我的身份是超能力，而非障碍 | 亚美莉卡·费雷拉（重新发布）

工艺是一种视角问题，一种独特的见解，一种对细节的极致专注。

Craft is a matter of perspective, a unique outlook, an obsessive attention to detail.

借助瑞银首席投资办公室的机构观点，我们专注于识别最新投资机会与市场风险，助您实现财务目标。

With UBS' chief investment office house view, we're focused on identifying the latest investment opportunities and market risks to help you achieve your financial goals.

因此您将获得被分解为发人深省见解的全局图景。

So you get the big picture broken down into thought provoking insights.

由200多位全球互联、本地活跃的分析师每日精心编撰呈现。

Delivered daily and curated by over 200 globally connected, locally active analysts.

瑞银，财富管理是我们的专长。

UBS, managing wealth is our craft.

我是雪莉·多尔西，主持TED科技频道，我们探索科技领域的最新创新与构想。

I'm Sheryl Dorsey, and I host TED Tech, where we explore the latest innovations and ideas coming out of the tech world.

最近我采访了全球各地人士，以获得关于技术与地球未来的新视角。

Recently, I interviewed people from across the globe to get a new perspective on technology and the future of our planet.

这些访谈已汇编成系列节目，您将听到微软'AI向善'执行董事胡安·拉维斯塔、影响力投资者兼Acumen CEO杰奎琳·诺沃格拉茨，以及肯尼亚农民兼社区建设者约瑟芬·瓦维鲁等人的故事。

The interviews are compiled into a series on my show, where you'll hear stories from the AI for good executive from Microsoft, Juan m Lavista Ferrese, impact investor and CEO of Acumen, Jacqueline Novogratz, and farmer and community builder from Kenya, Josephine Waweru.

在TED科技频道聆听与这些创新者的深度对话，了解他们如何及为何重新构想滋养地球的方式，各大播客平台均可收听。

Hear in-depth conversations with these innovators and more on how and why they're reimagining how to nourish the planet on TED Tech, available wherever you get your podcasts.

您正在收听TED每日演讲，我们每天为您带来激发好奇心的新思想。

You're listening to TED Talks daily where we bring you new ideas to spark your curiosity every day.

我是主持人艾莉丝·胡。

I'm your host, Elise Hu.

演员、导演兼活动家亚美莉卡·费雷拉表示：好莱坞需要停止抗拒世界的真实样貌。

Hollywood needs to stop resisting what the world actually looks like, says actor, director, and activist America Ferrera.

您可能通过《丑女贝蒂》和《芭比》电影等热门作品认识她。

You might know her from her roles in hits like Ugly Betty and the Barbie movie.

在她2019年的档案演讲中，亚美莉卡以自身职业轨迹为例，呼吁媒体更真实地呈现多元文化，并改变我们讲述故事的方式。

In her archive talk from 2019, America uses the contours of her own career to call for more authentic representation of different cultures in media and a shift in how we tell our stories.

在我家娱乐室的红色地砖上，我曾对着贝蒂·米勒主演的电视电影《吉普赛》又唱又跳。

On the red tiles in my family's den, I would dance and sing to the made for TV movie Gypsy, starring Bette Midler.

我曾有个梦想，一个美好的梦想，爸爸。

I had a dream, a wonderful dream, papa.

我会用九岁孩子那种迫切与炽热的渴望歌唱这个梦想——因为那时的我确实心怀梦想。

I would sing it with the urgency and the burning desire of a nine year old who did, in fact, have a dream.

我的梦想是成为一名演员。

My dream was to be an actress.

确实，我从未在电视或电影中见过与我样貌相似的人。

And it's true that I never saw anyone who looked like me in television or in films.

当然，家人朋友和老师都不断警告我：像我这样的人在好莱坞不可能成功。

And sure, my family and friends and teachers all constantly warned me that people like me didn't make it in Hollywood.

但我是个美国人。

But I was an American.

我从小被教导相信：无论肤色如何，无论父母来自洪都拉斯，无论家境贫寒，人人都能成就任何事。

I had been taught to believe that anyone could achieve anything, regardless of the color of their skin, the fact that my parents immigrated from Honduras, the fact that I had no money.

我不需要梦想之路平坦无阻。

I didn't need my dream to be easy.

我只需要它存在实现的可能。

I just needed it to be possible.

十五岁那年，我迎来了人生第一次专业试镜。

And when I was 15, I got my first professional audition.

那是个有线电视订阅或保释债券的广告，具体记不清了。

It was a commercial for cable subscriptions or bail bonds, I don't really remember.

但我清晰记得选角导演的要求：你能再来一遍吗？这次要带更多拉丁口音。

But what I do remember is that the casting director asked me, could you do that again, but just this time sound more Latina?

好的。

Okay.

所以你想让我用西班牙语来？

So you want me to do it in Spanish?

我问过了。

I asked.

不，不用。

No, no.

用英语说就行。

Do it in English.

只要听起来像拉丁裔。

Just sound Latina.

可我就是拉丁裔啊，这不就是拉丁裔说话的方式吗？

Well, I am a Latina, so isn't this what a Latina sounds like?

经过漫长而尴尬的沉默后，她终于说了句：好吧亲爱的，算了。

There was a long and awkward silence, and then finally, Okay, sweetie, never mind.

谢谢你来面试。

Thank you for coming in.

再见。

Bye.

我在回家的车上才慢慢意识到，她说要更像拉丁裔，其实是让我说蹩脚的英语。

It took me most of the car ride home to realize that by sound more Latina, she was asking me to speak in broken English.

我想不通为什么我作为一个真实、活生生的正宗拉丁裔，这一点似乎并不重要。

And I couldn't figure out why the fact that I was an actual, real life, authentic Latina didn't really seem to matter.

总之，我没得到那份工作。

Anyway, I didn't get the job.

很多人家愿意面试我的工作，我都没得到。

I didn't get a lot of the jobs people were willing to see me for.

帮派成员的女友、刁蛮的小偷、怀孕的拉丁少女二号。

The gangbanger's girlfriend, the sassy shoplifter, pregnant chola, number two.

这就是为我这样的人存在的角色类型——在他们眼中，我肤色太深、身材太胖、出身太穷、气质太土。

These were the kinds of roles that existed for someone like me, someone they looked at and saw as too brown, too fat, too poor, too unsophisticated.

这些角色都是刻板印象，与我真实的自我或梦想扮演的角色相去甚远。

These roles were stereotypes and couldn't have been further from my own reality or from the roles I dreamt of playing.

我想演绎那些复杂立体的人物，那些活在自己生活中心的主角，而非他人故事背景里的纸板配角。

I wanted to play people who were complex and multidimensional, people who existed in the center of their own lives, not cardboard cutouts that stood in the background of someone else's.

可当我鼓起勇气对经纪人说这些话时——我付钱雇他本是为了帮我争取机会——他的回应却是：'得有人告诉那姑娘她的期望不切实际'。

But when I dared to say that to my manager, that's the person I pay to help me find opportunity, his response was, someone has to tell that girl she has unrealistic expectations.

他倒也没说错。

And he wasn't wrong.

我是解雇了他，但他确实没说错。

I mean, I fired him, but he wasn't wrong.

因为每当我试图争取非刻板印象角色时，总会听到：'这个角色不考虑多样性选角'，或是'我们很喜欢她，但她族裔特征太鲜明'，再不然就是'抱歉，这部电影已经有一个拉丁裔角色了'。

Because whenever I did try to get a role that wasn't a poorly written stereotype, I would hear, we're not looking to cast this role diversely, or we love her, but she's too specifically ethnic, or unfortunately, we already have one Latino in this movie.

我不断重复收到同一个讯息：我的身份是需要克服的障碍。

I kept receiving the same message again and again and again, that my identity was an obstacle I had to overcome.

于是我想：放马过来吧，障碍。

And so I thought, come at me, obstacle.

我可是美国人。

I'm an American.

我的名字就叫'美利坚'。

My name is America.

我为此训练了一辈子。

I trained my whole life for this.

我只需按规则行事。

I'll just follow the playbook.

我会更加努力。

I'll work harder.

于是我就这么做了。

And so I did.

我竭尽全力去克服人们口中我所有的缺点。

I worked my hardest to overcome all the things that people said were wrong with me.

我避开阳光以免皮肤晒得太黑。

I stayed out of the sun so that my skin wouldn't get too brown.

我把卷发拉直驯服。

I straightened my curls into submission.

我不断尝试减肥。

I constantly tried to lose weight.

我买越来越昂贵时髦的衣服，只为了让人们看到我时，不会觉得我是个太胖、太黑、太穷的拉丁裔。

I bought fancier and more expensive clothes, all so that when people looked at me, they wouldn't see a too fat, too brown, too poor Latina.

他们会看到我的能力，或许会给我一个机会。

They would see what I was capable of, and maybe they would give me a chance.

而命运的反讽在于，当我终于得到一个能让所有梦想成真的角色时。

And in an ironic twist of fate, when I finally did get a role that would make all my dreams come true.

这个角色恰恰要求我做真实的自己。

It was a role that required me to be exactly who I was.

《曲线窈窕非梦事》里的安娜，就是个皮肤黝黑、贫穷、肥胖的拉丁裔女孩。

Anna, in Real Women Have Curves, was a brown, poor, fat Latina.

我从未见过像她这样的人，像我这样的人，能成为自己人生故事的主角。

I had never seen anyone like her, anyone like me, existing in the center of her own life story.

我带着这部电影走遍美国各地和多个国家，无论年龄、种族或体型的人们，都在安娜——这个17岁胖乎乎的墨西哥裔美国女孩身上看到了自己，看她如何对抗文化桎梏去实现看似不可能的梦想。

I traveled throughout The US and to multiple countries with this film, where people, regardless of their age, ethnicity, body type, saw themselves in Anna, a 17 year old chubby Mexican American girl struggling against cultural norms to fulfill her unlikely dream.

尽管我这辈子听到的都是否定，但我亲眼见证人们确实渴望看到像我这样的故事，而我那些不切实际的期待——希望在文化中看到真实自我的呈现——原来也是其他人的期待。

In spite of what I had been told my whole life, I saw firsthand that people actually did want to see stories about people like me and that my unrealistic expectations to see myself authentically represented in the culture were other people's expectations, too.

《曲线窈窕非梦事》在评论界、文化界和商业上都取得了成功。

Real Women Have Curves was a critical, cultural and financial success.

很棒，我想。

Great, I thought.

我们做到了。

We did it.

我们证明了我们的故事有价值。

We proved our stories have value.

现在情况将会改变。

Things are going to change now.

但我眼看着几乎什么都没发生。

But I watched as very little happened.

没有出现转折点。

There was no watershed.

业内没有人急着去讲述更多关于那个渴望并愿意付费观看的观众群体的故事。

No one in the industry was rushing to tell more stories about the audience that was hungry and willing to pay to see them.

四年后，当我出演《丑女贝蒂》时，我看到同样的现象再次上演。

Four years later, when I got to play Ugly Betty, I saw the same phenomenon play out.

《丑女贝蒂》在美国首播时吸引了1600万观众，第一年就获得了11项艾美奖提名。

Ugly Betty premiered in The US to 16,000,000 viewers and was nominated for 11 Emmys in its first year.

尽管《丑女贝蒂》取得了成功，但此后八年里美国电视上再没有出现过由拉丁裔女演员主演的电视剧。

But in spite of Ugly Betty's success, there would not be another television show led by a Latina actress on American television for eight years.

自从我成为首位也是唯一一位获得艾美奖主角类奖项的拉丁裔演员以来，已经过去了十二年。

It's been twelve years since I became the first and only Latina to ever win an Emmy in a lead category.

这并不是值得骄傲的事。

That is not a point of pride.

这令人深感沮丧，不是因为奖项证明了我们的价值，而是因为我们在世界上看到谁在成功，就学会了如何看待自己、如何思考自己的价值、如何梦想未来。

That is a point of deep frustration, not because awards prove our worth, but because who we see thriving in the world teaches us how to see ourselves, how to think about our own value, how to dream about our futures.

每当我开始怀疑这一点时，我就会想起巴基斯坦斯瓦特山谷里曾住着一个小女孩，她不知怎么拿到了一些美国电视剧的光碟，在其中看到了自己成为作家的梦想。

And any time I begin to doubt that, I remember that there was a little girl living in the Swat Valley of Pakistan, and somehow she got her hands on some DVDs of an American television show in which she saw her own dream of becoming a writer reflected.

马拉拉在她的自传中写道：'在目睹自己的话语如何能产生影响，以及观看《丑女贝蒂》DVD中美国杂志社的生活后，我开始对新闻业产生兴趣。'

In her autobiography, Malala wrote, I'd become interested in journalism after seeing how my own words could make a difference, and also from watching the Ugly Betty DVDs about life at an American magazine.

在我职业生涯的17年里，我见证了当我们的声音能够进入文化领域时所拥有的力量。

For 17 of my career, I have witnessed the power our voices have when they can access presence in the culture.

我亲眼所见。

I've seen it.

我亲身经历。

I've lived it.

我们都在娱乐、政治、商业和社会变革中见证过这种力量。

We've all seen it in entertainment, in politics, in business, in social change.

我们无法否认这一点。

We cannot deny it.

在场即意味着可能性。

Presence creates possibility.

但过去十七年来，我也一直听到同样的借口，解释为什么我们中的一些人能进入文化领域，而另一些人却不能。

But for the last seventeen years, I've also heard the same excuses for why some of us can access presence in the culture and some of us can't.

我们的故事没有观众。

Our stories don't have an audience.

我们的经历无法引起主流共鸣。

Our experiences won't resonate in the mainstream.

我们的声音存在太大的财务风险。

Our voices are too big a financial risk.

就在几年前，我的经纪人打电话向我解释为什么我没能获得一个电影角色。

Just a few years ago, my agent called to explain to me why I wasn't getting a role in a movie.

他说：'他们很喜欢你，也确实非常想要多元化选角，但这部电影必须优先确定白人角色才能获得投资。'

He said, They loved you, and they really, really do want to cast diversely, but the movie isn't financeable until they cast the white role first.

他带着心碎的语气传达了这个消息，那种语调仿佛在说：'我明白这有多荒谬。'

He delivered the message with a broken heart and with a tone that communicated, I understand how messed up this is.

但尽管如此，就像之前千百次那样，我感到泪水滑过脸颊，被拒绝的痛苦涌上心头，然后是羞耻的声音在责备我：你已经是个成年女性了。

But nonetheless, just like hundreds of times before, I felt the tears roll down my face and the pang of rejection rise up in me and then the voice of shame scolding me, You are a grown woman.

别为一份工作哭泣了。

Stop crying over a job.

多年来我一直在经历这个过程：把失败归咎于自己，然后因无法克服障碍而感到深深的羞耻。

I went through this process for years of accepting the failure as my own and then feeling deep shame that I couldn't overcome the obstacles.

但这一次，我听到了一个新的声音。

But this time, I heard a new voice.

一个声音说：我累了。

A voice that said, I'm tired.

我受够了。

I've had enough.

这个声音理解我的眼泪和痛苦并非源于失去工作。

A voice that understood my tears and my pain were not about losing a job.

它们关乎那些真正被用来评价我的言论——那些高管、制片人、导演、编剧、经纪人、经理、老师、朋友和家人终其一生对我的贬低，认为我是个低价值的人。

They were about what was actually being said about me, what had been said about me my whole life by executives and producers and directors and writers and agents and managers and teachers and friends and family, that I was a person of less value.

我曾以为防晒霜和直发器能改变这个根深蒂固的价值体系。

I thought sunscreen and straightening irons would bring about change in this deeply entrenched value system.

但在那一刻我意识到，我从未真正要求这个体系改变。

But what I realized in that moment was that I was never actually asking the system to change.

我只是在请求它接纳我，这完全是两回事。

I was asking it to let me in, and those aren't the same thing.

当我内心认同这个体系对我的评价时，我永远无法改变它对我的看法。

I couldn't change what a system believed about me while I believed what the system believed about me.

而我确实认同了。

And I did.

我和周围所有人一样，相信以真实的自己不可能存在于梦想中。

I, like everyone around me, believed that it wasn't possible for me to exist in my dream as I was.

于是我开始试图让自己隐形。

And I went about trying to make myself invisible.

这让我明白，一个人可以真心渴望改变，同时其行为却维持现状不变。

What this revealed to me was that it is possible to be the person who genuinely wants to see change while also being the person whose actions keep things the way they are.

这使我确信，变革不会通过区分好人与坏人来实现。

And what it's led me to believe is that change isn't going to come by identifying the good guys and the bad guys.

这种讨论让我们都得以逃避责任，因为我们大多数人都不是非黑即白。

That conversation lets us all off the hook, because most of us are neither one of those.

只有当每个人都有勇气质疑自己基本的价值观和信念，并确保行为与最善意的初衷一致时，改变才会发生。

Change will come when each of us has the courage to question our own fundamental values and beliefs and then see to it that our actions lead to our best intentions.

我只是数百万被告知'要实现梦想、为世界贡献才华就必须抗拒真实自我'的人之一。

I am just one of millions of people who have been told that in order to fulfill my dreams, in order to contribute my talents to the world, I have to resist the truth of who I am.

就我而言，我已准备好停止抗拒，开始以完整真实的自我存在。

I, for one, am ready to stop resisting and to start existing as my full and authentic self.

如果我能回到过去，对那个在客厅跳舞、做着美梦的九岁女孩说些什么，我会说：我的身份不是我的障碍。

If I could go back and say anything to that nine year old dancing in the den, dreaming her dreams, I would say, my identity is not my obstacle.

我的身份是我的超能力。

My identity is my superpower.

因为事实是，我就是这个世界的样子。

Because the truth is, I am what the world looks like.

你就是这个世界的样子。

You are what the world looks like.

我们共同构成了这个世界的真实模样。

Collectively, we are what the world actually looks like.

为了让我们的体系反映这一点，它们不需要创造新的现实。

And in order for our systems to reflect that, they don't have to create a new reality.

它们只需要停止抗拒我们已经生活的这个世界。

They just have to stop resisting the one we already live in.

谢谢。

Thank you.

这是美国演员亚美莉卡·费雷拉在2019年TED大会上的演讲。

That was America Ferrera speaking at TED twenty nineteen.

该演讲最初发布于2019年5月。

This talk was originally published in May 2019.

若想了解TED内容筛选机制，请访问ted.com/curationguidelines获取更多信息。

If you're curious about Ted's curation, find out more at ted.com/curationguidelines.

今天的节目就到这里。

And that's it for today.

TED每日演讲隶属于TED音频合集项目。

Ted Talks Daily is part of the Ted audio collective.

本演讲内容经由TED研究团队核验，由制作编辑团队玛莎·埃斯特瓦诺斯、奥利弗·弗里德曼、布莱恩·格林、露西·利特尔和坦西卡·桑马尼翁共同完成。

This talk was fact checked by the Ted research team and produced and edited by our team, Martha Estevanos, Oliver Friedman, Brian Greene, Lucy Little, and Tansika Sungmarnivong.

本期节目混音由克里斯托弗·费兹·博根负责。

This episode was mixed by Christopher Faizy Bogan.

特别鸣谢艾玛·陶伯纳与丹妮拉·巴拉雷索的协助。

Additional support from Emma Taubner and Daniella Balarezo.

我是艾丽斯·胡。

I'm Elise Hu.

明天我将带着新鲜观点回归您的订阅列表。

I'll be back tomorrow with a fresh idea for your feed.

感谢收听。

Thanks for listening.

只需一部手机和网络连接，人人都能尝试将创意热情转化为收入。

With a phone and an Internet connection, anyone can try to turn a creative passion into income.

创意工作的价值远超人们想象。

Creative work is more valuable than people realize.

这将成为经济中一个极其重要的领域。

It is going to be a hugely significant area of of the economy.

但如何将这些创意变现意味着什么？

But what does it mean to monetize all this creativity?

创作者经济。

The creator economy.

以上内容来自NPR的TED Radio Hour播客，我们下期再见。

That's next time on the TED Radio Hour podcast from NPR.

欢迎订阅TED Radio Hour播客，或在任意播客平台收听我们的节目。

Subscribe or listen to the TED Radio Hour wherever you get your podcasts.