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口乾了。哇!謝謝大家,謝謝Spar校長、Golden女士、Tilghman校長、校董會委員、傑出的教職員、自豪的家長與家屬,還有優秀的2010年畢業生。如果你們都非常幸運,如果你持續竭盡所能地努力,如果你記得感謝名單中的每一個名字,如果你盡力完成每一項任務要求,並設法在出狀況前預先發現問題、避開災難、獲得良好成效;如果你在LSATS測驗中獲得好成績,或MSATS測驗、ERSATS測驗或不管什麼測驗,然後進入夢想中的研究所或實習單位,因此獲得一份超棒的工作,領相當於領導階層的薪水;或者如果你無意間製作了一部預算極低的紀錄片,然後入圍日舞影展,也許甚至獲獎,然後繼續入圍奧斯卡、獲得奧斯卡獎;或者如果你跟朋友一起設計的營利性網站突然莫名其妙地吸引了投資商和廣告商,成了熱門網站,無論你們的網站是商務網站、部落格、分享網站或影音網站,然後成功在眼前閃耀,曾經嚮往卻不曾真正指望的成功就在眼前,我向你們保證,某個你認識或關係親密的人會來找你說:「你願意擔任我們學校的畢業演講嘉賓嗎?」你會說:「當然,什麼時候?」「2010年5月。」「2010年?好,沒問題,還有好幾個月。」然後噩夢降臨。
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Thank you, all. Thank you, President Spar, Ms. Golden, President Tilghman, Members of the Board of Trustees, distinguished faculty, proud swelling parents and family, and gorgeous class of 2010. If you are all really, really lucky, and if you continue to work super hard, and you remember your thank you notes and everybody’s name; and you follow through on every task that’s asked of you and also somehow anticipate problems before they even arise and you somehow sidestep disaster and score big. If you get great scores on your LSATS, or MSATS, or ERSATS or whatever. And you get into your dream grad school or internship which leads to a super job with a paycheck commensurate with responsibilities of leadership or if you somehow get that documentary on a shoe-string budget and it gets accepted at Sundance and maybe it wins Sundance and then you go on to be nominated for an Oscar and then you win the Oscar. Or if that money-making website that you designed with your friends somehow suddenly attracts investors and advertisers and becomes the go-to site for whatever it is you’re selling, blogging, sharing, or net-casting and success shinning, hoped-for but never really anticipated success comes your way I guarantee you someone you know or love come to you and say, “Will you address the graduates at my college?” And you’ll say “Yeah sure, when is it? May 2010? 2010? Yeah sure, that’s months away and then the nightmare begins.
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那是我們都會有的噩夢,我向你們保證,即使畢業後這種噩夢依然持續。畢業40年後!大約在最後期限前一週,你半夜驚醒:「喔!我有篇論文要交,但還沒閱讀相關資料,天哪!」如果你曾經受到成功仙女的眷顧,人們認為你知道成功原因,這是真的,人們認為成功讓你有所啟發,你有責任將它像肥料一樣四處傳播,灌溉那些年輕的心靈,與他們分享其中的秘密。什麼是你知道而別人不知道的?你開始自我審視,進行內觀,打開通往內心的門,只見四處都是蜘蛛網,一片黑暗,燈泡燒壞了,負荷超載、快報廢的冰箱,通常直接叫外送的頹廢生活。我需要我的作家朋友Anna Quindlen,她在哪裡?忙著另一場巡迴簽書會。
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The nightmare we’ve all had and I assure you, you’ll continue to have even after graduation, 40 years after graduation. About a week before the due date, you wake up in the middle of the night, “Huh, I have a paper due and I haven’t done the reading, Oh my god!”If you have been touched by the success fairy, people think you know why. People think success breeds enlightenment and you are duty bound to spread it around like manure, fertilize those young minds, let them in on the secret, what is it that you know that no one else knows, the self examination begins, one looks inward, one opens an interior door. Cobwebs, black, the lights bulbs burned out, the airless dank refrigerator of an insanely over-scheduled, unexamined life that usually just gets take-out. Where is my writer friend, Anna Quindlen when I need her? On another book tour.
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哈囉,我是梅莉.史翠普。今天,2010年畢業生,我真的十分榮幸、也十分汗顏地受邀與你們分享有助於你們達成下階段人生成就的秘訣和啟示。Spar校長,當我想到其他傑出的得獎者、可敬的校董會委員、許多才華洋溢的教職員和家屬,那些真正在做事、有所貢獻的人,我卻是假裝在做事。我可以想到大約3,800位應該比我有資格列入這個名單的人,你們知道,因為我的成功完全仰賴糊弄觀眾,因此我不確定家長們真的認為我優秀到能做你們的榜樣。然而我的專長是假裝成許多領域的專家,因此正如這場演講的內容一樣廣泛,我是,或我曾經是舞台上和螢幕上的接吻專家。我如何為這種演出做準備?好,大部分準備工作始於我就讀的郊區高中,確切來說是我就讀的紐澤西郊區高中後面。在我這行裡,大量接吻是必要的經歷,隔空接吻、拍馬屁、阿諛奉承,當然還有真正的接吻,跟妓女差不多。演員避免不了這種事,跟我們或許不喜歡的人,或甚至不認識的人,我們或許得跟朋友接吻。信不信由你,簡直尷尬斃了,對我這一代的人來說蠻尷尬的。
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Hello I’m Meryl Streep, and today, Class of 2010 and I am really, I am very honored, and humbled to be asked to pass on tips and inspiration to you for achieving success in this next part of your lives. President Spar, when I consider the other distinguished medal recipients and venerable Board of Trustees, the many accomplished faculty and family members, people who’ve actually done things, produced things, while I have pretended to do things, I can think about 3,800 people who should have been on this list before me and you know since my success has depended wholly on putting things over on people. So I’m not sure parents think I’m that great a role model anyway.I am however an expert in pretending to be an expert in various areas, so just randomly like everything else in this speech, I am or I was an expert in kissing on stage and on screen. How did I prepare for this? Well most of my preparation took place in my suburban high school or rather behind my suburban high school in New Jersey. One is obliged to do great deal of kissing in my line of work. Air kissing, ass-kissing, kissing up and of course actual kissing, much like hookers, actors have to do it with people we may not like or even know. We may have to do it with friends, which, believe it or not is particularly awkward, for people of my generation, it’s awkward.
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我擅長假裝的其他專長還包括泛舟、模仿遭受輻射污染的樣子、瞭解鞋子與包包的搭配、咖啡種植,模仿波蘭、德國、法國、義大利口音,就是《麥迪遜之橋》中的愛荷華式義大利口音。一點布魯克口音、一點布朗克斯口音、阿拉姆、意第緒口音,愛爾蘭木屐舞、烹飪、唱歌、騎馬、編織、拉小提琴,還有曖昧的激情戲。這只是其中一些領域,我假裝的十分成功或不太成功,我確定現場許多女性也是如此。女人們,我認為我可以權威性地談論這個話題,尤其是在巴納德學院,因為外人聽不到,外人根本聽不到我說了什麼。
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My other areas of faux expertise, river rafting, miming the effects of radiation poisoning, knowing which shoes go with which bag, coffee plantation, Turkish, Polish, German, French, Italian, that’s Iowa-Italian from the bridges of Madison county, bit of the Bronx, Aramaic, Yiddish, Irish clog dancing, cooking, singing, riding horses, knitting, playing the violin, and simulating steamy sexual encounters, these are some of the areas in which, I have pretended quite proficiently to be successful, or the other way around. As have many women here, I’m sure.Women, I feel I can say this authoritatively, especially at Barnard where they can’t hear us, what am I talking about? They professionally can’t hear us.
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女性比男性更擅長演戲,為什麼?因為我們必須如此。如果成功說服某個比你厲害的人,讓他相信某些他不想知道的事是一種生存技能,這是千百年來女性賴以生存的方式。假裝不僅是遊戲,假裝是想像出的可能性。假裝或演戲是相當寶貴的生活技能,每個人時時刻刻都在使用這個技能,我們不想被發現正在使用這個技能,然而這是人類物種適應環境的方法之一。我們改變自己來適應時代的需求,不僅是策略性因素或為了我們本身的利益,有時是因為同理心,我們甚至不曾意識到我們為了整體利益而這麼做。我清楚記得我第一次有意識地嘗試演戲的情形。當時我六歲,我把母親的襯裙戴在頭上,在客廳裡準備扮演聖母瑪利亞。當我將洋娃娃裹成襁褓時,我感到平靜、神聖、真實。父親用八釐米攝影機捕捉了我神聖的表情與不同尋常的舉止,我把弟弟哈利拉來扮約瑟夫,還有Dana,一隻農場裡的動物。事實上他們被我專注的演出帶入耶穌誕生的場景中,根據以往使喚他們的經驗,對他們吼叫根本沒用,那天我找到訣竅了。後來我九歲的時候,我記得我拿母親的眉筆仔細在整張臉上畫線,複製記憶中祖母臉上的皺紋,我非常喜歡她。我要母親幫我拍照,我現在看見那張照片,就像看見現在的自己和當時的祖母,但我確實清楚地記得那天我如何感受祖母的年紀。我彎著腰,感到身體沉重,卻十分開心,覺得自己跟她一樣。
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Women are better at acting than men. Why? Because we have to be, if successfully convincing someone bigger than you are of something he doesn’t know is a survival skill, this is how women have survived through the millennia. Pretending is not just play. Pretending is imagined possibility. Pretending or acting is a very valuable life skill and we all do it. All the time, we don’t want to be caught doing it but nevertheless it’s part of the adaptations of our species, we change who we are to fit the exigencies of our time, and not just strategically, or to our own advantage, sometimes sympathetically, without our even knowing it for the betterment of the whole group.I remember very clearly my own first conscious attempt at acting. I was six placing my mother’s half slip over my head in preparation to play the Virgin Mary in our living room. As I swaddled my Betsy Wetsy doll I felt quieted, holy, actually, and my transfigured face and very changed demeanor captured on super-8 by my dad pulled my little brother Harry to play Joseph and Dana too, a barnyard animal, into the trance. They were actually pulled into this nativity scene by the intensity of my focus. In my usual technique for getting them to do what I want, yelling at them would never ever have achieved and I learned something on that day.Later when I was nine, I remember taking my mother’s eyebrow pencil and carefully drawing lines all over my face, replicating the wrinkles that I had memorized on the face of my grandmother whom I adored and made my mother take my picture and I look at it now and of course, I look like myself now and my grandmother then. But I do really remember in my bones, how it was possible on that day to feel her age. I stooped, I felt weighted down but cheerful, you know I felt like her.
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「移情」是表演藝術的核心。高中時我迷上另一種形式的表演,我想學習如何吸引他人,因此我想像出一個自己想成為的人物,對此進行研究。就是一般的漂亮高中女生,我對她進行深入研究,其實相當膚淺。透過《Vogue》、《Seventeen》、《Mademoiselle》等雜誌,我試著模仿她的髮型、唇膏、睫毛、飄逸的服裝,就像我在雜誌上看見的那些美麗而吸引人的高中女生。我一天吃一個蘋果,僅此而已。我把頭髮漂成淺金色,燙成直髮;我想買名牌衣服,被母親拒絕了。但我越發努力地揣摩這個角色,我想比我揣摩過的任何角色都認真。我努力練習輕聲嬌笑,我刻意提高音調,因為我喜歡像這樣(輕笑聲),尾音提高(輕笑聲),因為我認為這樣聽起來比較天真可愛。這全是為了吸引男孩,同時獲得女孩的接納。一種相當微妙的角力,通常這個領域的成功會妨礙另一個領域的成功。隨著對外在表現做出選擇,我同時致力於演員所謂的調整內在。我調整了原本的個性,原本的我有點跋扈、有點固執、嗓門大…稍微大一點,愛發表意見、情緒外放,我刻意培養柔軟、隨和、令人如沐春風的甜美氣質,甚至表現害羞的態度,這對男孩非常非常非常有效,但女孩完全不買帳,她們不喜歡我,她們察覺這是裝的。她們或許是對的,但我堅信這絕非玩世不恭的練習,我是在開發已式微的生存求偶技能。
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Empathy is at the heart of the actor’s art. And in high school, another form of acting took hold of me. I wanted to learn how to be appealing. So I studied the character I imagined I wanted to be that of the generically pretty high school girl. I researched her deeply, that is to say shallowly, in Vogue, in Seventeen, and in Mademoiselle Magazines. I tried to imitate her hair, her lipstick, her lashes, the clothes of the lithesome, beautiful and generically appealing high school girls that I saw in those pages. I ate an apple a day, period. I peroxided my hair, ironed it straight. I demanded brand name clothes, my mother shut me down on that one. But I did, I worked harder on this characterization really than anyone I think I’ve ever done since. I worked on my giggle, I lightened it. Because I like it when it went, kind of “ehuh” and the end, “eheeh” “ehaeaahaha” because I thought it sounded child like, and cute. This was all about appealing to boys and at the same time being accepted by the girls, a very tricky negotiation.Often success in one area precludes succeeding in the other. And along with all my other exterior choices, I worked on my, what actors call, my interior adjustment. I adjusted my natural temperament which tends to be slightly bossy, a little opinionated, loud, a little loud, full of pronouncements and high spirits, and I willfully cultivated softness, agreeableness, a breezy, natural sort of sweetness, even shyness if you will, which was very, very, very effective on the boys. But the girls didn’t buy it. They didn’t like me; they sniffed it out, the acting. And they were probably right, but I was committed, this was absolutely not a cynical exercise, this was a vestigial survival courtship skill I was developing.
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到了高三那年,調整後的我彷彿就是真正的我,我真的說服自己相信我就是這個漂亮、有才華但不高傲的女孩,那種無論男孩說了什麼蠢話都會一直笑的女孩。她會在適當時機垂下眼睛、閉上嘴巴,她學會在男孩掌控談話時閉上嘴巴。我對這一切記得十分清楚,我能察覺這十分有效,在男孩眼中我不像以前那麼討厭,他們更喜歡我,我喜歡那樣。這是有意識的假裝,但同時是有目的的表演,感覺就像完全真實的表演。我唸的是瓦薩學院,43年前它是一所女子學院,是所謂的七姐妹學院,女子長春藤盟校之一。我在那裡很快交到一些能鞭策我的終生好友,在她們的幫助下,我脫離吸引男孩的競爭,我的腦袋終於清醒過來。我清醒過來,客觀地審視自我,然後再次找到自我。我再也不必假裝,我可以傻氣、發脾氣、爭強好勝、邋遢、外向、搞笑、頑固,我朋友毫不介意。我曾經三個禮拜不洗頭,他們就像對待絨毛兔一樣接受我,我變成真的,而非想像出來的填充兔子。
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And I reached a point senior year, when my adjustment felt like me, I had actually convinced myself that I was this person and she, me, pretty, talented, but not stuck-up. You know, a girl who laughed a lot at every stupid thing every boy said and who lowered her eyes at the right moment and deferred, who learned to defer when the boys took over the conversation, I really remember this so clearly and I could tell it was working, I was much less annoying to the guys than I had been, they liked me better and I like that, this was conscious but it was at the same time motivated and fully-felt this was real, real acting. I got to Vassar which 43 years ago was a single-sex institution, like all the colleges in what they call the Seven Sisters, the female Ivy League and I made some quick but lifelong and challenging friends. And with their help outside of any competition for boys my brain woke up. I got up and I got outside myself and I found myself again. I didn’t have to pretend, I could be goofy, vehement, aggressive, and slovenly and open and funny and tough and my friends let me. I didn’t wash my hair for three weeks once. They accepted me like the Velveteen Rabbit. I became real instead of an imagined stuffed bunny.
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但我將高中自我塑造的那個角色藏在記憶中,多年後藉由《越戰獵鹿人》中琳達這個角色再次賦予她生命。或許沒有任何畢業生看過這部電影,但《越戰獵鹿人》獲得1978年奧斯卡最佳影片獎,獲獎者還有勞勃.狄尼洛和克里斯.沃肯,一點都不有趣的傢伙。我飾演琳達,一位勞工階級的小鎮女孩,可愛、文靜卻不幸的女孩,她痴痴等待心愛的男孩從越戰返鄉。通常年紀跟我差不多的男性,順帶一提,我遇見柯林頓總統時他曾說,跟我同年紀的男性說這個角色是我演過的女性中他們最喜愛的一個。只有我知道其中的秘密,這肯定了我高中時期做的每一個決定。順帶一提,這並非貶低那個女孩或被她吸引的男性,因為她仍是我的一部分,我也是她的一部分。她並非演戲,她只是呈現那些膽怯、順從、遭受壓迫卻難以找到出路的女孩的一貫做法,世上許多地方的女孩至今依然如此。看看世界有多少改變,現在大多數男性說他們最喜歡的角色是米蘭達.普萊斯利,《穿著Prada的惡魔》中那個專制霸道的《RUNWAY》雜誌總編輯。對我來說這是相當令人欣喜的轉變:他們認同米蘭達,過去他們想跟琳達約會,他們憐惜琳達,但現在他們認同米蘭達。他們理解她遭遇的問題,她對自己和他人設立的高標準,領導者的吃力不討好,「沒人瞭解我」的感受,孤立感。他們以旁觀者的態度看待琳達這個角色,他們同情她、甚至有點愛上她;但他們將自己融入米蘭達這個角色。
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But I stockpiled that character from high school and I breathed life into her again some years later as Linda in the “Deer Hunter.” There is probably not one of you graduates who has ever seen this film but the “Deer Hunter” it won best picture in 1978 Robert De Niro, Chris Walken, not funny at all. And I played Linda, a small town girl in a working class background, a lovely, quiet, hapless girl, who waited for the boy she loved to come back from the war in Vietnam. Often men my age, President Clinton, by the way, when I met him said, “Men my age, mention that character as their favorite of all the women I’ve played.” And I have my own secret understanding of why that is and it confirms every decision I made in high school. This is not to denigrate that girl by the way or the men who are drawn to her in anyway because she’s still part of me and I’m part of her. She wasn’t acting but she was just behaving in a way that cowed girls, submissive girls, beaten up girls with very few ways out have behaved forever and still do in many worlds. Now, in a measure of how much the world has changed the character most men mention as their favorite is, Miranda Priestly. Now as a measure of how the world has changed. The character most men mention as their favorite. Miranda Priestly. The beleaguered totalitarian at the head of Runway magazine in Devil Wears Prada. To my mind this represents such an optimistic shift. They relate to Miranda. They wanted to date Linda. They felt sorry for Linda but they feel like Miranda. They can relate to her issues, the high standards she sets for herself and others. The thanklessness of the leadership position. The “Nobody understands me” thing. The loneliness. They stand outside one character and they pity her and they kind of fall in love with her but they look through the eyes of this other character.
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這是很難得的事,因為電影界的人都知道,世上最困難的挑戰就是讓直男觀眾認同女主角、融入她的角色,這就是造成主流電影類型最重要的因素,以及為何以女性為主的電影相當稀少。讓女性觀眾認同男主角容易多了,因為我們從小就培養對男性角色的認同,從莎士比亞到沙林傑的著作,我們很容易體會哈姆雷特的困境,或羅密歐、提伯特、哈克.芬、彼得潘的困境。我記得我拿著劍對抗虎克船長,我覺得自己就是彼得潘。但要異性戀男性認同茱麗葉困難多了,或苔絲狄蒙娜,或彼得潘裡的溫蒂,或《小婦人》裡的喬,或小美人魚。為什麼?我不知道,但事實就是如此。他們總是抗拒認同一個假想角色,如果這個角色是女性。現在情況有所改變,我們在你們這一代看見這個改變。男性開始改變,也該是時候了。他們正有意識地改變,也跟女性一樣無意識地為了整體利益而改變。他們正在改變最根深蒂固的偏見,接受某些事,並將其視為平常,那些他們父親那一代很難接受、他們祖父那一代根本不可能接受的事。這種情感上轉變的關鍵就是同理心。如榮格所言:「情感是自覺的主要來源,沒有情感,黑暗就無法轉變成光明(譯注:榮格的原句是transforming of dark into light),冷漠就無法轉變成行動。」或者如李歐納.柯恩所言:「留意那些隙縫,因為光就是從那裡來的。」
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This is a huge deal because as people in the movie business know the absolute hardest thing in the whole world is to persuade a straight male audience to identify with a woman protagonist to feel themselves embodied by her. This more than any other factor explains why we get the movies we get and the paucity of the roles where women drive the film. It’s much easier for the female audience because we were all grown up brought up identifying with male characters from Shakespeare to Salinger. We have less trouble following Hamlet’s dilemma viscerally or Romeo’s or Tybalt or Huck Finn or Peter Pan — I remember holding that sword up to Hook — I felt like him. But it is much much much harder for heterosexual boys to identify with Juliet or Desdemona, Wendy in Peter Pan or Joe in Little Women or the Little Mermaid or Pocohontas. why I don’t know, but it just is. There has always been a resistance to imaginatively assume a persona, if that persona is a she. But things are changing now and it’s in your generation we’re seeing this. Men are adapting... about time...they are adapting consciously and also without consciously and without realizing it for the better of the whole group. They are changing their deepest prejudices to regard as normal the things that their fathers would have found very very difficult and their grandfathers would have abhorred and the door to this emotional shift is empathy. As Jung said, emotion is the chief source of becoming conscious. There can be no transforming of lightness into dark of apathy into movement without emotion. Or as Leonard Cohen says pay attention to the cracks because that’s where the light gets in.
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各位巴納德的年輕女性,你們不需要把自己塞進裝可愛的緊身束腹中,或壓抑自己的意見,因為你們尚未離開校園。只是開個玩笑。你們擁有的是相當特殊的教育賦予你們的特權,你們或許能採用截然不同的觀點,想像出全然不同的可能性,勝於那些就讀男女合校的學生。這種差異能帶給你們什麼?目前很難斷定,也許跟我一樣,需要花40年時間回顧和分析你們的優勢,但如今的重點是向前看,觀察這個世界,其中充斥著所謂的女性議題,還有性別不平等這些人類議題。這是每個人都會面臨的全球關鍵問題,如貧窮、愛滋危機、暴力原教旨主義組織的崛起、人口販賣和人權侵犯等。你們將有機會和義務,憑藉上天賦予你們的優勢,加速這些領域的進展。這些領域的人才需求相當大,也需要相當多的關注。這是屬於你們的時代,你們或許認為這是常態,但世上沒有所謂的常態,只有不斷地改變、抗拒改變、然後是更多的改變。
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You, young women of Barnard have not had to squeeze yourself into the corset of being cute or to muffle your opinions but you haven’t left campus yet. I’m just kidding. What you have had is the privilege of a very specific education. You are people who may able to draw on a completely different perspective to imagine a different possibility than women and men who went to coed schools. How this difference is going to serve you it’s hard to quantify now, it may take you forty years like it did me to analyze your advantage. But today is about looking forward into a world where so-called women’s issues, human issues of gender inequality lie at the crux of global problems from poverty to the AIDS crisis to the rise in violent fundamentalist juntas, human trafficking and human rights abuses and you’re going to have the opportunity and the obligation, by virtue of your providence, to speed progress in all those areas. And this is a place where the need is very great, the news is too. This is your time and it feels normal to you but really there is no normal. There’s only change, and resistance to it and then more change.
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我國歷史上不曾有過這麼多女性獲得高等學位,但現在這已成真。自從男性主宰以來,將近100多年期間,女性甚至不能進入這些大樓,除了做清潔工作。但不久後,或許大部分法律和醫學學位將由女性獲得。縱觀世界,曾屬於他人財產的貧窮女性現在有了自己的財產,根據《經濟學人》雜誌報導,過去20年中,富裕國家女性雇員的增加已成為經濟成長的主要動力,這些女性對全球GDP成長的貢獻甚至超過新科技,或印度、中國這些新興經濟巨頭,她們是天花板上、門上、法庭和參議院地板上的縫隙。
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Never before in the history or country have most of the advanced degrees been awarded to women but now they are. Since the dawn of man, it’s hardly more than 100 years since we were even allowed into these buildings except to clean them but soon most of law and medical degrees will probably also go to women. Around the world, poor women now own property who used to be property and according to Economist magazine, for the last two decades, the increase of female employment in the rich world has been the main driving force of growth. Those women have contributed more to global GDP growth than have either new technology or the new giants India or china. Cracks in the ceiling, cracks in the door, cracks in the Court and on the Senate floor.
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你們知道,27年前我在瓦薩學院發表過演講,那場演講相當轟動,大家都非常喜歡,真的。湯姆.布洛克說那是他聽過最棒的畢業演講,當然我深信不疑。那次的演講稿寫起來比這次容易多了,我很輕鬆就搞定了,因為當時的我幾乎無所不知。我剛當上母親,拿了兩座奧斯卡獎,一切好事都同時發生。我很聰明,我知道該說什麼內容,什麼聽起來比較討好。因為我高中時曾經是啦啦隊的一員,扯著嗓子吶喊歡呼是我的專長,所以我這麼做了,但現在我覺得我懂的只有當時那個年輕女性的1/16。如今世事似乎不像以往那麼確定,我今年60歲,有四個正面臨跟你們同樣挑戰的成年孩子。名氣使你的家人過得多麼艱辛,最終,以整個人生歷程來看,成名是否真的那麼重要。我知道我是因為這一點才被邀請來這裡,因為我的名氣,還有我贏得多少獎項。
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You know, I gave a speech at Vassar 27 years ago. It was a really big hit. Everyone loved it, really. Tom Brokaw said it was the very best commencement speech he had ever heard and of course I believed this. And it was much easier to construct than this one. It came out pretty easily because back then I knew so much. I was a new mother, I had two academy awards and it was all coming together so nicely. I was smart and I understood boiler plate and what sounded good and because I had been on the squad in high school, earnest full-throated cheerleading was my specialty so that’s what I did but now, I feel like I know about 1/16th of what that young woman knew. Things don’t seem as certain today. Now I’m 60, I have four adult children who are all facing the same challenges you are. I’m more sanguine about all the things that I still don’t know and I’m still curious about. What I do know about success, fame, celebrity that would fill another speech. How it separates you from your friends, from reality, from proportion. Your own sweet anonymity, a treasure you don’t even know you have until it’s gone. How it makes things tough for your family and whether being famous matters one bit, in the end, in the whole flux of time. I know I was invited here because of that. How famous I am. I how many awards I’ve won.
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我的成就令我十分自豪,相信我,這並非我一個人的功勞。我可以向你們保證,這些獎項帶給我的個人幸福感不多,我的幸福感和人生目標來自於真切地研究這個世界,來自於對工作的認同,來自於對所愛之人保持敏銳與關注,參與他們的生活,以及關注更廣闊世界裡需要我幫助的人。無論你在電視上看見我手拿獎座、滔滔不絕地說了什麼,那都是演戲。身為名人教會我隱藏,但身為演員使我打開靈魂。今天受邀來這裡迫使我在內心尋找一些有用的東西與你們分享,十分感謝你們給我這個機會。你們不需要出名,你們只需要讓父母為你們感到驕傲。你們已經做到了,為你們喝采,恭喜你們。
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I am I am overweeningly proud of the work that, believe me, I did not do on my own. I can assure that awards have very little bearing on my own personal happiness. My own sense of well-being and purpose in the world. That comes from studying the world feelingly, with empathy in my work. It comes from staying alert and alive and involved in the lives of the people that I love and the people in the wider world who need my help. No matter what you see me or hear me saying when I’m on your TV holding a statuette spewing, that’s acting.Being a celebrity has taught me to hide but being an actor has opened my soul.Being here today has forced me to look around inside there for something useful that I can share with you and I’m really grateful you gave me the chance.You know you don’t have to be famous. You just have to make your mother and father proud of you and you already have. Bravo to you. Congratulations.