你知道電梯與城市生活嗎？

Do you know the elevator and the city life?

貴州電梯保養(yǎng)二三十年前，城市從中國這片土地上開始擴張，人們還未習慣電梯的存在，被兒孫從農村帶到城市開眼界的一位老人回鄉(xiāng)后鄉(xiāng)民近乎戲謔地問這位老人家，城市稀奇不稀奇？他答道，其他倒沒什么，就是那個叫作電梯的，真正有趣：門一開一合，外面就戲法一般全變了?，F(xiàn)如今，對于電梯，人們已從不習慣到把其看作理想當然的一種存在。

Guizhou elevator maintenance twenty or thirty years ago, the city began to expand from the land of China. People are not accustomed to the existence of elevator. After an old man from the countryside to an open eye in the city, the villagers asked the old man with a joke. He replied, "the rest is nothing. It's the elevator. It's really interesting: the door opens and the tricks are all changed."  Nowadays, for elevators, people have never been used to seeing it as an ideal existence.

貴州電梯公司覺得城市需要電梯，如同卡夫卡所說的“一只鳥尋找一個籠子”。這件功用性太強以致缺乏詩意的物品，像是隱藏在大樓里的豎直潛水艇，用窄小空間負載著人群，在鋼筋混凝土中悄悄穿行。這種籠子激發(fā)人的想像，最初它甚至需要一位專職司機來進行操作，并且在外部努力裝飾，隨著技術發(fā)展還加上了透明玻璃，以減少人們對它的恐懼。以電梯作為兇案背景的小說和電影有不少，它也在各種都市傳說中高頻出現(xiàn)，多少折射出人們對其感到一定恐懼的心理現(xiàn)象——如果我們仔細觀察電梯中大型犬的反應，就能很深刻地認識到這點。

Guizhou elevator company feels the city needs elevators, as Kafka says, "a bird looks for a cage." This function is so strong that it lacks poetic material, such as a vertical submersible hidden in a building, which loads people in narrow space and runs quietly through reinforced concrete. This cage stimulates people's imagination. At first, it even needs a full-time driver to do the operation, and decorates outside. With the development of technology, transparent glass is added to reduce people's fear of it. To lift the murder as background of the novel and the film a lot, it is also in a variety of urban legends in high frequency, the number reflects the people feel fear of the psychological phenomenon -- if we carefully observe large dogs in elevator reaction, can be deeply aware of this point.

在這類空間中如何保持禮儀是個重大命題。狄更斯曾經(jīng)發(fā)現(xiàn)，城市公共交通發(fā)展起來后，巴士里的人竟然可以如此長時間互不說話。優(yōu)雅的英國紳士于是將報紙改造為適合尺寸，有效避免了與同車人的目光接觸和相對無言。而在電梯里，這一困境被放大了：個人空間被壓縮到只剩立足之地。報紙在其間自然是無法施展，好在手機屏幕現(xiàn)在解救了我們。

How to maintain etiquette in such a space is a major proposition. Dickens once found that after the development of urban public transport, people in the bus can not speak for so long. The elegant British gentleman so the newspaper into suitable size, and avoid the same car with the eye contact and silent. In the elevator, the dilemma was magnified: the personal space was compressed to a foothold. In the meantime, the newspaper was naturally unable to do it, but the phone screen saved us now.

電梯里沉默是金，如果準備開口，自然得一鳴驚人才行。當身邊出現(xiàn)上司、同事或客戶，在二三十秒里，是要微笑點頭致意，還是開腔用俏皮話來化解寂靜，這是個跟男廁所里的相遇一樣尷尬的問題。于是那些致力于成功學的培訓師們發(fā)現(xiàn)這一重大商機，發(fā)明了“電梯演講”這一偉大概念，專門教人這二三十秒應該怎么講話，以期給領導或客戶留下不說深刻但至少愉悅的印象。

The elevator is ready if opening, blockbuster is natural. When the boss, colleagues or clients around there, in twenty or thirty seconds, is to smile and nod, or speak with jest to defuse the silence, this is a meeting with the men's bathroom as an embarrassing question. So, those trainers who are committed to successful learning have discovered this great business opportunity and invented the great concept of elevator speech, which specifically teaches people how to speak in twenty or thirty seconds, so as to leave a deep but joyful impression for leaders or customers.

電梯在宗教文化中有其特定意義隱喻?！赌系乱庵緢蟆返木庉嫲驳铝兴埂げ{德寫過一本《提升：升降梯的文化史》，對歐洲和美國城市里的電梯文化做了一番探究。他說電梯的造型很像天主教的告解室，那種私密的、頂部略長的方格子造型，是城市里的世俗人群開展速效懺悔、瞬時沉思的地方。在神明時代，上帝借機械下降顯靈（deusexmachina）；在人文大彰時期，則是永恒女性扮演電梯司機一職，引領人們上升至天堂。到如今這樣一個永恒去魅的時代，才有凡夫俗子日常乘梯上下的的出行方式。天堂與地獄只在一線之間，這個概念在香港電影《無間道》中，借由電梯得到完美演繹。

The elevator has its special meaning metaphor in the religious culture. Andreas Bernard, editor of the South German newspaper, wrote a cultural history of upgrading: Elevator culture, and explored the elevator culture in European and American cities. He said the other elevator like Catholic confessional, lattice shape that top private, slightly longer, is available to carry out penance, meditation in the instantaneous secular population city place. In the gods era, God appeared to decline by mechanical (deusexmachina); in the humanities Akira period, is the eternal female play post lift driver, leading people to rise to heaven. Until now such an eternal charm to the era, only ordinary people riding on the daily travel. Heaven and hell are only between the frontline, the concept of the Hongkong movie "no way", by the elevator to get the perfect deduction.

可以說，電梯是描繪現(xiàn)代城市中人精神面貌的最佳場所之一。在熱播劇《廣告狂人》，這個以1960年代紐約麥迪遜大街為背景的故事里，幾乎每集都要出現(xiàn)一幕電梯戲?！度A爾街日報》的編輯還就此同編劇、執(zhí)行制片馬修·維納聊了一下。維納說，有那么多電梯場景是因為，電梯間是一個可以發(fā)生私事的公共空間，人物交錯可以突如其來，時空與張力高度壓縮，容易特寫表情加入配樂，而且還特別省錢。電梯升降隱喻著人物在事業(yè)和存在感上的起落，它載著我們現(xiàn)代都市人模擬每天飛上云端、跌進深淵，忽然一下子生出期待，又忽然一下子下定決心。

It can be said that the elevator is one of the best places to describe the spirit of the people in the modern city. In the hot play "the mad man", the story of the Madison street in New York on 1960s, almost every episode has an elevator play. The editor of the Wall Street journal also talked about it with the screenwriter and the executive producer of Matthew Wiener. Weiner said that there are so many elevator scenes because the elevator room is a public space that can happen personal affairs. The character interlace can be unexpected. The time and space is highly compressed with the tension. It is easy to add the music to the close-up and save money. The elevator is a metaphor of characters in the career and sense of the landing gear, it took us modern people every day, simulated fly up to the clouds suddenly fell into the abyss, and give birth to look, suddenly determined.

現(xiàn)代城市生活已無法離開電梯，它不再只是一個單純的交通工具，它還是很重要的一個生活場所，是一個特殊的生活空間，融入生活亦演繹生活。

Modern urban life has been unable to leave the elevator. It is no longer just a simple vehicle. It is also a very important place of life. It is a special living space. It integrates life and deducts life.