第一篇：Christopher Emdin在Ted英語演講老師如何創造魔力(中英雙語)

Christopher Emdin:Teach teachers how to create magic 老師如何創造魔力

Right now there is an aspiring teacher who is working on a 60-page paper based on

some age-old education theory developed by some dead education professor wondering to herself what this task that she's engaging in has to do with what she wants to do with her life, which is be an educator, change lives, and spark magic.Right now there is an aspiring teacher in a graduate school of education who is watching a professor babble on and on about engagement in the most disengaging way possible.現在 有一位有追求的老師 正在寫一篇60頁的論文 論文是基于一些古老教育理念，它們都是由一些早已逝去的教育學教授所開發，這位老師問她自己，她正從事的這項任務--成為一個教育者，改變生命并啟迪人生--和她的工作聯系呢。有一位有理想的老師 正在一所教育研究生院 聽著一位教授 用一種最無聊的方式 不停地講述著教育中的互動。Right now there is an aspiring teacher who is working on a 60-page paper based on

some age-old education theory developed by some dead education professor wondering to herself what this task that she's engaging in has to do with what she wants to do with her life, which is be an educator, change lives, and spark magic.Right now there is an aspiring teacher in a graduate school of education who is watching a professor babble on and on about engagement in the most disengaging way possible.Right now there's a first-year teacher at home who is pouring through lesson plans trying to make sense of standards, who is trying to make sense of how to grade students appropriately, while at the same time saying to herself over and over again, “Don't smile till November,”

because that's what she was taught in her teacher education program.Right now there's a student who is coming up with a way to convince his mom or dad that he's very, very sick and can't make it to school tomorrow.現在 有一位一年級老師在家中 正檢查課程計劃，試圖達到標準的感覺。這位老師又在想如何才能合理為學生打分，同時又對她自己 反復地說，“在11 月之前都不要笑，” 因為那些都是 她從教育課程學到的。現在，有一位學生 正試圖想出一個主意 去說服他的父母，他非常非常地不舒服，明天不能上學了。

On the other hand, right now there are amazing educators that are sharing information, information that is shared in such a beautiful way that the students are sitting at the edge of their seats just waiting for a bead of sweat to drop off the face of this person so they can soak up all that knowledge.Right now there is also a person who has an entire

audience rapt with attention, a person that is weaving a powerful narrative about a world that the people who are listening have never imagined or seen before, but if they close their eyes tightly enough, they can envision that world because the storytelling is so

compelling.Right now there's a person who can tell an audience to put their hands up in the air and they will stay there till he says, “Put them down.” Right now.現在，在另一方面，了不起地教育家們 傳授知識，以一種最優美地方式傳授知識，以至于學生坐在他們邊緣 只是為了等待一滴甘甜的露珠 從老師的臉上掉下來，并去汲取所有的知識。現在，又有一位 讓所有觀眾全神貫注的人，他編織生動的語言 描繪著 一個聽眾們 聞所未聞地的世界，但如果人們緊閉雙眼，便能想像出那個世界，因為那個故事實在是太精彩。現在，有一個人 叫觀眾將手放在空中 直到他說“放下來” 才可以放下來。現在。So people will then say, “Well, Chris, you describe the guy who is going through some awful training but you're also describing these powerful educators.If you're thinking about the world of education or urban education in particular, these guys will probably cancel each other out, and then we'll be okay.”

這樣一來，人們會說，“克里斯，你描述了 正接受可怕訓練的伙計，但你還描述那些有感召力教育者。如果你在想關于教育的世界，或專注于城市教育，那些人可能會有相反的效應并相互抵消，也就沒什么事了。“

The reality is, the folks I described as the master teachers, the master narrative builders, the master storytellers are far removed from classrooms.The folks who know the skills

about how to teach and engage an audience don't even know what teacher certification means.They may not even have the degrees to be able to have anything to call an

education.And that to me is sad.It's sad because the people who I described, they were very disinterested in the learning process, want to be effective teachers, but they have no models.I'm going to paraphrase Mark Twain.Mark Twain says that proper preparation, or teaching, is so powerful that it can turn bad morals to good, it can turn awful practices into powerful ones, it can change men and transform them into angels.事實上，我所描述 教育大師，敘述大師，講故事大師，都離課堂很遙遠。那些掌握如何教學并 與觀眾互動的人 甚至都不知道什么是教師資格證。也許他們連可以 叫做教育的東西 都沒有。對我來說，這是一件非常悲哀的事情。之所以悲哀，是因為我所描述的那些人 他們對學習的過程沒有興趣，他們想成為高效的老師，卻沒有范例。我要概括一下馬克·吐溫說過的一句話。馬克·吐溫說適當的準備或教學，是非常強大的，可以將不好的品行變好，將糟糕的實踐變得強有力，將人們改變，并將他們改造成為天使。

The folks who I described earlier got proper preparation in teaching, not in any college or university, but by virtue of just being in the same spaces of those who engage.Guess where those places are? Barber shops, rap concerts, and most importantly, in the black church.And I've been framing this idea called Pentecostal pedagogy.Who here has been to a black church? We got a couple of hands.You go to a black church, their preacher starts off and he realizes that he has to engage the audience, so he starts off with this sort of wordplay in the beginning oftentimes, and then he takes a pause, and he says, “Oh my gosh, they're not quite paying attention.” So he says, “Can I get an amen?” 我之前所說的那些 有著適當教學準備的人，他們不在大學里，只在那些有同樣有著人們參與和互動的地方。猜猜看有哪些地方？ 理發店，說唱音樂會，和最首要的黑人教堂。我一直都在構造這個叫做五旬節教學法的主意。誰去過黑人教堂？ 有幾個人。你到一所黑人教堂，他們的祭祀開始 并意識到他必須吸引觀眾的目光，因此他一般 從文字游戲開始，然后停頓一下，說：”哦，我的天，他們并沒有集中注意力。“ 然后他說：”你們可以說阿門么？“

Audience: Amen.觀眾：阿門。

Chris Emdin: So I can I get an amen? Audience: Amen.克里斯·艾姆丁：大家能一起說“阿門”么？ 觀眾：阿門。

CE: And all of a sudden, everybody's reawoken.That preacher bangs on the pulpit for attention.He drops his voice at a very, very low volume when he wants people to key into him, and those things are the skills that we need for the most engaging teachers.So why does teacher education only give you theory and theory and tell you about standards and tell you about all of these things that have nothing to do with the basic skills, that magic that you need to engage an audience, to engage a student? So I make the argument that we reframe teacher education, that we could focus on content, and that's fine, and we could focus on theories, and that's fine, but content and theories with the absence of the magic of teaching and learning means nothing.克里斯·艾姆丁：頃刻間，人們都清醒了。那個祭祀提高傳道的聲音吸引注意力。當他想鎖住人們的注意力時，便將音量放得很低，那些都是最鼓舞人心的老師 所需要的技能。為什么教師培訓 僅是不停地傳授理論 并告訴你教學標準，告訴你那些與基本技能無關的 不能鼓舞觀眾 和激勵學生的，沒有魔力的東西呢？ 所以我立論：我們應該重塑師資培訓，我們可以專注于教學內容，我們可以專注于教學理論，但是只有內容和理論 卻沒有那教與學的魔力 那都是空談。

Now people oftentimes say, “Well, magic is just magic.” There are teachers who, despite all their challenges, who have those skills, get into those schools and are able to engage an audience, and the administrator walks by and says, “Wow, he's so good, I wish all my teachers could be that good.” And when they try to describe what that is, they just say,“He has that magic.”

人們常說：”魔力只是魔力罷了。“ 有老師不畏挑戰 并擁有那些技能 在學校能夠激勵和鼓舞學生，當學校管理者路過時便說： ”喔，他很會教學！我希望其他老師都可以和他一樣優秀。“ 但是當他們描述他教學成功的原因時，他們只說：”他擁有魔力。“

But I'm here to tell you that magic can be taught.Magic can be taught.Magic can be taught.Now, how do you teach it? You teach it by allowing people to go into those spaces where the magic is happening.If you want to be an aspiring teacher in urban

education, you've got to leave the confines of that university and go into the hood.You've got to go in there and hang out at the barbershop, you've got to attend that black church, and you've got to view those folks that have the power to engage and just take notes on what they do.At our teacher education classes at my university, I've started a project where every single student that comes in there sits and watches rap concerts.They watch the way that the rappers move and talk with their hands.They study the way that he walks proudly across that stage.但是我想告訴你們 那種魔力是可以被教的。魔力是可以被教的。魔力是可以被教的。但是怎么去傳授？ 你可以通過允許人們參觀 那些魔力在發生的地方 教授他們這種技能。如果你想成為城市教育中一位有抱負的老師 你得走出大學的限制 進入到魔力發生的地方。你得在理發店內與人們交談，你得去看看黑人教堂，你還得去看看 那些有感召力的人 學習他們的做法。在我大學的教師培訓課堂中，我開啟了一個項目，讓每一個學生看說唱音樂會。他們觀察說唱歌手 的步法與說話時的手勢。他們研究說唱歌手在舞臺上自信走動的姿態。

They listen to his metaphors and analogies, and they start learning these little things that if they practice enough becomes the key to magic.They learn that if you just stare at a student and raise your eyebrow about a quarter of an inch, you don't have to say a word because they know that that means that you want more.And if we could transform

teacher education to focus on teaching teachers how to create that magic then poof!we could make dead classes come alive, we could reignite imaginations, and we can change education.他們聽說唱歌手的暗示和比喻，他們遍開始學習這些東西，如果他們有足夠的練習，這些將會成為掌握魔力的關鍵。他們學到如果你凝視一個學生 并將你的眉毛抬高四分之一英寸，你一個字都不用說 因為學生會知道你想要更多的答案。如果我們可以將將是培訓轉型，專注于 對于魔力的教學，我們可以將無趣的課堂變得生動起來，我們可以重新點燃想象力，我們可以改變教育。

Thank you.謝謝.(Applause)

（掌聲）

精彩推薦： 外貿英語

第二篇：TED名人演講稿：老師如何創造魔力

【趣味雅思】TED名人演講稿：老師如何創造魔力

點課臺前言：雅思聽力對于很多烤鴨來說都是一道難關，大家都在苦苦思索，怎樣的雅思聽力。今天，點課臺老師給大家整理了TED演講，附演講稿與視頻，希望可以幫助到正在備考的考生。TED是美國的一家私有非盈利機構，該機構以它組織的TED大會著稱，這個會議的宗旨是“用思想的力量來改變世界”。大家在鍛煉雅思聽力的時候，也可以學習一下里面的主角們的思維模式，論述方法，希望還能對大家的雅思寫作有所啟迪。

Christopher Emdin:Teach teachers how to create magic

老師如何創造魔力.Right now there is an aspiring teacher who is working on a 60-page paper

based on some age-old education theory developed by some dead education

professor wondering to herself what this task that she’s engaging in has to do

with what she wants to do with her life, which is be an educator, change lives，and spark magic.Right now there is an aspiring teacher in a graduate school of

education who is watching a professor babble on and on about engagement in the

most disengaging way possible.現在 有一位有追求的老師 正在寫一篇60頁的論文 論文是基于一些古老教育理念，它們都是由一些早已逝去的教育學教授所開發，這位老師問她自己，她正從事的這項任務--成為一個教育者，改變生命并啟迪人生--和她的工作聯系呢。有一位有理想的老師 正在一所教育研究生院 聽著一位教授 用一種最無聊的方式

不停地講述著教育中的互動。

Right now there is an aspiring teacher who is working on a 60-page paper

based on some age-old education theory developed by some dead education

professor wondering to herself what this task that she’s engaging in has to do

with what she wants to do with her life, which is be an educator, change lives，and spark magic.Right now there is an aspiring teacher in a graduate school of

education who is watching a professor babble on and on about engagement in the

most disengaging way possible.Right now there’s a first-year teacher at home

who is pouring through lesson plans trying to make sense of standards, who is

trying to make sense of how to grade students appropriately, while at the same time saying to herself over and over again, “Don’t smile till November,” because

that’s what she was taught in her teacher education program.Right now there’s a

student who is coming up with a way to convince his mom or dad that he’s very，very sick and can’t make it to school tomorrow.現在 有一位一年級老師在家中 正檢查課程計劃，試圖達到標準的感覺。這位老師又在想如何才能合理為學生打分，同時又對她自己 反復地說，”在11

月之前都不要笑，” 因為那些都是 她從教育課程學到的。現在，有一位學生 正試圖想出一個主意 去說服他的父母，他非常非常地不舒服，明天不能上學了。

On the other hand, right now there are amazing educators that are sharing

information, information that is shared in such a beautiful way that the

students are sitting at the edge of their seats just waiting for a bead of sweat

to drop off the face of this person so they can soak up all that knowledge.Right now there is also a person who has an entire audience rapt with attention，a person that is weaving a powerful narrative about a world that the people who

are listening have never imagined or seen before, but if they close their eyes

tightly enough, they can envision that world because the storytelling is so

compelling.Right now there’s a person who can tell an audience to put their

hands up in the air and they will stay there till he says, “Put them down.”

Right now.現在，在另一方面，了不起地教育家們 傳授知識，以一種最優美地方式傳授知識，以至于學生坐在他們邊緣 只是為了等待一滴甘甜的露珠 從老師的臉上掉下來，并去汲取所有的知識。現在，又有一位 讓所有觀眾全神貫注的人，他編織生動的語言 描繪著 一個聽眾們 聞所未聞地的世界，但如果人們緊閉雙眼，便能想像出那個世界，因為那個故事實在是太精彩。現在，有一個人 叫觀眾將手放在空中 直到他說”放下來” 才可以放下來。現在。

So people will then say, “Well, Chris, you describe the guy who is going

through some awful training but you’re also describing these powerful educators.If you’re thinking about the world of education or urban education in

particular, these guys will probably cancel each other out, and then we’ll be

okay.”

這樣一來，人們會說，“克里斯，你描述了 正接受可怕訓練的伙計，但你還描述那些有感召力教育者。如果你在想關于教育的世界，或專注于城市教育，那些人可能會有相反的效應并相互抵消，也就沒什么事了。”

The reality is, the folks I described as the master teachers, the master

narrative builders, the master storytellers are far removed from classrooms.The

folks who know the skills about how to teach and engage an audience don’t even

know what teacher certification means.They may not even have the degrees to be

able to have anything to call an education.And that to me is sad.It’s sad

because the people who I described, they were very disinterested in the learning

process, want to be effective teachers, but they have no models.I’m going to

paraphrase Mark Twain.Mark Twain says that proper preparation, or teaching, is

so powerful that it can turn bad morals to good, it can turn awful practices

into powerful ones, it can change men and transform them into angels.事實上，我所描述 教育大師，敘述大師，講故事大師，都離課堂很遙遠。那些掌握如何教學并 與觀眾互動的人 甚至都不知道什么是教師資格證。

也許他們連可以 叫做教育的東西 都沒有。對我來說，這是一件非常悲哀的事情。之所以悲哀，是因為我所描述的那些人 他們對學習的過程沒有興趣，他們想成為高效的老師，卻沒有范例。我要概括一下馬克·吐溫說過的一句話。馬克·吐溫說適當的準備或教學，是非常強大的，可以將不好的品行變好，將糟糕的實踐變得強有力，將人們改變，并將他們改造成為天使。

The folks who I described earlier got proper preparation in teaching, not in

any college or university, but by virtue of just being in the same spaces of

those who engage.Guess where those places are? Barber shops, rap concerts, and

most importantly, in the black church.And I’ve been framing this idea called

Pentecostal pedagogy.Who here has been to a black church? We got a couple of

hands.You go to a black church, their preacher starts off and he realizes that

he has to engage the audience, so he starts off with this sort of wordplay in

the beginning oftentimes, and then he takes a pause, and he says, “Oh my gosh，they’re not quite paying attention.” So he says, “Can I get an amen?”

我之前所說的那些 有著適當教學準備的人，他們不在大學里，只在那些有同樣有著人們參與和互動的地方。猜猜看有哪些地方? 理發店，說唱音樂會，和最首要的黑人教堂。我一直都在構造這個叫做五旬節教學法的主意。誰去過黑人教堂? 有幾個人。你到一所黑人教堂，他們的祭祀開始

并意識到他必須吸引觀眾的目光，因此他一般 從文字游戲開始，然后停頓一下，說：”哦，我的天，他們并沒有集中注意力。”

然后他說：”你們可以說阿門么?”

Audience: Amen.觀眾：阿門。

Chris Emdin: So I can I get an amen? Audience: Amen.克里斯·艾姆丁：大家能一起說”阿門”么? 觀眾：阿門。

CE: And all of a sudden, everybody’s reawoken.That preacher bangs on the

pulpit for attention.He drops his voice at a very, very low volume when he

wants people to key into him, and those things are the skills that we need for

the most engaging teachers.So why does teacher education only give you theory

and theory and tell you about standards and tell you about all of these things

that have nothing to do with the basic skills, that magic that you need to

engage an audience, to engage a student? So I make the argument that we reframe

teacher education, that we could focus on content, and that’s fine, and we could

focus on theories, and that’s fine, but content and theories with the absence of

the magic of teaching and learning means nothing.克里斯·艾姆丁：頃刻間，人們都清醒了。那個祭祀提高傳道的聲音吸引注意力。當他想鎖住人們的注意力時，便將音量放得很低，那些都是最鼓舞人心的老師

所需要的技能。為什么教師培訓 僅是不停地傳授理論 并告訴你教學標準，告訴你那些與基本技能無關的 不能鼓舞觀眾 和激勵學生的，沒有魔力的東西呢?

所以我立論：我們應該重塑師資培訓，我們可以專注于教學內容，我們可以專注于教學理論，但是只有內容和理論 卻沒有那教與學的魔力 那都是空談。

Now people oftentimes say, “Well, magic is just magic.” There are teachers

who, despite all their challenges, who have those skills, get into those schools

and are able to engage an audience, and the administrator walks by and says，“Wow, he’s so good, I wish all my teachers could be that good.” And when they

try to describe what that is, they just say, “He has that magic.”

人們常說：”魔力只是魔力罷了。” 有老師不畏挑戰 并擁有那些技能 在學校能夠激勵和鼓舞學生，當學校管理者路過時便說：

“喔，他很會教學!我希望其他老師都可以和他一樣優秀。” 但是當他們描述他教學成功的原因時，他們只說：”他擁有魔力。”

But I’m here to tell you that magic can be taught.Magic can be taught.Magic

can be taught.Now, how do you teach it? You teach it by allowing people to go

into those spaces where the magic is happening.If you want to be an aspiring

teacher in urban education, you’ve got to leave the confines of that university

and go into the hood.You’ve got to go in there and hang out at the barbershop，you’ve got to attend that black church, and you’ve got to view those folks that

have the power to engage and just take notes on what they do.At our teacher

education classes at my university, I’ve started a project where every single

student that comes in there sits and watches rap concerts.They watch the way

that the rappers move and talk with their hands.They study the way that he

walks proudly across that stage.但是我想告訴你們 那種魔力是可以被教的。魔力是可以被教的。魔力是可以被教的。但是怎么去傳授? 你可以通過允許人們參觀 那些魔力在發生的地方

教授他們這種技能。如果你想成為城市教育中一位有抱負的老師 你得走出大學的限制 進入到魔力發生的地方。你得在理發店內與人們交談，你得去看看黑人教堂，你還得去看看 那些有感召力的人 學習他們的做法。在我大學的教師培訓課堂中，我開啟了一個項目，讓每一個學生看說唱音樂會。他們觀察說唱歌手 的步法與說話時的手勢。他們研究說唱歌手在舞臺上自信走動的姿態。

They listen to his metaphors and analogies, and they start learning these

little things that if they practice enough becomes the key to magic.They learn

that if you just stare at a student and raise your eyebrow about a quarter of an

inch, you don’t have to say a word because they know that that means that you

want more.And if we could transform teacher education to focus on teaching

teachers how to create that magic then poof!we could make dead classes come

alive, we could reignite imaginations, and we can change education.他們聽說唱歌手的暗示和比喻，他們遍開始學習這些東西，如果他們有足夠的練習，這些將會成為掌握魔力的關鍵。他們學到如果你凝視一個學生

并將你的眉毛抬高四分之一英寸，你一個字都不用說 因為學生會知道你想要更多的答案。如果我們可以將將是培訓轉型，專注于 對于魔力的教學，我們可以將無趣的課堂變得生動起來，我們可以重新點燃想象力，我們可以改變教育。

Thank you.謝謝.(Applause)

(掌聲)

第三篇：學校扼殺了學生的創造力？Ken Robinson Ted英語演講視頻中英字幕,英語文本（共）

演講稿英語文本：

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.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.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, you're not asked.And you'll never ask 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.” But if you ask people 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.And the third part of this is that we've all agreed nonetheless on the really extraordinary capacity 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.Soooo, 15 minutes left.Well, I was born.I heard a great story recently, I love telling it, of a little girl who was in a drawing lesson, she was 6 and she was at the back, drawing, and the teacher said this little girl hardly 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.”

When my son was 4 in England--actually he was 4 everywhere, to be honest;if we're being strict about it, wherever he went, he was 4 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!” 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 we think they just went out of sequence, 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, I think that was it.Anyway, the three boys came in, little 4-year-olds with tea towels on their heads, and they put these boxes down, and the first boy said, “I bring you gold.” The second boy said, “I bring you myrhh.” And the third boy said, “Frank sent this.”

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, 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 of it.So why is this?

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 this was.Actually we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare's father was born.Were 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 7? I never thought of it.I mean, he was 7 at some point;he was in somebody's English class, wasn't he? How annoying would that be? “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.”

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.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 nomally given a higher status in schools than drama and dance.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? Did I miss a meeting?

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.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 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.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? 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, 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.Now our education system is predicated on the idea of academic ability.And there's a reason.The whole system was invented round the world there were no public systems of education really before the 19th century.They all came into being to meet the needs of industrialism.So the hierarchy is rooted on two ideas:

Number one, that the most useful subjects for work are at the top.So you were probably steered benignly away from things at school when you were a kid, things you liked, on the grounds that you would never get a job doing that.Is that right? Don't do music, you're not going to be a musician;don't do art, you're not going to be an artist.Benign advice--now, profoundly mistaken.The whole world is engulfed in a revolution.And the second is, academic ability, which has really come to dominate our view of intelligence because the universities designed the system in their image.If you think of it, the whole system of public education around the world is a protracted process of university entrance.And the consequence is that many highly talented, brilliant, creative people think they're not, because the thing they were good at at school wasn't valued, or was actually stigmatized.And I think we can't afford to go on that way.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.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.Secondly, intelligence is dynamic.If you look at the interactions of a human brain, as we heard yesterday from a number of presentations, intelligence is wonderfully interactive.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.The brain is intentionally--by the way, there's a shaft of nerves that joins the two halves of the brain called the corpus collosum, and it's thicker in women.Following on from Helen yesterday, I think this is probably why women are better at multitasking, because you are, aren't you, there's a raft of research, but I know it from my personal life.If my wife is cooking a meal at home, which is not often, thankfully, but you know, she's doing(oh, she's good at some things)but if she's cooking, you know, she's dealing with people on the phone, she's talking to the kids, she's painting the ceiling, she's doing open-heart surgery over here;if I'm cooking, the door is shut, the kids are out, the phone's on the hook, if she comes in I get annoyed, I say “Terry, please, I'm trying to fry an egg in here, give me a break.”(You know that old philosophical thing, if a tree falls in the forest and nobody hears it, did it happen, remember that old chestnut, I saw a great T-shirt recently that said, “If a man speaks his mind in a forest, and no woman hears him, is he still wrong?”)

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, she's called Gillian Lynne, have you heard of her? Some have.She's a choreographer and everybody knows her work.She did Cats, and Phantom of the Opera, she's wonderful.I used to be on the board of the Royal Ballet, in England, as you can see, and 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.I think now they'd say she had ADHD.Wouldn't you? But this was the 1930s and ADHD hadn't been invented at this point.It wasn't an available condition.People weren't aware they could have that.Anyway she went to see this specialist, in this oak-paneled room, and she was there with her mother and she was led and sat on a chair at the end, and she sat on her hands for 20 minutes while this doctor talked to her mother about all the problems Gillian was having at school.And at the end of it--because she was disturbing people, her homework was always late, and so on, little kid of 8--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.” He said, “Wait here, we'll be back, we won't be very long,” and they went and left her.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.”

I said, “What happened?”

She said, “She did.I can't tell you how wonderful it was.We walked in this room and it was full of people like me, people who couldn't sit still.People who had to move to think.” Who had to move to think.They did ballet, they did tap, they did jazz, they did modern, they did contemporary.She was eventually auditioned for the Royal Ballet School, she became a soloist, she had a wonderful career at the Royal Ballet, she eventually graduated from the Royal Ballet School and founded her own company, the Gillian Lynne Dance Company, and met Andrew Lloyd Weber.She's been responsible for some of the most successful musical theater productions in history, she's given pleasure to millions, and she's a multimillionaire.Somebody else might have put her on medication and told her to calm down.Now, I think--[applause] What I think it comes to is this: Al Gore spoke the other night about ecology and the revolution that was triggered by Rachel Carson.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.We have to rethink the fundamental principles on which we're educating our children.There was a wonderful quote by Jonas Salk, who said, “If all the insects were to disappear from the earth, within 50 years all life on earth would end.If all human beings disappeared from the earth, within 50 years all forms of life would flourish.” And he's right.What TED celebrates is the gift of the human imagination.We have to be careful now that we use this gift wisely, and that we avert some of the scenarios that we've talked about.And the only way we'll do it is by seeing our creative capacities for the richness they are, and seeing our children for the hope that they are.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.Thank you very much.

第四篇：老師在自己的崗位創造幸福演講稿

尊敬的各位領導、老師：

大家好!我今天演講的題目是：《幸福在這一刻開花》。

幸福是什么，沒有解釋，似乎是一個簡簡單單卻遙不可及的詞語?我沒有動人的外表，可我是幸福的;我沒有家財萬貫，但我是幸福的;我更沒有超人的智慧，但我很幸福，許多人都在問著：幸福是什么?

幸福需要解釋嗎? 在你問著幸福是什么的時候你已經是幸福的!幸福沒有比較，只有自己的感覺，時刻感覺的幸福!因為我們是一名光榮的人民教師。

當我從師范學校畢業，第一次以教師的身份踏進學校的大門時，我的心情難以表達。尤其是第一次站在講臺上，望著學生們求知若渴的眼神，我的心情久久難以釋懷。能作為他們的老師，我是幸福的。

我是教師隊伍里的新兵，經驗不足，卻得到了組織的信任和領導的厚愛。幾個月來，四年級四班的學生也帶給我很多感動，領導的關心，年級老師的細心照料，熱心幫助,都讓我感到自己是幸福的。

帶著這個班的學生，偶爾也有失落，但失落過后!再張開眼睛，世界還是這樣，陽光依舊燦爛，幸福的感覺還是在!

還記得教師頌里地語句說：“教師是紅燭，燃盡了自己，照亮了他人。教師是春蠶，吐盡了銀絲，為他人御寒。教師是工程師，塑造著他人的靈魂。”也許這只是幾句贊嘆教師的話語，但是當我不置身與教師隊伍中，我是不會了解這些話的真實深意的。以前只知道老師不過每天兩節課，批幾本作業而已。如今，我知道，尤其是班主任老師，一面是繁重的教學任務，一面要精心的看護學生，辦公室成了我們的家，教室成了我們永久的守望。這些動力和感動，都將會讓我永遠無悔于自己的選擇。

大家都知道，教育的根是苦的，我們也都有被學生氣急的時候，有被人不理解的時候，有被成堆瑣事困擾的時候。但是每當我再次面對孩子那純真無邪的眼神時，煩惱也都變成了過眼云煙。每一次我都嘗試用自己的愛去感化他們，用自己樸實的語言去教導他們，使他們找回自信，做新的自己。曾經聽人說：“做老師是最傻的，教師的職業太辛苦，太煩人，也太清貧了。”但今天，我想告訴那些人，作為教師，我們每天擁抱的是一個新的太陽，我們每天面對著的都是一群個性迥異的孩子，都是一個個前程不可限量的個體。

他們當中可能會有今后的政治領袖，可能會有今后的諾貝爾獎獲得者，可能會有各種各樣的可能……只要精心地去照料他們，只要引導他們養成良好的學習習慣，幫助他們去挖掘潛力，他們的能量是不可限量的，是會遠遠超出人們所能想象的。

每當我看見孩子們懵懂的眼神，我也不禁羨慕起他們。總會不禁想到了那時的自己。作為老師，我們是永遠年輕的，因為我們總是被孩子天真的童心包圍著。

幸福像春天，因為它擁有了新生;幸福更像秋天，因為它已載滿收獲;而我要說：幸福是付出，因為在明年我也會收獲幸福。我幸福，更因為----我是一名小學教師。幸福不需要解釋，我的幸福就是這么簡單，我的幸福也就在我踏進小學校園的那一刻開花了!

謝謝大家!我的演講到此結束。