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※本影片之英中翻譯為 ICLP第7級學生宋玉萍 (Sabrina Castle) 於孫雅玲老師指導「影片翻譯」課程中之作品。 

  Andreas Araouzos studied Mathematics and Management in Manchester, acquired an MBA in Nicosia and attended short courses in acting (Webber Douglas Academy) and directing (RADA) in London.

　　安德烈亞斯·阿勞索斯在曼徹斯特學習數學和管理，在尼科西亞獲得企管碩士學位，並在倫敦上了一些短期課程，學習表演和戲劇導演。

  In 2003 he created Alpha Square theatre productions in Cyprus. He directed “Red”, “Les Misérables”, “The Little Prince”, “Doubt”, “Shirley Valentine” and “Art” and has appeared in productions such as “Les Liaisons Dangereuses”, “Art”, “Total Eclipse”, “Tape”, “Sweeney Todd”, “The Elephant Man”, “Betrayal” and “Les Misérables”.

　　2003 年他在塞浦路斯成立了 Alpha Square 製作公司。他曾指導《孤星淚》、《小王子》等劇，也曾參與《危險關係》、《藝術》、《瘋狂理髮師》、《象人》、《孤星淚》等劇的演出。

  He published his column articles in a collection called “I have an Issue: Substantial Triviality.” His original play, the Greek comedy “The Rich Also Cry,” premiered in Nicosia in 2007.

　　他在一個名為《我有一個問題：實質性瑣碎》的合集中，發表過他的專欄文章。他的原創戲劇 － 希臘喜劇《有錢人也掉眼淚》－ 於 2007 年在尼科西亞首演。

This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx

　　這次演講於 TEDx 會發表，其模式同於 TED 大會，由當地獨立社群主辦。請見此連結以了解更多：http://ted.com/tedx.

  Exactly five years ago I was in Damascus. A very different Damascus to what it is today. I was at the Festival of Mediterranean Theatre and we were presenting an American play. It was a monologue by Neil LaBute called "Iphigenia in Orem". This play was in English, and very few people in the audience could speak English. So, they were reading French and Arabic supertitles. It was presented at the Damascus Opera House and it was certainly the largest audience I had presented that monologue to.

　　五年前，我在大馬士革，相當不同於現今的大馬士革。當時我正在參加地中海劇院戲劇節。在那裏，我們演出一個美國戲劇，那是 Neil LaBute 所寫的獨白劇，劇名叫《Iphigenia in Orem》這齣獨白劇是說英文的可是會説英文的觀眾少之又少。因此，觀眾看法語和阿拉伯語的字幕。我們在大馬士革歌劇院演出，在我演那齣獨白劇的經驗當中，那一回的觀眾最多。

  Now during this 45-minute speech the man I was portraying was confessing to a stranger in a hotel room that he had killed his infant child because he believed that such a tragedy would prevent him from being fired at work. It was one of those shows where you could hear a pin drop in the audience.

　　在四十五分鐘的獨白裡。我扮演的男人在旅館房間對一個陌生人坦承他殺了自已的嬰兒，因為他認為這種悲劇可以讓他避免被解雇的命運。這種戲劇演出時，觀眾都是鴉雀無聲的。

  At the end of the show, all the team, we were receiving the usual congratulations at a festival or after the show but there was one man, an old man with white hair and very blue, pale blue eyes, he came to me, he obviously didn't speak English, and he shook my hand, and was just staring at me. He didn't have to say anything. I don't know what exactly it is that the show told him, but it was one of those cases where, much like a Harold Pinter pause, what was not not said, was much more powerful. 

　　演出結束以後，所有演員當然都收到了祝賀。那種表演結束後，常見的祝賀。但有一個人，一個老人，有著白髮和淡藍色的眼睛，他來找我，一看就知道他不會説英文，他握著我的手一直看著我。他什麼都不必說，我不太知道那齣戲劇告訴了他什麼，但是那個情況很像 Harold Pinter 的停顿，沉默比説話更有力量。

  The silence during that handshake is one that I distinctly remember. It was a spectacular proof to me that an actor is a vessel through which a story is told. The most thrilling aspect of creating on stage is the relationship between you and your audience.

　　我很清楚地記得我們握手時的沉默，因為對我來說，這就是最好的證明演員是說故事的媒介，在舞臺上表演最令人興奮的就是你和觀眾的關係。

  I am always asked what it is that drove me into theatre and I am never exactly sure what the answer is.  But I remember examples, examples of art that had an impact on me.  Whether I was a child, a student or already an actor. Works of art that captured me so completely and made me an immensely excited audience member.

　　常有人問我是什麽推動我走進戲院我從來不太清楚該怎麼回答，可是我記得幾個例子，一些影響我的藝術例子。無論我還是孩子、學生或已經當演員這些藝術作品完全地擄獲了我的心讓我變成一個非常熱情的觀眾。

  Salvador Dalí's stork-legged elephants and melting clocks had set my teenage imagination on fire. Nicole Kidman as Virginia Woolf in the film "The Hours", telling her husband at the train station: "You cannot find peace by avoiding life, Leonard". Comedy legend Dame Edna Everage interviewing Little Britain's David Walliams and Matt Lucas on television, had me laughing so hard I had to pause and rewind several times in the 10-minute interview and it was already the 20th time I was watching that.

　　達利的名畫鸛腿大象和軟鐘點燃我青少年的想像熱情。在電影「時時刻刻」中，妮可·基嫚飾演的女主角在火車站告訴她的丈夫：「拒絕生活就找不到内心的平靜」喜劇傳奇人物女爵士 Edna Everage採訪了影集《大英國小人物》的David Walliams 和 Matt Lucas，這個電視訪問讓我笑得肚子都疼了以至於我得暫停、倒帶好幾次這十分鐘的訪問，我已經看過二十次了。

  When I saw "Cabaret" at the West End in London I had a frozen sensation at the end. There were big block letters CABARET being dropped on stage, one after the other, sounding like gunshots and the dancers got naked and suddenly it was silent, and snowing.  And the world of a nightclub had turned into a concentration camp. Now that, at the very end of the show had me and the audience jumping up for a standing ovation. 

　　我在倫敦西區看 Cabaret 歌舞秀表演的結尾令我目瞪口呆，大塊的 CABARET 字母一個一個掉到舞臺上聽起來像槍聲，舞者脫光了衣服，忽然安靜下來下雪了，夜總會的世界變成了一個集中營。那個歌舞秀的結尾讓所有觀眾都跳起來鼓掌。

  In the film "Dangerous Liaisons", one of my favorite films ever, the final fight between Valmont and Merteuil had me glued onto the screen, and I will never forget the delivery by Glenn Close on the line: "Remember, I am better at this than you are". I dare say I may have used that line in occasional arguments with friends.

　　在我最喜歡的電影之一《危險關係》中，Valmont 跟 Merteuil 最後的決鬥讓我眼睛一直盯著螢幕，我永遠無法忘記Glen Close 的那句臺詞：「記住，這件事我做得比你好」我敢說，偶爾跟朋友吵架時我可能說過這句話。

  In his poem "Grey", Constantinos Kavafis looks at a grey precious stone and he remembers the eyes of a past lover. The poem ends with the verse "And, Memory, /all you can of this love of mine/Whatever you can/bring back to me tonight." Until today, whenever I read that poem in its entirety, I never manage to finish it without crying in the end.

　　希臘詩人 Kavafis 的詩「灰色」描述：他看著灰色寶石想起了以前戀人的眼睛，那首詩是這麼結尾的：「回憶，若你能重現舊愛/今晚，請讓我重溫舊夢」迄今，每次讀完這首詩我總是潸然淚下。

  What these artists have shown me and keep showing me, is that there is no corner of the room, no part of the day, no item in front of us, no image in our head, no thought in our brain, that does not have the potential to grow into a work of art. But the work of art is not the end-product. The journey doesn't stop at the work of art. The poem, the painting, the story, the show, the song, they will, in turn, create more sparks of energy, in the receiver, the readers, the listeners, the viewers, the spectators, the audience.

　　這些藝術家讓我了解而且不斷地向我展示，房間的每個角落，一天的每個時段，面前的每個東西，心裡的每個影像，腦海的每個想法都有潛力成為藝術作品，可是藝術作品不是最終成品，創作之旅並不止於完成藝術作品。詩、畫、故事、節目、歌曲都會陸續激發出更多能量火花給接收者、讀者、聽眾、觀眾各式各樣的觀眾。

  A few years ago, I directed “Shirley Valentine" by Willy Russell. This is a monologue in two acts, whereby Shirley talks to her kitchen wall in the first act, and in the second act she talks to a beach rock. She needs an audience and obviously her husband is not a very good audience.  She admits to herself that, during that summer when she went for a holiday to a Greek island, she did have an uplifting romance that saved her spirits. It wasn't with a funny Greek man that was flirting with her, she says: "The only holiday romance that I've had is with myself". Shirley Valentine discovered who she was and who she wasn't. 

　　幾年前我指導了 Willy Russell 的一齣戲劇 「Shirley Valentine」這齣獨白劇只有兩幕。第一幕，女主角對著廚房的牆說話。第二幕，她對著一塊海灘石頭說話，她需要聽眾，顯然地，她的丈夫不是好聽眾。她自己承認，前一年的夏天她在一座希臘島嶼度假時，一場浪漫戀情拯救了她的靈魂，並不是有趣的希臘男人和她調情她說：「我唯一的假日戀情是我跟自已的戀愛」女主角發現到她是誰，她不是誰。

  Around 1940, Dimitris Psathas created a very funny character. At least three generations of the entire Greek population on the planet adore this character to this day, to the point where her name has been passed on to our everyday language, meaning a very specific type of woman, Madam Sousou. As I am now in rehearsals for this play, I am amazed by how this period comedy-drama of the 1940s could very easily, without changing anything, be a dramatization of contemporary society in 2015. A story of a bunch of characters with which an audience fully identifies, 70 years after it was written.

　　希臘劇作家 Dimitris Psathas 於1940 年前後創作出一個好笑的人物，至少有三代的全球希臘人至今都還喜愛著這個人物，甚至於她的名字都已經變成日常的代名詞，指的是很特別的女性，就是所謂的 Madam Sousou。因為我正在排演這齣喜劇我很驚訝這齣四十年代的喜劇可以很容易地不作任何更動改編成符合 2015 當代社會的戲劇，這個故事有很多人物觀眾完全可以感同身受，雖然這是七十年以前寫的故事。

  Now, I had the honor of playing Valmont in the stage play, by Christopher Hampton, "Les Liaisons Dangereuses”, who is the same author who wrote the film and won an Oscar for it, this was about 10 years ago, and it is one of my favorite stage roles to this day. He is a villain, he is ruthless, he spreads misery for his own entertainment. And yet we see a softer side. His Achilles heel, his human nature. As an actor, I had to justify his malicious line of thinking, and the clash inside him between vice and virtue was what had inspired me as a reader of the text, originally.  In reality, this ying-yang of good and evil is borrowed from life, it's inside everyone, and by everyone I mean every member of every audience.

　　另外，我很榮幸在舞台劇《危險關系》中，扮演 Valmont。這是由 Hampton 所編寫的劇本，他也是同名電影的編劇並贏得奧斯卡獎，這大約是十年前的事，這也一直是我最喜歡的舞臺角色，他是一個反派，很無情。他把自己的快樂建築在別人的痛苦上可是我們還看到了他柔軟的一面他的弱點，他的人性。作為演員我必須為他的惡意思維找到原因，他心中的善惡衝突對作為讀者的我，是最初的啟發。事實上，這種善惡的陰陽是從生活中借來的，它在每個人的內心，我指的是觀眾中的每一個人。

  A couple of years ago I directed a dramatized poetry night for the great Kavafis. I decided, I daresay quite bravely, that I was going to be the one to read the poem "Grey" at the end of the show, there wasn't a single performance when I didn't cry, but I felt that those tears were part of the homage to the poet, to a poet that touches the reader with a simple and short description of thoughts inside an empty room. I didn't feel I was so much a character on stage, but a person in the audience, celebrating with the audience the genius of the poet.

　　幾年前我指導了一個詩歌朗誦的表演，讀的是希臘詩人 Kavafis 的詩，我很勇敢地決定我將朗讀「灰色」那首詩，作為演出的壓軸每次朗讀完我總是淚流滿面，可是我認為那些眼淚是我對詩人表達的敬意，一個感動了讀者的詩人，一段簡單而簡短的內心話迴盪在舞台上空蕩蕩的房間，我覺得我不太像一個舞台上的角色而是觀眾中的一個人，與觀眾一起讚頌這位詩人的天賦。

  So, we arrive at a very interesting proposition. There is no art without the receiver. There is a very simple and very famous philosophical question: "If a tree falls in the forest, and there is no one around, does it make a sound?" Since sound is created inside the ear canal, we have an existential conundrum: if there is no ear around to capture it, is there a sound at all? Similarly, do we have art without the audience?

　　所以我們得出了一個非常有趣的觀點，沒有接收者就沒有藝術。有個又簡單又著名的哲學問題：「如果一棵樹在森林裡倒下來而周圍沒有人會發出聲音嗎？」由於聲音是在耳道內產生的我們就面對一個存在的難題：如果沒有耳朵來聽到聲音，那麼究竟有沒有聲音？同樣，如果沒有觀眾，還有藝術嗎？

  It has been a dozen years I have been creating theatre productions and I believe that there is no art of theatre in the absence of an audience. I can rehearse as long as I like, I can delve deep and double deep into my character portrayal, but there is no theatre if there is no one sitting opposite. Conversely, I may not rehearse at all, but if I were to present a play on stage, to an audience, there would be theatre.

　　我已經從事戲劇創作十多年了，我相信沒有觀眾就沒有戲劇藝術，我可以排演多久就排演多久，我可以深入挖掘我的角色寫照但如果沒有人坐在對面欣賞就沒有戲劇。反過來説，我可以不排練，但如果我要在舞台上表演給觀眾看，那就是戲劇。

  So, by definition, it is not the work that goes in that makes it theatre, it is the relationship between artist and audience, at a specific place and time that makes the magic of theatre. The magic of live performance. Whether it is brilliant or appalling theatre, the artist needs the audience, so that art exists.

　　因此，根據定義不是努力排練就是戲劇，戲劇是藝術家和觀眾之間的關係在特定的時間和地點創造出戲劇的魔力，營造出現場表演的神奇，無論表演得精彩不精彩藝術家需要觀眾，藝術才存在。

  So how can we describe this relationship between artist and audience? Well, in a very simple verb in the English language, I would say , "Sharing". And how familiar is this word today? In fact in the last few years, sharing is not just a verb, it is a concept, in fact it has become a tool, thanks to social media.

　　那麼，我們該如何描述藝術家和觀眾之間的關係？英文有個很簡單的動詞「分享」現在你有多常聽到這個詞？其實，在過去幾年中，分享不只是一個動詞，它也是一個概念。事實上，由於社交媒體，它已成為一種工具。

  Throughout our day, we have an audience. We share a post on Facebook, or Twitter, or Instagram, a joke at the dinner table, we share a problem with a colleague at work, we make introductions with a stranger, a phone call, all these situations every day involve sharing a piece of yourself with an audience.

　　一整天中，我們都有觀眾，我們在臉書、推特Instagram 上分享帖子或餐桌上的笑話或分享與同事在工作中的問題或認識陌生人或打電話，每天的情況都是跟觀眾分享自己的一部分。

  And we do want to make a good impression. We are not opposite a judging committee, we will not get marked, it is not a competition. But we do want to get the dinner guests to laugh. We want the colleague to be intrigued by our story, we want the stranger to smile after making our acquaintance. We appreciate those "likes” and "thumbs up” and we are definitely dreading the "thumbs down", that are about to be introduced. So, when we share our work, our problems, our thoughts, our photographs, we are very keen on a happy audience. An intrigued audience, an inspired audience. So, what can improve the quality of our sharing? 

　　我們真的希望留下好印象，我們不是面對一組評審委員會，沒有分數，不是比賽，但我們確實想讓晚宴客人開心，希望同事對我們故事有興趣，希望看到陌生人不再陌生之後的微笑。我們感謝那些「讚」和「我喜歡」，我們肯定害怕即將推出的「不喜歡」。當我們分享自已的工作、問題，想法和照片我們非常希望有快樂的觀眾，好奇的觀眾，受到啟發的觀眾，那麼要怎麼改善分享的品質？

  In the novel by Robert Percy “Zen and the art of motorcycle maintenance" the author is in search of the true meaning of quality with a capital "Q" and I will never forget a four-word sentence he uses for his protagonist who is striving for quality. A very basic, primal rule: "He has to care".

　　Robert Percy 的小説「禪與摩托車維修藝術」作者追尋品質的真正意義，真正的品質。我永遠不會忘記一句四字說法作者用來介紹主角對品質的追求，一個非常基本的規則：「他得在乎」

  In one of his most recent interviews, Barry Humphries, who is now over 80, he is the man under the famous purple wig of comedy legend Dame Edna, he said the simplest thing about his 60-year international comedy success: "I decided that the best thing to talk about is what you know about."

　　在 Humphries 最新的採訪中，他已經八十多歲了，他是帶著紫色假髮扮演喜劇女爵士 Edna 的演員，關於他六十年來在國際上的喜劇聲譽他說得很簡單：「我覺得最好的談論話題就是談你所知道的事」

  Can we really share anything that is not ours? We always say "choose your audience”, “know your audience”, but I feel that that is only dealing with one side of the relationship. I have come to realize that the most important part of you and your audience is You. Thank you.

　　我們不知道的事真的可以分享嗎？我們總是說「選擇你的觀眾」,「了解你的觀眾」，但我覺得這只說明了關係的一面，我逐漸了解到觀眾與你最重要的部分就是你，謝謝。