【國立臺灣大學 109學年度畢業典禮 貴賓致詞】
Commencement Address, National Taiwan University Commencement 2021

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巨大集團 羅祥安前執行長
Giant Group Former CEO Anthony Lo

管校長，羅副校長，各位貴賓，畢業生的家長跟朋友們，還有今天最重要的2021年臺大的畢業生，大家早安、大家好！

首先恭喜你們，今天從全世界最優秀大學之一的臺灣大學畢業了！
在過去幾年，在管校長，以「大學教改」和「國際化」的理念，率領全體師生的努力之下，臺大在全世界的能見度，和各項排名，都有顯著的進步，也讓身為校友的我們倍感光榮。

是不是我們大家一起鼓掌，給自己鼓勵一下好不好！

你們今天剛剛畢業，但是你們已經創造了臺大一項新的紀錄：第一次，沒有傳統畢業典禮的畢業生。這將是你們人生一個非常特別的回憶，也預表了你們未來將會有與眾不同的表現，和非凡的成就。

現在的世界，局勢是在東方跟西方的勢力，彼此對抗而動盪不安。而全世界的經濟活動，也因為科技的突破性創新，而受到很大的影響。不盡理想的、不盡公平的全球化，也將逐漸地變成 全球在地化。而COVID-19肆虐全球的結果，使得臺灣跟全世界，大家的生活型態、社會的結構、經濟活動的節奏都被打亂了，而必須要加以全面的整理跟重新的架構。這當然是一個危機，但是更是一個絕好的機會。所以，將你們迎面而來的，是無數的創新的機會，以及冒險卻令人興奮的全新挑戰。

因為臺灣，這是第一次跟全世界各個國家，同步的站在一個嶄新的共同起跑點上面。所以我要恭喜你們，你們躬逢其會，將要進入一個充滿希望、嶄新的時代。

我是1969年從臺大畢業的，所以我想今天就以我畢業之後的50多年，人生的一些學習和體會，來跟諸位分享，給諸位作個參考。

當我大學畢業的時候，我滿懷抱負，迫不及待地想要大展身手，我當時進入臺灣最大的貿易公司工作，但是我發現我所學的很多東西，只有一些國際貿易的實務跟英文有用，至於其他我所學習到的經營管理的很多知識，恐怕都要等到10年、20年之後，如果我有幸當上高級主管才能派上用場。

更諷刺的是，我是商學系畢業的，但是工作兩年後，我發現我真的不喜歡做商人，我也不喜歡做生意，我有興趣的是做事業。

後來，幸好我有聆聽我心裡面的微弱的聲音，決定踏進自行車業，放棄掉台北最好的貿易公司的金飯碗，而去參加在大甲一個只有38個人的小公司，來追求我的夢想。

那時候許多人認為我腦筋有問題，頭殼壞去，但現在回顧回來，我當時是做了人生一個非常好的決定。

創業的過程飽受艱辛，但是我也學到了很多寶貴的經驗：我首先學到的，是在做事之前，必須要先學做人。

人必須要誠信踏實，不能自私自利，而要利他共好。

要隨時心存感恩，尊重、關切別人。要熱愛這個世界，並且要了解到一個人的能力是有限的，而必須要去建立互信、互助的人際關係；要融入群體、要發揮團隊的精神。

在做事方面，一定要以正面積極的態度，認真努力去工作。 而且不要怕失敗，要勇於接受新的挑戰。因為如果有失敗了，那只是代表說你又更靠近成功一步了。要作中學，學中作，要虛心好奇的終身學習，開拓挑戰、追求卓越。

在這裡，我想要送給大家一個很特別的畢業禮物，就是兩個「成功的錦囊」。
第一個錦囊：不管你做什麼工作，不論你職務的高低，永遠都要站在顧客的立場，來為他們設想，還能做什麼，讓他們能夠得到更多的創新價值。

第二個錦囊：無論作什麼工作，不管你職務的高低，永遠都要站在經營者的角度來為公司設想，要做什麼，才能讓公司更健康，永續經營跟發展。

既使你們把我後面講的很多東西都忘記了，沒關係，但是這個畢業禮物你們一定要記得帶回去，因為這些「同理心」的兩個錦囊，在未來會給你們帶來意想不到的祝福！

其次我體會到，名跟利都是副產品。正產品是你成為什麼樣的人，成就什麼樣的事。當正產品是對的時候，名跟利都自然會來。

所以我鼓勵大家在找工作的時候，不要太計較開始的薪水和待遇。因為事實上，一個新人，在前面三年是很難有大的貢獻的，反過來只是公司發薪水來給你培訓而已。所以選擇一個有意義的行業，找一家你可以學習進步的好公司，這才是重要的。

第三，我學習到 知識不等於智慧。諸位都學有專精，有很多寶貴的知識，但這些知識必須要實際去做才能夠產生經驗，而累積的時候會有不同經驗的反省、學習、跟體會，尤其是從那些失敗的經 驗，才能夠漸漸地凝結成有用的智慧。
我的成長過程分成三段，開始我是一個「I」型的人，我擁有一些經營管理的基本的能力。後來因為工作的需要和我的好奇心，我漸漸地學習到技術開發、製造生產、品牌推廣、全球經營、以及行銷、服務等等寶貴的經驗，這樣漸漸地，我就形成一個「T」型的一個跨界的人才。但是到了我真正找到公司未來的使命跟方向，並且把它跟我的人生目標結合在一起，熱情的、積極去推動的時候，那時候我終於成為一個「十字架」型的一個領導者。

當公司發展得比較穩定之後，我就面臨要如何來替公司規劃願景、使命、定位，跟長期策略。在這個階段，我有一些新的體會：首先，你必須要能夠畫出一個「黃金正三角形」，正三角形是最穩定的，上面是戰略，中間是戰術，下面是戰鬥。先要有正確的戰略，才能衍伸出有效的戰術，再根據這個戰術去貫徹戰鬥的執行。換言之，戰略就是做對的事情，戰術就是對的方法，戰鬥就是用對的方法去把事情做對做好，並且不斷地去持續改善。

想要能夠思考出長期的戰略，就必須要有洞察力。

我很喜歡看地球儀，就是那種在一個架子上面，有一個可以轉動的地球模型。當你把地球轉動的時候，你看到上面每一個地方、每一個國家，它的地理位置、它的自然生態，以及你思考它的歷史的演變跟它的發展，這樣子你就能夠得出一個整體的，跟全方位的一個概念。

在思考長期戰略的時候，很不容易得出一個有突破性的一個創見，它的原因往往是因為「當局者迷」的關係。

所以當我考慮長期戰略的時候，我會把自己設想，好像從一個人造衛星上面，來觀看一個轉動的地球。以宇宙格局的高度，以全球視野的廣度，以歷史演進的長度，這樣子你就能夠以一個「旁觀者清」的姿態和角度，來正面、反面深入思考，這樣子你就可能得到一個突破性的一個解答。「世界的捷安特」跟「全球在地化」的品牌經營—這樣子的策略、願景就是這樣產生的。

另外一種洞察力，是如何推出給人們有創新價值的產品跟服務。這就要時時地站在人文跟科技的十字路口，仔細觀察它們的變化，然後活用科技的進步，為人文潛在的需求，適時地提供最佳的解決方案。捷安特的Cycling世界，就是用這種方法，不斷的推出創新價值的產品。

我們在經營上也有發展出一個特別的理念，那就是「不求第一，要作惟一」。全世界的人這麼多，但沒有兩個人的指紋是一樣的， 所以每一個人都是獨一無二、都是惟一的。可見當上帝造每一個人的時候，祂都有衪特別的計劃，而且也把成功所需要的能力跟要素，已經放在你的心中，等待你取用。所以每一個人不應該只是模仿別人，或者是按照別人的期望來生活，而應該要找出並且發揮自己的天賦，真正做自己，成為惟一，才能夠活出精采的生命。

企業也是一樣，不能隨波逐流，必須要找出什麼才是對的，什麼是合適你的，什麼才是有意義、對這個世界有貢獻的，這個才是惟一。當你精益求精，努力的想要成為惟一的時侯，你才能夠找到真正正確的目標，以及永續生存的價值。如果事事都想為第一，那麼你可能去追求很多不切實際的目標，而被你無法承受的巨大壓力所摧毀。或者，因為不擇手段，最後走上一些錯誤的道路。
在長期追求惟一的過程當中，我也得到兩個重要的體會：當你決心做一件對的事情，而且不屈不撓，勇敢堅持奮鬥的時候，全宇宙的力量都會起來幫助你。另外，把一件有意義的事情，用生命的力量把它作好，你就有可能改變這個世界！

我鼓勵你們，聆聽你們內心深處的微小的聲音，讓它引導你們，去尋找到你們的天賦，了解你們的命定。

不求第一，要作惟一。做你真正的自己，成為惟一。活出你精彩的生命，享受你幸福的人生！

很多人說，生長在臺灣的人，一輩子裡面一定要完成三項挑戰：登玉山、泳渡日月潭、還有騎自行車環島。我覺得這非常有道理。所以我建議大家在畢業以後，在去當兵、就業之前，不妨參加一個自行車環島的旅行團，用九天的時間，仔細的去體會、欣賞寶島臺灣的美好，用自行車的輪胎去親吻，這塊生你長你的美麗大地，就當作是送給你自己的一個畢業禮物吧！

那教授們跟家長們，可能會想說，啊！太可惜了，我畢業的時候沒有騎自行車環島，我現在已經五六十歲了。沒關係，你這個年紀正好來從事人生的壯遊。
我們臺大的校長－管校長，在今年的一月份，就勇敢的完成他夢寐以求的自行車環島的壯遊。我們給管爺一個掌聲好不好？

有人認為臺灣很小、沒有前途，真的是這樣嗎？世界經濟論壇每年都要把全世界的國家的實力做一個調查跟排名。讓我們來看一下臺灣的排名。全世界有235個國家，就面積來講，我們排名第137；就人口來講，第57；就經濟體來講，第21；就整體競爭力來講，排名第11；而創新力，臺灣排名第4。沒錯，臺灣的確不大，但是我們很強，我們可以很有前途！

可預見的，未來的世界將會成為美、歐、亞三區鼎力的這個新局面。就像三個圓圈，各自都以自己的利益為優先，並且彼此長期的競爭、對抗和抵制，但是同時又不得不相互的維持一些必要的連結。而在每一個圈裡面，它將持續的有很多劇烈的改變，就像一個暴風圈一樣。而這三個暴風圈連結在一起，就形成一個所謂完全風暴PERFECT STORM。

最近經濟學人雜誌，把臺灣當作封面，稱臺灣為地球上最危險的地方，但同時又是科技業最關鍵的地方。我個人倒認為，未來臺灣可能是處在一個最有利的地位，就在那三個暴風圈中間的那個颱風眼，也就是這三個圈圈彼此連結交會的中心點。這個地方看起來好像危險，其實是最安全、最有利、又是最關鍵的地方。

當三個暴風圈無可避免的，參與在一個長期的競爭、對抗、跟抵制－這樣一個零和的賽局裡面。那臺灣並不屬於任何一個圈圈，也不需要去參與這些競爭、對抗跟抵制。而可以去想說，我可以在這個關鍵的中心點，替這個世界來提供什麼樣子的創新價值的貢獻。

臺灣過去50年的努力累積了很多技術開發、製造管理、金融資本，社會資源，以及民主法治體制，這些稀有而寶貴的實力。而且如果以全世界作為舞台，那麼，能夠精通中文跟英文、能夠深切的了解東方西方的文化；有專業，又能跨界，謙卑而不自卑，自信而不自大的臺灣人，可能是全世界最優秀的人才。

未來無法被預測，但是可以被創造！30年前，有誰能夠預測到說臺灣會產生世界級的台積電跟捷安特？

台積電秉持著作惟一的理念，以全球晶圓代工的戰略，厚植實力，打造了優質高效的供應鏈，把臺灣變成一個科技島。以臺灣為核心，轉動引領全世界的半導體市場。

捷安特也秉持著作惟一的理念，以世界的捷安特，全球在地化的品牌戰略，帶領A-Team把臺灣變成全世界高級車的中心，又積極的推動Cycling的新文化，把臺灣發展成一個自行車島，以臺灣為核心，轉動引領全世界自行車的市場。
在這裡我也期許我們臺大，也能夠以作惟一這樣子的理念，轉動引領世界，變成全世界最優秀人才培養的最佳搖籃。

未來的50年，臺灣將迎來前所未有最大的機運！所以臺灣是不是應該要脫離過去單純競爭的心態，而來積極的謀求長期的未來生存之道，或者更進一步要問自己：臺灣可以為世界貢獻些什麼？臺灣不應該只是消極的「根留臺灣」，而應該更主動積極的「放眼全球、立足亞太、深根臺灣」。

臺灣過去的50年，那是一個非常艱辛跟特別的階段。很慶幸的，臺灣在那個階段裡面，是屬於勝利的這一組。

現在是應該到了必須要了解過去、深入現在、策劃未來，這個重要關鍵的時刻。要如何的以宇宙格局的高度、以全球視野的廣度、以及歷史演進的長度，衡外情，量己力，來為臺灣重新的定位，重新畫一個正確的戰略、戰術、戰鬥的黃金三角形。讓臺灣能夠真正發揮自己的長處，能夠打造創新價值的優勢，成為惟一、做Only One！要能夠創造一個更安全、更廣闊、更興盛－全新的藍海。臺灣必須要成為世界的好公民，繼續的為全世界做更多、更好的貢獻！
2021的畢業生們，在你們當中有未來國家的領導人、有全球企業的創造者、有在社會各行各業、方方面面的核心人才，所以臺灣未來50年的未來，就掌握在你們手中了。

最後，我想用一位著名科學家的名言來作結尾： Life is like riding a bicycle. To keep your balance, you must keep moving. 人生就像騎自行車，要保持你平衡最好的方法，就是繼續不斷地向前進。

你知道這是誰的名言嗎？ 沒錯，就是愛因斯坦！

2021的畢業生們，請你騎上你人生的自行車，勇敢的向前邁進，去開創你獨一無二、精彩無比的新生命跟未來。再一次，恭喜你們，並且祝福你們每一位，將來都能夠有健康、幸福、精彩跟有意義的人生！
謝謝！

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President Kuan, Executive Vice President Luo, Distinguished guests, family, friends, and most importantly, the graduating class of 2021, good morning!

First of all, congratulations! Today, you are graduating from one of the best universities in the world – National Taiwan University!

Over the last few years, President Kuan led the university forward with his vision of “educational reform” and internationalization”. Together with all the faculty and students, NTU has made significant progress in both ranking and global visibility, making us, alumni, extremely proud.

I think we deserve to give ourselves a round of applause!

You are the graduating class of 2021 and already, you have set a new record for NTU: For the first time, there will not be a traditional graduation ceremony. Let this be a very special memory of your life and a sign of the difference you will make in your future with extraordinary achievements.

The world is now in a volatile state where the East and the West are confronting each other. The world’s economic activities are also greatly affected by the breakthrough and innovations in technology. The less-than-ideal and less-than fair globalization will gradually become global localization. And as a result of COVID-19, Taiwan and the rest of the world’s lifestyle, social structure, and economy have been disrupted, and must be comprehensively reorganized and restructured. This is certainly a crisis, but in the midst of every crisis, lies great opportunity. So, what lies before you are countless opportunities for innovation, and exciting new challenges.

Because, for the first time, Taiwan is standing with the rest of the world on a new race-track. Therefore, I would like to congratulate you, you are entering a new era full of hope.

I graduated from NTU in 1969. It has been more than 50 years and today, I would like to share some of my life experiences and insights.

When I graduated from college, I was filled with ambition. I couldn’t wait to make my mark. I joined one of the largest trading companies in Taiwan, where I quickly realized the only materials I learned in school that came in handy are a little bit of international trade practices and English. Much of what I had learned about business management would only be relevant 10 or 20 years down the road, if I was lucky enough to become a senior executive.

What’s even more ironic is that I graduated with a degree in business, but after working for 2 years, I realize I really don’t like being a businessman, and I don’t like doing business. What I am actually interested in is building an enterprise.

Fortunately, I chose to listen to the faint voice in my heart and decided to enter the bicycle industry. I left my position at the best trading company in Taipei to join a small company with only 38 employees in Dajia to pursue my dream.

At the time, many people thought I must’ve broken my skull and gone crazy, but looking back, I have made a great decision in my life.

The process of starting my own enterprise has been very difficult, but I have learned many valuable lessons. The first thing I learned is that before you can do anything else, you have to learn to be a person of good character.

We must be honest, down to earth, selfless, self-serving, and altruistic for the common good.

Be grateful, respectful and caring at all times. To love the world and to understand that one person’s ability is limited and that is necessary to build interpersonal relationships of mutual trust and support; to be part of a group and to play as a team.

When it comes to work, you must work hard with a positive attitude. And don’t be afraid to fail, be brave enough to accept new challenges. Because every time you fail, it just means you are one step closer to success. Learning is an active process. We learn by doing. We must stay open-minded and curious, aspiring to lifelong learning; to explore challenges and pursue excellence.

Here I would like to give everyone a special graduation gift, which are my two tips for success:
First, always put yourself in the customer’s shoes, regardless of what you’re doing or what kind of job title you hold. Think for them, think about what else you can do to create more value for the customers.

Second, regardless of what you’re doing or what kind of job title you hold, always think about the company from the proprietor’s point of view; what can we do to build a healthier company that’s sustainable.

Even if you are going to forget everything I say later, that’ ok. Just remember to take your graduation gift at heart, because these two tips on “empathy “are sure to bring you unexpected blessings in the future!

Later on, I realized that fame and money are merely byproducts. The real product is you, what kind of person you have become and what have you achieved. When the real product is identified, fame and money will come naturally.

So I encourage you, when you look for a job, don’t be too concerned about the starting salary and benefits. Because as a matter of fact, as a newcomer, it is very difficult to make a big contribution in the first three years, so really the company is paying to give you training instead. So choose a meaningful industry and find a good company where you can improve and grow, that’s what’s important.

Thirdly, I learned that knowledge is not the same as wisdom. All of you have learned a lot and have a lot of valuable knowledge, but this knowledge must be practiced in order to produce experience, and in the process of accumulation, there will be different experiences of reflection, learning and empathy, especially from failure, slowly and surely all these experiences will be condensed into useful wisdom.

My personal development can be divided into three stages. I began as a I-shaped person with some basic skills in business management. Later on, due to my job and curiosity, I gained respected experience in technology development, manufacturing, branding, global marketing, and service and thus gradually becoming a T-shape multidisciplinary professional.

However, when I combined the future mission and direction of the company with my life goals, promoting it enthusiastically and actively, that is when I finally became a X-shape transdisciplinary leader.

Once the company became more stable, I was faced with the challenge of planning the vision, mission, positioning, and long-term strategy for the company. At this stage, I had some new insights.

First, you must be able to draw a “golden triangle”, an equilateral triangle is the most stable shape with strategy on top, tactics in the middle, and operations at the bottom. In other words, the strategy is to do the right thing, the tactics is the using the right methods, and operations is using the right methods to excel on doing the right things while constantly improving them.

To develop long-term strategies, it is necessary to have insight.

I enjoy looking at the globe, yes, the spherical model of Earth that sits on a stand and can be rotated. When you rotate the globe, you can see every place and country on it, its geographical location, its natural ecology, and you can think about its historical evolution and development, so that you can come up with an overall comprehensive concept.

When thinking about long-term strategy, it is not easy to come up with a groundbreaking idea, because “men are often blind in their own cause”

Therefore, when I think about long-term strategy, I imagine myself as if I were looking at a rotating Earth from a man-made satellite. With the height of the universe, the breadth of global vision and the length of historical evolution, you will be able think about it from the perspective of an observer, and then you may have a breakthrough. This is how the strategy and vision of “GIANT for the World” and “glocalization” brand management came about.

Another kind of insight is how to introduce the products and services to create additional value to people. This requires standing at the crossroads of humanity and technology, observing their changes carefully, and then using technological advances to provide the best solutions for the potential needs of humanity in a timely manner. This is how GIANT’s Cycling World continues to introduce innovative values to its products.

We have also developed a special philosophy in our business, which is “don’t be the first one, be the only one”. There are so many people in the world, but no two people share the same fingerprints, making each person unique and one of a kind. God created each person with purpose and has gifted us with the abilities and elements needed for success. All of which is in your heart, waiting for you to take them. Therefore, we should not just follow each other’s footstep or live under the expectations of someone else. Instead, we should find and give reigns to our talents, to truly be ourselves, to become the only one and live a brilliant life.

The same applies to businesses, you can’t just go with the flow, we must find what is right and suitable and what is meaningful and contributive to the world, this is what it means to be the only one. When you strive for excellence and strive to be the only one, you will find the right goals and the value of sustainability. If you try to be first in everything, you may pursue many unrealistic goals and either be destroyed by unbearable pressure or resort to doing whatever it takes, and end up on the wrong path.

I have learned two important lessons in my long quest to be the “only one”. When you are determined to do the right thing and you are unyielding and persistent in your struggle, the power of the universe will rise up and help you. In addition, if you do something meaningful and do it well with the power of life, you may change the world.

I urge you to listen to the small voice deep within you and let it guide you to find your talents and understand your destiny.

Do not seek to be the first but to be the only. Be true to yourself and be the only one. Live your life to the fullest and enjoy your life to the fullest!

Many people say that growing up in Taiwan, you must complete three challenges in your lifetime: climb to the top of Jade Mountain, swim across Sun Moon Lake, and ride a bike around the island. I think this is very true. Therefore, I suggest that after graduation, before you go to the military or get a job, you might as well join a bicycle tour around the island and spend nine days to carefully experience and appreciate the beauty of Taiwan. As a graduation gift to yourself, let the tires kiss the beautiful land where you were born and raised.

All the professors and parents must be thinking in regret, “Ah! Too bad! I didn’t ride my bike around the island when I graduated and now I’m already in my 50s and 60s…” But that’s okay! You are actually at the perfect age to start your adventurous life.

Our President of NTU, President Kuan bravely completed his dream bike tour around the island in January this year. Let’s give President Kuan a round of applause!

Some people think that Taiwan is small and has no future. Every year, the World Economic Forum conducts a survey and ranking of the strength of countries around the world. Let’s take a look at Taiwan’s ranking. There are 235 countries in the world and we rank 137th in terms of landmass, 57th in terms of population, 21st in terms of economy, 11th in terms of overall competitiveness, and 4th in terms of innovation. It’s true that Taiwan is not big, but we are strong and we have a promising future.

In the foreseeable future there will become a new situation in which the United States, Europe and Asia will be the three focal regions. Just like three circles, each of which prioritizes its own interests and is in long-term competition, confrontation and resistance, but at the same time has to maintain some necessary links with each other. And in each circle, drastic changes will be endless, just like a storm circle. These three storm circles are linked together to form a so-called PERFECT STORM.

The Economist magazine recently featured Taiwan on its cover, calling it the most dangerous place on earth, but at the same time the most critical place for the technology industry. Personally, I think that Taiwan may be in the most favorable position in the future, right in the middle of the three storm circles, the eye of the typhoon, which is the center point where these three circles are connected. This place seems dangerous, but in fact it is the safest, most favorable, and most critical place.

When the three storm circles are inevitably involved in a long-term competition, confrontation, and boycott - a zero-sum game. Taiwan does not belong to any of these circles, nor does it need to participate in these competitions, confrontations, and boycotts. Instead, situated in this critical position, I should begin to think about what kind of innovative value I can provide to the world.

Taiwan's efforts over the past 50 years have accumulated many rare and valuable strengths in technology development, manufacturing management, financial capital, social resources, and the democratic rule of law system. If the world is our stage, Taiwanese people who are proficient in Chinese and English, who have a deep understanding of Eastern and Western cultures, who are professional, who can cross borders, who are humble but not inferior, and who are confident but not arrogant, may be the best talents in the world.

The future cannot be predicted, but it can be created! 30 years ago, who could have predicted that Taiwan would produce globally renowned TSMC and GIANT?
TSMC is committed to the concept of being the only one, and has built up its strengths with its global foundry strategy, creating a high-quality and efficient supply chain and turning Taiwan into a technology island. With Taiwan as the core, TSMC is leading the worldwide semiconductor market.

GIANT also upholds the concept of "Be the only one" and leads the A-Team to turn Taiwan into the center of the world's premium bikes with the brand strategy of globalization and localization, and actively promotes the new culture of cycling, developing Taiwan into a cycling island and leading the world's cycling market with Taiwan as the core.

Here I also hope that we, NTU, can also lead the world with the concept of being the only one, and become the best cradle for the cultivation of the best talents in the world.

In the next 50 years, Taiwan will have the greatest opportunity ever! Therefore, Taiwan should get rid of the simple competitive mentality of the past and actively seek the long-term survival of the future, or go even further and ask itself: What can Taiwan contribute to the world? Taiwan should not just "secure Taiwan" in a conservative way, but should be more proactive with global outlook and establish a foothold in the Asia Pacific.

The last 50 years, for Taiwan, has been very difficult and significant. Fortunately, Taiwan pulled through and came out as one of the winners.

Now is the crucial moment to understand the past, delve into the present, and plan for the future. We must take the height of the universe, the breadth of our global vision, and the length of historical evolution, weigh the external situation, and measure our own strengths to reposition Taiwan and draw the golden triangle of strategy, tactics, and operations. Taiwan should be able to give full play to its strengths, create innovative value, and become the only one! Taiwan must become a good citizen of the world and continue to make more and better contributions to the world!

Graduates of 2021, among you are the future leaders of the country, the creators of global enterprises, and the core talents in all walks of life, the future is in your hands.
Finally, I would like to conclude with a quote from a famous scientist: Life is like riding a bicycle. To keep your balance, you must keep moving.

Do you know who this quote belongs to? That's right, Einstein!

Graduates of 2021, please get ready for your life adventure, get on your bikes and peddle courageously forward to create your own unique and exciting future. Again, congratulations and best wishes to each and every one of you for a healthy, happy, and meaningful life!

Thank you!

詳見：
https://www.facebook.com/NTUCommencement/posts/2718162161807541

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#臺灣大學 #畢業典禮 #NTUCommencement2021 #貴賓致詞 #羅祥安

＃三年級自學紀錄
＃Writing
#VarsityTurtors
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這個月開始多排了Writing，雖然課已經很多了，但覺得有興趣的地方還是要繼續維持，不然很可惜。
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思考了一下小布的寫作能力，報了G6～G8的課程，一方面因為排課規劃，一方面也是要她往上學習，從中學習說話方式、思考模式及表達能力，跟年紀大的在一起，很多東西可以學的其實。
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VT每個老師的教學方式都不太一樣，這次這位老師是學校的老師，用的方法是即時寫作，每次的主題都不同，寫完馬上發表。
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我很久沒看到小布寫東西，因為她太忙了，書也比較少翻，大部分都是上網看歷史資料，她對古歷史非～常～熱～愛～💕，所以這次老師要大家寫東西，我一點也不期待她寫出什麼樣的文章來。
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殊不知，當她在唸的時侯，我耳朵為之一震，因為主題不同了，開頭也不同了，我驚訝了😲😲。
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The Future
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149th street ,New York City,New York.(as I thought.)
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It is 8.00 o'clock p.m.

I have woken up from a very weird dream.

I opened my eyes.

I was in a tech-like building.

Could it have come to the future?!?!???!?!?

Out my windows was flying cars, and AI!

“What year is it now?” I asked myself.

“2050” said an eerie robot-like voice.

“What?!?!??!?!” I said.

I went down the tech-building and went to rent a car, because I felt a bit stupid ‘cause i was the only one on the road, but then just then something strange happened the police cars above me were beeping like crazy,then i saw a truck loaded with money and was slowly coming down, towards ME!
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Suddenly I saw a kind of new car beside me. I mounted it and started driving so fast that I couldn’t remember anything,I also forgot that i didn’t have a licence, and then when I remembered that I said ,“Twenty years from now I'll look back at this and laugh.”
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8歲小孩，腦子裡已經不再是王子公主快樂過一生，而是科幻故事，開頭也不再是Once upon a time... ，我覺得很棒，終於長大了😭😭。
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文章在10分鐘內寫出來，這才是讓我更驚訝的事，看來她平時腦子裡已經有這些東西存在著了🤣。
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接下來，媽媽應該會調整一下紙本功課，讓她多一點時間在沉靜上面，沉靜自己的腦子、放空自己的腦袋，才能夠有多一點空間放一些意想不到的東西🤔。
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《親密戲導演》

American Theatre，2018年11月號。
《演員的親密戲》

擷自內文：
「性愛場景，如同設計武打場，或是舞蹈動作一般，需要同樣細心編排的動作設計，特別是在這個 #MeToo時代。 」

「我在研究所時期也是演員，所以我有親身體驗—那種來自同事的不恰當經驗，一起跟我上台的人，或是導演完全不知道該怎麼處理這些(親密戲)場景，所以他們索性就完全不處理。」Sina說 「如果你有一個比較年長的導演，碰到親密戲他會跟你們說:你們就做吧，就試看各種可能。所以你們就開始在性愛場景中即興，這是非常不舒服的經驗，而且大多數時候非常令人受傷。」

「親密戲的指示，從來沒有在演員Emily與她的女搭檔編排動作設計遇到困難時出現(她們當時在編排一個充滿戲劇衝突的雙人愛情戲)，即使Emily之前演過同性間的愛情戲，她仍然發現自己舉步維艱， 而她的導演除了不斷對著她們大吼舞臺指示「洶湧的情慾」以外，毫無建樹。兩位演員根本沒有辦法自己演完這場戲，而她們發現到了排練最後階段，她們的導演對著她們大喊「就做吧。時候到了。」

「劇場的一切都是假的，」Sina說，「那是一個由演員搬演的假故事，我們必須永遠記得這點，你不應該因此失去自我，你必須在自我跟所做事情之間取得很好的平衡。是的，你必須把自己奉獻給角色，但你也必須要在適當時候離開。」
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前言：
自己日常閱讀時發現這篇文章，其中許多觀念頗為受用，花了幾天翻譯出來，希望能給台灣帶來不同觀念交流、分享，人家對身體以及一切相關觀念，已經好前面了。

雖為英文系畢業，但仍非專業翻譯，謬誤之處歡迎指正。

歡迎轉貼，請勿用做商業用途。
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正文：

Intimate Exchanges
Sex scenes require as much careful choreography as flight or dances, especially in the #MeToo era.

《交換親密》
性愛場景，如同設計武打場，或是舞蹈動作一般，需要同樣細心編排的動作設計，特別是在這個 #MeToo時代。

Adam Noble had been teaching an advanced scene class for just one month when he faced a startling encounter with sexual assault in acting. A student came to him asking for a new scene partner, saying she thought the man she had been working with, on the final scene between Stanley and Blanche in A Streetcar Named Desire, had tried to rape her.

Adam Noble在他的進階場景分析課上遇到一件令他膽戰心驚的表演性騷擾事件，一名學生跟他要求更換場景搭檔，她說她的搭檔企圖在他們一起工作《慾望街車》最後一景Stanley跟Blanche的戲時，企圖強暴她。

Noble immediately offered to serve as a mediator for the two students, who had been rehearsing alone in the young man’s dorm room, in order to clarify what had happened. The situation was resolved as a misunderstanding, and the two were able to continue working together. But for Noble, who had staged his first theatrical flight in 1992, the incident served as a wake-up call.

Noble立即以協調者身分為兩位同學提供幫助(他們一直單獨在男同學宿舍房間單獨排練)，以求能夠釐清事實真相。後來發現整起事件其實是個誤會，兩位同學也因此能夠繼續一起順利工作。但對於Noble來說—他從1992年就設計了他的人生第一場舞台打搏鬥戲—這起突發事件有如一記響鐘。

“We were sending these kids off on their own devices with no foundation for how to approach this stuff,” he recalled. The lack of resources for both students and teachers regarding the staging of intimate scenes was apparent.

「我們讓這些孩子在完全不具備如何處理理這種事的相關基礎知識時候，就放手要他們自己發展，」他這麼回憶。「因此，老師與學生雙方都缺乏排練親密戲的必須知識，這件事是顯而易見的。」

Noble developed a method called Extreme Stage Physicality to provide students with a framework to address what he called in an article for The Flight Master maginize “scenarios of intense physicality” with comfort and confidence. He began teaching ESP to high school, undergraduate, nd graduate students across the country. He found that the methodology was effective for all ages, and the number of reported incidents and problems dropped to zero.

Noble後來發展出了一套他稱之為「極端舞台形體」（ESP)的技巧，他對《The Fight Master》雜誌表⽰這個技巧提供了一組完整架構給學生使用，讓他們在「激烈的肢體情境」中可以感到安心並且擁有自信。他開始在高中、大學、研究所教導這套ESP技巧。他發現這套方法適用於所有年齡層，後來這些單位的性騷擾通報數量為零。

“For me as a director, it had to work for aggression, and it had to work for intimacy,” Noble said. “ It had to work across the board for those moments when the body steps in to fill the void, whether it’s violence or intimacy. Theres’s a point where the text and the words are no longer enough and the body steps in. There had to be a way for them to work on it safely.”

「身為導演，我認為在工作時，必須涵蓋侵略性以及親密性這些面向，」Noble說，「這些都必須要被全面地工作到的，特別是在那些時刻，當你的身體必須要介入來填補空缺的時候，會有那麼一個點，光靠文本跟台詞已經不足以支撐而你的身體必須要介入，在這時候必須要有一個安全工作的方法。」

That way would later be referred to as intimacy choreography, a term first used in 2006 by Tonia Sina, creator of the Intimacy Directors International. While studying movement pedagogy, including flowing and mime, Sina was helping to choreograph intimate scenes in student-directed plays and found what she described as “a hole” in choreography and no resources to help with her work.

那套方法，後來被「國際親密戲導演工作坊」創辦人之一Tonia Sina稱為「親密戲形體排練」。當 Sina在鑽研動作教育學時—其中包含小丑與默劇—一面幫忙在學生執導的劇目中擔任動作設計，就在這時候，她發現了在動作設計這個領域中的「空缺」，而這方面，她發現自己完全沒有任何資源可以幫上忙。

For her thesis he created a technique to help actors improve the conditions of their work as well as the results. Published in 2006, “ Intimate Encounters; Staging Intimacy and Sensuality” drew from her own experience as an actor. While attending graduate school at Virginia Commonwealth University, Sina’s personal life was disrupted due to the lack of structure provided for staging intimate sscenes. While rehearsing Picasso at the Latin Agile, she and her acting partner staged a love scene together, alone-a standard practice for such scenarios- with unnerving results.

她在她的論文創造了一套技巧，來幫助演員精進他們工作的狀態以及成果。2006年，她從自身演員經驗出發，發表了《親密接觸:表演中的親密性及其感官性》。大學就讀維吉尼亞聯邦大學時，Sina的私生活就因為沒有一套擁有完整架構的技巧來排演親密場景，而深受其苦。在排練Picasso at the Latin Agile 時，Sina跟她的表演搭擋需要排練一段愛情戲，而且是獨自排練—一個司空見慣的情況—然後最後結果卻令人不安。

“The second our lips touched it was not rehearing,” Sina recalled. “It was just kissing. We both felt it. We both knew. It ended up spiraling. We ended up leaving our parters for a month and we had a showmance. It caused a lot of mayhem in our personal lives because we couldn’t let these characters go. We didn’t have a safe way to do the intimacy, and we didn’t have a safe way of coming out of it.”

「當我們的嘴唇碰在一起時，那就不是在排練了。」Sina回憶道。「那就只是單純在接吻而已。我們都感覺到了，最後越演越烈，我們都因此而跟各自伴侶分手，在那個演出期間我們的私生活真的變得很混亂，因為我們都不肯放下我們劇中角色。我們沒有一個安全的方法來做親密戲，也沒有一個安全的方法來離開它。」

The two dated for a month, but their romantic relationship ended shortly after the show closed. And while Sina’s experience was consensual, there are many cases in which an intimacy director could have prevented non-consensual encounters and abuses of power, especially for young women in the industry.

他們兩個交往了一個月，但隨著戲告一段落感情也就馬上結束了。儘管Sina的案例是當事者雙方都心甘情願，仍然有非常多的例子不是如此，在那樣的狀況下其實親密戲導演是有大把機會可以防止這種違反自身意願的接觸，以及權力的濫用，特別是對業界年輕女性而言。

“While I was in grad school I was also an actress, so I was experiencing it firsthand- situations that had been completely inappropriate from co-workers, people who had been onstage with me, director and there’s a sex scene and they say, ‘You guys just do it. Just try something.’ So you’re improvising a sex scene with your partner. That’s extremely uncomfortable and very victimizing at times.”

「我在研究所時期也是演員，所以我有親身體驗—那種來自同事的不恰當經驗，一起跟我上台的人，或是導演完全不知道該怎麼處理這些(親密戲)場景，所以他們索性就完全不處理。」Sina說 「如果你有一個比較年長的導演，碰到親密戲他會跟你們說:你們就做吧，就試看各種可能。所以你們就開始在性愛場景中即興，這是非常不舒服的經驗，而且大多數時候非常令人受傷。」

Alcoa Rodies, co-founder of Intimacy Directors Internatial, witnessed and was a victim in such scenarios throughout her career. After almost chipping a tooth when a scene partner decided to intensify a kiss onstage, she was told, “ That’s part of the profession. Get used to it.” Knowing there were hundreds of other women who would gladly take her spot in a show if she left, Rodis thought she had to accept that kind of behavior for the rest of her career.

IDI共同創辦人Alcia Rodis在她自己生涯中，親眼見過幾個案例，並且，也曾經有過身為受害者的經驗。在她的對手演員決定在場上把吻戲變得異常激烈時，她的牙齒幾乎都要裂了，儘管如此，她還是被告知「這行就是這樣。早點習慣吧。」因為Rodis清楚知道如果她選擇離開的話，會有其他幾百位女性會搶破頭想要她的位置，她一度以為她必須要在整個職涯中接受這種狀況。

“We sort of learned that’s not the case, and we don’t have to just take it. We can actually be part of the process and work together,” Rodis said.

「我們後來知道其實並不是這樣的，我們不需要逆來順受。我們其實可以在整個工作過程中同心協力地工作。」Rodis 說。

Sina and Rodies, along with co-founder Siobhan Richardson, created the Pillars, the core protocol of IDI’s work and teaching. A codified process, the Pillars consist of Context, Commumication, Consent and Choreography. (They recently estabished a fifth pillar, Closure, to assist actors in walking away from a character after a performance.) Not having this process, Sina said, can be damaging and dangerous.

Sina跟Rodis，以及創辦夥伴Siobhan Richardson發明了「骨幹」這個IDI在工作及教學上的核心要素草案。其中包含：文本、溝通、同意以及動作(近期還加上了第五個骨幹:收尾。來幫助演員在戲結束之後順利離開他的角色。)Sina說，沒有這些幫助的話，是有可能帶來危害的。

“None of it’s real-it’s theatre,” said Sina. “It’s a fake story that is being portrayed by actors, and we have to keep remembering that. You shouldn’t be losing yourself. You need to have some semblance of yourself and some awareness of what you’re doing. Yes you can commit to the character, but you need to come out again.”

「劇場的一切都是假的，」Sina說，「那是一個由演員搬演的假故事，我們必須永遠記得這點，你不應該因此失去自我，你必須在自我跟所做事情之間取得很好的平衡。是的，你必須把自己奉獻給角色，但你也必須要在適當時候離開。」

IDI currently recommends four certified Intimacy Directors, with 16 candidates in training to become certified. Currently only established movement teachers, choreographers, and directors who have worked directly with a founder are able to apply for training. The organization also offers workshops for actors, directors who want to learn basic consent and choreography, and for stage managers and choreographers wanting to learn more about intimacy direction. In August 2018, a 10-day International Intimacy Pedagogy was held in Illinois.

IDI最近推薦了四位經過認證的親密戲導演，陸續還有其他十六位正在培訓。目前，機構只提供專業的、並且曾和創辦者共事過的動作老師、編舞以及導演可以申請接受培訓。IDI有提供工作坊給演員及導演學習「同意」與「動作」的基礎概念，另有舉辦工作坊，給有意願了解更多關於「如何給予親密戲指示」的舞臺經理與動作設計。2018年8月，他們在伊利諾州舉辦了為期10天的國際親密戲教育學工作坊。

Along with the Pillars, another crucial aspect of intimacy directing is recognizing and respecting traumas in one’s colleagues. All IDI-certified choreographers have completed state-offered metal health certification courses.

除了「骨幹」之外，另有一個至關重要的概念：辨識並且尊重同事的創傷。所有IDI的動作設計都完成了由州政府認證的心理健康課程。

“None of us are therapists, and none of us are counselors,” Rodis said. “But we know what to do if someone is having a metal health crisis, and we know what resources to give them. Because of the nature of the work we’re doing, and because some of us are so new, we’re getting further education on trauma.”

「我們都不是心理治療師，我們也都不是諮商師，」Rodis說「但是，我們知道當有人心理出現危機時該給他們什麼資源。因為就我們現在所做的工作本質上來說，我們都是新手，所以我們有必要持續在創傷這個議題上進修。」

While recognizing that theatre professionals are just that- professionals hired to tell a story- the founders also understand that that job can involve actors putting themselves through traumatic experiences night after night.
“We know what you’re doing is different than going to the office every day,” Rodis said, “If you’re playing Lady Macbeth every night, after a while it’s going to wear on you. So we also offer resources on how to close out at the end of every night.”

正因為知道劇場這個職業就是由一群受聘的專業演員來講一則故事，創辦者清楚的認識到這個工作可能需要演員讓他們自己日復一日、夜復一夜的經歷那些創傷。「我們明⽩你的工作不同於朝九晚五的上班族，」Rodis說，「如果妳每天晚上都在飾演馬克白夫人，過一陣子這個角色其實是會影響到妳本人的，正因為如此，我們也提供方法讓你在每晚演出過後把角色給關起來。」

One such resource is the ability to discuss sexuality and sexual experiences openly and without discomfort- a shift from the norm in American culture, which, as actor/director/teacher Claire Warden observed, has little problem with violence but tends to balk when it comes to sex, leaving directors feeling uncomfortable and embarrassed.

其中一個資源，就是擁有能力來討論性以及性經驗而不會感到不適。談論性這件事，不同於具有多重身份(演員、導演與老師)的Claire Warden觀察到的一個美國文化現象:談到暴力時大家都沒問題，不過一但談到性的時候大家都顯得有點畏畏縮縮的，這其實讓導演們都覺得不舒服與尷尬。

“We’ve got this really skewed view of sex and sexuality and intimacy, and an obsession with it,“ Warden Said, “ A lot of shame, judgment, power, and confusion lies around it, which has made it uncomfortable and awkward to talk about openly.” The root problem, she said, may be that “sexuality and intimacy have kind of blurred into one.”

「我們對於性與親密的相關議題有一種扭曲的觀念，同時卻又深深為其著迷」Warden說，「這同時又有許多羞愧、判斷、權力以及困惑參雜其中，因此讓它成為一個公開談論時會帶來不適與尷尬的議題。」根據她說，其實真正根深蒂固的問題是，我們把「性」與「親密」混為一談。

Intimacy direction was never mentioned when an actor we’ll call Emily(not her real name) was performing in a dramatic two-handler and struggled to choreograph a love scene with her female scene partner. Having never performed a same-sex love scene before, Emily found herself at a loss, and her director- whose only technique was to yell the stage direction “Rolling heat!” Repeatedly- was no help. The two actors were unable to stage the scene on their own and found themselves onstage at the end of rehearsal with the director yelling. “Just do it. It’s time.”

親密戲的指導，從來沒有在演員Emily與她的女搭檔編排動作設計遇到困難時出現(她們當時在編排一個充滿戲劇衝突的雙人愛情戲)，即使Emily之前演過同性間的愛情戲，她仍然發現自己舉步維艱， 而她的導演除了不斷對著她們大吼舞臺指示「洶湧的情慾」以外，毫無建樹。兩位演員根本沒有辦法自己演完這場戲，而她們發現到了排練最後階段，她們的導演對著她們大喊「就做吧。時候到了。」

Emily recalled that “when it came time to do it in performances, fight director friends of mine ho came to see the how said, ‘That look incredibly uncomfortable for you both. You looked like you were in pain and it was obvious.’’’ Her friends asked her where the intimacy director was. Emily had never heard of such a director, saying, “ I wish I’d known about it at the time when all the yelling was happening.”

Emily後來說，「後來真的演出時，我有個舞台搏鬥導演朋友來看演出，到了所謂的『就做吧』片段時，他說『那看起來對妳們兩個都極其不舒服，妳們看起來超痛苦，而且非常明顯。」她的朋友繼續問她親密戲導演在哪。Emily那時從來沒有聽過有「親密戲導演」這種導演，她說「我真希望在所有的吼叫發叫的當下，我能夠知道『其實有親密戲導演』這件事。」

Emily now a director herself, said she is carful to ensure that her actors are comfortable when staging intimate scenes. “I am hyper-aware of my actors’ sensitivity and I’m constantly checking in with them: ‘Are you okay? Are you comfortable with this? Let me know if you’re not comfortable. We don’t have to do this. We can do something else.’ And my actors thank me for it. They’re not used to that.”

現在身為導演的Emily表示:「在排練親密戲時，我總是對我的演員的感受保持超級高的敏感度，我會不停的詢問他們『你還好嗎？你對這個覺得自在嗎？如果有不舒服要讓我知道。我們不一定要這麼做，我們可以有替代方案的。』我的演員總是對此心存感激，他們對這樣的工作方式其實還不是那麼習慣。」

Uncomfortable situations can present themselves with or without directors in the room. Often scene partners are encouraged to stage the scenes on their own, outside of rehearsal, a practice that can lead to feelings of fear and helplessness. Sina was kissed inappropriately- a kiss that hadn’t been choreographed or rehearsed- in front of an audience of 500 people and had to be in character as she received it.

不舒服的狀況不論導演在不在場都有可能發生。通常演員們會被鼓勵私下自己排練，其實，這麼做很容易引發恐懼與無助感。Sina曾在500位觀眾面前被不當的親吻—一個沒被事先設計或是排練過的吻 —而她在被親的同時還要想辦法讓自己「待在角色裡」。

“There are times where it’s, ‘Kiss, but don’t kiss until previews.’ It’s the worst,” Rodis said. “At best it’s a bad story, at worst they start grabbing you, ‘be in the moment.’ That’s the definition of assault.”

「有時候的情況是親，但是在試演前不會真的親，那種是最糟的。」Rodis說，「當那種狀況發生時，你能得到最好的結果是一個爛故事，最糟的結果是你開始被這件事給抓住還要『待在當下』， 這其實就是侵犯的定義。」

Along with establishing the definition of assault, IDI training also defines consent in clear, unquestionable terms that differentiate between that and permission. A director can give permission to touch another actor, but only a fellow actor can give consent.

除了建立侵犯的定義以外，IDI還以清清楚楚、不容模糊的語彙界定了「同意」與「允許」的差異。 導演可以「允許」演員去觸摸對手，但只有對手演員自己才可以真的表示「同意」。

“The conversation is always very professional and technical, so when we’re talking about parts of the body, it’s the biological name of the part of the body.” said Warden. “And we as intimacy directors never ask anything about and never inquire about the actors’, directors’ or anyone else’s personal sexual life, history, story, proclivities, etc.”

「所有的討論都是非常專業的，當我們必須要談論身體的部位時，我們都會用生物學名稱。」 Warden說，「身為親密戲導演，我們絕對不會去問任何演員、導演或是任何人的個人性愛生活、歷史、故事或是性傾向...等等任何事情。」

The language doesn’t change when the workshops contain students, Warden said, though she may move more slowly.

語彙的使用並不會因為工作坊有學生而改變，Warden說，只是她會教的更慢而已。

“A lot of what we’re saying for adults is still, ‘That is not real. None of this is real.’’’ said Sina. “In rehearsal, we don’t add acting to it until the very last minute, We choreograph it like we do anything else. Just do the moves so everyone knows what’s happening. Then they can add the emotion to it when the actors are ready and they feel they know the choreography well enough. And if you can get that to happen for minors, it separates the sexuality from the choreography and allows them to treat it like it is: choreography.”

「即便我們跟成年人都一直在強調『這都不是真的，這一切都是假的。』」Sina說。「排練的時候，我們不到最後一分鐘是不會加上『表演』的。在最後關頭之前。我們都像是處理其他素材一樣，做形體動作讓大家都知道會發生什麼事。一直到演員們都準備好了，對動作都夠熟悉時，他們才會真的帶入感情去演出。如果你能夠讓這些未成年先開始這麼做，慢慢的所有人就能夠把性跟動作設計分開來來看，然後以正確的眼光看它:動作設計。」

The inability to treat intimate scenes as simply choreography is a problem Sina has observed at numerous drama competitions, where students without sexual experience or knowledge, let alone the ability to separate themselves from the characters they were playing, have performed sex scenes. These situations can be traumatizing for people without the knowledge or resources to handle it.

Sina在無數個戲劇比賽上觀察到一個問題，學生們往無法把親密場景當成動作設計一樣來處理，這群學生們沒有性經驗或是相關知識，想當然就無法在性愛戲中把自己跟扮演的人物切割開來看待。這種狀況是非常有可能讓人受創的，特別是對那些沒有相關知識，或是資源來處理這種狀況的人。

“If they’re not being led through it properly, it can be very, very dangerous,” she said. “It’s illegal in our country to do anything sexual with a minor or have two minors do something sexual in front of an adult. It’s very thin line between choreography and a crime when you’re dealing with minors.”

「如果他們沒有被好好引導的話，那真的非常非常的危險。」她說，「根據我們國家的法律，讓一個或多個未成年人在成年人面前做出帶有性愛意味的事情是違法的。所以面對未成年時，在『動作設計』跟『犯罪』之間其實只有一條非常模糊的線。」

Demand for IDI services and training has spiked in the past year, since the #MeToo movement has exposed abuse in the entertainment field, including theatre, and the issues of consent and empowerment in the workplace (not to mention outside of it) have become central.

自從去年#MeToo運動開始後，對IDI這個機構的服務與訓練來說，他們面臨了重要挑戰。在娛樂產業(包含劇場)的職場上(更別提職場外也是)，現在，關於「同意」與「權力」的議題都變得重要無比了。

“At the moment there’s so much need and demand and only so many of us to go around,” Warden said. “I cannot be in every single room and play out there, but what I can do is empower actors or directors or even stag managers to go into a room and say, ‘I would like to offer a way of talking about this.”

「目前來看，親密戲導演的需求與實際從業人數是不成正比的，」Warden說。「很顯然的，我不可能出現在每一個房間裡指導，但我可以做的是賦予演員、導演甚是舞臺經理權力，讓他們能夠在每個房間替自己發聲『我想要提供另外一種工作方式』。」

Also encouraging to Warden is the increased awareness among young students.

對Warden來說，令他欣慰的是年輕一代學生中對這件事情有意識的人數越來越多了。

“My hope, my intentions and my dream is that the next generation of actors, writers, and directors come out with a very different understating of respect and consent with their bodies and each others’ bodies,” Warden said. “And that leads us into an even more free and safe way to creat deep, authentic, risky stories.”

「我的願望、我的本意、以及我的夢想都是下個世代的演員、作家、以及導演都能夠對他們自己以及他人的身體，有一種非常不同於現在的理解、尊重、權利，」Warden說，「這可以讓我們以更自由，同時也更加安全的方式來創造出具深度、真誠、精彩的故事。」

Carey Purcell, New York city-based reporter

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請大家原諒我旅遊的畫面不多～因為杭州超級高溫 我不管在室內還是室外都汗狂流（用滴的那種不誇張）最後去機場前我還有點中暑＠＠
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