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I had prepared this presentation
in a very elaborate way.

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I had written a text

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and had passed it on
to a professional editor,

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so that I could introduce myself
and present my ideas to you

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in impeccable French.

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But in the end, when I thought about
the theme of this conference this morning,

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where we're talking about
the languages of ideas,

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that is, ID, the two letters,

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our identity,

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but also our ideas, what's in our heads,

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in the end, I decided not to follow

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what I had prepared.

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So, I made the decision to throw away
everything I had prepared

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and present myself today as I am,

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with all my flaws, all my faults,
and some virtues too.

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So that poses a problem for you and me

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because I don't speak French rigorously.

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Let me explain.

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It's true that as an interpreter
I don't speak languages badly,

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including French.

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But interpreters have a very special way
of categorizing languages.

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We talk about languages "A", "B", and "C".

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And French is, for me,
what we call a passive language,

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a "C" language,

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a language from which
I am able to interpret,

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I am very capable of doing so,

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but I never interpret into it

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because I don’t really have
complete mastery of it.

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So, during this presentation,
I'm going to talk nonsense,

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I assure you, OK?

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I'll make mistakes,

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and if that's the case -

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and I can assure you it will be -

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please make notes of them,

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and, at the end, maybe send me
an email to bring my attention to them.

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And based on that, we'll move forward, OK?

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OK, so with that, let's get started!

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Take a good look at this photo here.

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It was taken in Brasilia,
on 17 March 1992.

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It was a Tuesday.

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It also marks the precise moment
at which I became an interpreter.

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But let me go back
and tell you how I got there.

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Four years earlier,

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I had joined the Brazilian
National Assembly as an employee.

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I was bored of filling out paper
eight hours a day.

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That day, at the last minute,

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someone realized that the prince
didn’t speak Portuguese,

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and that we had to find someone
who could do the linguistic mediation.

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I was really bored of the job
I was doing at the time,

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and I had spread a rumour
that I spoke fluent English.

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At some time, I got a phone call.

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Two hours later,
I was sitting in that chair

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to do the mediation.

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There it is!

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The gentleman in the light-coloured suit,
his name is Ibsen Pinheiro,

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he was, at the time,
the President of the National Assembly.

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Across from him at an angle, you see

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His Royal Highness Prince Philip,
Duke of Edinburgh.

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And the young man between them,
the one with lots of hair, that's me.

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(Laughter)

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So that's how my career
as an interpreter began.

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A few weeks later,

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I found myself in front of
the Princess of Thailand.

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Another few months and I was pushed
in the deep end, you might say.

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And I swam, to my great amazement.

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And ultimately, I had the opportunity

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to do the mediation
for a number of ambassadors

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who came to present
their credentials and all that,

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as well as a few heads of state,

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including the Dalai Lama,

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as well as the gentleman
in the middle, Michel Temer,

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who, after a few years,
became the President of Brazil.

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So,

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that's how I got there

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and became the official interpreter

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of the National Assembly,

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of the President of the National Assembly,

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who occasionally was also
the Vice-President of the Republic,

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following the fall of President Collor.

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There you are.

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I eventually quit my job at the congress,

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and at some point,
I opened a translation agency

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that I ran for 17 years,

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and that was called "Die Presse",
like the Austrian newspaper.

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A few years later,

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I was already a very well
trained interpreter,

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and I decided to go to the United States
for further academic training.

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And I took a few years
to do a master's degree

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at the Monterey Institute in California.

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And after about 10 years,

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I was appointed chief interpreter
at ITU in Geneva,

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a specialized agency of the UN.

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So, little by little,
I started to advance,

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and that's what made me, you might say,

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a more or less competent interpreter.

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If you look closely,

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you may notice Barack Obama
towards the back of this photo.

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There you are.

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So, moving on.

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Seen from the outside,

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simultaneous interpretation
seems like magic.

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On the inside, it's pure madness.

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You spend your life in a stuffy booth,

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with colleagues
you usually know very well,

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and you are required to repeat
in a different language

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the ideas and words of other people
that you don’t know at all,

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keeping the rhythm, the tone,
the intention, the meaning,

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as you search for words and documents

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as you continue to interpret.

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We also need to have
a kind of silent dialogue

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with the colleague of the day,

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by means of the slightest
of gestures, of glances, of notes,

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in order that we can effect our task.

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To make matters worse,

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we are normally at the end of the room,
on the other side of the room,

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normally here, in booths like these,

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and we cannot signal
the speaker to slow down,

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to interrupt him or her,
or to clarify, and so on.

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With so many obstacles,

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one might think

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simultaneous interpretation
to be an impossible task.

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Yet it is perfectly feasible.

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It's really a beautiful job,
it's an extraordinary job.

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It has given me the opportunity
to go all over the world,

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it has brought me into contact with
some really important people,

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and it has given me the opportunity
to say, using my own voice,

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some very important things
that have gone to form history.

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On occasions, perhaps, I've read
in the newspaper the day after a meeting

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the exact phrase I used in my language:

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it was not the phrase
spoken by the president

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because he spoke a different language.

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So, sometimes, there are
some very interesting things:

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we're really there to make history,

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and we're part of it, that's great.

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But it's also a job that is sometimes
the source of a lot of frustration.

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Above all, it’s the frustration
of spending an entire professional life

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expressing other people's ideas.

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We use our voice, our gestures,
everything we have, to communicate well,

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not to give expression to what we feel
and what we want to say,

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but rather to do it for other people.

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There is also this false
sense of belonging,

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since one day I am there,

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right next to the president,
other members too, with the king,

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but after the lights have gone out,
I am just the interpreter.

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And sometimes that messes
with our heads a bit.

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Some colleagues have
certainly had difficulty

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taking this aspect of our profession
into consideration.

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So, at some point you start
asking yourself the question:

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Why?

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Why devote yourself to it?

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Why do this job full of difficulties?

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Why spend your whole life

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in such a complicated way

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that precludes self-expression and so on?

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And at a certain point,
you start to feel a level of anxiety

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that increases without
your knowing exactly why.

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At the same time
as one becomes an interpreter,

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a better one, more competent and so on,

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at the same time -
what was true for me anyway -

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was that I constantly had this feeling
of not really being there,

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as if I were just an invisible voice,

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and that I wasn't - if you will -

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I wasn't fulfilled.

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So, at a certain point,
I began asking myself the question:

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Why do I feel this way?

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Why the anxiety?

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I've been doing this for years, why?

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And so at that point, I was an interpreter
very little sure of myself.

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And this bothered me.

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So I started asking myself
the question: Why?

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In Portuguese, the word for "why"
forms a question, but also a reply.

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We use the same word:

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it's not like in English,
where we have "why" and "because".

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In Portuguese, we say "por que",

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and the reply is also "porque" -
we just write it slightly differently.

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At a certain point, I realized
that "why" may also be the best answer,

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and not just the best question.

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It's a lesson I learned
from another interpreter,

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a very famous interpreter,
but a different kind of interpreter.

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His name is Vido Santiago.

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And if his name doesn't
mean anything to you,

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maybe it's time you got to know Vido.

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He is a virtuoso saxophonist,

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and he has travelled all over the world
to blow into his saxophone.

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He has played with all the singers
on the international scene.

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He has been invited to all
the jazz festivals on the planet.

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We're very close because I married
his sister about 30 years ago.

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(Laughter)

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So, one day, I was
at my mother-in-law's house,

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and we started talking.

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I asked him,

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"Vido, you often go up
in front of thousands of people,

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how do you control
the fear of going on stage?

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Is it something you suffer from?"

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He said, "No, I don't.

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But I have a very strict ritual."

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He started to tell me everything he does,

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and at the end, he told me that
every time before going on stage,

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he takes a minute to think it all over,

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to do ... erm ... a sort of meditation ...

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and so on ...

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... and to pray well.

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And for me, it was a real surprise

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that, after so many years
of tours and so on,

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someone like Vido followed this routine,

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found it necessary to do it and so on.

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And I kept asking him the question:

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But why, and what do you do
that gets you past it?

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He said,

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"As soon as you know
why you're doing something,

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anxiety disappears,

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it vanishes completely.

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You need to ask yourself the question.”

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And then he began
to give me some examples.

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He gave me four examples.

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He said, "Among musicians,
there are some colleagues

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who play from emotional anger.

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They are angry because
they suffer discrimination,

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whether it's some form of harassment,
sexually, or because of their age,

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or whatever else.

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And so when they go on stage,
they carry with them that anger,

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and they use that emotion
to take revenge against the world.

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And the result is undeniably good music.

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There are also some colleagues
who do it from emotional vanity.

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They have such a degree of insecurity

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that it forces them
to go on stage and do their best,

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so that, at the end,
they receive applause,

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and, in that way,
gain their self-confidence.

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There are also a few others

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who play because they realize

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that, in fact, they should be
doing something else.

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By saying that they're there,
they're playing as a form of avoidance.

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That is, perhaps my body
is no longer there,

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and I should be doing something else,

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but secretly they fear
they are not good enough,

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so they keep playing.

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There are a few, like me,
for example, who play,

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or do what we do,

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as a way of giving pursuit to
someone else that we admire

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in order to gain
their admiration or affection.

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That was my case at the beginning

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with regard to my father."

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There it is.

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At some time, he said to me,

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"I've gone through
all these kinds of emotions,

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and in the end, whenever I realized
that I was at a certain level,

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I sought to go forward yet further.

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So I went through all that,
and today I'm playing because one day -

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I remember it very well,
when I was a kid -

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I went to a concert,
and I left completely changed

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because of one note I heard.

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It completely changed my life,

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and that's why I play the saxophone.

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So, today, I've reached
the level of compassion,

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and that's the emotion that makes me play.

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And so, as far as I'm concerned,
what I'm trying to do

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is to play to transform.

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Because in any crowd,

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on any day,

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there is at least one person
who is ready to be changed.

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And I pray for that person
to be there and leave changed."

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There you are.

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At that point, I started
to put questions to myself.

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And maybe you could
in doing whatever you do

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ask yourself them too.

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I'm not here to give you advice,
but some suggestions, maybe.

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And the questions are these:

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Why do you do what you do?

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You need to answer that question
in a very honest way.

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And what is it that really motivates you?

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Ultimately, if you find
that the emotion is not the right one,

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what could you do to leave it behind

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and maybe move on to another emotion

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that perhaps will give you
the desire or the energy

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to do the things you do
from that different emotion

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that is in fact greater than you
and not totally centred on you.

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And finally, for whom do you play?

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Because as an interpreter,
one reminds oneself very often

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of the fact that
every time I centre on myself,

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if I then miss the odd phrase,

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I'll reproach myself for it,
and lose the next one on top of it.

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If I applaud myself because, yes,
I understood that, well done me,

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I will then lose what comes next.

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So, as an interpreter one learns

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that to do this job well,

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you have to forget yourself,
and focus your attention on someone else.

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Maybe you need to find
someone else to focus on

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to do your job better.

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So, these are two difficult questions,

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and the answers may elude you for a while.

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But asking them, and acting on
the insights gained thereby,

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is the only way to continue to advance.

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Pending that,

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perhaps you could try certain aspects
of the Vido Santiago routine.

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That is, take a minute to recall exactly

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the real reason you find yourself
in your job or wherever.

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Beyond the interpreting booth,

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or the stage,

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there are so many discoveries to make,

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dreams to realize,

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fantasies about to fall apart.

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All you need to do is to play
a note precisely with emotion,

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or to pronounce a word
with compassion and in a precise way,

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and every day, in whichever crowd,

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there is at least one person
ready to be changed.

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I hope that person is listening today.

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I hope you are that person.

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Thank you.

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(Applause)