学校如何扼杀学生的创造力.

　　我们无法预知这个世界五年后的样子。这就是为何我们要让这些孩子接受教育。我认为正是未来的不确定性，决定教育的非同寻常。

　　Good morning. How are you? (Laughter) It's been great, hasn't it? I've been blownaway by the whole thing. In fact, I'm leaving. (Laughter) There have been threethemes running through the conference which are relevant to what I want to talkabout. One is the extraordinary evidence of humancreativity in all of the presentations that we've had and in all of the peoplehere. Just thevariety of it and the range of it. The second is that it's put us in a place where we have noidea what's going to happen, in terms of the future. No idea how this may play out.

　　早上好. 还好吗?很好吧,对不对? 我已经飘飘然了! 我要飘走了.(笑声) 这次会议有三个主题这三个主题贯穿会议始终,并且和我要谈的内容有关其中之一就是人类创造力的伟大例证 这些例证已经体现在之前的演讲当中以及在座各位的身上. 从这些例证中我们看到了创新的多样化和多领域. 第二点-- 这些创新也让我们意识到我们不知道未来会发生什么 完全不知道未来会如何

　　I have aninterest in education. Actually, what I find is everybody has an interest ineducation. Don't you? I find this very interesting. If you're at a dinnerparty, and you say you work in education -- Actually, you're not often atdinner parties, frankly. (Laughter) If you work in education, you're not asked.(Laughter) And you're never asked back, curiously. That's strange to me. But ifyou are, and you say to somebody, you know, they say, "What do youdo?" and you say you work in education, you can see the blood run fromtheir face. They're like, "Oh my God," you know, "Why me?"(Laughter) "My one night out all week." (Laughter) But if you askabout their education, they pin you to the wall. Because it's one of thosethings that goes deep with people, am I right? Like religion, and money andother things. So I have a big interest in education, and I think we all do. Wehave a huge vested interest in it, partly because it's education that's meantto take us into this future that we can't grasp. If you think of it, childrenstarting school this year will be retiring in 2065. Nobody has a clue, despite all the expertise that's beenon parade for the past four days, what the world will look like in five years'time. And yet we're meant to be educating them for it. Sothe unpredictability, I think, is extraordinary.

　　我对教育感兴趣事实上,我发现每个人都对教育感兴趣难道不是吗? 我发现这很有趣如果你参加一个晚宴,你说你在教育部门工作坦白的讲，如果你在教育部门工作，事实上你不会经常参加晚宴, (笑声) 所以你不会被问及你是做哪行的。你永远不会被问到，很奇怪。但是如果你被问及，他们问:"你从事什么行业?" 你说你在教育部门工作你会发现他们涨红了脸,那意思好像是 “我的天啊，”“为什么让我碰上?整整一周我才出来一次” (笑声) 但如果你要他们谈谈他们的受教育经历，他们会把你“钉到墙上”. 因为这些事情都涉及个人的隐私,对吗? 比如宗教信仰,薪水等我对教育特别感兴趣,我认为我们都是如此我们对此有巨大的既得利益部分因为教育旨在将我们带入我们无法掌握的未来大家想想,今年入学的小孩 2065将退休. 没人知道会怎样-- 虽然过去四天会议进程里都是关于这方面的专业讨论-- 但我们还是无法预知这个世界五年后的样子。这就是为何我们要让这些孩子接受教育。我认为正是未来的不确定性决定其非同寻常。

　　And the third part of this is that we've allagreed, nonetheless, on the really extraordinary capacities that children have-- their capacities for innovation. I mean, Sirena last night was a marvel, wasn't she? Just seeingwhat she could do. And she's exceptional, but I think she's not, so to speak,exceptional in the whole of childhood. What you have there is a person ofextraordinary dedication who found a talent. And my contention is, all kidshave tremendous talents. And we squander them, pretty ruthlessly. So I want totalk about education and I want to talk about creativity. My contention is thatcreativity now is as important in education as literacy, and we should treat itwith the same status. (Applause) Thank you. (Applause) That was it, by the way.Thank you very much. (Laughter) So, 15 minutes lt. (Laughter) Well, I wasborn... no. (Laughter)

　　第三点就是我们都认同一个观点-- 这些孩子的特别之处正是他们的创新能力。我觉得昨晚Sirena的表现令人惊奇，对吗?她很出色，但是我认为她在孩提时代时没显得与众不同。现在的教育提倡的是一个有奉献精神的老师能发现一个天才学生。但我认为所有孩子都是伟大的天才。而我们却无情地扼杀了他们的才能。所以我想谈谈教育和创造力。我认为创造力和文化知识在教育中占同样比重，所以这两方面我们应同等对待。(掌声)谢谢。而且，非常感谢。(笑声)还剩15分钟。我出生于--说错了(笑声)

　　I heard agreat story recently -- I love telling it -- of a little girl who was in adrawing lesson. She was six, and she was at the back, drawing, and the teachersaid this girl hardly ever paid attention, and in this drawing lesson, she did.The teacher was fascinated. She went over to her, and she said, "What areyou drawing?" And the girl said, "I'm drawing a picture of God."And the teacher said, "But nobody knows what God looks like." And thegirl said, "They will, in a minute." (Laughter)

　　最近我听到一个很不错的故事--我很愿意讲讲这个故事-- 说的是一个小女孩正在上绘画课。小女孩只有六岁她坐在教室的后排，正在画画，而她的老师评价她几乎从不注意听讲，但在绘画课上她却听得很认真。老师饶有兴趣地走过去问她：“你在画什么?” 她说：“我画的是上帝。” 老师说：“可是没人知道上帝长什么样。” 这时小女孩说：“他们马上就能知道上帝的样子了。” (笑声)

　　When my sonwas four in England -- Actually, he was four everywhere, to be honest.(Laughter) If we're being strict about it, wherever he went, he was four thatyear. He was in the Nativity play. Do you remember the story? (Laughter) No, itwas big, it was a big story. Mel Gibson did the sequel, you may have seen it.(Laughter) "Nativity II." But James got the part of Joseph, which wewere thrilled about. We considered this to be one of the lead parts. We had theplace crammed full of agents in T-shirts: "James Robinson IS Joseph!"(Laughter) He didn't have to speak, but you know the bit where the three kingscome in? They come in bearing gifts, gold, frankincense and myrrh. This reallyhappened. We were sitting there and I think they just went out of sequence,because we talked to the little boy afterward and we said, "You OK withthat?" And he said, "Yeah, why? Was that wrong?" They justswitched. The three boys came in, four-year-olds with tea towels on theirheads, and they put these boxes down, and the first boy said, "I bring yougold." And the second boy said, "I bring you myrrh." And thethird boy said, "Frank sent this." (Laughter)

　　我儿子四岁时在英国-- 实际上他那会儿在哪都四岁(笑声)严格地说他四岁那年在哪个国家记不清了，只记得他四岁那年去演舞台剧《基督诞生》你们记得那部剧的情节吗?应该记不得，情节太长。故事太长。梅尔.吉布森演过那部剧的续集。你们也许看过，叫《基督诞生II》。我儿子James在那部舞台剧里演Joseph, 我们为此很兴奋。我们以为那是个主要角色。我们给观众们发了T恤：上面印着“JamesRobinson 扮演 Joseph"(笑声)他的角色不一定有台词，剧情是三个国王拿着礼物走进来他们分别拿着黄金，乳香精油，没药精油。演出开始了。我们坐在观众席上我认为他们应该按顺序出场，演出结束后我们对James说： “你们刚才演的对吗?”他说：“对啊，怎么了，哪错了吗?” 其实他们把剧情改了。他们是这么演的：三个小演员出场，四岁的小家伙们头上戴着擦杯子用的毛巾，他们放下手上拿的盒子第一个孩子说：“我带来了黄金。” 第二个孩子说：“我带来了没药精油。” 第三个孩子说：“Frank带来了这个”(笑声)(注：“frankincense乳香精油”英文发音和“Frank sent this”英文发音相似)

　　What thesethings have in common is that kids will take a chance. If they don't know,they'll have a go. Am I right? They're not frightened of being wrong. I don't mean to say that being wrong is the same thing asbeing creative. What we do know is, if you're not prepared to be wrong, you'llnever come up with anything original -- if you're not prepared to be wrong. Andby the time they get to be adults, most kids have lost that capacity. They havebecome frightened of being wrong. And we run our companies like this. Westigmatize mistakes. And we're now running national education systems wheremistakes are the worst thing you can make. And the result is that we areeducating people out of their creative capacities. Picasso once said this, hesaid that all children are born artists. The problem is to remain an artist aswe grow up. I believe this passionately, that we don't grow into creativity, wegrow out of it. Or rather, we get educated out if it. So why is this?

　　以上例子的共同点就是孩子们愿意冒险。对于未知的事物，他们愿意去尝试。难道不是吗?即使尝试的结果是错误的，他们也不惧怕。 当然，我并不认为错误的尝试等同于创新。但我们都知道如果你不打算做错误的尝试你永远不会创造出新东西。如果你不想让孩子们做错误的尝试，等他们长大了，多数孩子就会丧失创新的能力。那就会使他们也变得惧怕错误的尝试。 这种情况也存在于公司经营方面。我们不能容忍任何错误。这就使得现在的教育体系成为最不能容忍错误的领域。这样做的后果就是我们的教育体制正在扼杀孩子们的创造力。毕加索曾说过: “孩子们是天生的艺术家” 问题是我们长大后能否继续保有艺术灵感。我坚信：我们随着年龄的增长而丧失了创造力，甚至可以说，是我们所受的教育让我们丧失了创造力。为什么会这样?

　　I lived inStratford-on-Avon until about five years ago. In fact, we moved from Stratfordto Los Angeles. So you can imagine what a seamless transition that was.(Laughter) Actually, we lived in a place called Snitterfield, just outsideStratford, which is where Shakespeare's father was born. Are you struck by anew thought? I was. You don't think of Shakespeare having a father, do you? Doyou? Because you don't think of Shakespeare being a child, do you? Shakespearebeing seven? I never thought of it. I mean, he was seven at some point. He wasin somebody's English class, wasn't he? (Laughter) How annoying would that be?(Laughter) "Must try harder." (Laughter) Being sent to bed by hisdad, you know, to Shakespeare, "Go to bed, now! And put the pencildown." (Laughter) "And stop speaking like that." (Laughter)"It's confusing everybody." (Laughter)

　　五年前，我住在Stratford-on-Avon(注：英国市镇，莎士比亚出生与埋葬之地)。现在我已经搬到了洛杉矶。可想而知，这是个多么合乎逻辑的移居。(笑声)其实，那时我们住在Snitterfield就在Stratford郊外，那里是莎士比亚父亲的出生地。你有过灵感吗?我曾经有过。你没把莎士比亚和他的父亲联想在一起，对吗?因为你忽略了莎士比亚也曾经是个孩子，对吗?莎士比亚七岁时什么样?我从没想过--他七岁时的某个特定场景。比如他在上英语课，想想他在上英语课--多么不可思议(笑声)“你要努力学习”你能想象他父亲边说边把他抱上床， “现在该睡觉了” 他父亲又说：“放下笔，别再写那些东西了，别人都看不懂。” (笑声)

　　Anyway, wemoved from Stratford to Los Angeles, and I just want to say a word about thetransition. My son didn't want to come. I've got two kids; he's 21 now, mydaughter's 16. He didn't want to come to Los Angeles. He loved it, but he had agirlfriend in England. This was the love of his life, Sarah. He'd known her fora month. (Laughter) Mind you, they'd had their fourth anniversary, because it'sa long time when you're 16. He was really upset on the plane, he said,"I'll never find another girl like Sarah." And we were rather pleasedabout that, frankly -- (Laughter) Because she was the main reason we wereleaving the country. (Laughter)

　　话说远了，刚才说到我们从Stratford搬到洛杉矶，我想说的是，对于这次搬家，我儿子并不愿意。我有两个孩子。儿子现在21岁了，女儿16岁。我儿子不愿搬到洛杉矶。虽然他喜欢这，但在英国，他有个女友，是他的最爱，叫Sarah. 他们认识只有一个月后就开始交往了。我们要搬家时他们已交往了4年。这对于16岁的年龄来说已经很长了。我儿子上了飞机后很郁闷，他说：“我再也找不到像Sarah那样的女孩了。” 但说实话，做为家长的我们为此很庆幸。因为那个女孩是我们搬家的主要原因。(笑声)

　　Butsomething strikes you when you move to America and travel around the world: Every education system on Earth has the same hierarchy ofsubjects. Every one.Doesn't matter where you go. You'd think it would be otherwise, but it isn't.At the top are mathematics and languages, then the humanities, and at thebottom are the arts. Everywhere on Earth. And in pretty much every system too,there's a hierarchy within the arts. Art and music are normally given a higherstatus in schools than drama and dance. There isn't an education system on the planetthat teaches dance everyday to children the way we teach them mathematics. Why? Why not? I think this is ratherimportant. I think math is very important, but so is dance. Children dance allthe time if they're allowed to, we all do. We all have bodies, don't we? Did Imiss a meeting? (Laughter) Truthfully, what happens is, as children grow up, westart to educate them progressively from the waist up. And then we focus ontheir heads. And slightly to one side.

　　但搬到美国后，有些事使我印象深刻如果你周游世界你会发现每个国家的教育体系都存在相同的学科等级制度。 没有例外。不论哪个国家。你认为也许会有例外，但没有。排在最前面的学科是数学和语言，接下去是人文学科，艺术排在最后。世界上所有国家都是如此。而且相同的还有就是在艺术学科范围内也有等级制。通常学校把美术课和音乐课看的较重要然后是戏剧课和舞蹈课。没有哪个国家的教育体系天天安排舞蹈课但却每天都安排数学课。为什么?为什么不是每天安排舞蹈课呢?我认为舞蹈课很重要。我认为舞蹈课和数学课同样重要。如果有允许，孩子们会不停地跳舞，我们也一样。我们都有体会，对吗?(笑声)事实上， 随着孩子年龄增长，我们开始教导他们别的东西，(以前是教他们走和跑)，而随着他们长大，我们更关注的是他们的头脑。 而且略微偏重大脑的一侧。