關於 feel free to talk to me意味 ，我們在網路上蒐集到這些相關的討論、資訊與評價

［翻轉視界 8］逃離禁錮之地：離開北韓我學會自由與憐憫
　
“If you don't know the words, that means you don't understand the concept, and therefore, you don't even realize that concept is even a possibility.” —— human rights activist Yeonmi Park。
　
「如果你不知道某些詞彙，那就意味著你並不了解某些概念，因此你也不會意識到，那些概念可以是一種可能。」——人權鬥士朴延美
　
對出逃前的她而言，自由與溫飽是很奢侈的理念，更無法了解「愛」的全貌。當我們無法得知世界發生了什麼，無法想像那超越自身認知的世界，我們便無法真正地同理他人。今天我想邀請大家，以不同的角度，重新感受自由、溫飽與愛的可貴。
　
★★★★★★★★★★★★
　
I was born in 1993 in the northern part of North Korea, in a town called Hyesan, which is on the border with China. I had loving parents and one older sister. Before I was even 10 years old, my father was sent to a labor camp for engaging in illegal trading. Now, by "illegal trading" -- he was selling clogs, sugar, rice and later copper to feed us. In 2007, my sister and I decided to escape. She was 16 years old, and I was 13 years old.
　
1. on the border with 鄰近邊界
2. labor camp 勞改營
3. illegal trading 非法的交易
　
１９９３年我出生在北韓的北部，一個名叫惠山的小鎮，鄰近中國邊界。我有愛我的父母與一位姐姐。在我１０歲大的時候，父親就被送去勞改營，因為他非法買賣一些東西。所謂的非法買賣，其實他是賣一些木鞋、糖、米，之後還賣了銅，只為了餵飽我們。２００７年，姐姐和我決定逃跑。她當時１６歲，而我１３歲。
　
★★★★★★★★★★★★
　
I need you to understand what the word "escape" means in the context of North Korea. We were all starving, and hunger means death in North Korea. So it was the only option for us. I didn't even understand the concept of escape, but I could see the lights from China at night, and I wondered if I go where the light is, I might be able to find a bowl of rice. It's not like we had a grand plan or maps. We did not know anything about what was going to happen. Imagine your apartment building caught fire. I mean, what would you do? Would you stay there to be burned, or would you jump off out of the window and see what happens? That's what we did. We jumped out of the house instead of the fire.
　
4. in the context of 在⋯⋯的情境中
5. concept 概念；觀念；思想
6. a grand plan 一個遠大的計畫
7. catch fire 著火
　
你們要知道，「逃跑」這兩字在北韓意味著什麼。我們天天挨餓，而飢餓在北韓意味著死亡。所以逃跑是我們唯一的選擇。我當時還不了解逃跑是什麼意思，但晚上我能看見中國那邊的燈光，我想著如果我能到有光的地方，也許就能找到一碗飯。我們沒有什麼遠大的計畫或地圖。我們完全不知道，接下來會發生什麼事。想像一下，你的公寓失火了，你會怎麼辦？你會坐以待斃，還是跳窗然後再看著辦？我們就是那樣。我們從大樓上跳了下來， 而不是等火燒上來。
　
★★★★★★★★★★★★
　
North Korea is unimaginable. It's very hard for me when people ask me what it feels like to live there. To be honest, I tell you: you can't even imagine it. The words in any language can't describe, because it's a totally different planet, as you cannot imagine your life on Mars right now. For example, the word "love" has only one meaning: love for the Dear Leader. There's no concept of romantic love in North Korea. And if you don't know the words, that means you don't understand the concept, and therefore, you don't even realize that concept is even a possibility.
　
8. unimaginable 無法想像
9. no concept of... 沒有⋯的概念
10. romantic love 浪漫愛
　
北韓是難以想像的。對我來說，要回答住在北韓是什麼感覺，非常困難。老實說，我可以告訴各位——你無從想像。沒有任何語言可以描述，因為那是個截然不同的星球，就像你現在無法想像自己在火星上的生活一樣。比如說，「愛」只有一個意思：愛偉大的領袖。在北韓沒有那種浪漫之愛的概念。如果你不知道某些詞彙，那就意味著你並不了解某些概念，因此你也不會意識到，那些概念可以是一種可能。
　
★★★★★★★★★★★★
　
Let me give you another example. Growing up in North Korea, we truly believed that our Dear Leader is an almighty god who can even read my thoughts. I was even afraid to think in North Korea. We are told that he's starving for us, and he's working tirelessly for us, and my heart just broke for him. When I escaped to South Korea, people told me that he was actually a dictator, he had cars, many, many resorts, and he had an ultraluxurious life. And then I remember looking at a picture of him, realizing for the first time that he is the largest guy in the picture. And it hit me. Finally, I realized he wasn't starving. But I was never able to see that before, until someone told me that he was fat.
　
11. an almighty god 一個全能的神
12. tirelessly 不屈不撓地；堅忍地
13. a dictator 獨裁者
14. it hit me 突然想到、意識到 
15. resort 度假地（此處係指北韓獨裁者有很多度假別墅）
16. ultraluxurious 極其奢華的
17. have a…life 過著⋯⋯的生活
　
讓我再舉一個例子。在北韓長大，我們真心相信我們偉大的領袖是全能的神，他甚至能看穿我在想什麼。我在北韓甚至不敢思考。我們聽說他為我們挨餓、不眠不休地為我們工作，而我為此感到心痛。我逃到南韓後，有人跟我說他其實是獨裁者，他有很多車、很多很多渡假別墅，他的生活極為奢華。我記得自己看著一張有他的照片，第一次意識到他是照片裡體型最大的那個。這件事讓我大受打擊。那時我才終於了解，他沒有挨餓。但我以前總無法看清這些，直到有人跟我說他很胖，我才恍然大悟。
　
★★★★★★★★★★★★
　
Really, someone had to teach me that he was fat. If you have never practiced critical thinking, then you simply see what you're told to see. The biggest question also people ask me is: "Why is there no revolution inside North Korea? Are we dumb? Why is there no revolution for 70 years of this oppression?" And I say: If you don't know you're a slave, if you don't know you're isolated or oppressed, how do you fight to be free? I mean, if you know you're isolated, that means you are not isolated. Not knowing is the true definition of isolation, and that's why I never knew I was isolated when I was in North Korea. I literally thought I was in the center of the universe.
　
18. critical thinking 批判性思考
19. revolution 革命
20. dumb 愚蠢的*
21. oppression 壓迫；壓制；欺壓
22. isolated and oppressed 與世隔絕的與被壓迫的
　
真的，要有人教我，他這樣叫做胖。如果你沒學過批判性思考，你看到的就只會是別人跟你說的。其他人對我提出的大哉問還有：「為何北韓沒有革命？我們傻嗎？為何歷經７０年的壓迫，卻沒人發動革命？」我回答：「如果你不知道自己是奴隸，不知道自己被與世隔絕、壓迫，你要如何為自由而戰？我的意思是，如果你知道自己被與世隔絕，那就表示你並非真的與世隔絕。與世隔絕的真正定義是無知，所以我從不知道，在北韓的我與世隔絕。我真的以為我們是宇宙的中心。

*dumb: https://bit.ly/3fG5XOk
　
★★★★★★★★★★★★
　
So here is my idea worth spreading: a lot of people think humans inherently know what is right and wrong, the difference between justice and injustice, what we deserve and we don't deserve. I tell them: BS. Everything, everything must be taught, including compassion. If I see someone dying on the street right now, I will do anything to save that person. But when I was in North Korea, I saw people dying and dead on the streets. I felt nothing. Not because I'm a psychopath, but because I never learned the concept of compassion. Only, I felt compassion, empathy and sympathy in my heart after I learned the word "compassion" and the concept, and I feel them now.
　
23. inherently 與生俱來地
24. justice and injustice 正義與不義
25. psychopath 精神病患者
26. compassion, empathy and sympathy 憐憫、同理與同情*
　
我覺得值得分享的想法是：很多人以為，人類生來就能分辨是非對錯，懂得正義與邪惡的差別，我們值得被怎樣對待。我跟他們說：放屁。所有的事，所有的事都得經過教導，包含憐憫。如果我現在看見有人在路邊奄奄一息，我會不顧一切來救他。但我在北韓的時候，會眼睜睜看著有人橫死街頭，卻沒有任何感覺。並非因為我是心理病態，而是我從未學過憐憫的概念。只有在我的內心感受到憐憫、同理與同情，我才學會「憐憫」一詞與其概念，而如今我已能感受到這些。
　
*compassion: a strong feeling of sympathy and sadness for the suffering or bad luck of others and a wish to help them

empathy: the ability to share someone else's feelings or experiences by imagining what it would be like to be in that person's situation

sympathy: (an expression of) understanding and care for someone else's suffering
　
★★★★★★★★★★★★
　
Now I live in the United States as a free person.
　
現在我以自由人的身分住在美國。
　
★★★★★★★★★★★★
　
And recently, the leader of the free country, our President Trump, met with my former god. And he decided human rights is not important enough to include in his agendas, and he did not talk about it. And it scares me. We live in a world right now where a dictator can be praised for executing his uncle, for killing his half brother, killing thousands of North Koreans. And that was worthy of praise. And also it made me think: perhaps we all need to be taught something new about freedom now. Freedom is fragile. I don't want to alarm you, but it is. It only took three generations to make North Korea into George Orwell's "1984." It took only three generations. If we don't fight for human rights for the people who are oppressed right now who don't have a voice, as free people here, who will fight for us when we are not free? Machines? Animals? I don't know.
　
27. agenda 議程
28. be praised for 因⋯⋯獲得讚揚
29. execute (v.) 處決
30. worthy of sth 適合某物或具有某物的特徵
31. fragile 脆弱
　
最近，自由國度的領袖，我們的川普總統，和我以前的神會面。他認定，人權沒那麼重要，不需排進議程中，所以對此他隻字不提。這嚇壞我了。我們竟身在一個獨裁者處決伯父還能獲得讚揚的世界裡，他殺害同父異母的哥哥、殺害成千上萬的北韓人民，竟還能得到讚揚。這不禁使我開始思考，也許我們現在都要學習自由的新涵義。自由很脆弱。我不想嚇你，但事實如此。短短三個世代，就讓北韓淪為喬治．歐威爾筆下的《１９８４》。只花了三個世代。如果我們不為人權而戰，不為受壓迫、不為無法發聲的人而戰，當身為自由人的我們不自由時，誰還願意為我們而戰？機器嗎？動物嗎？我不知道。
　
★★★★★★★★★★★★
　
I think it's wonderful that we care about climate change, animal rights, gender equality, all of these things. The fact that we care about animals' rights, that means that's how beautiful our heart is, that we care about someone who cannot speak for themselves. And North Koreans right now cannot speak for themselves. They don't have internet in the 21st century. We don't have electricity, and it is the darkest place on earth right now. Now I want to say something to my fellow North Koreans who are living in that darkness. They might not believe this, but I want to tell them that an alternative life is possible. Be free.
　
32. speak for oneself 為某人發聲
33. alternative life 另一種生活
　
我覺得我們能關心氣候變遷、動物權益、性別平等諸如此類之事，真的很美好。因為，我們關心動物權益，就代表了我們的心地有多善良，也代表我們關心無法為自己發聲的對象。北韓人民現在無法為自己發聲。身處２１世紀的他們，沒有網路可用。我們沒有電，那裡是當今地球上最暗的地方。現在我想告訴那些生活在北韓黑暗中的同胞。也許他們不會相信我，但我想告訴他們，生命仍有其他可能——意即自由的生活。
　
★★★★★★★★★★★★
　
From my experience, literally anything is possible. I was bought, I was sold as a slave. But now I'm here, and that is why I believe in miracles. The one thing that I learned from history is that nothing is forever in this world. And that is why we have every reason to be hopeful. Thank you.
　
34. slave 奴隸
35. miracle 奇蹟
　
就我的經驗，真的什麼事都有可能發生。我被人買走，賣給別人當奴隸。但我現在在這裡，這也就是為什麼我相信奇蹟。我從歷史上學到的一件事，就是世上沒有什麼是永恆的。而這也是我們無論如何都能懷有希望的原因。謝謝大家。
　
資訊出處：https://bit.ly/32p5HiK
　
圖片出處：https://bit.ly/32n2zEe
　
★★★★★★★★★★★★
　
如何增進同理心：https://bit.ly/34qSKnC
　
#ChangingPerspectives
#翻轉視界

★★★★★★★★★★★★

翻轉視界系列文章: https://bit.ly/3fPvKUs

《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