轉載Chenchen Chen fb
🛠《大家來找碴welcome strict proofreader 》
看到Christopher Chen附在獨立觀察的連結,披露日本記者黑木亮著手調查東京知事小池百合子的埃及開羅大學學歴史,所以整理了文章一半的中英對照如下,另外一半預期周末整理好再另外貼新版。
大家可以比較東京知事和她的大貴人(埃及前副首相Dr Hatem)如何促使她主張她1976年確從埃及開羅大學畢業的做法。台灣媒體不敢報導此日本疑似假學歷的新聞,倒是刷了很多東京知事抗疫好棒棒的中文報導-想必是要洗嬰粉的腦「會做事就好了,學歷有什麼重要」哈哈😄⋯⋯
✳️原文連結: https://jbpress.ismedia.jp/articles/-/60643
🔥偽造大學學位的指控困擾東京都知事小池百合子(Vol.4)
Allegations of fake university degree haunt Tokyo Governor Yuriko Koike (vol.4)
💥自從現任東京都知事小池百合子(Yuriko Koike)於1992年成為國會議員以來,一直有謠言流傳稱,小池百合子(Koike)文飾美化她的學歷。
Ever since the incumbent Governor of Tokyo, Yuriko Koike became a Member of Parliament in 1992, rumors have been circulating that Koike embellished her academic credentials.
小池聲稱自己曾自開羅大學畢業,但是如果以阿拉伯語為母語的人去聽她的阿拉伯語,那麼她公開身為開羅大學畢業生的學歷,似乎就顯得更加可疑了。
Koike claims to have graduated from Cairo University but if an Arabic speaker listens to her Arabic, her published academic credentials as a Cairo University graduate seems more than dubious.
[我有]強有力的證據可以證明她偽造學歷,例如由室友提供的證詞-有紀錄片可查的證詞;小池的自相矛盾的說法表明,儘管第一年不及格,她仍然在四年之內畢業,她的初階程度阿拉伯語,以及關於畢業論文的謊言,和她拒絕向東京都議會提交畢業文件的頑強行為。
There are strong evidence about her fake academic credentials such as testimony by the flatmate supported by documentary evidence, Koike's self-contradictory statement in her book to have graduated in four years despite failing her first year, her rudimentary Arabic, her lie about the graduation thesis and her stubbornness in refusing to submit her graduation documents to the Tokyo Metropolitan Assembly.
身為一個通曉阿拉伯語並從埃及大學(開羅美國大學的中東研究專業)畢業的人,我自有一種任務感,因此我決定對這些指控進行調查。 經過兩年的調查,我找不到任何證據,甚至沒有一絲一毫的最低線索,可以證明小池是從開羅大學畢業的。
Feeling a sense of duty as someone who learnt Arabic and graduated from an Egyptian university (MA, Middle East Studies from the American University in Cairo), I decided to investigate the allegations. After two years of investigation, I could not find any evidence, nor even the slightest hint that Koike graduated from Cairo University.
在這個共由六大部組成的文章中,我詳細介紹了我的調查結果。這裡是第四部的內容:
In this six-part article, I present the results of my investigation in detail.Here is the fourth part of it;
💥小池有符合[埃及大學]轉學資格嗎?
Was Koike eligible to transfer?
"小池在她的書中和其他地方聲稱,她於1972年10月開學以一年級(新鮮人)生身分進入開羅大學。
Koike claims in her books and other places that she entered Cairo University as a first year student (freshman) in October 1972.
但是,她室友在"假簡歷”紀錄片中說:“小池是於1973年10月以二年級學生身分進入開羅大學。
However, in the ""Fake CV"" the flatmate says, ""Koike entered Cairo University in October 1973 as a second year student.
「小池高興地對我說:“我父親先請當時的哈特姆博士,當時也是埃及副首相,還兼任文化和信息部長,依據我在關西學院大學-是一間日本兵庫縣的私立大學-所上課的幾個月[學程],加上另外在開羅美國大學的上語言課程的幾個月,一起調整合併當成是我在開羅大學就讀的第一學年[學程時間]。」
Koike happily told me ‘My father asked Dr. Hatem, then Egypt's Deputy Prime Minister and Minister of Culture and Information, to swap my few months at Kwansei Gakuin University, a private university in Hyogo prefecture, and a few months at the language course at the American University in Cairo for the first year at Cairo University. ‘
「哈特姆博士接受了這一要求。此外,我的學雜費和申請費全免除了。 」
‘Dr. Hatem accepted the request. In addition, my tuition and admission fees have been waived’ .
這顯然是寫在室友1972年11月19日給她在日本母親的信中的。根據“假簡歷”該部分陳述的內容,她(室友)大部分信都附有信件日期和郵戳。 如果是這樣,他們這些人都將會被埃及法院起訴。
This is apparently written in the flatmate’s letter to her mother in Japan dated 19 November 1972. According to the ""Fake CV"" most of her letters were dated and postmarked. If so, they will be admissible to court."
呈現在“假簡歷”的內容中,含當時也正在埃及另一所大學就讀的另一名日本女性,她說,她對小池當時可以轉入開羅大學二年級就讀感到驚訝。 我(作者:黑木亮)所採訪過的另一位開羅大學的日本畢業生也記得:小池當年是[直接]轉入開羅大學二年級。
In the ""Fake CV"" another Japanese woman who was attending another university in Egypt at the time says she was surprised that Koike had transferred in the second year at Cairo University. Another Japanese graduate of Cairo University whom I interviewed also remembered that Koike had transferred to the second year."
然而,轉學到包括開羅大學在內的埃及國立大學訂有嚴格的規定。為了進行轉學,學生必須在另一所大學獲得與埃及國立大學課程相同或相似的內容和學習時數的學分,並且必須獲得一定程度的成績。 開羅大學轉學中心辦公室向我證實了這一點。
However, strict rules are in place to transfer to Egypt's state universities, including Cairo University. In order to transfer, a student must have earned credits at another university with the same or similar content and number of hours as the Egyptian state university’s curriculum and must have earned a certain number of grades. This was confirmed to me by the Central Transfers Office of Cairo University.
例如,在2016-17學年,如果學生希望:
-轉學到工程或醫學學院,則必須從其他大學獲得至少imtiyaaz(優秀)成績。
-轉學實務研究學院,則必須從其他大學獲得至少jaiid jiddab(非常好)的成績。
-轉學理論學習研究學院,則必須從其他大學獲得至少jaiid (好)的成績。
In the case of the 2016-17 academic year, for example, students are required to have at least imtiyaaz (excellent) grade from other university if the student wishes to transfer to the Faculty of Engineering or Medicine and at least jaiid jiddan (very good) grade in the case of faculties of practical study and at least jaiid (good) grade for those of theoretical study.
前面如曾經提到的記者,達莉亞·施貝爾(Dalia Shibel)這樣告訴我:“在埃及,國立大學和私立大學是兩個完全不同的系統。即使您在開羅的美國大學學習了10年並獲得了必要的學分,您還是必須從開羅(國立)大學的一年級學生重新開始。這是我國的法律”。 因此,像小池這樣沒有在另一所大學讀完一年(也沒有獲得任何學分)的人是完全不可能被核准轉學的。
The aforementioned journalist Dalia Shibel told me that ""In Egypt state universities and private universities are two completely different systems. Even if you study at the American University in Cairo for 10 years obtaining necessary credits, you have to start as a first year student in Cairo University. This is the law of our country"". Therefore it is totally impossible that a person like Koike who has not finished a year at another university (and has not earned any credits) would be allowed to transfer."
小池最多只在關西學院大學學習了幾個月。 她在開羅的美國大學CASA那裡學習阿拉伯語只是一所語言學校,不提供任何學分或學位。 如果像一些日本人指出的那樣,小池真果真是在1973年轉入開羅大學第二年級的話,那不過是欺詐性的轉學而已。 這意味著她從一開始就沒有資格畢業。
Koike only attended Kwansei Gakuin University for several months at most. CASA at the American University in Cairo where she learnt Arabic is just a language school and does not offer any credits or degrees. If, as some Japanese people point out, Koike actually transferred to the second year at Cairo University in 1973, that is nothing but a fraudulent transfer. That means she was not eligible for graduation from the beginning.
💥關於小池入學許可的問題並沒有得到答案
No answer to the question about Koike’s admittance
2019年,有51人因以慈善機構樂捐名義為幌子,賄賂美國一個組織而受到起訴,該組織通過提升名人和其他人的孩子的SAT(大學才能測驗)分數,以欺詐手段允許他們的子女因此能夠進入著名的大學。
In 2019, 51 people were prosecuted in the United States for paying bribes under the guise of charity to an organization that allows celebrities and others to increase their children's SAT (college aptitude test) scores and fraudulently admit them to prestigious universities.
其中一位女演員費利西蒂·霍夫曼(Felicity Huffman)曾出演電視劇《欲望師奶(台灣翻譯)》,被判處14天監禁,並於去年10月在加利福尼亞州的女性監獄中被監禁。 霍夫曼的女兒索菲亞(Sophia)尚未上大學,據報導他將重考SAT。
One of them, actress Felicity Huffman, who starred in the TV drama Desperate Housewives, was sentenced to 14 days in prison and was incarcerated last October in a women's prison in California. Huffman's daughter Sophia has not enrolled in college and is reported to be retaking the SAT.
斯坦福大學以’非合法入學申請’為由,開除一名中國學生,原因在於他的父母為了可以濫用體育贊助(入學)名額,使他得以註冊該校學習課程,向該(同一)組織支付了650萬美元。
Stanford University expelled a Chinese student, whose parents paid $6.5 million to the organization for misusing a sports endorsement slot to enroll in the program, citing irregularities in submissions.
由於小池似乎未達到轉學入埃及國立大學的要求,因此我致信小池,詢問小池是在1972年還是1973年被錄取,但未得到任何答复(有關我詢問的信件內容,以及小池回應的所有完整文件,將在此報告的稍後部分中顯示)。
As Koike does not appear to have fulfilled the requirements for transferring to a state university in Egypt, I sent a letter to Koike, to ask whether she was admitted in 1972 or 1973 but received no response (the full text of my questions to and response from Koike will appear later in this report).
開羅大學是阿拉伯世界著名的大學之一,醫學,工程學,經濟和政治學係有許多優秀的埃及學生。 但是,該校在全球地位並不是很高。
Cairo University is one of the prominent universities in the Arab world and there are many excellent Egyptian students in the Faculties of Medicine, Engineering, and Economics and Political Science. However, its global standing is not very high.
在英國Quacquarelli Symonds Ltd.發布的2020年QS世界大學排名中,開羅大學在全球排名521-530,在埃及排名第二,與日本的熊本大學和長崎大學相當。 埃及最好的大學是開羅的美國大學(私立和美國認可大學),在世界上排名第395(與日本神戶大學並列)。 埃及排名第三的是艾因沙姆斯大學,亞歷山大大學和阿修特大學(所有國立大學),在世界範圍內排名第801-1000。
In the 2020 edition of the QS World University Rankings published by Quacquarelli Symonds Ltd. in the United Kingdom, Cairo University ranks 521-530 in the world and second in Egypt, on par with Kumamoto University and Nagasaki University in Japan. The best university in Egypt is the American University in Cairo (private and American-accredit university) which ranks 395th in the world (tied with Kobe University in Japan). Third place in Egypt are Ain Shams University, Alexandria University, and Assiut University (all state universities) which rank 801-1000th in the world.
💥小池與Abdel-Kader Hatem博士的關係
Koike’s Connections with Dr. Abdel-Kader Hatem
協助小池進行了“可能是欺詐性轉學"的埃及政客的名字出現在“假經歷”這部分的內容中。 這個室友證明,小池在1973年通過著名的埃及政治家阿卜杜勒·卡德爾·哈特姆博士的關係轉入開羅大學二年級。
The name of an Egyptian politician who assisted Koike's possible ""fraudulent transfer"" appears in the ""Fake CV"". The flatmate testifies that Koike transferred to the second grade at Cairo University in 1973 through the connections of Dr. Abdel- Kader Hatem, a prominent Egyptian politician."
Hatem於1917年生於亞歷山大。他畢業於軍事學院和開羅大學。 他參與了1952年的埃及革命(是一個推翻君主制的政變,次年埃及共和國成立),當時他是在由Gamal Abdel Nasser中校領導的自由軍運動中的一名年輕成員。
Hatem was born in Alexandria in 1917. A graduate of the Military Academy and Cairo University. He participated in the Egyptian revolution in 1952 (a coup to overthrow the monarchy which was followed by the foundation of the republic the following year) as a young member of the Free Officers Movement led by then Lieutenant Colonel Gamal Abdel Nasser.
他於1957年成為國民議會議員,總統府副部長,1959年廣播電視國務部長,1962年文化部長,國家指導和旅遊部長,1971年副首相兼文化信息部長 ,曾任全國專業委員會常務理事兼埃及-日本友好協會主席。 他於2015年去世,享年97歲。
He became a member of the National Assembly in 1957, Deputy Minister in the Presidential Office, Minister of State for Radio and Television in 1959, Minister of Culture and Minister of National Guidance and Tourism in 1962, Deputy Prime Minister and Minister of Culture and Information in 1971, then longtime General Supervisor of the Specialized National Councils and President of the Egyptian-Japanese Friendship Association. He died in 2015 at the age of 97.
1974年2月,當時掌控文化和信息的副首相,哈特姆,以正式外賓的身份訪問了日本,並會見了日本首相田中角榮,副首相三木武夫,並參觀了皇宮與天皇會面。 1982年,他被日本政府授予"旭日東昇頭等大勳章”。
In February 1974, Hatem, who was then the Deputy Prime Minister in charge of Culture and Information visited Japan as an official guest and met Japan’s Prime Minister Kakuei Tanaka, Deputy Prime Minister Takeo Miki and visited the Imperial Palace to meet the Emperor. In 1982 he was awarded the Grand Cordon of the Order of the Rising Sun, First Class by the Japanese government.
"在1974年Hatem訪日之際,日本駐埃及大使Tsutomu Wada在1974年2月12日給日本外交大臣的正式電報中寫道:“埃及政治的最新發展,哈特姆副首相的職位(曾擔任首相的代理者)得到了進一步鞏固,正如我經常報導的那樣,埃及副首相在6名媒體記者的陪同下訪問日本,這是非同尋常的,這清楚地表明了哈特姆博士的權力,並表明了他認為這次訪問的重要性。”
On the occasion of Hatem's visit to Japan in 1974 the Japanese Ambassador to Egypt Tsutomu Wada wrote in an official telegram dated 12 February 1974 to the Minister of Foreign Affairs of Japan ""As a result of recent developments in Egyptian politics the position of Deputy Prime Minister Hatem (who had been acting as a substitute for the Prime Minister) has been further strengthened as I have often reported. It is remarkable for an Egyptian Deputy Prime Minister to visit Japan accompanied by 6 media reporters and that clearly shows Dr. Hatem’s power. It also shows how important he thinks this visit is."""
"哈特姆的阿拉伯文傳記《阿卜杜勒·卡德·哈特姆日記-十月戰爭政府首腦》於2016年在開羅出版(由埃及記者易卜拉欣·阿卜杜勒·阿齊茲撰寫)指出,哈特姆與中曾根康弘保持著良好的關係, 自1954年起擔任日本前首相,中曾根將當時的在校學生,小池百合子-他朋友的女兒,介紹給哈特姆,哈特姆照顧小池,小池稱哈特姆為教父,並給了小池零用錢, 每月14埃及鎊。(小池在《長袖和服的金字塔攀登》第250頁上寫道,她每月從埃及政府獲得12英鎊的獎學金)。
🌐Chenchen註:Furisode是日本年輕未婚女性穿著的最正式的和服風格-以長袖為其特色,小池應是以Furisode做為自己的意象代名詞,唯美的描繪她以一介日本年輕嬌嬌女,如何在陌生的中東環境-埃及地,逐步攀登權力金字塔。中東地區非常保守,不但男尊女卑,金字塔也不容許遊客任意攀登,更何況是穿著舉步維艱的長袖正式和服,所以小池以一個浮誇的畫面來增飾自己在埃及留學生活的映象。
The Arabic-language biography of Hatem “The Diary of Abdel-Kader Hatem - Head of the October War Government"" published in Cairo in 2016 (written by an Egyptian journalist Ibrahim Abdel Aziz) states that Hatem had been on good terms with Yasuhiro Nakasone, former Prime Minister of Japan, since 1954 and that Nakasone introduced Yuriko Koike to him, a student at that time, as the daughter of his friend. Hatem took care of Koike. Koike called Hatem a god-father, and he gave Koike an allowance of 14 Egyptian pounds a month (Koike wrote on page 250 of “Furisode Climbing the Pyramid"" that she received a scholarship of 12 pounds a month from the Egyptian government)."
Abdel-Kader Hatem與中曾根康弘
Abdel-Kader Hatem with Yasuhiro Nakasone
"另一方面,小池於1985年出版的書《音譯:Onna女性 no 的Jinmyaku-Zukuri人脈建立 ((我如何以女人的身分經營人脈關係)》指出,她的父親(小池裕郎)很早就認識中曾根。她本人是在小學時代即已見到中曾根,在每個冬天,中曾根都向家人送去了一堆在中曾根選舉區群馬縣產的韭菜,並與他的兄弟一起吃了。
On the other hand Koike's book, ""Onna no Jinmyaku-Zukuri (How I made personal connections as a woman)"" published in 1985 states that her father (Yujiro Koike) had known Nakasone for a long time. She herself first met Nakasone when she was an elementary school student, every winter Nakasone sent her family a bunch of leeks produced in Gunma prefecture, Nakasone’s electoral district, and she ate them with his* brother." 🌐*Chenchen註:應該是She ate them with HER brother.,,
1973年10月6日,埃及爆發了十月戰爭(Yom Kippur War)。 埃及和敘利亞軍隊對部署在蘇伊士運河和戈蘭高地的以色列部隊發動了進攻,試圖奪回1967年六日戰爭(六月戰爭)中以色列佔領的領土。
🌐Chenchen註:這是知名的第四次以阿戰爭,後來引發第一次石油危機,各界認為這是阿拉伯國家在二戰之後,第一次聯手反對西方帝國主義。維基百科:贖罪日戰爭,又稱第四次以阿戰爭、齋月戰爭、十月戰爭...起源於埃及與敘利亞分別攻擊六年前被以色列佔領的西奈半島和戈蘭高地。戰爭的頭一至兩日埃敘聯盟佔了上風,但此後戰況逆轉。至第二周,敘軍退出戈蘭高地。在西奈,以軍在兩軍之間攻擊,越過原來的停火線蘇伊士運河。直到聯合國停火令生效為止,以軍甚至包圍了埃及的主力部隊。 https://zh.m.wikipedia.org/zh-tw/%E8%B4%96%E7%BD%AA%E6%97%A5%E6%88%B0%E7%88%AD
On 6 October 1973, the October War (Yom Kippur War) broke out in Egypt. Egyptian and Syrian forces launched an attack on Israeli forces deployed in the Suez Canal and Golan Heights in an attempt to recapture territory occupied by Israel in the Six Day War (June War) in 1967.
"為了支持埃及和敘利亞,阿拉伯石油輸出國組織(OAPEC)將石油價格提高了1.4倍,並引發了第一次石油危機。 日本被OAPEC視為“不友好”國家之一,由於採取了削減石油供應的措施,日本遭受了經濟危機。 日本政府派副首相三木武夫和前外交大臣小坂健太郎等人前往沙烏地阿拉伯,埃及和阿爾及利亞,要求這些國家將日本改變為“友好國家”類別(所謂的“石油乞討外交”)。 。
In support of Egypt and Syria, the Organization of Arab Petroleum Exporting Countries (OAPEC), raised oil prices by 1.4 times and caused the First Oil Crisis. Japan was considered one of the ""unfriendly"" countries by OAPEC and suffered an economic crisis as a result of measures to cut oil supplies. The Japanese government sent Deputy Prime Minister Takeo Miki and former Foreign Minister Zentaro Kosaka and others to Saudi Arabia, Egypt, and Algeria to ask those countries to change Japan to a ""friendly country"" category (the so-called ""oil begging diplomacy"")."
(待續...或是直接點原文連結)
https://jbpress.ismedia.jp/articles/-/60643
my number一定要申請嗎 在 蘇怡寧醫師愛碎念 Facebook 的最佳解答
再來聊聊施打MMR疫苗跟懷孕
這兩年由於許多國家陸續有傳出麻疹及德國麻疹疫情的關係
因此也增加了許多施打MMR疫苗之後懷孕的機會與詢問
記得之前已經跟大家分享過好幾次了
先看這一篇👇👇👇👇
今天來聊聊孕期德國麻疹抗體及疫苗接種
https://drsu.blog/2018/09/26/super180926/
根據美國疾病管制與預防中心 Centers for Disease Control and Prevention (CDC)所公布根據的來自美國疫苗接種諮詢委員會Advisory Committee on Immunization Practices (ACIP)的臨床準則:
MMR疫苗於懷孕期間之接種不應該被當作考慮終止妊娠的理由
在接種疫苗前也不需要特別做懷孕測試
但我相信
很多人還是會擔心這個問題
現在
我的老友
施景中醫師也出來說話嘍
感恩施P讚嘆施P
傳送門在這裡👇👇👇👇
https://www.facebook.com/1274561183/posts/10219345118200076?s=1727931221&v=i&sfns=m
很遺憾的
不斷地還是會有孕媽咪來問我
不論是來門診或是傳訊息
常常起手式就是
某某醫師跟我說這樣不能留下來耶要叫我考慮終止妊娠
這樣說好了
在現在的醫療氛圍之下
醫師告訴媽媽這種情況還是有疑慮有可能有風險
對醫師是最安全的作法
省得哪天小孩有什麼問題來找醫師麻煩要醫師給個交代
你知道的
一旦有人跟你說有問題
然後我要跟你說沒關係的時候我必須要花上十倍的力氣
重點是
你還不一定願意聽我的
印象很深刻
有一個媽咪眉頭深鎖的來門診
就問了這樣的問題
蘇醫師蘇醫師
某某醫師告訴我這有風險建議我引產耶
即便
我花了10幾分鐘的時間跟她解釋
最後
她回答了
歐
我懂
但是
我還是拿掉好了
你
能夠了解我的感受嗎?
恩恩
就盡力吧
我們還是會堅持做下去的
新同學看一下
延伸閱讀👇👇👇👇
孕婦x德國麻疹疫苗(MMR)
https://drsu.blog/2019/04/12/super190404/
日本又流行德國麻疹怎麼辦?
https://drsu.blog/2018/10/27/super181027/
關於孕期麻疹感染
https://drsu.blog/2018/04/09/super180409/
孕婦X麻疹
https://drsu.blog/2018/04/20/super180420/
[MMR三合一疫苗 與 懷孕]
現在日本麻疹疫情有點蔓延,許多育齡婦女打了疫苗,卻又剛好懷孕了,怎麼辦? MMR疫苗的R代表"德國麻疹",是會引起先天異常的病原"TORCH"中的R,惡名昭彰。
許多孕婦和醫師討論後,會選擇把小孩引產。
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一念可以為善;或,也可以無意中挽救了一個小生命。
底下這個孕婦,16年前不知道懷孕而打了MMR疫苗,在忒忑不安中,經人介紹找到了我。
小孩後來出生了,現在是一個漂亮的混血小女生,笑容非常燦爛可愛。
當年的我,其實一點不像這個媽媽寫的,是個權威醫師,那時我當主治醫師才第5年吧,其實還很嫩。
總之我的一念之仁,間接幫助了這個媽媽保住了這個小孩。我也沒想到我的幾句話,可以給她這麼大的信心。
媽媽是一個非常感性的人,像電影的台詞般:「I would risk my life and everything to save her.」
因為女兒可以說就是她生命的一部份。
她文字很感人,我也深深感動,幾天前收到這信,得到她同意分享。希望多幫助一些人。
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施醫師您好,
我是XXX的媽媽,她是16年前您的專業判斷救下來的孩子。八年前我們全家搬到美國德州,一直沒有機會向您道謝。我在六年前潦草地寫下這文,今天是美國時間XX的十六歲生日,我想將此文貼在此向您說謝謝,並附上她的照片,邀您一起分享我們的喜悅。
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10年前的某一天,我一個人坐在空盪盪的候診室,一手拿著醫生的名片,一手握著手機等待先生接起應答,先生問結果如何,我已經淚流滿面話不成句,看著醫生的名片,想要理智地告訴A醫生的建議是拿掉孩子,但我說不出口,把醫生的建議翻譯成問句,我們該怎麼辦? 這個孩子又能怎麼辦?
想起自己的粗心,在懷上孩子的那一個月,為了申請綠卡打了MMR疫苗,接著到秀姑巒溪泛舟,完全不知道肚子裡有個生命正在蘊育…直到有天出外景,看到食物就想吐,攝影師一句開玩笑: 「妳是不是懷孕了?」我才驚覺有可能,回程停在便利商店買了支驗孕棒,是藍色,但不是十分確定,那一晚無法入眠,不知為什麼非常焦躁。
第二天到婦產科,做了超音波檢查,胎兒已經五個禮拜大,一顆像粉圓般大小的小生命,有了心跳,我又驚又喜,接著向醫生詢問懷孕期間打了MMR疫苗有沒有影響。醫生先是責怪為什麼如此不小心,接著向我解釋醫學界有個說法,MMR疫苗有可能會生出不正常的孩子,要有心裡準備,但他建議為了免於接下來九個月的憂慮,還是建議拿掉孩子,不然等到10週以後再拿掉,對母體也會有影響,然後遞給我一張名片要我考慮。
在接下來的幾週,先生和我不斷上網找資料,想找到不必拿掉孩子的醫學論證,他找到一篇英文的醫學報告,說MMR疫苗99%不會威脅胎兒。先生寫了信給他在台大醫院遺傳學部門任職的朋友,他推薦一位學長,是台大婦產科的權威醫師(後來看報才知道),他看了先生拿出來的報告說,不是99%、是100%不會有問題,然後解釋大家如何誤解MMR疫苗與病毒strain的差異。很快安排我們到超音波室,檢查胎兒的活動情形,看起來很好。他說疫苗不會有問題,有其他問題再來找我! 就這樣很有信心地離開診間,但一則醫學報告加一位專業醫師的說法,雖然增強了信心,但心裡還是不免擔心,萬一…
總之,後來先生和我決定不管孩子生出來如何,我們都要面對,我個人對肚裡的孩子已經有無法言喻的歉疚。這個孩子讓我成為一個母親,讓我先生成為一個爸爸。這個孩子讓我體驗到生命本身如此令人驚奇!
孩子從產道半推半拉出來後,沒有哭聲,身體全身發紫,那一刻我連呼吸都很謹慎,那一刻真的一點聲音都沒有,先生和我都屏息,一切好像都在真空狀態,護士不斷拍手孩子的屁股。不知道過了多久,孩子哭了,哭得好大聲,我先生再也無法站,頓時蹲下掉下開心的眼淚。我不知道什麼時候開始哭,只知道我的眼淚是熱的,而那哭聲就像天使的哭聲,那麼清脆有力,那麼好聽。那個孩子就是現在的XX,我要盡我所能愛這個孩子,保護這個孩子!
女兒的出生,要感謝這過程中的很多人,讓這個天使有機會來到人間,帶給我們這麼多的酸甜苦樂,這一路我們都在學習,即便是現在。孩子十歲了,人生的試煉沒有間斷,對孩子對我們來說都是!但我感謝,非常感謝她的到來。雖然她的到來,改變了人生裡的很多計畫,但我身為一個母親,從來沒有後悔。女兒,不管妳現在或將來會如何,爸爸媽媽對妳的愛從來沒有改變,也沒有因為妹妹的加入而有稍減…..不管發生什麼事,妳的家人都是妳最強的依靠。看著妳成長就是身為媽媽的我最大的成就,最大的樂趣。
女兒,生日快樂!
媽媽不知如何停止愛妳,從妳還是小粉圓的時候…..
===========================
其實我門診還有其他類似孕婦,也還在懷孕中呢。
根據大規模文獻,目前沒有孕婦因為注射MMR疫苗而引起先天德國麻疹症候群(CRS)。根據研究,引起CRS的viral strain,也和疫苗的viral strain不同。
停一下,妳還可以再想一想。
From website literature
"Very large measles-rubella vaccination campaigns, run between 2001 and 2008, have targeted women of child-bearing age in South America and Iran [2] [3] [4] [5] [6]. Comprehensive, prospective surveillance of pregnant women during these campaigns has provided further substantial evidence of the safety of measles and rubella containing vaccines in pregnancy.
During these campaigns over 30,000 pregnant women inadvertently received MR vaccine. The vaccine had been given either during pregnancy (the majority were less than 12 weeks pregnant) or up to 30 days before these women had conceived.
In the above studies about 3000 women were susceptible to rubella, meaning they were not already immune and so at potential risk of the virus passing to the baby. Extensive follow-up of the outcome of these pregnancies was very reassuring. Whilst a very small number of babies were shown to have been exposed to the weakened vaccine virus in the womb, no babies developed Congenital rubella syndrome (CRS)."
my number一定要申請嗎 在 宮能安 Kung Facebook 的最讚貼文
《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