托德：拉斐尔，你在大学主修什么课程？

　　Raphael: My main specialty is stage design, but stage design is basically theater decoration, but it tends to disappear because there is not so many job in this field, so it's closely related to interior design and light design as well, so basically I'm doing light and interior design. That's my job!

　　拉斐尔：我的专业是舞台设计，基本上来说舞台设计就是剧院装饰，不过这门课程有逐渐消失的趋势，因为这个领域的工作岗位不多，由于这门专业与室内设计和灯光设计有紧密的联系，所以我现在在做灯光设计和室内设计。这就是我的工作！

　　Todd: OK. Why is theater design going away? Because people are not going to the theater?

　　托德：好。为什么剧院设计会消失？因为人们不再去剧院了吗？

　　Raphael: No it's not being away, but the point is it's a difficult job because there's not so many money coming from this practice, you know, because the theater system is not, not so many people go to the theater comparing to cinema or exhibits or, you know, this kind of things, and it's quite a reserved to the highlight, and it's very difficult for the, actually, the artists who works in this area cause there's not a lot of money coming from it so just living, like designing for theater is quite difficult.

　　拉斐尔：不是，目前并没有消失，但是关键是这是一项非常难的工作，因为这类工作实际上挣钱不多，你知道，因为剧院系统的情况，相比于电影院和展览会这类的地方，去剧院的人并不是很多，那里只是保留下来，而且在这个领域工作的艺术家也很困难，因为挣钱不多，所以靠设计剧院为生非常难。

　　Todd: Well, I can imagine. So, what kind of design would you like to do then?

　　托德：嗯，我可以想象。那你喜欢做哪种设计？

　　Raphael: Now, I'm really interested in light design. That's the reason why I came to Japan, because they have some really interesting light designer here, especially because they don't have the same strict architecture rules that we have in France, like every time you want to build something new, or just decorate a shop, anything, you need, once the project is over, everything's prepared you need to show it to an architect who specialize in this very rules. He will tell you if you can or not actually build it, corresponding to the rhythm of the existing buildings, you know the lines, the structure of everything, things like that. It's really difficult, so Japan is changing faster, they destruct, they build a new building, and they destruct, and they build something new, they don't really care about the past of the buildings so there's a lot of liberty from light designer. It's very free. They can do some really interesting things.

　　拉斐尔：现在我对灯光设计非常感兴趣。这就是我来日本的原因，因为这里有一些非常引人注目的灯光设计师，尤其是因为，我们法国有一些严格的建筑规则，但是这里没有，比如说每次你想建造一些新的事物，或者是装修店铺或其他的东西，一旦方案完成，你要把所有的准备向一名建筑师展示，这个人专攻这些规则。他会告诉你你是否能进行这项工程，要和现有建筑的状态相呼应，比如建筑的轮廓、结构等等类似的事情。这非常难，可是日本的变化非常快，他们破坏，他们建造出一个新建筑以后，就会进行破坏，他们建造出了新的建筑，而他们并不太在意过去那些建筑，所以这给了设计师很大的自由。这里可以自由发挥。他们会做一些非常有意思的事情。

　　Todd: Well, what would be your dream job, if you could have any job?

　　托德：嗯，如果工作的话你的理想工作是什么？

　　Raphael: My dream job? I wish I could make a connection between my light design skills and my taste for music, sound design. Actually it's, theater is one place where these things mix up. Cinema is one place where it mix up as well, but there's not a lot of fields where you can like think at the same time about the effect produced by the sound, and the effect produced by the light.

　　拉斐尔：我的理想工作？我希望我能把我的灯光设计技术和我喜欢的音乐、音效设计结合在一起。实际上，剧院就是可以把这些整合在一起的地方。当然电影院也是可以整合这些的地方，但是能同时结合音效和灯光效果的地方并不是很多。

　　Todd: So, it's be like a scary movie has dark lighting and dark music?

　　托德：那就像恐怖电影配黑暗的灯光和黑暗的音乐吗？

　　Raphael: Yeah, this kind of thing. This kind of, but when you want to produce a moment because it's basically what it's about, it's producing a moment, a feeling, like you can use any media, right? Whatever it is, it's not important. The important is what are you creating, has an effect, but when you use at the same time, light and sound it's quite complement, complementary.

　　拉斐尔：对，大概就是这样。类似这种，但是当你想创造出一个时刻，大概就是……创造出一个时刻，一种感觉，你可以使用各种介质，对吧？无论那是什么，这并不是很重要。重要的是你创造出来的东西要有效果，但是当你同时使用灯光和音效的时候，就会更加完美，会产生互补的作用。

　　Todd: Oh, OK. Well, best of luck.

　　托德：嗯，好。祝你好运。