評論
打印
Todd: So, Raphael, what did you study at university?
托德：拉斐爾，你在大學主修什么課程？
Raphael: My main specialty is stage design, but stage design is basically theater decoration, but it tends to disappear because there is not so many job in this field, so it's closely related to interior design and light design as well, so basically I'm doing light and interior design. That's my job!
拉斐爾：我的專業是舞臺設計，基本上來說舞臺設計就是劇院裝飾，不過這門課程有逐漸消失的趨勢，因為這個領域的工作崗位不多，由于這門專業與室內設計和燈光設計有緊密的聯系，所以我現在在做燈光設計和室內設計。這就是我的工作！
Todd: OK. Why is theater design going away? Because people are not going to the theater?
托德：好。為什么劇院設計會消失？因為人們不再去劇院了嗎？
Raphael: No it's not being away, but the point is it's a difficult job because there's not so many money coming from this practice, you know, because the theater system is not, not so many people go to the theater comparing to cinema or exhibits or, you know, this kind of things, and it's quite a reserved to the highlight, and it's very difficult for the, actually, the artists who works in this area cause there's not a lot of money coming from it so just living, like designing for theater is quite difficult.
拉斐爾：不是，目前并沒有消失，但是關鍵是這是一項非常難的工作，因為這類工作實際上掙錢不多，你知道，因為劇院系統的情況，相比于電影院和展覽會這類的地方，去劇院的人并不是很多，那里只是保留下來，而且在這個領域工作的藝術家也很困難，因為掙錢不多，所以靠設計劇院為生非常難。
Todd: Well, I can imagine. So, what kind of design would you like to do then?
托德：嗯，我可以想象。那你喜歡做哪種設計？
Raphael: Now, I'm really interested in light design. That's the reason why I came to Japan, because they have some really interesting light designer here, especially because they don't have the same strict architecture rules that we have in France, like every time you want to build something new, or just decorate a shop, anything, you need, once the project is over, everything's prepared you need to show it to an architect who specialize in this very rules. He will tell you if you can or not actually build it, corresponding to the rhythm of the existing buildings, you know the lines, the structure of everything, things like that. It's really difficult, so Japan is changing faster, they destruct, they build a new building, and they destruct, and they build something new, they don't really care about the past of the buildings so there's a lot of liberty from light designer. It's very free. They can do some really interesting things.
拉斐爾：現在我對燈光設計非常感興趣。這就是我來日本的原因，因為這里有一些非常引人注目的燈光設計師，尤其是因為，我們法國有一些嚴格的建筑規則，但是這里沒有，比如說每次你想建造一些新的事物，或者是裝修店鋪或其他的東西，一旦方案完成，你要把所有的準備向一名建筑師展示，這個人專攻這些規則。他會告訴你你是否能進行這項工程，要和現有建筑的狀態相呼應，比如建筑的輪廓、結構等等類似的事情。這非常難，可是日本的變化非常快，他們破壞，他們建造出一個新建筑以后，就會進行破壞，他們建造出了新的建筑，而他們并不太在意過去那些建筑，所以這給了設計師很大的自由。這里可以自由發揮。他們會做一些非常有意思的事情。
Todd: Well, what would be your dream job, if you could have any job?
托德：嗯，如果工作的話你的理想工作是什么？
Raphael: My dream job? I wish I could make a connection between my light design skills and my taste for music, sound design. Actually it's, theater is one place where these things mix up. Cinema is one place where it mix up as well, but there's not a lot of fields where you can like think at the same time about the effect produced by the sound, and the effect produced by the light.
拉斐爾：我的理想工作？我希望我能把我的燈光設計技術和我喜歡的音樂、音效設計結合在一起。實際上，劇院就是可以把這些整合在一起的地方。當然電影院也是可以整合這些的地方，但是能同時結合音效和燈光效果的地方并不是很多。
Todd: So, it's be like a scary movie has dark lighting and dark music?
托德：那就像恐怖電影配黑暗的燈光和黑暗的音樂嗎？
Raphael: Yeah, this kind of thing. This kind of, but when you want to produce a moment because it's basically what it's about, it's producing a moment, a feeling, like you can use any media, right? Whatever it is, it's not important. The important is what are you creating, has an effect, but when you use at the same time, light and sound it's quite complement, complementary.
拉斐爾：對，大概就是這樣。類似這種，但是當你想創造出一個時刻，大概就是……創造出一個時刻，一種感覺，你可以使用各種介質，對吧？無論那是什么，這并不是很重要。重要的是你創造出來的東西要有效果，但是當你同時使用燈光和音效的時候，就會更加完美，會產生互補的作用。
Todd: Oh, OK. Well, best of luck.
托德：嗯，好。祝你好運。
