A couple of years ago, I went to Tokyo with my husband, and I ate at the most remarkable sushi restaurant. I don’t even eat fish. I’m vegan. So that tells you how good it was. Even with just vegetables, the sushi was the stuff you’d dream about. The restaurant has six seats, My husband and I marveled at how anyone could make rice so superior to all other rice.
几年前 我跟老公去东京玩，我在最美味的寿司店里吃饭。我不吃鱼的，我是素食主义者，所以你们知道该有多好吃了。即便只是蔬菜 那寿司都是梦幻般的味道。饭店只有六个位置，我和老公都很惊讶，怎会有人把米饭做得如此超绝。
We wondered why they didn’t make a bigger restaurant and be the most popular place in town. Our local friends explained to us that all the best restaurants in Tokyo are that small, and do only one type of dish: sushi, or tenpura or teriyaki. Because they want to do that thing well and beautifully. And it’s not about quantity. It’s about taking pleasure in the perfection and beauty of the particular.
我们纳闷他们为何不搞大一点的饭店，做成全城最火爆的餐厅。当地的朋友跟我们解释，东京所有最棒的饭店都是这么小，而且只做一样料理：寿司或天妇罗或照烧。因为他们想要把事情做好做漂亮，关键不在于数量，而是对某事追求至善至美过程中的愉悦。
I’m still learning now that it’s about good and maybe never done, that the joy and work ethic and virtuosity we bring to the particular can impart a singular type of enjoyment, to those we give to and of course, to ourselves.
我现在仍在学习，关键是做好而可能不是做完。做某事时的快乐，敬业和炉火纯青，可以给我们服务的对象带来一种特定的享受，当然也让我们自己得到享受。
In my professional life, it also took me time to find my own reasons for doing my work. The first film I was in came out in 1994. Again, appallingly, the year most of you were born. I was 13 years old upon the film’s release. And I can still quote what the New York Times said about me verbatim:“Miss Portman poses better than she acts.” The film had a universally tepid critical response and went on to bomb commercially. That film was called The Professional, or Leon in Europe.
在我的职业生活中，我花了许多时间来找寻我做这份工作的原因。我的第一部电影在1994年上映。又是一件吓人的事，那年你们大部分人才出生。电影出来时我才13岁，至今我仍能一字不差地复述纽约时报对我的评价：“波特曼小姐摆造型的功力比演戏强得多”。这部电影在全球得到的所有评价都是不瘟不火，而商业方面则是惨败。这部电影叫做《这个杀手不太冷》 在欧洲叫《杀手莱昂》
And today, 20 years and 35 films later, it is still the film people approach me about the most, to tell me how much they loved it, how much it moved them, how it’s their favourite movie.
而到今天 过了20年 拍完了35部电影之后，它仍是人们见到我时最常提到的片子，他们告诉我他们有多爱这片子，这片子多么感人，说这是他们最爱的电影。
I feel lucky that my first experience of releasing a movie, was initially such a disaster by all standard measures. I learned early that my meaning had to be from the experience of making the film and the possibility of connecting with individuals rather than the foremost trophies in my industry — financial and critical success.
我很庆幸我第一次拍摄电影经历的是，在一开始从所有的标准看来都是灾难的过程。我很早就学到，我的价值应该来自于，电影拍摄过程的体验和触碰人心的可能而不是我们行业最首要的荣誉——商业和影评方面的成功。
And also that those initial reactions, could be false predictors of your work’s ultimate legacy. I started choosing only jobs I was passionate about and from which I knew I could glean meaningful experiences. This thoroughly confused everyone around me, agents, producers and audiences alike.
还有那些最初的评价，可能会错误预测了你的作品的最终价值。于是我开始只选择那些我热爱的，和我能获得珍贵经验的工作。这一度使我周围的人感到困惑，像是我的助理，制片还有观众。
I made Goya’s Ghosts, a foreign independent film and studied art history visiting the produce everyday for 4 months as I read about Goya and the Spanish Inquisition. I made V for Vendetta, studio action movie for which I learned everything I could about freedom fighters who in other eyes might be called terrorists from Menachem Begin to Weather Underground. I made Your Highness, a pothead comedy with Danny McBride, and laughed for three months straight.
我拍了《戈雅之灵》 一部外国独立的电影，当我读到戈雅和西班牙裁判所时我连续四个月每天学习艺术史欣赏作品。我还拍了《V字仇杀队》 一部电影制片厂出品的动作电影，为了它我尽全力地学习了有关自由斗士的事，他们在别人眼中可能被视为恐怖分子，从梅纳赫姆·贝京到气象员派地下组织。我拍了《王子殿下》，一部和丹尼·麦克布耐德合作的无厘头喜剧片，我足足笑了三个月。
I was able to own my meaning and not have it be determined by box office receipts or prestige. By the time I got to making Black Swan, the experience was entirely my own.
我可以决定自己的人生价值，而不是被票房或者声誉所决定，等到我参演《黑天鹅》，整个经验都是属于我自己的
I felt immune to the worst things anyone could say or write about me and to whether an audience felt, like going to see my movie or not. It was instructive for me to see that ballet dancers… for ballet dancers, once your technique gets to a certain level, the only thing that separates you from others is your quirks, or even flaws.
我对任何人对我说的或写的负面消息，还有观众的看法，是否会去看我的电影之类的事免疫。芭蕾舞者的经历教育了我，对于芭蕾舞者来说，一旦你的技巧达到一定水平，区别你自己和其他人的唯一的东西就是你的怪癖，甚至是瑕疵。
One ballerina was famous for how she turned slightly off balance. You can never be the best techniquely. Someone will always have a higher jump, or a more beautiful line. The only thing you can be the best at is developing your own self.
一名芭蕾舞者因转圈轻微不平衡而出名。从技术上讲你永远做不到最好，总会有人比你跳得更高，或者有更优美的姿态，你唯一能做到最好的就是发展自己。
Authoring your own experience was very much what Black Swan itself was about. I walked to Darren Aronofsky, the film’s director, to change my last line in the movie to ‘It was perfect.’
《黑天鹅》告诉我们书写你自己的经历是非常重要的，我和电影导演 达伦·阿罗诺夫斯基讨论，将电影最后一句台词改为：“太完美了”。
Because my character Nina is only artistically successful, when she finds perfection and pleasure for herself, not when she’s trying to be perfect in the eyes of others. So when Black Swan was successful financially, and I began receiving accolades, I felt honored and grateful to have connected with people.
因为我的角色妮娜在艺术上的成功，只是在为自己找到完美和愉悦时出现的，而不是为了试图在别人眼中成为完美。所以当《黑天鹅》票房大卖的时候，我开始收到了赞美，能得到人们的关注我十分荣幸和感激。
For the true call of my meaning, I had already established, and I needed it to be independent of people’s reactions to me. People told me that Black Swan was an artistic risk, a scary challenge to try to portray a professional ballet dancer.
对于我人生意义的真正定义，我已经确定，且不会被他人的看法左右。人们告诉我《黑天鹅》是一场艺术冒险，一个尝试扮演专业芭蕾舞者的可怕挑战。
But it didn’t feel like courage or daring that drew me to it. I was so oblivious to my own limits that I did things I was woefully unprepared to do. And so the very inexperience that in college had made me feel insecure and made me wanna play by others’ rules, now was making me actually take risks. I didn’ t even realize were risks.
但我觉得吸引我去演的并非是勇气或胆量，而是我不了解我自身的限制，以至于我做事完全没有准备。在大学中极度缺乏经验让我感到不安，让我愿意遵循他人的规则，如今它（当年遵守哈佛的规则这件事情）让我敢于接受挑战，那些我根本没意识到的挑战。
When Darren asked me if I could do ballet, I told him that I was basically a ballerina, which, by the way, I whole-heartedly believed. When it quickly became clear in preparing for the film, that I was maybe 15 years away from being a ballerina. It made me work a million times harder. And of course the magic of cinema and body doubles helped the final effect.
当达伦问我“是否会跳芭蕾”，我告诉他我基本上算是个芭蕾舞者。对于这一点，顺便一提，我是完全相信自己的。然而当准备拍电影时，我迅速清晰地意识到自己离成为真正的芭蕾舞者还有十五年的功夫。这个事实迫使我付出了无数倍的努力，当然特效和替身促成了最终的效果的呈现。
But the point is if I had known my own limitations, I never would have taken the risk. And the risk led to one of my greatest artistic and personal experiences. And that I not only felt completely free, I also met my husband during the filming.
然而有一点是如果我早些知道自身限制，我永远不会去冒这个险，但这次冒险却为我带来了最棒的艺术体验，我不仅感受到了完全的自由 还在影片中与我的丈夫相遇。
Similarly, I just directed my first film, A Tale of Love And Darkness, and was quite blind to the challenges ahead of me. The film is a period film, completely in Hebrew, in which I also act with an 8-year-old child as a costar. All of these are challenges I should’ve been terrified of, as I was completely unprepared for them.
同样 我刚刚执导了我的处女作 《爱与黑暗的故事》，我对横在前方的困难一无所知，这是一部时代片，对白全是希伯来语。在电影中我和一个八岁的孩子对戏，所有的这些都是我应该惧怕的挑战，因为我对他们毫无准备。
But my complete ignorances to my own limitations look like confidence, and got me into the director’s chair. Once there I had to figure it all out. And my belief that I could handle all these things, contrary to all evidence of my ability to do so, was half the battle. The other half was very hard work.
但我对自身限制的彻底忽略，看上去像是充满了信心，让我渐渐习惯了导演的角色，到了这个位置我就必须把这些弄清楚，即使所有证据都显示我能力不够。我仍相信自己能解决这些事，这还只是战斗的一半，另一半则是非常刻苦地工作。
This experience was the deepest and the most meaningful one of my career. Now clearly I’m not urging you to go perform a heart surgery without the knowledge to do so. Making movies admittedly has less drastic consequences than most professions and allows for a lot of effects that make up for mistakes. The thing I’m saying is make use of the effect that you don’t doubt yourself too much right now.
这是我事业中印象最深刻最有意义的经历之一，很明显我没有要求你在一无所知的情况下去做你不会的事。诚然与其他职业相比拍电影不会带来太严重的后果，而且可以用特效来弥补失误，我想说的是现在充分利用你不太会怀疑自己的这段时光。
As we get older, we get more realistic. and that includes about our own abilities or lack thereof. And that realism does us no favors.
当我们年龄越大，就会变得越现实。包括我们对自己的能力或者缺陷的认识，然而这种现实毫无帮助。
People always talk about diving into things you’re afraid of. That never worked for me. If I’m afraid, I’d run away and I would probably urge my child to do the same. Fear protects us in many ways. What has served me is diving into my obliviousness. Being more confident than I should be, which everyone intends to decry American kids and those of us who have been grade inflated and ego inflated.
人们总说放手去做自己畏惧的事，这对我行不通，如果我害怕，我会逃走。还可能会要求我的孩子也这样做，畏惧在各方面保护着我们，适合我的（方法）是投入到自己的无知当中，超越本身的过度自信。
Well it can be a good thing if it makes you try things you never might have tried. Your inexperience is an asset and will allow you to think in original and unconventional ways. Accept your lack of knowledge and use it as your asset.
人们常用这事来谴责美国孩子，和那些成绩和自我意识膨胀的人，然而让你尝试你从未试过的事情会是个很好的做法，你的经验不足是一项优势，会激发出你天马行空的新颖想法，接受你的无知并当作优势。
I know a famous violinist who told me that he can’t compose. Because he knows too many pieces, so when he starts thinking of a note, an existing piece immediately comes to mind. Just starting out one of your biggest strengths is not knowing how things are supposed to be. You can compose freely because your mind isn’t cluttered with too many pieces. And you don’t take for granted the way things are. The only way you know how to do things is your own way.You here will all go on to achieve great things. There’s no doubt about that.
我知道一名告诉我他不会作曲的著名小提琴家。因为他知道太多的乐章，所以每当他开始想一个音符，一篇现存的乐章立刻出现在脑海中。从你最大的优势之一着手，那就是不知道事情应该是什么样的，你可以自由地作曲因为你的脑海中没有被乐谱填满，你不会认为事情理所应当。你唯一知道的就是按自己的方法做事，你会成就伟大，这毫无疑问。
Each time you set out to do something new, your inexperience can either lead you down a path where you will conform to someone else’s values, or you can forge your own path even if you don’t realize that’s what you are doing.
每次你打算做些新的，你的经验不足引领你走上这样的路，要么是迎合别人的价值，要么就是你形成自己的价值，甚至你都没有意识到你在做什么。
If your reasons are your own, your path, even if it’s a strange and clumsy path, will be wholly yours. And you will control the rewards of what you do by making your internal life fulfilling.
如果你的原因是你自己，你的道路甚至是奇怪笨拙的道路，统统都是你的。通过丰富你的内在生活你会决定做事的奖励。
At the risk of sounding like a Miss American contestant, the most fulfilling things I’ve experienced have truly been the human interactions:
下面的话可能听起来像美国小姐选手的发言，我经历的最令人满意的事是与人们的交流：
Spending time with women and village banks in Mexico with FINCA, micro-finance organization, meeting young women who were the first and only in their communities to attend secondary schools in rural Kenya.With Free the Children group that built sustainable schools in developing countries, tracking with gorilla conservationists in Rwanda.
和微型金融组织FINCA在墨西哥与乡村银行的女性度过愉快的时光，在肯尼亚的农村看看在他们的群体中，第一个也是唯一个接受过中等教育的年轻女子；和解放儿童组织在发展中国家建造可持续的校舍，在卢旺达和大猩猩自然保护员一起工作。
It’s a cliche because it’s true that helping others ends up helping you more than anyone. Getting out of your own concerns and caring about someone else’s life for a while reminds you that you are not the centre of the universe.
虽然是老生常谈但的确在理，帮助他人最终会更多地帮助到自己，从对自己的关心中抽身出来去关心别人的生活，提醒你自己不是宇宙的中心。
And that in the ways we are generous or not we can change the course of someone’s life. Even at work, the small feats of kindness, crew members, directors, fellow actors have shown me, have had the most lasting impact. And of course, first and foremost, the centre of my world is the love I share with my family and friends. I wish for you that your friends would be with you through it all as my friends from Harvard have been together since we graduated.
在某些方面来讲不管我们是否慷慨，都能改变别人生活的进程。甚至在工作中，剧组成员、导演、同行演员给我的小小友善，都有深远的影响。当然，首先我世界的中心，是我和家人朋友的爱，我祝愿你和你的朋友经历一切之后仍在一起，就像毕业后我的哈佛的朋友仍在一起，学校的朋友们关系仍然很亲密。
My friends from school are still very close. We have nursed each other through heartaches and danced at each other’s weddings. We’ve held each other at funerals, and rocked each other’s new babies. We’ve worked together on projects, helped each other get jobs, and thrown parties for when we’ve quit bad ones. And now our children are creating a second generation of friendship as we look at them toddling each other, haggard and disheveled working parents that we are.
我们在心痛时相互照顾还在每个人的婚礼上跳舞，在葬礼上相互拥抱，还拥抱摇着彼此的孩子，我们一起为项目工作，相互帮助找工作，还在朋友辞掉烂工作时举办派对庆祝。现在我们的孩子建立起了二代友情，我们看着他们蹒跚学步，而我们是一群憔悴凌乱的疲于工作的家长。
Grab the good people around you. Don’t let them go. The biggest asset this school offers you is the group of peers that will be both your family and your school for life. I remember always being pissed at the spring here in Cambrige, tricking us into remembering a sunny yard full of laughing frisbee throwers after 8 months of dark, frigid library dwelling. It was like the school had managed to turn on the good weather as the last memory we should keep in mind that would make us wanna come back.
牢牢抓住你身边的好人，别把他们放走了，学校提供给你的最大的资产，是一生中既是你家人也是老师的一群同学。我记得我总是对剑桥的春天感到愤怒，引诱我们经常想起充满阳光和掷飞盘者笑声的院子，之前的八个月是在黑暗阴冷的图书馆苦读，感觉像是学校可以操纵好天气，使之成为我们留在心中的最后回忆，让我们总想回来看看。
But as I get farther away from my years here, I know that the power of the school is much deeper than weather control. It changed the very questions I was asking. To quote one of my favourite thinkers, Abraham Joshua Heschel, ‘To be or not to be’ is not the question. The vital question is ‘how to be and how not to be.’
但是随着我离这些校园时光越来越远，我知道学校的影响比那些天气变化更加深远，它改变了我问的问题，引述我最喜欢的思想者之一，亚伯拉罕·约书亚·赫施尔的名言“生存还是毁灭”并不是问题，最重要的是“如何生存，如何毁灭”。
Thank you. I can’t wait to see how you do all the beautiful things you will do.
谢谢！我迫不及待想看到大家将来如何创造美好事物
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