TED演讲谈呵护创造力及减轻创作压力.docx
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TED演讲谈呵护创造力及减轻创作压力.docx
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TED演讲谈呵护创造力及减轻创作压力
TED演讲:
谈呵护创造力及减轻创作压力
这是一篇由网络搜集整理的关于TED演讲精选:
谈呵护创造力及减轻创作压力的文档,希望对你能有帮助。
我是个作家,写作不仅仅是我的职业,更是我一辈子的挚爱与迷恋我认为这是永远不会改变的事情尽管如此,最近在我的生活工作中,发生了一个特殊事件这个特殊事件就是:
我最新出版的那本回忆录《美食、祈祷、爱》与我以前那些普普通通的作品大不一样,不知怎么的,成了一本轰动一时、令人激动的国际畅销书结果是,现在不论我到哪里,人们都觉得我这一辈子就这样了真的,就这样了,彻底地,没救了,玩完了!
他们会非常忧虑地过来跟我说:
“你不怕吗不怕你这辈子都超越不了那本书了吗”“你不怕你会这样写一辈子,却永远再也写不出世人热爱的作品了吗” Sothat’sreassuring,youknow.Butitwouldbeworse,exceptforthatIhappentorememberthatover20yearsago,whenIfirststartedtellingpeople–whenIwasateenager–thatIwantedtobeawriter,Iwasmetwiththissamekindof,sortoffear-basedreaction.Andpeoplewouldsay,“Aren’tyouafraidyou’renevergoingtohaveanysuccessAren’tyouafraidthehumiliationofrejectionwillkillyouAren’tyouafraidthatyou’regoingtoworkyourwholelifeatthiscraftandnothing’severgoingtocomeofitandyou’regoingtodieonascrapheapofbrokendreamswithyourmouthfilledwithbitterashoffailure”(Laughter)Likethat,youknow.
他们可真是会安慰人呀我的日子本来会很难熬,幸运的是,我想起了20年前决定成为作家的事情那时我才十几岁我当时遭遇到了同样的质疑,人们说:
你不怕永远都不会成功吗你不怕持续的拒绝会把你击垮吗你不怕努力终身却一无所成吗你最后会在支离破碎的梦想中绝望死去,满含着失败的痛楚我当时一直得到诸如此类的质疑。
Theanswer–theshortanswertoallthosequestionsis,“Yes.”Yes,I’mafraidofallthosethings.AndIalwayshavebeen.AndI’mafraidofmanymanymorethingsbesidesthatpeoplecan’tevenguessat.Likeseaweed,andotherthingsthatarescary.But,whenitcomestowritingthethingthatI’vebeensortofthinkingaboutlately,andwonderingaboutlately,iswhyYouknow,isitrationalIsitlogicalthatanybodyshouldbeexpectedtobeafraidoftheworkthattheyfeeltheywereputonthisEarthtodo.Youknow,andwhatisitspecificallyaboutcreativeventuresthatseemstomakeusreallynervousabouteachother’smentalhealthinawaythatothercareerskindofdon’tdo,youknowLikemydad,forexample,wasachemicalengineerandIdon’trecallonceinhis40yearsofchemicalengineeringanybodyaskinghimifhewasafraidtobeachemicalengineer,youknowItdidn’t–thatchemicalengineeringblockJohn,how’sitgoingItjustdidn’tcomeuplikethat,youknowButtobefair,chemicalengineersasagrouphaven’treallyearnedareputationoverthecenturiesforbeingalcoholicmanic-depressives.(Laughter)
对于这些质疑,最简单的回答是:
“怕”是的,这种种一切都让人害怕,直到今天也一样其实除了这些,我还害怕很多别人猜不到的东西比方说海草,还有其他吓人的东西,但是,说到害怕写作,我最近一直在想,我为什么要害怕写作呢这难道是一种理性的想法吗人们害怕从事自己命中注定的工作这符合逻辑吗创造性工作究竟有着怎样的特殊性,以至于让我们为彼此的心智健康担心起来了呢别的行业可不太会这样,不是吗比方说,我爸爸是个化学工程师,在他40年的化学工程生涯中,我不曾记得有人问他是否害怕成为化学工程师没人说:
“约翰,化学工作遇到瓶颈了吗怎么样了”从来不曾发生过这种问话,当然,平心而论,化学工程师这一群体并没有在过去几个世纪里,因酗酒吸毒、狂躁抑郁而享誉全球。
Wewriters,wekindofdohavethatreputation,andnotjustwriters,butcreativepeopleacrossallgenres,itseems,havethisreputationforbeingenormouslymentallyunstable.Andallyouhavetodoislookattheverygrimdeathcountinthe20thcenturyalone,ofreallymagnificentcreativemindswhodiedyoungandoftenattheirownhands,youknow
Andeventheoneswhodidn’tliterallycommitsuicideseemtobereallyundonebytheirgifts,youknow.NormanMailer,justbeforehedied,lastinterview,hesaid“Everyoneofmybookshaskilledmealittlemore.”Anextraordinarystatementtomakeaboutyourlife’swork,youknow.Butwedon’tevenblinkwhenwehearsomebodysaythisbecausewe’veheardthatkindofstuffforsolongandsomehowwe’vecompletelyinternalizedandacceptedcollectivelythisnotionthatcreativityandsufferingaresomehowinherentlylinkedandthatartistry,intheend,willalwaysultimatelyleadtoanguish.
而我们作家,倒确确实实有着那样的名声不仅作家,各个领域的创作人才似乎都有着情绪极不稳定的恶名,只需看看上个世纪,各个领域伟大创作天才们英年早逝的案例常常是年纪轻轻死于自杀,即使那些没有自杀的,往往也没有完全展现出他们的才华,即使那些没有自杀的,往往也没有完全展现出他们的才华诺曼梅勒,在去世前的最后一次采访中说:
“我的每一本书都蚕食了一部分的我”,对于你毕生的作品,这是多么激进的说法啊但我们对此类说法却视若无睹,因为我们早已见怪不怪了,且不知为何,人们都已经完全内化接受了这一观念这种观念就是:
创造力和痛苦息息相关,艺术创造最终一定会导致极度苦闷。
AndthequestionthatIwanttoaskeverybodyheretodayisareyouguysallcoolwiththatidea
Areyoucomfortablewiththat–becauseyoulookatitevenfromaninchawayand,youknow–I’mnotatallcomfortablewiththatassumption.Ithinkit’sodious.AndIalsothinkit’sdangerous,andIdon’twanttoseeitperpetuatedintothenextcentury.Ithinkit’sbetterifweencourageourgreatcreativemindstolive.
我今天想问在座各位的是:
你们大家都对此毫无异议吗你们都觉得这一观点毫无问题吗哪怕稍稍离远点看这个观点,我也不能同意这种臆断,这个观点不但可憎,而且可怕,我不希望这样的想法一直延续到下个世纪我觉得鼓励我们伟大的创作天才们继续活下去会更加好。
AndIdefinitelyknowthat,inmycase–inmysituation–itwouldbeverydangerousformetostartsortofleakingdownthatdarkpathofassumption,particularlygiventhecircumstancethatI’minrightnowinmycareer.Whichis–youknow,likecheckitout,I’mprettyyoung,I’monlyabout40yearsold.Istillhavemaybeanotherfourdecadesofworkleftinme.Andit’sexceedinglylikelythatanythingIwritefromthispointforwardisgoingtobejudgedbytheworldastheworkthatcameafterthefreakishsuccessofmylastbook,right
Ishouldjustputitbluntly,becausewe’reallsortoffriendsherenow–it’sexceedinglylikelythatmygreatestsuccessisbehindme.Oh,soJesus,whatathought!
Youknowthat’sthekindofthoughtthatcouldleadapersontostartdrinkingginatnineo’clockinthemorning,andIdon’twanttogothere.(Laughter)IwouldprefertokeepdoingthisworkthatIlove.
而且就我自己来说,持这一观点必然将我引入黑暗的绝境尤其是在我目前的事业阶段你看,我还年轻,我才四十来岁我今后还有大约四十年的创作生涯而且很有可能的是,从这一刻起,我所写的每一部作品,都会被用来和我上一本轰动一时的巨作进行比较,不是吗坦率地说吧,看在我们都聊了这么久,我就说句朋友间的`掏心话吧极有可能的是,我这辈子最大成功已经过去了,天啊,这是何种的想法!
就是这种想法,让人踏上了一大清早就喝琴酒的不归路啊我可不想变成那样我希望继续从事我所热爱的写作事业,所以问题就变成:
我应该怎么办呢
Andso,thequestionbecomes,howAndso,itseemstome,uponalotofreflection,thatthewaythatIhavetoworknow,inordertocontinuewriting,isthatIhavetocreatesomesortofprotectivepsychologicalconstruct,rightIhaveto,sortoffindsomewaytohaveasafedistancebetweenme,asIamwriting,andmyverynaturalanxietyaboutwhatthereactiontothatwritingisgoingtobe,fromnowon.And,asI’vebeenlookingoverthelastyearformodelsforhowtodothatI’vebeensortoflookingacrosstime,andI’vebeentryingtofindothersocietiestoseeiftheymighthavehadbetterandsanerideasthanwehaveabouthowtohelpcreativepeople,sortofmanagetheinherentemotionalrisksofcreativity.
经过一番深入思考,在我看来要想继续写作,我必须要创造出某种心理保护机制我必须以某种方式,建立起一个安全距离区别开写作本身,以及我对于作品反响的极度焦虑,前一年,我到处找寻可以参考的模式,在历史中找,也在不同文化中找看他们是否有比我们更好、更理智的观点来帮助艺术工作者处理艺术创作所固有的内在情感风险。
AndthatsearchhasledmetoancientGreeceandancientRome.Sostaywithme,becauseitdoescirclearoundandback.But,ancientGreeceandancientRome–peopledidnothappentobelievethatcreativitycamefromhumanbeingsbackthen,OK
Peoplebelievedthatcreativitywasthisdivineattendantspiritthatcametohumanbeingsfromsomedistantandunknowablesource,fordistantandunknowablereasons.TheGreeksfamouslycalledthesedivineattendantspiritsofcreativity“daemons.”Socrates,famously,believedthathehadadaemonwhospokewisdomtohimfromafar.TheRomanshadthesameidea,buttheycalledthatsortofdisembodiedcreativespiritagenius.Whichisgreat,becausetheRomansdidnotactuallythinkthatageniuswasaparticularlycleverindividual.Theybelievedthatageniuswasthis,sortofmagicaldivineentity,whowasbelievedtoliterallyliveinthewallsofanartist’sstudio,kindoflikeDobbythehouseelf,andwhowouldcomeoutandsortofinvisiblyassisttheartistwiththeirworkandwouldshapetheoutcomeofthatwork.
这一寻找最后把我带到了古希腊和古罗马所以请耐心听我讲,因为最后会绕回到我们的问题在古希腊和古罗马,人们并不认为创造力来自于人类本身,人们相信,创造力是一种神圣的守护精灵从遥远而不可知的地方来到艺术家身边,带着某种遥远而不可知的目的希腊人普遍地称这种伴随着创造力的守护精灵为“守护神”。
当时人们普遍地认为苏格拉底就有这样一个守护神,从远处赋予他智慧古罗马人有着相似的观点,他们把这种无形的创造精灵称为“天才”这种观点很妙,因为罗马人并没有认为“天才”是某个特别聪慧的个人。
他们认为“天才”是某种奇妙的神圣存在他们甚至认为“天才”居住在艺术家工作室的墙壁中,就像小精灵多比一样它们会悄悄地钻出来,无形地帮助艺术家创作,并影响作品成败。
Sobrilliant–thereitis,righttherethatdistancethatI’mtalkingabout–thatpsychologicalconstructtoprotectyoufromtheresultsofyourwork.Andeveryoneknewthatthisishowitfunctioned,rightSotheancientartistwasprotectedfromcertainthings,like,forexample,toomuchnarcissism,rightIfyourworkwasbrilliantyoucouldn’ttakeallthecreditforit,everybodyknewthatyouhadthisdisembodiedgeniuswhohadhelpedyou.Ifyourworkbombed,notentirelyyourfault,youknowEveryoneknewyourgeniuswaskindoflame.AndthisishowpeoplethoughtaboutcreativityintheWestforareallylongtime.
这个观点简直绝了,这就是我在找寻的那个安全距离这就是让人免受作品成败影响的心理保护机制我们都可以理解它的运作模式,不是吗?
古代艺术家由这个观点而得到保护,避免了过度自恋,如果你的作品很伟大,那可不能完全归功于你因为大家都知道你是在一个无形的“天才”帮助下完成作品的如果你的作品很烂,同样也不全是你的错,人人都知道那是因为你的“天才”很差劲这就是西方人在过去很长一段时间里看待创作力的方式。
AndthentheRenaissancecameandeverythingchanged,andwehadthisbigidea,andthebigideawaslet’sputtheindividualhumanbeingatthecenteroftheuniverseaboveallgodsandmysteries,andthere’snomoreroomformysticalcreatureswhotakedictationfromthedivine.Andit’sthebeginningofrationalhumanism,andpeoplestartedtobelievethatcreativitycamecompletelyfromtheselfoftheindividual.Andforthefirsttimeinhistory,youstarttohearpeoplereferringtothisorthatartistasbeingageniusratherthanhavingagenius.
接着文艺复兴来临,一切都变了,人们产生了一个伟大的想法:
“让我们把人类置于宇宙中心,超越众神和神秘未知”于是再也没有空间留给传递神圣意志的小精灵。
这就是理性人文主义的开端,人们开始相信创造力完全来源于人类个体本身有史以来,人们第一次将某个艺术家称为“天才”,而非拥有一个“天才”。
AndIgottotellyou,Ithinkthatwasahugeerror.Youknow,Ithinkthatallowingsomebody,onemerepersontobelievethatheorsheislike,thevesselyouknow,likethefontandtheessenceandthesourceofalldivine,creative,unknowable,eternalmysteryisjustasmidgetoomuchresponsibilitytoputononefragile,humanpsyche.It’slikeaskingsomebodytoswallowthesun.Itjustcompletelywarpsanddistortsegos,anditcreatesalltheseunmanageableexpe
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