TEDGlobal 2012
David Binder: The arts festival revolution
David Binder: A revolução do festival das artes
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David Binder é um importante produtor da Broadway, mas no verão passado ele se viu em um pequeno bairro australiano, assistindo pessoas locais dançando e atuando em seus gramados – e adorando. Ele nos mostra a nova face dos festivais das artes, que rompem os limites entre público e artista e ajudam as cidades a se expressarem.
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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Sydney. Esperei minha vida inteira para ir a Sidney.
00:20
I got to the airport, to the hotel, checked in,
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Cheguei no aeroporto, fui para o hotel, me hospedei
00:23
and, sitting there in the lobby, was a brochure
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e sentado lá no saguão vi um folheto
00:26
for the Sydney Festival. I thumbed through it,
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do Festival de Sydney. Enquanto passava os olhos nele
00:28
and I came across a show called "Minto: Live."
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eu vi um show chamado “Minto: Ao Vivo”.
00:31
The description read: "The suburban streets of Minto
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A descrição lia: “As ruas no subúrbio de Minto
00:35
become the stage for performances
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tornam-se o palco para shows
00:38
created by international artists
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criados por artistas internacionais
00:40
in collaboration with the people of Minto."
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em colaboração com os moradores de Minto.”
00:43
What was this place called Minto?
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Que lugar era esse chamado Minto?
00:45
Sydney, as I would learn, is a city of suburbs,
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Sydney, como vim a saber depois, é uma cidade de subúrbios,
00:48
and Minto lies southwest, about an hour away.
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e Minto fica no sudoeste, cerca de uma hora de Sydney.
00:51
I have to say, it wasn't exactly what I had in mind
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Confesso que não era exatamente isto que eu tinha em mente
00:55
for my first day down under.
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no meu primeiro dia em “down under” (Austrália).
00:56
I mean, I'd thought about the Harbour Bridge or Bondi Beach,
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Eu tinha pensado em Harbour Bridge ou Bondi Beach,
00:59
but Minto? But still, I'm a producer,
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mas Minto? O que fazer, eu sou um produtor,
01:02
and the lure of a site-specific theater project
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e o atrativo de um projeto de teatro específico de um local
01:05
was more than I could resist. (Laughter)
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era impossível de resistir. (Risos)
01:08
So, off I went into Friday afternoon traffic,
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Fui no meio do trânsito de sexta-feira à tarde,
01:10
and I'll never forget what I saw when I got there.
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e nunca vou esquecer o que vi quando cheguei lá.
01:13
For the performance, the audience walked
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Para o show, o público andava pela
01:15
around the neighborhood from house to house,
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vizinhança, de casa em casa,
01:18
and the residents, who were the performers,
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e os moradores, que eram os artistas,
01:21
they came out of their houses, and they performed
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saíam de suas casas e faziam
01:23
these autobiographical dances on their lawns,
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umas danças autobiográficas em seus gramados,
01:27
on their driveways. (Laughter)
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na entrada das suas garagens. (Risos)
01:29
The show is a collaboration with a U.K.-based
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O show é em colaboração com a companhia teatral
01:32
performance company called Lone Twin.
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da Grã-Bretanha chamada Lone Twin.
01:35
Lone Twin had come to Minto and worked
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Lone Twin veio a Minto e trabalhou
01:37
with the residents, and they had created these dances.
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com os moradores e eles criaram estas danças.
01:40
This Australian-Indian girl, she came out and started
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Tinha essa jovem australiana-indiana
que saiu da casa dela e começou
que saiu da casa dela e começou
01:44
to dance on her front lawn,
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a dançar no gramado do seu jardim,
01:46
and her father peered out the window to see
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e seu pai espiava da janela para ver
01:49
what all the noise and commotion was about,
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o que era aquele barulho e comoção toda,
01:51
and he soon joined her.
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e sem demora ele veio se juntar a ela.
01:53
And he was followed by her little sister.
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Em seguida veio a irmã mais nova.
01:56
And soon they were all dancing this joyous,
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E logo logo todos dançavam esta dança
01:59
exuberant dance right there on their lawn. (Laughter)
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alegre e exuberante ali mesmo no gramado
da casa deles. (Risos)
da casa deles. (Risos)
02:04
And as I walked through the neighborhood,
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E enquanto eu circulava pela vizinhança,
02:06
I was amazed and I was moved by the incredible
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fiquei pasmo e comovido com o incrível
02:10
sense of ownership this community clearly felt
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senso de identidade que esta comunidade claramente sentia
02:13
about this event.
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sobre este evento.
02:15
"Minto: Live" brought Sydneysiders into dialogue
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“Minto: Ao Vivo” trouxe as pessoas de Sydney ao diálogo
02:18
with international artists, and really celebrated
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com artistas internacionais e comemoraram realmente
02:21
the diversity of Sydney on its own terms.
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a diversidade de Sydney a seu próprio modo.
02:25
The Sydney Festival which produced "Minto: Live" I think
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O Festival de Sydney que produziu “Minto: Ao Vivo", acho eu,
02:29
represents a new kind of 21st-century arts festival.
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representa um novo tipo de festival das artes do século 21.
02:32
These festivals are radically open.
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Estes festivais são radicalmente abertos.
02:36
They can transform cities and communities.
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Eles podem transformar cidades e comunidades.
02:40
To understand this, I think it kind of makes sense
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Para entendermos isso, acho que faz sentido
02:42
to look where we've come from.
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ver as suas origens.
02:45
Modern arts festivals were born
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Os festivais das artes modernas começaram
02:47
in the rubble of World War II.
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nos destroços da Segunda Guerra Mundial.
02:48
Civic leaders created these annual events
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Líderes civis criaram esses eventos anuais
02:51
to celebrate culture as the highest
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para celebrar cultura como a mais alta
02:54
expression of the human spirit.
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expressão do espírito humano.
02:56
In 1947, the Edinburgh Festival was born
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Em 1947, o Festival de Edinburgh
03:00
and Avignon was born and hundreds of others
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e o de Avignon nasceram e centenas de outros
03:02
would follow in their wake.
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seguiriam estes exemplos.
03:04
The work they did was very, very high art,
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O trabalho que fizeram era arte bem formal,
03:07
and stars came along like Laurie Anderson
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e estrelas como Laurie Anderson e Merce Cunningham
03:10
and Merce Cunningham and Robert Lepage
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participaram depois e também Robert Lepage,
03:12
who made work for this circuit,
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que colaborou nesse circuito,
03:14
and you had these seminal shows like "The Mahabharata"
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e tínhamos esses shows seminais como
“O Mahabharata”
“O Mahabharata”
03:16
and the monumental "Einstein on the Beach."
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e o monumental “Einstein na Praia”.
03:19
But as the decades passed,
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Mas ao passar das décadas,
03:22
these festivals, they really became the establishment,
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estes festivais na realidade se tornaram parte do sistema,
03:25
and as the culture and capital accelerated,
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e enquanto a cultura e capital aceleravam,
03:28
the Internet brought us all together,
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a Internet nos uniu,
03:30
high and low kind of disappeared,
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formal e popular mais ou menos desapareceram,
03:33
a new kind of festival emerged.
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e um novo tipo de festival emergiu.
03:35
The old festivals, they continued to thrive, but
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Os festivais antigos continuaram a prosperar, mas
03:38
from Brighton to Rio to Perth, something new was emerging,
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de Brighton ao Rio e a Perth, algo novo surgia,
03:43
and these festivals were really different.
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e estes festivais eram realmente diferentes.
03:45
They're open, these festivals, because, like in Minto,
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Eles são abertos, porque, como em Minto,
03:48
they understand that the dialogue
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eles percebem que o diálogo
03:51
between the local and the global is essential.
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entre o local e o global é essencial.
03:54
They're open because they ask the audience to be a player,
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Eles são abertos porque pedem as pessoas do público que sejam um ator,
03:59
a protagonist, a partner, rather than a passive spectator,
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um protagonista, um sócio, em vez de um espectador passivo,
04:03
and they're open because they know that imagination
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e são abertos porque sabem que a imaginação
04:07
cannot be contained in buildings,
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não pode ser contida em prédios,
04:09
and so much of the work they do
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e muito do trabalho que eles fazem
04:11
is site-specific or outdoor work.
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é em lugares específicos ou ao ar livre.
04:14
So, the new festival, it asks the audience to play
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O festival novo pede ao público para desempenhar
04:17
an essential role in shaping the performance.
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um papel essencial em dar forma às apresentações.
04:21
Companies like De La Guarda, which I produce, and Punchdrunk
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Companhias como De La Guarda, que eu produzi, e Punchdrunk
04:26
create these completely immersive experiences
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criaram essas experiências totalmente imersivas
04:28
that put the audience at the center of the action,
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que colocam o público no centro do ato,
04:32
but the German performance company Rimini Protokoll
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mas a companhia de performance alemã
Rimini Protokoll
Rimini Protokoll
04:35
takes this all to a whole new level.
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leva isto tudo a um nível totalmente novo.
04:38
In a series of shows that includes "100 Percent Vancouver,"
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Em uma série de shows que inclui “100 Por Cento Vancouver”,
04:42
"100 Percent Berlin," Rimini Protokoll makes shows
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“100 Por Cento Berlim”, Rimini Protokoll faz shows
04:46
that actually reflect society.
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que verdadeiramente refletem a sociedade.
04:49
Rimini Protokoll chooses 100 people that represent that city
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Rimini Protokoll escolhe 100 pessoas para representar a cidade
04:53
at that moment in terms of race and gender and class,
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naquele momento em termos de raça, gênero e classe,
04:57
through a careful process that begins three months before,
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através de um processo rigoroso que começa três meses antes,
05:00
and then those 100 people share stories about
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e então aquelas 100 pessoas compartilham histórias sobre
05:03
themselves and their lives, and the whole thing
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elas e suas vidas, e tudo aquilo
05:06
becomes a snapshot of that city at that moment.
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se torna uma captura instantânea da cidade naquele momento.
05:10
LIFT has always been a pioneer in the use of venues.
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LIFT (Festival de Teatro Internacional de Londres) sempre foi um pioneiro no uso dos locais.
05:14
They understand that theater and performance
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Eles sabem que teatro e performance
05:16
can happen anywhere.
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podem acontecer em qualquer lugar.
05:17
You can do a show in a schoolroom,
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Você pode fazer um show em uma sala de aula,
05:21
in an airport, — (Laughter) —
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no aeroporto – (Risos) –
05:23
in a department store window.
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na vitrine de uma loja de departamentos.
05:26
Artists are explorers. Who better to show us the city anew?
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Artistas são exploradores. Quem melhor para nos mostrar a cidade de novo?
05:30
Artists can take us to a far-flung part of the city
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Artistas podem nos levar a uma parte mais remota da cidade
05:33
that we haven't explored, or they can take us into
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que ainda não exploramos, ou podem nos levar àquele
05:35
that building that we pass every day but we never went into.
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prédio que passamos em frente todos os dias mas que nunca entramos.
05:40
An artist, I think, can really show us people
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Um artista, penso eu, pode realmente nos mostrar as pessoas
05:44
that we might overlook in our lives.
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que talvez tenhamos deixado passar
em nossas vidas.
em nossas vidas.
05:47
Back to Back is an Australian company of people
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Back to Back é uma companhia australiana de pessoas
05:50
with intellectual disabilities. I saw their amazing show
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com deficiência mental. Eu vi o show maravilhoso deles
05:55
in New York at the Staten Island Ferry Terminal
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no Terminal da Balsa de Staten Island em Nova York
05:58
at rush hour.
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na hora do rush.
06:00
We, the audience, were given headsets and seated
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Eles distribuíram fones de ouvido a nós, o público, e nos sentamos
06:02
on one side of the terminal.
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em um lado do terminal.
06:05
The actors were right there in front of us,
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Os atores estavam bem na nossa frente,
06:07
right there among the commuters,
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ali mesmo entre as pessoas viajando para o trabalho
06:10
and we could hear them,
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e nós podíamos ouvi-los,
06:11
but we might not have otherwise seen them.
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mas poderíamos não os ter percebido.
06:14
So Back to Back takes site-specific theater and uses it
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Então Back to Back pega posições específicas de teatro e as usa
06:19
to gently remind us about who and what we choose
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para nos alertar delicadamente sobre quem e o quê escolhemos
06:22
to edit out of our daily lives.
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editar de nossas vidas quotidianas.
06:25
So, the dialogue with the local and the global,
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Por isso, o diálogo entre o local e o global,
06:28
the audience as participant and player and protagonist,
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o público como participante, ator e protagonista,
06:32
the innovative use of site, all of these things
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o uso inovador de locais, tudo isso
06:35
come to play in the amazing work
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entra no jogo do trabalho extraordinário
06:38
of the fantastic French company Royal de Luxe.
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da fantástica companhia francesa Royal de Luxe.
06:42
Royal de Luxe's giant puppets come into a city
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Marionetes gigantes da Royal de Luxe vão para uma cidade
06:46
and they live there for a few days.
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onde ficam morando por uns dias.
06:48
For "The Sultan's Elephant," Royal de Luxe
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A Royal de Luxe trouxe “O Elefante do Sultão”,
06:52
came to central London and brought it to a standstill
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ao centro de Londres que ficou paralisado
06:55
with their story of a giant little girl and her friend,
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com a sua história da menininha gigante e seu amigo,
06:59
a time-traveling elephant.
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um elefante que viaja através do tempo.
07:02
For a few days, they transformed a massive city
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Por alguns dias eles transformaram a monumental cidade
07:07
into a community where endless possibility reigned.
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em uma comunidade onde reinavam possibilidades infinitas.
07:11
The Guardian wrote, "If art is about transformation,
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The Guardian escreveu: “Se arte é sobre a transformação,
07:15
then there can be no more transformative experience.
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então não existe nenhuma experiência mais transformadora.
07:19
What 'The Sultan's Elephant' represents is no less
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O que “O Elefante do Sultão” representa é não menos
07:23
than an artistic occupation of the city
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do que uma ocupação artística da cidade
07:26
and a reclamation of the streets for the people."
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e uma reivindicação das ruas para o povo.”
07:31
We can talk about the economic impacts of these festivals
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Nós podemos falar sobre o impacto econômico destes festivais
07:34
on their cities, but I'm much [more] interested in many more things,
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em cada cidade, mas estou interessado em muitas coisas mais,
07:38
like how a festival helps a city to express itself,
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por exemplo como um festival ajuda uma cidade a se expressar,
07:42
how it lets it come into its own.
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como isto permite ela se tornar ela mesma.
07:45
Festivals promote diversity,
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Festivais promovem a diversidade,
07:48
they bring neighbors into dialogue,
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eles favorecem o diálogo entre os vizinhos,
07:50
they increase creativity,
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eles estimulam a criatividade,
07:52
they offer opportunities for civic pride,
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eles oferecem oportunidades para o orgulho cívico,
07:55
they improve our general psychological well-being.
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eles melhoram nosso bem-estar psicológico em geral.
07:59
In short, they make cities better places to live.
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Resumindo, eles fazem das cidades um lugar melhor para se viver.
08:03
Case in point:
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Caso em questão:
08:04
When "The Sultan's Elephant" came to London
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Quando “O Elefante do Sultão” veio a Londres,
08:07
just nine months after 7/7, a Londoner wrote,
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apenas 9 meses depois do 7 de julho, um londrino escreveu:
08:12
"For the first time since the London bombings,
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“Pela primeira vez desde as explosões em Londres,
08:15
my daughter called up with that sparkle back in her voice.
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minha filha me telefonou com um ‘brilho’ de volta em sua voz.
08:19
She had gathered with others
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Ela tinha se reunido com outras pessoas
08:21
to watch 'The Sultan's Elephant,' and, you know,
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para assistir “O Elefante do Sultão”, e, sabem,
08:24
it just made all the difference."
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isto simplesmente fez toda a diferença.”
08:27
Lyn Gardner in The Guardian has written
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Lyn Gardner do The Guardian escreveu
08:29
that a great festival can show us a map of the world,
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que um grande festival pode nos mostrar um mapa do mundo,
08:33
a map of the city and a map of ourselves,
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um mapa da cidade e um mapa de nós mesmos,
08:37
but there is no one fixed festival model.
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mas não existe um modelo fixo de festival.
08:40
I think what's so brilliant about the festivals,
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Eu acho que o que é maravilhoso sobre festivais,
08:43
the new festivals, is that they are really fully capturing
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os novos festivais, é que eles estão capturando totalmente
08:48
the complexity and the excitement
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a complexidade e o prazer
08:52
of the way we all live today.
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da maneira que todos nós vivemos hoje.
08:54
Thank you very much. (Applause)
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Muito obrigado. (Aplausos)
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