学校扼杀创造力作文

篇一：TED 学校扼杀了我们的创造力

TED演讲：学校扼杀了我们的创造力

本视频网易公开课链接：http://v.163.com/movie/2006/2/V/E/M7SP3QUET_M7SP3T0VE.html

What are you have is a person of extraodinary dedication who found a talent.We've all agreed on the really extraordinary capacity that children have, their capacities for innovation. And my contention is, all kids have tremendous talents and we squander them, pretty ruthlessly. So I want to talk about education and creativity. My contention is that creativity now is as important in education as literacy, and we should treat it with the same status.

现在的教育提倡的是一个有风险精神的 老师能发现一个天才学生。我们一致认同，孩子拥有超凡的才能，或者说创新能力。我认为：每个孩子身上都蕴含着巨大的才能，却被成人无情地磨灭了。因此，我想谈谈教育和创造力。我相信在当今这个时代，创造力在教育中的地位同读写能力一样重要，理应得到同等程度的重视。

I heard a great story recently, I love telling it, of a six-year-old girl who was in a drawing lesson. The teacher said usually this little girl hardly paid attention, but in this drawing lesson she did. The teacher was fascinated and she went over to her and said, “What are you drawing?” and the girl said, “I'm drawing a picture of God.” And the teacher said, “But nobody knows what God looks like.” And the girl said, “They will in a minute.”

前些日子我听到了一个很棒的故事，我喜欢逢人就讲。有个6岁的小姑娘在上绘画课。她的老师说，这个小姑娘上课一向不怎么专心，而这次却不同。老师很好奇，于是走过去问小姑娘：“你在画什么？”“我在画上帝”，小姑娘答道。老师不解：“可是从来没有人知道上帝长什么样啊！”小姑娘答道：“等我画好他们就知道了。”

Picasso once said that all children are born artists. The problem is remaining an artist as we grow up. I believe passionately that we don't grow into creativity, we grow out of it. Or rather we get educated out of it. So why is this?

毕加索曾经说过：每一个孩子都是天生的艺术家。问题在于我们长大之后能否继续保持着艺术家的个性。我坚信，随着年龄的增长，我们的创造力并非与日俱增，反而是与日俱减。甚至可以说，我们的创造力被教育扼杀了。怎么会这样呢？

Every education system on earth has the same hierarchy of subjects—every one; it 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 the bottom are the arts. Everywhere on earth. There isn't an education system on the planet that teaches dance every day to children the way we teach them mathematics. Why? Why not? I think this is rather important. I think maths is very important but so is dance. Children dance all the time if they're allowed to, we all do. We all have bodies, don't we? Truthfully what happens is, as children grow up we start to educate them progressively from the waist up. And then we focus on their heads. And slightly to one side.

世界上所有的教育系统都有着相同的学科体系，无一例外。你会想肯定有某个地方会例外的吧，可是无论你走到哪都是这样。位于顶端的是数学和语言，接着是人文学科，处在最底端的是艺术。全球普遍如此。在这颗星球上没有一个教育系统会像上数学课一样天天给孩子们上舞蹈课。为什么？为什么不这样？我觉得这非常重要。我知道数学很重要，但是舞蹈也同样重要啊。如果获得允许，孩子们可以整天跳舞，我们也是。我们都有身体可以舞动起来，不是吗？现实中的真相是：随着孩子们在长大，大人们开始逐步地训练他们，首先是腰部以上的部位，然后是集中训练他们的大脑，并且渐渐地有点偏向大脑一侧。

If you were to visit education as an alien and say what's it for, public education, I think you'd have to conclude (if you look at the output, who really succeeds by this, who does everything they should, who gets all the brownie points, who are the winner the whole purpose of public education throughout the world is to produce university professors. Isn't it? They're the people who come out on top. And I used to be one, so there. And I like university professors, but you know, we shouldn't hold them up as the high-water mark of all human achievement. They're just a form of life, another form of life. But they're rather curious and I say this out of affection for them, there's something curious about them, not all of them but typically, they live in their heads, they live up there, and slightly to one side. They're disembodied. They look upon their bodies as a form of transport for their heads, don't they?

假设你是一位外星来客，来考察地球上的教育，想知道公共教育究竟有何作用。在得出结论之前，我建议你先看看公共教育的产物，看看究竟是谁通过教育获得成功？是谁中规中矩地完成了使命？是谁得到了所有的赞许？又是谁成了最后的赢家？我想你会由此得出结论：全球公共教育的目的完全在于培养大学教授，不是吗？他们是教育体制最高端的产物。我过去也曾是其中一员，嗯，我喜欢大学教授们。不过，你知道，我们不应该将他们推崇为全人类最大的成就。他们所代表的仅仅是一种生活方式，另一种不同的生活方式。不过大学教授们还是蛮古怪的，我是出于对他们的喜爱才这么说的，虽然不是所有大学教授都这样，但他们的确有些奇特，典型表现为：他们生活在自己的思维里，住在自己的大脑中，而且还略偏向于大脑一侧。他们崇尚精神世界，躯体在他们看来不过是思维的承载工具，不是吗？

In the next 30 years, according to UNESCO, more people worldwide will be graduating through education than since the beginning of history. More people, and it's the combination of all the things we've talked about—technology and its transformation effect on work, and demography and the huge explosion in population. Suddenly degrees aren't worth anything. Isn't that true? When I was a student, if you had a degree, you had a job. If you didn't have a job it's because you didn't want one. And I didn't want one, frankly. But now kids with degrees are often heading home to carry on playing video games, because you need an MA where the previous job required a BA, and now you need a PhD for the other. It's a process of academic inflation. And it indicates the whole structure of education is shifting beneath our feet. We need to radically rethink our view of intelligence.

根据联合国教科文组织的统计预测，未来三十年内全球的教育系统毕业生人数将达到历史之最。高科技及其对工作性质的改变影响，人口以及人口大爆炸，这些我们提及过的因素加在一起将导致毕业生越来越多。学历突然缩水了。难道不是吗？我上学那会儿，只要你有一纸文凭，你就有饭碗。如果你没有工作，那是因为你不想要。坦白说，我当时就不想要（作者的自嘲）。可现在有学历的毕业生们却常常待业在家打游戏，因为工作岗位的学历要求都升级了，过去需要学士的岗位现在开始要硕士了，过去要硕士的岗位现在要博士了。这是个“学历膨胀”的过程。这一过程说明了整个教育体系正在我们眼下经历着重大转变。我们需要从根本上重新审视自己的智能观。

We know three things about intelligence: One, it's diverse. We think about the world in all the ways we experience it. We think visually, we think in sound, we think kinesthetically. We think in abstract terms, we think in movement.

我们知道智能有三大特点：第一，智能具有多元性。我们运用各种体验方式来认知世界，比如视觉、听觉、触觉、抽象化、动态化等等。

Secondly, intelligence is dynamic. The brain isn't divided into compartments. In fact, creativity, which I define as the process of having original ideas that have value, more often than not comes about through the interaction of different disciplinary ways of seeing things.

第二，智能具有交互性。大脑并不是由相互隔绝的单元组成的。事实上，创造活动往往就诞生于各学科看待事物的不同方式所产生的交互作用，在我看来，创造就是“有价值的原创思想的产生过程”。

And the third thing about intelligence is, it's distinct. I'm doing a new book at the moment called Epiphany which is based on a series of interviews with people about how they discovered their talent. I'm fascinated by how people got to be there. It's really prompted by a conversation I had with a wonderful woman who maybe most people have never heard of, Gillian Lynne. She's a choreographer. She did Cats, and Phantom of the Opera, she's wonderful. Gillian and I had lunch one day and I said, “Gillian, how'd you get to be a dancer?” And she said it was interesting, when she was at school, she was really hopeless. And the school, in the 30s, wrote her parents and said, “We think Gillian has a learning disorder.” She couldn't concentrate, she was fidgeting.

第三，智能具有独特性。目前我正在写一本新书，叫做《悟》，是根据一系列人物访谈写成的，主题围绕“你是如何发现自己才能的？”。我对人们的自我发现很感兴趣。事实上，写这本书的念头源自我和一位出色的女士之间的对话，也许这里大部分人没有听说过她，她叫吉莉安·林恩，是一名舞蹈指导，曾经给歌舞剧《猫》、《歌剧魅影》编排舞蹈，非常棒的一位女士！有一天我和吉莉安一起吃午餐，我问她：“吉莉安，你当初是怎么走上跳舞这条路的？”她告诉我，其中的故事还蛮有趣的。当年她在学校时，大家都说她没得救了。那还是在上世纪三十年代，学校写信给她父母说“我们认为吉莉安有学习障碍”。那时候的她无法集中注意力，总是坐立不安。

Anyway, she went to see a specialist in an oak-paneled room with her mother and she sat on her hands for 20 minutes while this man talked to her mother about all the problems Gillian was having at school. In the end, the doctor went and sat next to Gillian and said, “Gillian I've listened to all these things that your mother's told me, and I need to speak to her privately. Wait here, we'll be back, we won't be very long,” and they went and left her.

后来她妈妈就带着她去看专科。那是一间铺着橡木地板的诊室。吉莉安把双手压在屁股下，耐住性子坐了20分钟，这段时间里医生和她妈妈谈论了她在学校里出现的种种问题。最后，医生走过来坐在吉莉安身边对她说：“吉莉安，你妈妈和我讲了你的所有事情，现在我要和她私下谈谈。在这儿等着，我们很快就回来。”于是他们就留下她出去了。

But as they went out the room, he turned on the radio that was sitting on his desk, and when they got out the room, he said to her mother, “Just stand and watch her.” And the minute they left the room, she said, she was on her feet, moving to the music. And they watched for a few minutes and he turned to her mother and said, “Mrs. Lynne, Gillian isn't sick; she's a dancer. Take her to a dance school.” Somebody else might have put her on medication and told her to calm down.

就在他们离开房间的时候，医生拧开了他桌上的收音机。走出房间后，医生对吉莉安的妈妈

说道：“就在这儿观察一下她”。吉莉安说，他们刚离开房间她就站了起来，随着音乐移动步子。在外面观察了几分钟后，那位医生转向她妈妈说道：“林恩夫人，吉莉安并没有生病，她是个天生的舞蹈家。送她去舞蹈学校吧。”（感谢当年那位医生，）换了别人或许会对吉莉安进行药物治疗，并告诉她要平静下来。

I believe our only hope for the future is to adopt a new conception of human ecology, one in which we start to reconstitute our conception of the richness of human capacity. Our education system has mined our minds in the way that we strip-mine the earth, for a particular commodity, and for the future, it won't serve us.

我认为我们未来唯一的希望在于创设一种新的人文生态构想，唯有在此构想上才可重新认识到人类能力之丰富。如同获得商品的欲望驱使人类掠采矿物资源，现行的教育体制也正以此道压榨着我们的智力，而这种压榨并不能造福人类社会。

We have to rethink the fundamental principles on which we're educating our children. And our task is to educate their whole being, so they can face this future—by the way, we may not see this future, but they will. And our job is to help them make something of it.

我们必须重新思考我们教育孩子的基本原则。我们的任务是教育所有的孩子，以便他们能够面对未来——顺便提一下，这个未来或许我们是看不见了，但是他们可以，我们的工作就是帮助他们战胜未来的挑战。

篇二：学校扼杀创造力

Ted演讲（肯.罗伯逊）

学校扼杀创造力

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

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。

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）

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）

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“James Robinson 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）

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？

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）

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）

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。

篇三：英语演讲_Do_schools_kill_creativity教育扼杀创造力吗

Do schools kill creativity

Good morning. How are you? It's been great, hasn't it? I've been blown away by the whole thing. In fact, I'm leaving. (Laughter) There have been three themes, haven't there, running through the conference, which are relevant to what I want to talk about. One is the extraordinary evidence of human creativity in all of the presentations that we've had and in all of the people here. Just the variety of it and the range of it. The second is that it's put us in a place where we have no idea 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 an interest in education -- actually, what I find is everybody has an interest in education. Don't you? I find this very interesting. If you're at a dinner party, and you say you work in education -- actually, you're not often at dinner parties, frankly, if you work in education. (Laughter) You're not asked. And you're never asked back, curiously. That's strange to me. But if you are, and you say to somebody, you know, they say, "What do you do?" and you say you work in education, you can see the blood run from their face. They're like, "Oh my God," you know, "Why me? My one night out all week." (Laughter) But if you ask about their education, they pin you to the wall. Because it's one of those things that goes deep with people, am I right? Like religion, and MONEY and other things. I have a big

interest in education, and I think we all do. We have a huge vested interest in it, partly because it's education that's meant to take us into this future that we can't grasp. If you think of it, children starting school this year will be retiring in 2065. Nobody has a clue -- despite all the expertise that's been on 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. So the 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 all agreed, 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 seeing what 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 of extraordinary dedication who found a talent. And my contention is, all kids have tremendous talents. And we squander them, pretty ruthlessly. So I want to talk about education and I want to talk about creativity. My contention is that creativity now is as important in education as literacy, and we should treat it with the same status. (Applause) Thank you. That was it, by the way. Thank you very much. (Laughter) So, 15 minutes left. Well, I was born ... 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 a great story recently -- I love telling it -- of a little girl who was in a drawing lesson. She was six and she was at the back, drawing, and the teacher said this little girl hardly ever paid attention, and in this drawing lesson she did. The teacher was fascinated and she went over to her and she said, "What are you drawing?" And the girl said, "I'm drawing a picture of God." And the teacher said, "But nobody knows what God looks like." And the girl 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 son was 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 that year. He was in the Nativity play. Do you remember the story? No, it was big. It was a big story. Mel Gibson did the sequel. You may have seen it: "Nativity II." But James got the part of Joseph, which we were thrilled about. We considered this to be one of the lead parts. We had the place 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 kings come in. They come in bearing gifts, and they bring gold, frankincense and myrrh. This really happened. 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 with that?" And he said, "Yeah, why? Was that wrong?" They just switched, that was it. Anyway, the three boys came in -- four-year-olds with tea towels on their heads -- and they put these boxes down, and the first boy said, "I bring you

gold."And the second boy said, "I bring you myrrh." And the third 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“James

Robinson 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 these things 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. Now, I don't mean to say that being wrong is the same thing as being creative. What we do know is, if you're not prepared to be wrong, you'll never come up with anything original -- if you're not prepared to be wrong. And by the time they get to be adults, most kids have lost that capacity. They have become frightened of being wrong. And we run our companies like this, by the way. We stigmatize mistakes. And we're now running national education systems where mistakes are the worst thing you can make. And the result is that we are educating people out of their creative capacities. Picasso once said this -- he said that all children are born artists. The problem is to remain an artist as we grow up. I believe this passionately, that we don't grow into creativity, we grow 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 in Stratford-on-Avon until about five years ago. In fact, we moved from Stratford to Los Angeles. So you can imagine what a seamless transition that was. (Laughter) Actually, we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare's father was born. Are you struck by a new thought? I

was. You don't think of Shakespeare having a father, do you? Do you? Because you don't think of Shakespeare being a child, do you? Shakespeare being seven? I never thought of it. I mean, he was seven at some point. He was in somebody's English class, wasn't he? How annoying would that be? (Laughter) "Must try harder." Being sent to bed by his dad, you know, to Shakespeare, "Go to bed, now," to William Shakespeare, "and put the pencil down. And stop speaking like that. 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, we moved from Stratford to Los Angeles, and I just want to say a word about the transition, actually. My son didn't want to come. I've got two kids. He's 21 now; my daughter's 16. He didn't want to come to Los Angeles. He loved it, but he had a girlfriend in England. This was the love of his life, Sarah. He'd known her for a month. Mind you, they'd had their fourth anniversary, because it's a long time when you're 16. Anyway, he was really upset on the plane, and he said, "I'll never find another girl like Sarah." And we were rather pleased about that, frankly, because she was the main reason we were leaving 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）

But something strikes you when you move to America and when you travel around the world: Every education system on earth has the same hierarchy of

subjects. 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 the bottom 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 higher status in schools than drama and dance. There isn't an education system on the planet that teaches dance everyday to children the way we teach them mathematics. Why? Why not? I think this is rather important. I think math is very important, but so is dance. Children dance all the time if they're allowed to, we all do. We all have bodies, don't we? Did I miss a meeting? (Laughter) Truthfully, what happens is, as children grow up, we start to educate them progressively from the waist up. And then we focus on their 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。

If you were to visit education, as an alien, and say "What's it for, public education?" I think you'd have to conclude -- if you look at the output, who really succeeds by this, who does everything that they should, who gets all the brownie points, who are the winners -- I think you'd have to conclude the whole purpose of public education throughout the world is to produce university professors. Isn't it? They're the people who come out the top. And I used to be one, so there. (Laughter) And I like university professors, but you know, we shouldn't hold them up as the high-water mark of all human achievement. They're just a form of life, another form of life. But they're rather curious, and I say this out of affection for them. There's something curious about professors in my experience -- not all of them, but typically -- they live in their heads. They live up there, and slightly to one side. They're disembodied, you know, in a kind of literal way. They look upon their body as a form of transport for their heads, don't they? (Laughter) It's a way of getting their head to meetings. If you want real evidence of out-of-body experiences, by the way, get yourself along to a residential conference of senior academics, and pop into the discotheque on the final night. (Laughter) And there you will see it -- grown men and women writhing uncontrollably, off the beat, waiting until it ends so they can go home and write a paper about it.

如果你以一个外国人的身份来参观我们的教育体系， 带着这样的问题：“公办教育的目的是什么？” 那么当你看到我们的教育体系产业化的发展，我相信，你就会明白 是谁在真正从中受益， 是谁被教导着该做什么不该做什么， 是谁得了满分，谁是第一名-- 关于公办教育的目的，我想你会得出这样的结论 世界上所有的公办教育 都以培养大学教授为目的。难道不是吗？ 因为大学教授是象牙塔尖上的人。 我也曾是一名大学教授，也是塔尖上的人。（笑声） 我倾慕大学教授的学识，但 我们不应该用这样一个头衔作为衡量一个人成功与否的分水岭。 其实大学教授只是360行中的一行， 只不过他们比较好求知， 我这样说不是因为对他们的倾慕。 在我看来，大学教授有个特点-- 虽然不是共性，但很典型--他们只用脑子生活。 而且偏重于大脑的一侧。 用书面语来说就是--他们脑体分离。 他们只是把身体当作 大脑的载体而已，难道不是吗？ （笑声)这个载体可以载着大脑去开会。 如果你想亲身体验 你就去参加一次会议 --学术研讨会， 然后在会议结束后再去迪厅蹦迪。 （笑声）在那你会看到，成年男女 在不和乐拍地疯狂摇摆。 期待夜晚的结束好回家写篇关于蹦迪的论文。

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