TEDGlobal 2012
Wayne McGregor: A choreographer's creative process in real time
Vejn Mekgregor (Wayne McGregor): Kreativni proces koreografa u realnom vremenu
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Svakodnevno koristimo naše telo, a ipak malo ljudi razmišlja o njemu na način Vejna Mekgregora. On prikazuje kako koreograf prenosi ideje publici, radeći sa dva igrača na stvaranju koreografskih fraza, uživo i bez scenarija, na pozornici TEDGlobal.
Wayne McGregor - Dancer and Choreographer
Wayne McGregor and his dancers explore the uncharted territory where mind and movement intersect. Full bio
Wayne McGregor and his dancers explore the uncharted territory where mind and movement intersect. Full bio
Double-click the English transcript below to play the video.
00:16
As you might imagine, I'm absolutely passionate
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Kao što možete da zamislite
ja sam potpuno zaluđen
ja sam potpuno zaluđen
00:17
about dance. I'm passionate about making it,
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plesom. Ja sam opčinjen
stvaranjem koreografija,
stvaranjem koreografija,
00:20
about watching it, about encouraging others
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i gledanjem istih, ohrabrivanjem drugih
00:22
to participate in it,
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da učestvuju,
00:24
and I'm also really passionate about creativity.
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i takođe sam opčinjen kreativnošću.
00:27
Creativity for me is something that's absolutely critical,
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Kreativnost je za mene
nešto od ključne važnosti
nešto od ključne važnosti
00:31
and I think it's something that you can teach.
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i mislim da je to nešto
što može da se nauči.
što može da se nauči.
00:33
I think the technicities of creativity can be taught
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Mislim da tehnike kreativnosti
mogu da se nauče
mogu da se nauče
00:35
and shared, and I think you can find out things
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i podele sa drugima i mislim
da mogu da se saznaju stvari
da mogu da se saznaju stvari
00:38
about your own personal physical signature,
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o sopstvenom fizičkom potpisu,
00:40
your own cognitive habits, and use that as
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sopstvenim kognitivnim navikama
i da ih iskoristite
i da ih iskoristite
00:42
a point of departure to misbehave beautifully.
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kao tačku sa koje se prelepo
nedolično ponašate.
nedolično ponašate.
00:45
I was born in the 1970s, and John Travolta was big
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Ja sam rođen sedamdesetih
i Džon Travolta je tada bio
i Džon Travolta je tada bio
00:50
in those days: "Grease," "Saturday Night Fever,"
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zverka, u "Briljantinu"
i "Groznici subotnje večeri",
i "Groznici subotnje večeri",
00:52
and he provided a fantastic kind of male role model for me
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i on je stvorio fantastičan
muški uzor za mene
muški uzor za mene
00:55
to start dancing. My parents were very up for me going.
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da krenem da igram. Moji roditelji su bili
za to da krenem da igram.
za to da krenem da igram.
00:58
They absolutely encouraged me to take risks, to go,
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Skroz su me podržavali
da rizikujem, da idem,
da rizikujem, da idem,
01:00
to try, to try. I had an opportunity, an access
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da pokušavam.
Imao sam priliku, pristup
Imao sam priliku, pristup
01:05
to a local dance studio, and I had an enlightened teacher
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lokalnom plesnom studiju
i imao sam prosvetljujuću profesorku
i imao sam prosvetljujuću profesorku
01:08
who allowed me to make up my own and invent
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koja mi je dozvoljavala da izmišljam
01:11
my own dances, so what she did was let me make up
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moje plesove, tako me je
puštala da osmislim
puštala da osmislim
01:14
my own ballroom and Latin American dances to teach
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svoju plesnu salu i da
podučavam moje vršnjake
podučavam moje vršnjake
01:17
to my peers.
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latino-američkim plesovima.
01:19
And that was the very first time that I found an opportunity
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I to je bio prvi put da sam imao priliku
01:21
to feel that I was able to express my own voice,
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da osetim da mogu da izrazim svoj glas
01:24
and that's what's fueled me, then, to become a choreographer.
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i to je ono što me je tada ispunilo
da postanem koreograf.
da postanem koreograf.
01:27
I feel like I've got something to say and something to share.
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Osećam da imam nešto
da kažem i nešto da podelim.
da kažem i nešto da podelim.
01:30
And I guess what's interesting is, is that I am now obsessed
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i pretpostavljam da ono što je zanimljivo,
jeste da sam ja sada opsednut
jeste da sam ja sada opsednut
01:34
with the technology of the body.
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tehnologijom tela.
01:35
I think it's the most technologically literate thing that we have,
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Mislim da je telo tehnološki
najpismenija stvar koju imamo,
najpismenija stvar koju imamo,
01:39
and I'm absolutely obsessed with finding a way
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i potpuno sam opsednut
nalaženjem načina
nalaženjem načina
01:42
of communicating ideas through the body to audiences
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da prenesem ideje kroz telo do publike,
01:45
that might move them, touch them,
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ideje koje bi mogle
da ih pogode, da ih dirnu,
da ih pogode, da ih dirnu,
01:47
help them think differently about things.
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da im pomognem da drugačije
misle o stvarima.
misle o stvarima.
01:50
So for me, choreography is very much a process
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Tako da je za mene stvaranje koreografije
u mnogome proces
u mnogome proces
01:53
of physical thinking. It's very much in mind,
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fizičkog razmišljanja.
Mnogo toga je u glavi,
Mnogo toga je u glavi,
01:56
as well as in body, and it's a collaborative process.
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koliko i u telu, i to je proces
saradnje uma i tela.
saradnje uma i tela.
02:00
It's something that I have to do with other people.
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To je nešto što moram
da radim sa drugim ljudima.
da radim sa drugim ljudima.
02:01
You know, it's a distributed cognitive process in a way.
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Znate, to je, na neki način,
prenosni kognitivni proces.
prenosni kognitivni proces.
02:04
I work often with designers and visual artists,
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Često radim sa dizajnerima
i vizuelnim umetnicima,
i vizuelnim umetnicima,
02:07
obviously dancers and other choreographers,
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naravno sa igračima
i drugim koreografima,
i drugim koreografima,
02:09
but also, more and more, with economists,
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ali takođe, sve više i više
radim sa ekonomistima
radim sa ekonomistima
02:14
anthropologists, neuroscientists, cognitive scientists,
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antropolozima, neurolozima,
kognitivnim naučnicima,
kognitivnim naučnicima,
02:18
people really who come from very different domains of
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ljudima koji dolaze iz različitih
stručnih oblasti,
stručnih oblasti,
02:21
expertise, where they bring their intelligence to bear
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gde koriste svoju inteligenciju
02:24
on a different kind of creative process.
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u drugačijem procesu
kreativnog razmišljanja.
kreativnog razmišljanja.
02:26
What I thought we would do today a little bit is
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Danas sam mislio
da bismo mogli malo da
da bismo mogli malo da
02:29
explore this idea of physical thinking,
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istražimo ideju fizičkog razmišljanja,
02:32
and we're all experts in physical thinking.
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a svi smo eksperti u fizičkom razmišljanju.
02:33
Yeah, you all have a body, right?
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Svi mi imamo telo, zar ne?
02:35
And we all know what that body is like in the real world,
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I svi znamo kakvo je
to telo u stvarnom svetu,
to telo u stvarnom svetu,
02:37
so one of the aspects of physical thinking
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tako da je jedan od aspekata
fizičkog razmišljanja
fizičkog razmišljanja
02:39
that we think about a lot is this notion of proprioception,
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o kome puno razmišljamo
upravo pojam propriocepcije,
upravo pojam propriocepcije,
02:42
the sense of my own body in the space in the real world.
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osećaj sopstvenog tela
u prostoru u stvarnom svetu.
u prostoru u stvarnom svetu.
02:45
So, we all understand what it feels like to know
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Tako da svi razumemo
kako je to kada znamo
kako je to kada znamo
02:48
where the ends of your fingers are
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gde se završavaju prsti
02:49
when you hold out your arms, yeah?
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kada ispružite ruke, zar ne?
02:51
You absolutely know that when you're going to grab a cup,
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To apsolutno znate kada
hoćete da uzmete čašu
hoćete da uzmete čašu
02:54
or that cup moves and you have to renavigate it.
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ili ako se ta čaša pomeri
i treba da je nađete ponovo.
i treba da je nađete ponovo.
02:56
So we're experts in physical thinking already.
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Tako da smo mi već eksperti
u fizičkom razmišljanju.
u fizičkom razmišljanju.
02:58
We just don't think about our bodies very much.
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Samo ne razmišljamo
o svojim telima toliko.
o svojim telima toliko.
03:00
We only think about them when they go wrong, so, when
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Razmišljamo o njima
kad nešto nije u redu,
kad nešto nije u redu,
03:03
there's a broken arm, or when you have a heart attack,
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kada nam je polomljena ruka
ili kada imamo infarkt,
ili kada imamo infarkt,
03:05
then you become really very aware of your bodies.
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onda postanemo zaista svesni svojih tela.
03:08
But how is it that we can start to think about using
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Ali kako to da koristimo
03:10
choreographic thinking, kinesthetic intelligence, to arm
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koreografsko razmišljanje,
kinestetičku inteligenciju, kao oružje
kinestetičku inteligenciju, kao oružje
03:14
the ways in which we think about things more generally?
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za načine na koje razmišljamo
o uopštenim stvarima?
o uopštenim stvarima?
03:16
What I thought I'd do is, I'd make a TED premiere.
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Pomislio sam da napravim TED premijeru.
03:19
I'm not sure if this is going to be good or not.
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Nisam siguran da će ovo uspeti ili ne.
03:21
I'll just be doing it.
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Samo ću to da uradim.
03:23
I thought what I'd do is, I'd use three versions
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Mislio sam da iskoristim tri verzije
03:25
of physical thinking to make something.
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fizičkog razmišljanja da napravim nešto.
03:27
I want to introduce you. This is Paolo. This is Catarina.
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Da vas upoznam,
ovo je Paolo, ovo je Katarina.
ovo je Paolo, ovo je Katarina.
03:30
(Applause)
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(Aplauz)
03:33
They have no idea what we're going to do.
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Nemaju pojma šta ćemo da uradimo.
03:36
So this is not the type of choreography where
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Tako da ovo nije tip koreografije gde
03:38
I already have in mind what I'm going to make,
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ja već imam u glavi šta ću da radim,
03:40
where I've fixed the routine in my head
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gde sam napravio skicu u glavi
03:43
and I'm just going to teach it to them,
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i samo ću da ih naučim,
03:44
and these so-called empty vessels are just going to learn it.
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a ovi takozvani prazni sudovi
će samo to da nauče.
će samo to da nauče.
03:47
That's not the methodology at all that we work with.
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To nije uopšte metodologija
po kojoj radimo.
po kojoj radimo.
03:50
But what's important about it is how it is that they're
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Ali ono što je važno za nju
jeste kako oni
jeste kako oni
03:54
grasping information, how they're taking information,
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shvataju informaciju, kako je prihvataju,
03:56
how they're using it, and how they're thinking with it.
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kako je koriste, i kako misle sa njom.
03:58
I'm going to start really, really simply.
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Počeću vrlo, vrlo jednostavno.
04:00
Usually, dance has a stimulus or stimuli, and I thought
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Obično, ples ima podsticaj,
ili podsticaje, i mislio sam
ili podsticaje, i mislio sam
04:03
I'd take something simple, TED logo, we can all see it,
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da uzmem nešto jednostavno,
TED logo, svi možemo da ga vidimo,
TED logo, svi možemo da ga vidimo,
04:06
it's quite easy to work with, and I'm going to do something
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sa njim je lako raditi, i uradiću nešto
04:08
very simply, where you take one idea from a body,
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vrlo jednostavno, gde jednu ideju
uzmete iz tela,
uzmete iz tela,
04:11
and it happens to be my body, and translate that
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i to će biti moje telo, i prevedete to
04:13
into somebody else's body,
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na nečije drugo telo,
04:15
so it's a direct transfer, transformation of energy.
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tako da je to direktan transfer,
transformacija energije.
transformacija energije.
04:18
And I'm going to imagine this, you can do this too if you like,
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I sad ću da zamislim ovo,
možete to da uradite ako želite,
možete to da uradite ako želite,
04:21
that I'm going to just take the letter "T" and I'm going
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da ću sad samo da uzmem slovo "T" i
04:23
to imagine it in mind, and I'm going to place that outside in
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i da ga zamislim, a onda da to prenesem
04:26
the real world. So I absolutely see a letter "T" in front of me.
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u realnost. Tako da ja potpuno
vidim slovo "T" ispred mene.
vidim slovo "T" ispred mene.
04:30
Yeah? It's absolutely there.
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I? Ono je baš ispred mene.
04:32
I can absolutely walk around it when I see it, yeah?
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Mogu gotovo da hodam ispred njega
kad ga vidim, vidite?
kad ga vidim, vidite?
04:34
It has a kind of a grammar. I know what I'm going to do
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Ima neku vrstu gramatike.
Znam šta ću da radim
Znam šta ću da radim
04:36
with it, and I can start to describe it, so I can describe it
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sa njim, i mogu da počnem
da to opisujem, da bih ga opisao
da to opisujem, da bih ga opisao
04:39
very simply. I can describe it in my arms, right?
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vrlo jednostavno, mogu da ga
opišem svojim rukama, zar ne?
opišem svojim rukama, zar ne?
04:42
So all I did was take my hand and then I move my hand.
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Samo sam podigao ruku i pomerio je.
04:45
I can describe it, whoa, in my head, you know? Whoa.
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Mogu da ga opišem, vau,
u svojoj glavi, znate? Vau.
u svojoj glavi, znate? Vau.
04:47
Okay. I can do also my shoulder. Yeah?
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Takođe mogu da koristim svoje rame. Da?
04:49
It gives me something to do, something to work towards.
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Imam sa čim da radim,
nešto ka čemu idem.
nešto ka čemu idem.
04:53
If I were to take that letter "T" and flatten it down
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Ako bih uzeo to slovo i ispravio ga
04:55
on the floor, here, maybe just off the floor,
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na podu, ovde, ili malo od poda,
04:58
all of a sudden I could do maybe something with my knee,
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mogao bih iznenada
da izvedem nešto kolenom, zar ne?
da izvedem nešto kolenom, zar ne?
04:59
yeah? Whoa. So If I put the knee and the arms together,
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Opa. Tako da postavim
koleno i ruke zajedno,
koleno i ruke zajedno,
05:02
I've got something physical, yeah? And I can start to build something.
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tako da imam nešto fizički i mogu
da krenem nešto da gradim.
da krenem nešto da gradim.
05:05
So what I'm going to do just for one and a half minutes or so
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Ono što ću da radim
u sledećih minut i po
u sledećih minut i po
05:08
is I'm going to take that concept, I'm going to make something,
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je da uzmem taj koncept,
napraviću nešto,
napraviću nešto,
05:10
and the dancers behind me are going to interpret it,
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i plesači iza mene će to da interpretiraju,
05:13
they're going to snapshot it, they're going to take
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iskopiraće to, uzeće aspekte
05:15
aspects of it, and it's almost like I'm offloading memory
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moje igre, kao da im
ja ispuštam svoju memoriju
ja ispuštam svoju memoriju
05:18
and they're holding onto memory? Yeah?
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i oni se drže te memorije? Da?
05:20
And we'll see what we come up with.
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I videćemo šta imamo.
05:21
So just have a little watch about how they're, how they're
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Pa 'ajde sada da pogledamo
kakvi su oni,
kakvi su oni,
05:23
accessing this and what they're doing,
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kako pristupaju i šta rade,
05:25
and I'm just going to take this letter "T," the letter "E,"
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a ja ću samo da uzmem
slovo "T", slovo "E",
slovo "T", slovo "E",
05:27
and the letter "D," to make something. Okay. Here goes.
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i slovo "D", da napravim nešto.
05:30
So I have to get myself in the zone. Right.
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Tako da moram da uđem u igru. Tako.
05:47
It's a bit of a cross of my arm.
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Malo crtam krst rukama.
05:56
So all I'm doing is exploring this space of "T"
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Ono što radim je
istraživanje prostora slova "T".
istraživanje prostora slova "T".
06:00
and flashing through it with some action.
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i prolazim kroz prostor uz malo akcije.
06:06
I'm not remembering what I'm doing.
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Ne pamtim šta radim.
06:08
I'm just working on my task. My task is this "T."
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Samo radim na svom zadatku.
Moj zadatak je slovo "T".
Moj zadatak je slovo "T".
06:11
Going to watch it from the side, whoa.
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Posmatraću ga sa strane, opa.
06:16
Strike moment.
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Momenat udarca.
06:18
That's it.
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To je to.
06:23
So we're starting to build a phrase.
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Tako da gradimo frazu.
06:28
So what they're doing, let's see, something like that,
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A šta oni rade, da vidimo,
nešto tako,
nešto tako,
06:29
so what they're doing is grasping aspects of that movement
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to što oni rade jeste da prihvataju
aspekte tog pokreta
aspekte tog pokreta
06:33
and they're generating it into a phrase.
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i pretvaraju ga u frazu.
06:35
You can see the speed is extremely quick, yeah?
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Možete videti da je brzina
ekstremno velika, zar ne?
ekstremno velika, zar ne?
06:37
I'm not asking them to copy exactly.
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Ne tražim od njih da me
kopiraju u potpunosti.
kopiraju u potpunosti.
06:39
They're using the information that they receive
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Oni koriste informaciju koju dobiju
06:41
to generate the beginnings of a phrase.
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da stvore početak fraze.
06:45
I can watch that and that can tell me something
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Ja to posmatram i to mi govori
nešto o tome
nešto o tome
06:47
about how it is that they're moving.
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kako se oni kreću.
06:49
Yeah, they're super quick, right?
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Baš su brzi, zar ne?
06:53
So I've taken this aspect of TED and translated it
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Dakle, ja sam uzeo taj aspekt
TED naziva i preveo ga
TED naziva i preveo ga
06:56
into something that's physical.
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u nešto fizičko.
07:01
Some dancers, when they're watching action,
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Neki igrači dok gledaju ples,
07:04
take the overall shape, the arc of the movement,
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uzmu celokupan oblik,
07:06
the kinetic sense of the movement,
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kinetički osećaj pokreta,
07:08
and use that for memory.
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i to koriste za pamćenje.
07:10
Some work very much in specific detail.
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Neki mnogo rade na detaljima.
07:12
They start with small little units and build it up.
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Počinju sa malim delovima
i od njih počinju da grade.
i od njih počinju da grade.
07:16
Okay, you've got something? One more thing.
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Ok, ti imaš nešto? Još jedna stvar.
07:33
So they're solving this problem for me,
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Tako da rešavaju ovaj problem za mene,
07:37
having a little --
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imaju malo...
07:40
They're constructing that phrase.
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Grade tu frazu.
07:42
They have something and they're going to hold on to it,
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Imaju nešto i držaće se toga, da?
07:44
yeah? One way of making.
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Jedan način da se to stvara.
07:46
That's going to be my beginning in this world premiere.
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To će biti moj početak
na ovoj svetskoj premijeri.
na ovoj svetskoj premijeri.
07:48
Okay. From there I'm going to do a very different thing.
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Ok. Odatle ću da radim nešto drugačije.
07:50
So basically I'm going to make a duet.
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Tako da ću u osnovi
da napravim duet.
da napravim duet.
07:53
I want you to think about them as architectural objects,
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Hoću da gledam na njih
kao na arhitektonske objekte,
kao na arhitektonske objekte,
07:56
so what they are, are just pure lines.
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tako da su oni samo linije.
07:59
They're no longer people, just pure lines, and I'm going
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To više nisu ljudi, samo linije, i ja ću
08:01
to work with them almost as objects to think with, yeah?
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da radim sa njima kao da su
objekti kojima razmišljam.
objekti kojima razmišljam.
08:05
So what I'm thinking about is taking
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Tako da razmišljam da uzmem
08:08
a few physical extensions from the body as I move, and
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nekoliko fizičkih produžetaka
iz tela dok se krećem
iz tela dok se krećem
08:12
I move them, and I do that by suggesting things to them:
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i da ih pomeram, i to radim
tako što im predlažem:
tako što im predlažem:
08:14
If, then; if, then. Okay, so here we go.
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ako može ovo, onda ovo.
Ako ovo, onda ovo. Dobro, idemo.
Ako ovo, onda ovo. Dobro, idemo.
08:17
Just grab this arm.
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Samo ga uhvati za ruku.
08:18
Can you place that down into the floor?
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Spusti drugu na pod?
08:21
Yeah, down to the floor. Can you go underneath?
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Da, na pod?
Možeš da prođeš ispod?
Možeš da prođeš ispod?
08:24
Yeah. Cat, can you put leg over that side? Yeah.
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Da. Ket, je l' možeš da postaviš
nogu na tu stranu? Da.
nogu na tu stranu? Da.
08:27
Can you rotate?
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Možeš da je okreneš?
08:29
Whoom, just go back to the beginning.
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Vum, ajde sad od početka.
08:30
Here we go, ready? And ... bam, bake ... (clicks metronome)
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'Ajmo, spremni? I... (daje im ritam)
08:36
Great. Okay, from there, you're both getting up.
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Super. Dobro, odatle, oboje ustajete.
08:38
You're both getting up. Here we go. Good, now? Them.
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Ustajete oboje. Idemo,
Dobro? Oni.
Dobro? Oni.
08:42
(Applause)
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(Aplauz)
08:43
So from there, from there, we're both getting up,
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Sad odatle, oboje ustajete,
08:46
we're both getting up, going in this direction,
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obooje ustajete, idete u ovom smeru,
08:47
going underneath. Whoa, whoa, underneath.
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idete ispod. Opa, opa, ispod.
08:50
Whoa, underneath, whoo-um. Yeah? Underneath. Jump.
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Opa, ispod, vuum. Ispod. Skok.
08:54
Underneath. Jump. Paolo, kick. Don't care where. Kick.
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Ispod. Skok. Paolo,
udar, nije bitno gde, udar.
udar, nije bitno gde, udar.
08:58
Kick, replace, change a leg. Kick, replace, change the leg.
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Udar, promena, iskorak.
Udar, promena, iskorak.
Udar, promena, iskorak.
09:01
Yeah? Okay? Cat, almost get his head. Almost get his head.
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Kapirate? Dobro? Ket, zamalo
mu uhvati glavu, zamalo mu uhvati glavu.
mu uhvati glavu, zamalo mu uhvati glavu.
09:05
Whoaa. Just after it, maybe. Whoaa, whaaay, ooh.
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Opa. Ili posle toga, možda.
Opa, eeeej, uu.
Opa, eeeej, uu.
09:10
Grab her waist, come up back into her first, whoom, spin,
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Uhvati je za struk, vrati se
u njenu prvu poziciju, hum, okret,
u njenu prvu poziciju, hum, okret,
09:14
turn her, whoo-aa. (Snaps) Great.
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okreni je, hua.
(pukne prstima) Sjajno.
(pukne prstima) Sjajno.
09:16
Okay, let's have a little go from the beginning of that.
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Ok, 'ajde da sve krenemo od početka.
09:18
Just, let me slow down here. Fancy having eight -- (Laughter)
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Samo, evo usporiću malo.
Zamislite osam - (Smeh)
Zamislite osam - (Smeh)
09:24
Fancy having eight hours with me in a day.
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Zamislite osam sati sa mnom dnevno.
09:26
So, maybe too much. So, here we go, ready, and -- (Clicks metronome)
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Pa, možda je to mnogo. Dakle,
idemo, spremni, i - (Daje im ritam)
idemo, spremni, i - (Daje im ritam)
09:31
(Clicks metronome)
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(Daje im ritam)
09:39
Nice, good job. Yeah? Okay. (Applause)
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Lepo, dobar posao.
Da? Dobro. (Aplauz)
Da? Dobro. (Aplauz)
09:42
Okay, not bad. (Applause) A little bit more?
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Dobro, nije loše. (Aplauz)
Još malo?
Još malo?
09:45
Yeah. Just a little bit more, here we go, from that place.
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Tako je. Samo još malo, idemo, odatle.
09:47
Separate. Face the front. Separate. Face the front.
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Odvojite se. Stanite pravo.
Odvojite se. Stanite pravo.
Odvojite se. Stanite pravo.
09:50
Imagine that there's a circle in front of you, yeah?
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Zamislite da je ispred vas krug, dobro?
09:52
Avoid it. Avoid it. Whoom. Kick it out of the way.
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Izbegavajte krug. Vuum.
Gurnite ga sa puta.
Gurnite ga sa puta.
09:57
Kick it out of the way. Throw it into the audience. Whoom.
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Gurnite ga sa puta. Bacite ga u publiku.
10:01
Throw it into the audience again.
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Ponovo ga bacite u publiku.
10:02
We've got mental architecture, we're sharing it,
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Imamo mentalnu arhitekturu, delimo je,
10:04
therefore solving a problem. They're enacting it.
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tako rešavamo problem.
Oni to odigraju.
Oni to odigraju.
10:06
Let me just see that a little bit. Ready, and go.
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Samo da ja to vidim malo.
Spremni, idemo.
Spremni, idemo.
10:08
(Clicks metronome)
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(Daje im ritam)
10:13
Okay, brilliant. Okay, here we go. From the beginning,
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Dobro, brilijantno.
Dobro, idemo. Iz početka,
Dobro, idemo. Iz početka,
10:14
can we do our phrases first? And then that.
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hajde da prvo odigramo fraze?
A onda ovo.
A onda ovo.
10:17
And we're going to build something now, organize it,
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i sad ćemo nešto da izgradimo,
da organizujemo fraze.
da organizujemo fraze.
10:19
the phrases. Here we go. Nice and slow?
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Idemo. Lepo i polako?
10:21
Ready and go ... um. (Clicks metronome)
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Spremni i idemo... (Daje im ritam)
10:24
(Clicks metronome)
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(Daje im ritam)
10:28
The duet starts. (Clicks metronome)
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Počinje duet. (Daje im ritam)
10:32
(Clicks metronome)
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(Daje im ritam)
10:45
So yeah, okay, good. Okay, nice, very nice. (Applause)
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Da, ok, dobro.
Ok, lepo, jako lepo. (Aplauz)
Ok, lepo, jako lepo. (Aplauz)
10:49
So good. So -- (Applause)
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Jako dobro. Jako - (Aplauz)
10:51
Okay. So that was -- (Applause)
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Dobro. To je bilo - (Aplauz)
10:54
Well done. (Applause)
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Dobro odrađeno. (Aplauz)
10:56
That was the second way of working.
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To je bio drugi način rada.
10:57
The first one, body-to-body transfer, yeah,
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Prvi, transfer sa tela na telo,
11:00
with an outside mental architecture that I work with
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sa spoljašnjom mentalnom
arhitekturom sa kojom radim
arhitekturom sa kojom radim
11:02
that they hold memory with for me.
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sa kojom oni pamte sa mnom.
11:04
The second one, which is using them as objects to think
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Drugi način je da ih koristimo
kao objekte za razmišljanje
kao objekte za razmišljanje
11:07
with their architectural objects, I do a series of
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sa njihovim arhitektonskim
objektima, radio sam niz
objektima, radio sam niz
11:08
provocations, I say, "If this happens, then that.
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provokacija, kažem:
"Ako se desi ovo, onda ono.
"Ako se desi ovo, onda ono.
11:11
If this, if that happens -- " I've got lots of methods like that,
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ako se ovo desi, ako se ono desi - "
Imam puno takvih metoda
Imam puno takvih metoda
11:13
but it's very, very quick, and this is a third method.
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ali su jako, jako brze,
a ovo je treći način.
a ovo je treći način.
11:16
They're starting it already, and this is a task-based method,
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Oni ga već započinju, ovaj način je
zasnovan na zadatku,
zasnovan na zadatku,
11:19
where they have the autonomy to make
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oni imaju slobodu da sami donose
11:20
all of the decisions for themselves.
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sve odluke sami.
11:22
So I'd like us just to do, we're going to do a little
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Pa sad ćemo da radimo malo
11:23
mental dance, a little, in this little one minute,
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mentalnog plesa,
u ovom malom minutu,
u ovom malom minutu,
11:27
so what I'd love you to do is imagine,
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pa bih sada voleo da zamislite,
11:29
you can do this with your eyes closed, or open, and if you
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možete ovo da uradite
sa zatvorenim očima, ili otvorenim,
sa zatvorenim očima, ili otvorenim,
11:31
don't want to do it you can watch them, it's up to you.
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ako to ne želite,
možete da ih posmatrate, na vama je.
možete da ih posmatrate, na vama je.
11:33
Just for a second, think about that word "TED" in front of
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Samo na sekundu, razmišljajte
o toj reči "TED" ispred vas
o toj reči "TED" ispred vas
11:37
you, so it's in mind, and it's there right in front of your mind.
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tako da je u glavi,
i tu ispred vaše glave.
i tu ispred vaše glave.
11:40
What I'd like you to do is transplant that outside
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Ono što bih voleo je da to presadite
11:43
into the real world, so just imagine that word "TED"
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u stvaran svet,
tako da zamislite reč "TED"
tako da zamislite reč "TED"
11:46
in the real world.
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u stvarnom svetu.
11:48
What I'd like you to do what that is take an aspect of it.
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Ono što bih voleo da uradite je
da uzmete jedan aspekt toga.
da uzmete jedan aspekt toga.
11:51
I'm going to zone in on the "E," and I'm going to
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Fokusiraću se na "E"
11:55
scale that "E" so it's absolutely massive,
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i prilagodiću "E", da bude potpuno obimno,
11:57
so I'm scaling that "E" so it's absolutely massive,
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I prilagođavam ga
da bude potpuno obimno,
da bude potpuno obimno,
12:00
and then I'm going to give it dimensionality.
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a onda ću da mu dam dimenzionalnost.
12:01
I'm going to think about it in 3D space. So now,
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Misliću na 3D prostor. I sada,
12:03
instead of it just being a letter that's in front of me,
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umesto da je to samo
slovo ispred mene,
slovo ispred mene,
12:06
it's a space that my body can go inside of.
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to je prostor u koji moje telo
može da uđe.
može da uđe.
12:09
I now decide where I'm going to be in that space,
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Odlučiću gde ću da budem
u tom prostoru,
u tom prostoru,
12:11
so I'm down on this small part of the bottom rib
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i dole sam na malom delu dna
12:16
of the letter "E," and I'm thinking about it, and I'm imagining
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slova "E", i razmišljam o njemu,
i zamišljam
i zamišljam
12:19
this space that's really high and above. If I asked you to
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ovaj prostor kao jako visok.
Ako bih vas zamolio da ga
Ako bih vas zamolio da ga
12:22
reach out — you don't have to literally do it, but in mind —
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dohvatite - ne morate to doslovno
da činite, ali u glavi -
da činite, ali u glavi -
12:25
reach out to the top of the "E," where would you reach?
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da dohvatite vrh slova "E",
gde biste ga dohvatili?
gde biste ga dohvatili?
12:28
If you reach with your finger, where would it be?
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Ako biste ga dohvatili prstom,
gde bi to bilo?
gde bi to bilo?
12:30
If you reach with your elbow, where would it be?
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Ako ga dohvatite laktom,
gde bi to bilo?
gde bi to bilo?
12:33
If I already then said about that space that you're in,
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Ako sam već pomenuo prostor
u kome ste,
u kome ste,
12:37
let's infuse it with the color red, what does that do
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hajde da ulijemo u njega
crvenu boju, šta ona radi tom telu?
crvenu boju, šta ona radi tom telu?
12:39
to the body? If I then said to you, what happens if
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Ako bih vam rekao, šta se dešava ako
12:42
that whole wall on the side of "E" collapses and you have to
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se ceo taj zid sa strane slova "E"
sruši i vi morate
sruši i vi morate
12:45
use your weight to put it back up,
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da ga svojom težinom podignete,
12:47
what would you be able to do with it?
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šta biste mogli da radite sa njim?
12:49
So this is a mental picture, I'm describing a mental,
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Dakle ovo je mentalna slika,
opisujem mentalnu
opisujem mentalnu
12:51
vivid picture that enables dancers to make choices
260
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živu sliku koja omogućava
igračima da sami
igračima da sami
12:55
for themselves about what to make.
261
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biraju šta prave.
12:58
Okay, you can open your eyes if you had them closed.
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Ok, možete da otvorite oči
ako ste ih zatvorili.
ako ste ih zatvorili.
12:59
So the dancers have been working on them.
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Igrači su radili na tome.
13:00
So just keep working on them for a little second.
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Nastavite da radite na njima
još za sekundu.
još za sekundu.
13:02
So they've been working on those mental architectures in the here.
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Dakle, oni su radili na tim
mentalnim arhitekturama ovde.
mentalnim arhitekturama ovde.
13:05
I know, I think we should keep them as a surprise.
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Znam, bolje da one budu iznenađenje.
13:08
So here goes, world premiere dance. Yeah? Here we go.
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Evo, svetska premijera plesa.
Da? Idemo.
Da? Idemo.
13:10
TED dance. Okay. Here it comes. I'm going to organize it quickly.
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TED ples. Ok. Evo ide.
Brzo ću da ga organizujem.
Brzo ću da ga organizujem.
13:14
So, you're going to do the first solo that we made,
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Dakle, uradićete prvi solo
koji smo napravili,
koji smo napravili,
13:17
yeah blah blah blah blah, we go into the duet, yeah,
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Dobro, bla bla bla bla,
idemo u duet, dobro,
idemo u duet, dobro,
13:20
blah blah blah blah. The next solo, blah blah blah blah,
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bla bla bla bla. Sledeći solo,
bla bla bla bla,
bla bla bla bla,
13:24
yeah, and both at the same time, you do the last solutions.
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dobro, i oboje istovremeno,
odigrajte zadnje rešenje.
odigrajte zadnje rešenje.
13:27
Okay? Okay. Ladies and gentlemen, world premiere,
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Je l' ok? Ok. Dame i gospodo,
svetska premijera,
svetska premijera,
13:30
TED dance, three versions of physical thinking. (Applause)
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TED igra, tri verzije
fizičkog razmišljanja. (Aplauz)
fizičkog razmišljanja. (Aplauz)
13:33
Well, clap afterwards, let's see if it's any good, yeah? (Laughter)
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Tapšite posle plesa, da vidimo
da li ples nešto vredi, dobro? (Smeh)
da li ples nešto vredi, dobro? (Smeh)
13:36
So yeah, let's clap -- yeah, let's clap afterwards.
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Tako da, dobro,
tapšaćemo nakon plesa.
tapšaćemo nakon plesa.
13:38
Here we go. Catarina, big moment, here we go, one.
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Idemo. Katarina, veliki trenutak,
idemo, jedan.
idemo, jedan.
13:40
(Clicks metronome)
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(Daje im ritam)
14:06
Here it comes, Cat. (Clicks metronome)
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Idemo, Ket. (Daje im ritam)
14:11
Paolo, go. (Clicks metronome) Last you solo.
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Paolo, kreni. (Daje im ritam).
Tvoj solo na kraju.
Tvoj solo na kraju.
14:15
The one you made. (Clicks metronome)
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Onaj koji si ti izmislio.
(Daje ritam)
(Daje ritam)
14:19
(Clicks metronome)
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(Daje im ritam)
14:30
Well done. Okay, good. Super. So --
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Dobro urađeno.
U redu, dobro. Super, dakle -
U redu, dobro. Super, dakle -
14:32
(Applause)
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(Aplauz)
14:34
So -- (Applause)
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Dakle - (Aplauz)
14:37
Thank you. (Applause)
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Hvala. (Aplauz)
14:38
So -- three versions. (Applause) Oh. (Laughs)
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Dakle - tri verzije. (Aplauz).
Oh. (Smeh)
Oh. (Smeh)
14:47
(Applause) Three versions of physical thinking, yeah?
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(Aplauz) Tri verzije fizičkog
razmišljanja, da?
razmišljanja, da?
14:50
Three versions of physical thinking. I'm hoping that today,
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Tri verzije fizičkog razmišljanja.
Nadam se da ćete danas
Nadam se da ćete danas
14:53
what you're going to do is go away and make a dance
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kad odete izmisliti ples
14:55
for yourself, and if not that,
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za sebe, a ako ne to
14:57
at least misbehave more beautifully, more often.
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bar se prelepo nedolično
ponašajte, što češće.
ponašajte, što češće.
14:59
Thank you very much. (Applause)
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Mnogo vam hvala.
(Aplauz)
(Aplauz)
15:02
Thank you. Thank you. (Applause)
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Hvala. Hvala.
(Aplauz)
(Aplauz)
15:06
Here we go. (Applause)
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Idemo.
(Aplauz)
(Aplauz)
15:09
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Wayne McGregor - Dancer and ChoreographerWayne McGregor and his dancers explore the uncharted territory where mind and movement intersect.
Why you should listen
Wayne McGregor is a man in perpetual motion. When not incubating new approaches to choreography with his company, Random Dance, he creates works for ballet, theatre and opera companies worldwide--including the Royal Ballet in London, where he's choreographer in residence, and contemporary dance powerhouse Sadler's Wells. In ongoing collaborations with psychologists, neuroscientists and cognitive scientists, Random dancers are helping researchers measure and analyze how the brain works in the creative process. Whatʼs emerged so far is that we can, and do, think with our bodies.
McGregor is no stranger to pop culture: he's designed movement for Thom Yorke of Radiohead and for Harry Potter and the Goblet of Fire. This spring he collaborated with DJ Mark Ronson on Carbon Life, a piece for the Royal Ballet with vocals from Boy George. And he's creating a new dance piece for thousands of dancers in Londonʼs Trafalgar Square on Saturday, July 14.
Wayne McGregor | Speaker | TED.com