکۆڵ (١٠٠) که‌س هه‌ڵده‌بژێرێت که نوێنه‌رایه‌تی ئه‌و شاره ده‌که‌ن
04:53
at that moment in terms of race and gender and class,
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له‌وکاته‌دا به پێی ڕه‌گه‌ز و ئاست
04:57
through a careful process that begins three months before,
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له‌ڕێی پڕۆسه‌یه‌کی هۆشیارانه‌وه که سێمانگ پێش ئه‌وه‌ی ده‌ست پێ بکات
05:00
and then those 100 people share stories about
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وە دوای ئه‌وه (١٠٠) که‌سه‌که چیرۆکی
05:03
themselves and their lives, and the whole thing
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خۆیان و ژیانیان ده‌گێڕنه‌وه و هه‌موو شته‌که
05:06
becomes a snapshot of that city at that moment.
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ده‌بێت به وێنه‌یه‌کی ئه‌وکاته‌ی ئه‌و شاره
05:10
LIFT has always been a pioneer in the use of venues.
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به‌رزکه‌ره‌وه هه‌میشه پێشه‌نگه له به‌کارهێناندا له شوێنی به‌کارهێناندا
05:14
They understand that theater and performance
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ئه‌وان ئه‌وه تێده‌گه‌ن که شانۆ و نواندن
05:16
can happen anywhere.
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ده‌توانێت له‌هه‌موو شوێنێک بکرێت
05:17
You can do a show in a schoolroom,
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ده‌توانی به‌رنامه‌یه‌ک له پۆلێکدا بکه‌یت
05:21
in an airport, — (Laughter) —
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له‌فڕۆکه خانه --- پێکه‌نین
05:23
in a department store window.
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له کۆگایه‌کی شوشه‌یی دا
05:26
Artists are explorers. Who better to show us the city anew?
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هونه‌رمه‌نده‌کان دۆزه‌ره‌وه‌کانن، کێ باشه شوێنێکی تازه‌ی شاره‌که‌مان نیشان بدات؟
05:30
Artists can take us to a far-flung part of the city
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هونه‌رمه‌نده‌کان ده‌توانن ئێمه ببه‌ن بۆ دوورترین شوێنی شاره‌که
05:33
that we haven't explored, or they can take us into
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که نه‌مان دۆزیوه‌ته‌وه، یان ده‌توانن بمانبه‌ن به‌ناو
05:35
that building that we pass every day but we never went into.
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ئه‌و بینایه‌ی که هه‌موو ڕۆژێک به‌لایدا تێپه‌ڕ ده‌بین و ناچینه ناوه‌وه
05:40
An artist, I think, can really show us people
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هونه‌رمه‌ندێک، پێم وایه، ده‌توانێت خه‌ڵکانێکمان نیشان بدات
05:44
that we might overlook in our lives.
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که له‌وانه‌یه ئێمه به‌شێوه‌یه‌ک ته‌ماشایان بکه‌ین له ژیانماندا
05:47
Back to Back is an Australian company of people
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گه‌ڕان بۆ ڕابردوو کۆمپانیایه‌کی ئوستڕاڵی یه
05:50
with intellectual disabilities. I saw their amazing show
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له‌گه‌ڵ که‌سانی که‌م ئه‌ندامی زیره‌ک، به‌رنامه سه‌رنج ڕاکێشه‌که‌یانم بینی
05:55
in New York at the Staten Island Ferry Terminal
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له نیویۆڕک، له تێرمیناڵی دورگه‌ی که‌ڵه‌کی شاره‌که
05:58
at rush hour.
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له‌کاتی قه‌ره‌باڵه‌غیدا
06:00
We, the audience, were given headsets and seated
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ئێمه، بینه‌ره‌کان، مایکرۆفۆنێکمان وه‌رگرت و دانیشتین
06:02
on one side of the terminal.
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له‌لایه‌کی تێرمیناڵه‌که‌وه
06:05
The actors were right there in front of us,
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ئه‌کته‌ره‌کان له‌به‌رده‌م ئێمه‌دا بوون
06:07
right there among the commuters,
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له‌وێدا له‌ناو خه‌ڵکه به‌ژداربوه‌که‌دا
06:10
and we could hear them,
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وه ئێمه ده‌مان توانی گوێمان لێیان بێت
06:11
but we might not have otherwise seen them.
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به‌ڵام، له‌وانه‌یه نه‌مان توانیایه بیان بینین
06:14
So Back to Back takes site-specific theater and uses it
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له‌به‌رئه‌وه، (گه‌ڕانه‌وه بۆ ڕابردوو)لایه‌کی تایبه‌تی شانۆکه‌ی بردوو به‌کاری ده‌هێنا
06:19
to gently remind us about who and what we choose
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بۆ به‌باشی بیرهێنانه‌وه‌مان که کێ و چۆن ئێمه هه‌ڵبژێردراین
06:22
to edit out of our daily lives.
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بۆ به‌کارهێنانی له ژیانی ڕۆژانه‌ماندا
06:25
So, the dialogue with the local and the global,
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که‌واته، گفتوگۆ له‌گه‌ڵ خۆجێیه‌کان و بیانییه‌کان
06:28
the audience as participant and player and protagonist,
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بینه‌ره‌کان وه‌ک به‌ژداربوویه‌ک و ئه‌کته‌ری سه‌ره‌کی
06:32
the innovative use of site, all of these things
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به‌کار هێنانی شوێنه‌که، هه‌موو ئه‌مانه
06:35
come to play in the amazing work
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کارێکی جوانیان دروست کرد
06:38
of the fantastic French company Royal de Luxe.
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بۆ نایابترین کۆمپانیای فه‌ڕه‌نسی ڕۆیاڵ دی لوکس
06:42
Royal de Luxe's giant puppets come into a city
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پشتگیری گه‌وره‌ی (ڕۆیاڵ دی لوکس) گه‌یشته شارێک
06:46
and they live there for a few days.
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وه ئه‌وان بۆ چه‌ند ڕۆژێک له‌وێ ده‌ژین
06:48
For "The Sultan's Elephant," Royal de Luxe
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بۆ "فیلمی سوڵتانه‌کان" ڕۆیاڵ دی لوکس
06:52
came to central London and brought it to a standstill
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هه‌تا ناوه‌ڕاستی له‌نده‌ن، وه‌ستا
06:55
with their story of a giant little girl and her friend,
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له‌گه‌ڵ چیرۆکه‌که‌یان له‌باره‌ی کچه بچوکه‌که‌و هاوڕێکه‌ی
06:59
a time-traveling elephant.
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کاتێک به فیل گه‌شته‌که‌ن
07:02
For a few days, they transformed a massive city
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بۆ چه‌ند ڕؤژێک، ئه‌وان گه‌وره‌ترین شار ده‌گۆڕن
07:07
into a community where endless possibility reigned.
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بۆ کۆمه‌ڵگه‌یه‌ک که ده‌سەڵاتی بێکۆتایه
07:11
The Guardian wrote, "If art is about transformation,
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گاردیان نوسی ئه‌گه‌ر هونه‌ر له‌باره‌ی گۆڕان کارییه‌وه
07:15
then there can be no more transformative experience.
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که‌واته هیچ دۆخێکی گۆڕانکاری نابێت
07:19
What 'The Sultan's Elephant' represents is no less
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ئه‌وه‌ی " فیله‌که‌ی سوڵتان" باسی ده‌کات هیچی که‌مترنییه
07:23
than an artistic occupation of the city
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له‌وه‌ی کۆنتڕۆڵ کردنی شارەکە به هونه‌ر
07:26
and a reclamation of the streets for the people."
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وه گه‌ڕانه‌وه‌ی شه‌قامه‌کان بۆ خه‌ڵکه‌که‌ی
07:31
We can talk about the economic impacts of these festivals
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ده‌توانین باسی کاریگه‌ری ئابوریانه‌ی ئه‌م ڤیستیڤاڵانه بکه‌ین
07:34
on their cities, but I'm much [more] interested in many more things,
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له‌سه‌ر شاره‌کان، به‌ڵام من زیاتر گرنگی ده‌ده‌م به به‌شی زیاتر
07:38
like how a festival helps a city to express itself,
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وه‌ک چۆن ڤیستڤاڵێک یارمه‌تی شارێک ده‌دات خۆی ده‌ربخات
07:42
how it lets it come into its own.
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چۆن ڕێگه‌ی ده‌دات بچنه ناوخۆیه‌وه
07:45
Festivals promote diversity,
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ڤیستیڤاڵه‌کان جیاوازی فه‌راهه‌م ده‌کات
07:48
they bring neighbors into dialogue,
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دراوسێکان ده‌هێنێته گفتوگۆکردن
07:50
they increase creativity,
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داهێنان زیاد ده‌کات
07:52
they offer opportunities for civic pride,
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هه‌لی باش ده‌ڕه‌خسێنێت بۆ شانازی شارستانی
07:55
they improve our general psychological well-being.
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به‌گشتی لایه‌نی ده‌رونیمان گه‌شه پێده‌دات
07:59
In short, they make cities better places to live.
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به‌کورتی، شاره‌کان ده‌که‌ن به باشترین شوێن بۆ ژیان
08:03
Case in point:
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مه‌به‌سته‌که
08:04
When "The Sultan's Elephant" came to London
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کاتێک"فیله‌که‌ی سوڵتان" هاته له‌نده‌ن
08:07
just nine months after 7/7, a Londoner wrote,
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ته‌نها دوای نۆ مانگ داوی ٧/٧ (له‌ندۆنه‌ر) نوسی
08:12
"For the first time since the London bombings,
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بۆیه‌که‌م جار له‌وه‌ته‌ی له‌نده‌ن بۆمباران کراوه
08:15
my daughter called up with that sparkle back in her voice.
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کچه‌که‌م به ده‌نگی دره‌وشاوه‌ی خۆی ناوی هێناوه
08:19
She had gathered with others
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ئه‌و له‌گه‌ڵ که‌سانی تر کۆبۆیه‌وه
08:21
to watch 'The Sultan's Elephant,' and, you know,
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بۆ ته‌ماشاکردنی "فیله‌که‌ی سوڵتان" و، ده‌زانی
08:24
it just made all the difference."
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ته‌نها هه‌موو شته‌کانی جیاوازکرد
08:27
Lyn Gardner in The Guardian has written
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لین گاردنه‌ر له گاردیان نوسیویه‌تی
08:29
that a great festival can show us a map of the world,
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که ڤیستیڤاڵێکی مه‌زن ده‌توانێت نه‌خشه‌ی جیهانمان نیشان بدات
08:33
a map of the city and a map of ourselves,
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نه‌خشه‌ی شاره‌که و نه‌خشه‌ی خۆمان
08:37
but there is no one fixed festival model.
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به‌ڵام، هیچ که‌س نیه شێوازی ڤیستیڤاڵ چاک بکات
08:40
I think what's so brilliant about the festivals,
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وابزانم، ئه‌وه‌ی که زۆر زیره‌کانه‌یه له‌باره‌ی ڤیستیڤاڵه‌کان
08:43
the new festivals, is that they are really fully capturing
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ڤیستیڤاڵه نوییه‌کان، ئه‌وه‌یه که به‌باشی وێنه‌ی
08:48
the complexity and the excitement
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ناڕه‌حه‌تی و خۆشییه‌کان ده‌گرن
08:52
of the way we all live today.
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له‌و شێوازه‌ی که ئه‌مڕۆ ئێمه هه‌موومان ده‌ژین
08:54
Thank you very much. (Applause)
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زۆر سوپاس، چه‌پڵه لێدان
ABOUT THE SPEAKER
David Binder - Theater producerA Tony Award winner, theater producer David Binder is interested in taking performances off the stage.
Why you should listen
David Binder won the Tony award for producing the record-breaking smash Hedwig and the Angry Inch starring Neil Patrick Harris. Other Broadway credits include Of Mice and Men starring James Franco and Chris O'Dowd (the first Broadway show to be filmed by the National Theatre of Britain's NT Live and shown in cinemas around the world), 33 Variations starring Jane Fonda, and the first Broadway revival of A Raisin in the Sun, with Sean Combs, Phylicia Rashad and Audra McDonald.
Binder has also staged events and festivals around the globe, including The High Line Festival, which was curated by David Bowie, The New Island Festival (ten days of Dutch site-specific theater, dance and music in New York City) and IBM's 100th Anniversary: Short Ride in a Fast Machine (held at Lincoln Center). He is the Artistic Associate of London's LIFT Festival.
PHOTO CREDITS for David's 2012 TED Talk:
Minto: Live – Sydney Festival
2011
3 Courtesy of Lone Twin
4 Courtesy of Lone Twin
5 Courtesy of Lone Twin
6 © Pekka Mäkinen
7 © Amrit MacIntyre
8 Courtesy of Lone Twin
9 © Pekka Mäkinen
10 © Pekka Mäkinen
11 © Pekka Mäkinen
12 © Pekka Mäkinen
13 © Pekka Mäkinen
14 © Pekka Mäkinen
The Mahabharata
16 © Image Entertainment
Einstein on the Beach
17 Spaceship © Lesley Leslie-Spinks 2012
De La Guarda
21 Courtesy of De La Guarda
Sleep No More
22 © Alick Crossley
100% – Rimini Protokoll
23 100% Berlin, © Barbara Braun, courtesy of Rimini Protokoll
24 100% Karlsruhe, © Jochen Klenk, courtesy of Rimini Protokoll
25 100% Köln, © Sandra Then, courtesy of Rimini Protokoll
26 100% Köln, © Sandra Then, courtesy of Rimini Protokoll
27 100% Köln, © Sandra Then, courtesy of Rimini Protokoll
28 100% Karlsruhe, © Jochen Klenk, courtesy of Rimini Protokoll
29 100% Köln, © Sandra Then, courtesy of Rimini Protokoll
Grown-Up School (Daily Life Series Part 4)
32 LIFT Brecknock Primary School, London 1999
Photograph: Andrew Whittuck
www.dailylifeltd.co.uk
Roam – a National Theatre of Scotland and Grid Iron production
33 Photo by Richard Campbell, courtesy of National Theatre of Scotland
Urban Dream Capsule
34 Photo courtesy of Bedno.com
Small Metal Objects, Back to Back Theatre
36 Photo by Berni Sweeney, courtesy of Back to Back Theatre
37 2009 Time-Based Art Festival. Photo: Carole Zoom, courtesy of Portland Institute for Contemporary Art
38 Photo by Jeff Busby, courtesy of Back to Back Theatre
39 Photo by Prudence Upton, courtesy of Back to Back Theatre
40 © Richard Termine
Royal de Luxe
42 © Carsten Siegel, berlinsidewalk.com
43 © Flickr user Mlle Jordan
44 © Carsten Siegel, berlinsidewalk.com
45 © Carsten Siegel, berlinsidewalk.com
46 Photo by Flickr user sw77, licensed by creative commons
47 The Sultan’s Elephant produced by Artichoke with funding by Arts Council England and the Mayor’s Office of London, photo by Matthew Andrews
48 The Sultan’s Elephant produced by Artichoke with funding by Arts Council England and the Mayor’s Office of London, photo by Matthew Andrews
49 © Carsten Siegel, berlinsidewalk.com
50 The Sultan’s Elephant produced by Artichoke with funding by Arts Council England and the Mayor’s Office of London, photo by Matthew Andrews
51 Photo by Flickr user sw77, licensed by creative commons
52 The Sultan’s Elephant produced by Artichoke with funding by Arts Council England and the Mayor’s Office of London, photo by Sophie Laslett
54 The Sultan’s Elephant produced by Artichoke with funding by Arts Council England and the Mayor’s Office of London, photo by Matthew Andrews
55 The Sultan’s Elephant produced by Artichoke with funding by Arts Council England and the Mayor’s Office of London, photo by Sophie Laslett
56 The Sultan’s Elephant produced by Artichoke with funding by Arts Council England and the Mayor’s Office of London, photo by Matthew Andrews
57 The Sultan’s Elephant produced by Artichoke with funding by Arts Council England and the Mayor’s Office of London, photo by Matthew Andrews
58 The Sultan’s Elephant produced by Artichoke with funding by Arts Council England and the Mayor’s Office of London, photo by Sophie Laslett
David Binder | Speaker | TED.com