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learning experience, including learning to stay on your feet while creating world-class cuisine. 讲述者：除了每年一度的巴黎到伊斯坦布尔之外，东方快车还提供威尼斯和伦敦之间20多年的定期季节性服务。 尽管如此，每次旅行都是一次学习体验，包括学习如何在创造世界级美食的同时保持健康。
Christian Bodiguel, Chef: “It’s very difficult because you get to see . . . it’s move now. For me it’s very difficult because we have a small kitchen and it’s moving, moving, moving.” 厨师Christian Bodiguel：“这很难见，因为你可以看到。。。 它现在正在行动。 对我而言，这是非常困难的，因为我们有一个小厨房，它正在移动，移动，移动。“
Introvigne: “Ah, it is, but we’re used to it, especially working out on the tables. The movement is sort of ah . . . it keeps you busy. It keeps you very concentrated actually. It’s relaxing sometimes.” Introvigne：“啊，是的，但我们已经习惯了，特别是在桌子上锻炼。 运动有点啊。。。 它让你忙碌。 它实际上让你非常集中。 有时候很放松。“ Narrator: The secret is to make it all look effortless. 旁白：秘决就是让它看起来毫不费力。
Claude Gianella, General Manager: “Without being presumptuous, it has been my main objective for those twenty years to keep the highest possible level of service on what is, after all, a train.” 总经理克劳德·吉亚内拉（Claude Gianella）：“不用冒昧，二十年来我的主要目标是保持最高水平的服务，毕竟是火车。” Narrator: At various stops along the route, food is loaded onto the train, from fresh fruit to fresh fish. The kitchens are completely restocked within minutes to keep the train right on track. In each country, the Orient Express takes on a new locomotive engine and engineer in order to ensure passengers’ safety and that the train runs smoothly. The rest of the staff stays the same throughout the journey — and often throughout the years.
讲述者：在沿途的各个站点，食物被装载到火车上，从新鲜水果到鲜鱼。 厨房在几分钟内完全补充，以保持火车正常运行。 在每个国家，东方快车都采用了新的机车发动机和工程师，以确保乘客的安全和火车顺利运行。 其余的工作人员在整个旅程中保持不变 - 通常这些年来。
Zorzi: “I’ve been on the Orient Express for thirteen years now.” Zorzi：“我已经在东方快车上工作了十三年了。”
Chef Bodiguel: “Fifteen years on board. Fifteen years I work here.” 厨师bodiguel：“船上十五年。十五年我在这里工作。” Narrator: Once someone starts working aboard the Orient Express, it’s often difficult to consider doing anything else.
旁白：一旦有人开始在东方快车上工作，通常很难考虑做其他事情。
Introvigne: “It’s unique. It is. When you go into a train station, the people outside are looking at the train, and you can think that, you can sort of imagine them thinking how much they’d like to be on that train, and you’re on it. I mean you’re working on it, which is even better. I mean, it’s something very special.” 英特罗维吉：它是独一无二的。它是。当你去火车站时，外面的人都在看火车，你可以认为，你可以想象他们想在火车上，你是怎么想的呢。我的意思是你在工作，甚至更好。我是说，这是很特别的事情。” Narrator: The people who travel and work on the Orient Express have a window-seat view of Europe passing before their eyes and a close-up of a bygone era surrounding them. When it
comes to romance and adventure while traveling in style, none of the modern travel options of today can come close to a ride on the Orient Express 讲述者：在东方快车上旅行和工作的人们可以看到欧洲人在他们眼前经过的窗外座位，以及围绕着他们的过去时代的特写镜头。 当谈到爱情和冒险，而在风格旅行，没有今天的现代旅游选择能够接近在东方快车。
Unit 4 The Varied Cultures of China
Narrator: Outside of China, Han Chinese are often considered to be the sole culture of the country. While China’s population is predominately Han, it is actually composed of a number of ethnic minorities. These smaller groups are culturally distinct from the Han and several have separate languages and customs. Due to the current high levels of expansion and development in China, some feel it’s important to document these ethnic minorities before they’re lost. One person committed to recording the life of these fascinating peoples is Bryan Schmeck, a documentary filmmaker.
旁白：在中国以外，汉族通常被认为是该国唯一的文化。 虽然中国的人口主要是汉族，但实际上是由一些少数民族组成。 这些较小的群体在文化上与汉族不同，有些群体拥有不同的语言和习俗。 由于目前中国的高度扩张和发展，一些人认为在失踪之前记录这些少数民族是很重要的。 致力于记录这些迷人民族生活的一个人是纪录片导演布莱恩施密克。
According to Schmeck, China’s nationalities, also known as “the fifty-six nationalities of China”, include the Han plus 55 other minority groups. To find them, one must travel to the far edges of China. Here, inhabitants have maintained a way of life with minimal changes over the centuries. 根据Schmeck，中国少数民族，也被称为“中国的五十六个民族，包括汉族和其他55个少数民族。要找到他们，我们必须到中国的最边缘去旅行。在这里，居民们一直保持着一种生活方式，以最小的变化，在过去的几个世纪。
In appearance and language, some cultures are distinctly different from those of mainstream China. The groups vary not only in the way they look and the languages they speak, but also in the arts, such as the songs and dances of their culture. For thousands of years, isolation has preserved their traditions, but now, even the most rural areas are joining the global village. 在外观和语言，一些文化是明显不同于主流中国。不同的群体不仅在他们的语言和他们说话的方式，而且在艺术，如歌曲和舞蹈，他们的文化。几千年来，隔离一直保留着他们的传统，但现在，即使是大部分的农村地区也加入了地球村。
Brian Schmeck, Documentary Filmmaker: “I mean, they see the outside world that they’ve never seen before and they like what they see.” 布瑞恩Schmeck，纪录片导演：“我的意思是，他们看到外面的世界，他们从来没有见过的，他们喜欢他们所看到的。” Narrator: For a year and a half, filmmaker Bryan Schmeck has been traveling across China, rushing to complete a video archive of its minority cultures before they vanish.
旁白：一年半，导演布莱恩Schmeck已穿越中国，抢在它消失之前完成其民族文化的视频档案。
Schmeck: “Ten to fifteen years from now, you’re not going to see what I’m seeing. People themselves will still exist, but their ideas, their culture, their way of life will not. It’ll be gone, and
it’s disappearing really fast.”
Schmeck：“十到十五年，你不会看到我所看到的。人们自己仍然存在，但他们的思想，他们的文化，他们的生活方式将不。它会消失，它的消失真快。” Narrator: The Mou Suo people of Yunnan Province are just one of the 55 minority nationalities. A matriarchal society in which women are at the center, they have no word for “marriage”. The cultural mores here differ significantly from the rest of the world. Less than a decade ago, this area was rarely visited by outsiders. Now, city residents like Mei Zhou come here as tourists. For urban Chinese, spending time in these charming villages gives them a chance to enjoy nature. As a result of people’s rising interest, local residents can now earn a living in the tourist industry and they truly seem to enjoy their work.
旁白：云南省的“某某”人只是少数民族中的一员。一个母系社会，女性在中心，他们没有“婚姻”。这里的文化习俗差异显著从世界其他地方。不到十年前，这一地区很少被外人访问。现在，城市居民如梅周来这里作为游客。对于城市的中国人，在这些迷人的村庄里度过的时光给了他们一个享受自然的机会。由于人们的兴趣日益高涨，当地居民现在可以谋生的旅游业，他们真正的享受他们的工作。
The Naxi people have lived in this mountain village of northwestern Yunnan Province for at least 1,500 years. For most of that time, they’ve been largely cut off from other people, mainly because no road came near the village. A village leader says that children are now able to walk two hours to get to a new road to catch a bus to school. But he worries that after they receive an education, the young people may see no reason to come back.
纳西族人在云南省西北部的一座山上至少居住了1500年。大部分的时间，他们已经基本上被切断从其他人，主要是因为没有路走到附近的村庄。一位村长说，孩子们现在可以走2个小时去一个新的道路，赶上一辆公共汽车上学。但他担心，他们接受了教育后，年轻人可能会认为没有理由回来。
People throughout rural China are flooding into large cities, searching for things they know exist but can’t get out in the country.
中国农村地区的人都涌入大城市，寻找他们知道存在的东西，但在农村地区却找不到东西。 Schmeck: “Modern conveniences, I mean nice housing. They like this and they want to go this way, so in a sense they’re getting a better life, but they’re forgetting where they came from.” Schmeck：“现代的便利，我的意思是好的住房。他们喜欢这样，他们想走这种方式，所以在一种感觉，他们得到一个更好的生活，但他们忘记了他们来自哪里。 Narrator: For many of the 55 minority nationalities of China, there seems to be a rush to conform to the rest of the country, and that’s not necessarily good if you believe that diversity is important.
对于许多中国的55个少数民族，似乎有一种与国家的其他国家的一致性，而这不一定是好的，如果你相信多样性是重要的。
Schmeck: “They’re going to be absorbed into mainstream China. You’re going to see it in a dinner theater or a floor show. Or you’re going to go up to a tourist park and a bunch of people will be putting on costumes to give you a little display of what was there.”
Schmeck：他们将成为中国的主流。你会在一个晚餐的剧院或者一个地板上看到它。或者你要去一个旅游公园，一堆人会穿上盛装，给你一个小展示什么是那里。 Narrator: Increasingly, China and the rest of the world are facing change and globalization. To think minority peoples can be immune to that transition is unrealistic. As China charts its course through the 21st Century, it’s important that its 55 minority nationalities don’t give up
their cultural heritage or discard their ancient traditions for a new way of life. The varied cultures of China must be encouraged to preserve their history because it’s this diversity that enriches our world. 旁白：越来越多的中国和世界其他地区都面临着变化和全球化。认为少数民族能对这种转变有免疫力是不现实的。作为中国的第二十一个世纪的历程，它的重要的是，它的55个少数民族不放弃他们的文化遗产或抛弃他们的古老传统的一种新的生活方式。中国必须鼓励不同的文化来保护他们的历史，因为它的多样性丰富了我们的世界。
Unit 5 Afghanistan's Heroic Artists
Narrator: From 1996 to 2001, the Taliban ruled Afghanistan. During this period, the fundamentalist religious group destroyed several historic and religious works throughout the country due to strict religious interpretations. It was after the terrible destruction of one of the country’s most important cultural landmarks, the carvings of Buddha in Bamiyan, that doctor and famous Afghan artist Mohammad Yousef Asefi realized that the nation’s artistic works were under attack.
旁白：从1996到2001，塔利班统治了阿富汗。在这期间，原教旨主义的宗教团体破坏了一些历史和宗教作品遍及由于严格的宗教解释的国家。这是一个国家最重要的文化地标的可怕的破坏后，在巴米扬佛像雕刻，医生和著名的阿富汗艺术家穆罕默德优素福阿塞菲意识到民族的艺术作品受到了攻击。
Mohammad Yousef Asefi, Art Rescuer: “I became very sad when I heard that the statue in Bamiyan had been destroyed. A rumor was spreading that the artwork exhibited in the National Gallery and the National Museum would be the next victim.”
穆罕默德说：“当我听说巴米扬的雕像被毁坏时，我变得非常难过。 有传言称国家美术馆和国家博物馆展出的艺术品将成为下一个受害者。“ Narrator: Asefi is a medical doctor and a well-known Afghan painter. For him, the Taliban’s rule of terror really hit home when the regime slashed and destroyed the artwork at the presidential palace and the ministry of foreign affairs. Some of the paintings destroyed were Asefi’s own.
旁白：阿塞菲是医生和阿富汗的知名画家。对于他来说，当政权在总统府和外交部大幅削减和摧毁艺术品时，塔利班的恐怖统治真正打到了家园。 一些被摧毁的画作是阿塞菲自己的作品。 Asefi: “I had painted my paintings with a lot of delicacy and now they were torn up or destroyed beyond repair. How could this happen?” ““我画了许多精致的画作，现在他们被撕毁或无法修复的破坏。怎么会发生这种情况？“ Narrator: With the paintings of the National Gallery now at risk, Asefi formulated a plan that could have resulted in his death. He volunteered for a job in the National Gallery restoring paintings damaged during the wars preceding the Taliban’s rule. 旁白：由于国家美术馆的画作现在处于危险之中，阿塞菲制定了一项可能导致他死亡的计划。 他自愿在国家美术馆找到一份工作，恢复在塔利班统治前的战争中受损的画作。
Once inside the gallery, Asefi needed an accomplice to help carry out his clever plan. He found one in a man named Enayet, a member of the National Gallery staff who shared Asefi’s contempt
for the Taliban and his courage to take them on. Risking their lives, Enayet and other staff members brought endangered paintings to the room where Asefi worked. It was there that the real ingenuity of the plan became apparent. Since the Taliban forbade paintings that illustrated living things, Dr. Asefi simply made the offensive elements disappear.
一旦进入画廊，Asefi需要一个帮凶帮助执行他的聪明计划。 他在一个名叫Enayet的男子中找到了一个人，他是国家美术馆工作人员的成员，他们分享了Asefi对塔利班的蔑视以及他接受他们的勇气。 Enayet和其他工作人员冒着生命危险将濒临灭绝的画作带到了Asefi工作的房间。 正是在那里，计划的真正独创性变得明显。 由于塔利班禁止描绘生物的画作，阿塞菲博士只是让进攻元素消失。 Asefi: “I suddenly came up with the thought of using watercolors on top of oil paintings to hide the unacceptable parts.” 阿塞菲说：“我突然想到在油画上使用水彩来隐藏不可接受的部分。”
Narrator: Month after month, Asefi and his accomplices ran an art-rescue factory right under the noses of Taliban religious police. If the Taliban had found out what they were doing, both men — and other members of the staff— almost certainly would have been punished with death. 旁白：月复一月，阿塞菲和他的同伙在塔利班宗教警察的鼻子底下经营着一家艺术救援工厂。 如果塔利班发现了他们正在做的事情，那么这两个人 - 以及其他工作人员 - 几乎肯定会受到死刑的惩罚。
Enayet, National Gallery Employee: “Whenever they would come, I would lock the door. The doctor was inside. He would stop his work, having understood that somebody was here. Naturally I was afraid because the Taliban were everywhere.” Enayet，国家美术馆员工：“每当他们来的时候，我都会把门锁上。 医生在里面。 他知道有人在这里，他会停止工作。 我自然害怕，因为塔利班到处都是。“
Narrator: Ultimately, Asefi’s art-rescue team placed about 80 paintings back on display. The Taliban inspectors never noticed the team’s deception. When the Taliban’s brutal regime came to an end in 2001, museum staff members simply wiped off the watercolors from the oil paintings, and for the first time in generations, the rescued treasures were once again in full view.
旁白：最终，Asefi的艺术救援团队展出了大约80幅画作。 塔利班检察官从未注意到该团队的欺骗行为。 当塔利班的野蛮政权于2001年结束时，博物馆工作人员只是从油画中抹去了水彩画，并且几代人第一次将被拯救的宝藏再次全部展现出来。 Asefi: “Despite all the suffering and hard work, our goal was to change something and we did it.”
阿塞菲：“尽管经历了所有的痛苦和艰苦的努力，我们的目标是改变一些事情，我们做到了。” Narrator: At Afghan Films, the national film archive, a group of filmmakers watches a show of film treasures once thought to be lost. During the Taliban’s rule, these artists were also victimized by the group’s extreme religious interpretations and the constant threat of having thousands of original film works destroyed because of their content.
旁白：在国家电影档案馆阿富汗电影公司（Emirates Films），一群电影制片人观看曾经被认为丢失的电影珍品。 在塔利班的统治期间，这些艺术家也受到该团体极端宗教诠释的影响，并且由于其内容而不断威胁成千上万的原创电影作品被毁。
Kirimi, Afghan Films: “We were very upset when the minister of the Taliban brought the order to burn the films. We felt our hearts pounding. We became emotional.” kirimi，阿富汗的电影：“当塔利班部长下令焚烧电影时，我们感到非常沮丧。 我们感到心跳加速。 我们变得情绪激动。”