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(单词翻译:双击或拖选)
New York City
12 November 2007
A docudrama play from Scotland’s new National Theatre, about Scottish soldiers in Iraq, garnered2 accolades3 from critics and a sold-out run during its recent tour in New York. “Black Watch,” by Gregory Burke, takes its title from the name of a 270-year-old Scottish regiment4. The New York Times called the play “one of the most richly human works of art to emerge from this long war.”
“Black Watch” tells the story of a group of young soldiers, both during their service in Iraq and afterwards. Playwright5 Gregory Burke based the play on his interviews with veterans at a pub in Fife, Scotland, where they met to drink and play pool and darts7 -- and to recall for the playwright, reluctantly, their experiences in Iraq.
“He knew these guys, they were real people for him,” says Susan Feldman, artistic8 director of St. Ann’s Warehouse9, where “Black Watch” toured, “but then he transformed them and their testimony10, and turned it into art.”
She said she leapt at the chance to bring the play to her theater in Brooklyn. “I think it's got a fantastic immediacy to it, I think it tells the truth, it has a truth to it, it's very, very theatrical11. And the fact that theater could achieve so much reality about such a difficult topic as war, I thought was really important."
The play uses music, video, and choreographed12 movement as well as dialogue to sketch13 the history of the Scottish regiment. At one point, an actor is dressed and undressed like a mannequin in the Black Watch uniform as it evolved over several centuries of wars around the world. He narrates14 the history through his costume changes, at one point explaining the origins of the regiment’s most recognizable emblem15. “Somewhere along the way, George the Third decided16 we deserved to wear a red vulture feather in our hats: the red hackle."
“Black Watch” moves from that fabled17 history of the regiment to the 2004 deaths of three Black Watch soldiers in a suicide bombing in Iraq. It suggests that Scottish leaders sent the unit to Iraq for political reasons. The soldiers themselves doubt the purpose of their mission.
“You're not really doing the job that you're trained for,” one of the soldiers tells a TV reporter in Iraq. “I mean, it's not like they're a massive threat to you or your country, you're not even defending your country. You’re invading their country.”
But the soldiers, young men from working-class backgrounds, say they didn’t enlist18 out of high ideals, anyway. They say they joined to fight – and that they fight for each other. “Not for my government, not even for Scotland,” the soldiers say in the play. “I fought for my regiment,” says one. “I fought for my platoon,” says another. “I fought for my mates,” says the last one.
Two American veterans, both of whom have written books about their experiences in Iraq, spoke19 at a recent post-play discussion at the theater. They said that “Black Watch” could have been written about their own units. “I think the experience is pretty universal,” said Jason Christopher Hartley, a member of the New York Army National Guard. “Their vocabulary is different, their accents, they serve in different places, there's more minutiae-type stuff that's different, but the core of it is the same,” he said.
His fellow vet6 and Guard member Paul Rieckhoff, who also runs an organization http://www.iava.org/ advocating for American veterans of Iraq and Afghanistan, agreed. “I found it to be incredibly powerful, and like nothing else I’ve seen so far having to do with the Iraq war,” he said. “What really hit home for me was the scenes of them in a bar when they come home, and they’re playing pool, and playing darts, and trying to process their experience, and kind of joking around about times they had in Iraq, but just trying to internalize and deal with having been in a war. Which is something that all veterans face coming home, and have as long as there’s been warfare20.”
In “Black Watch” the lives and deaths of Iraqis on the other side of the checkpoints are never seen. That disconnect -- because of language, fear and culture -- is part of the reality of Iraq for the Scottish soldiers, as it is for the Americans. “Black Watch,” directed by John Tiffany, premiered at the Edinburgh Festival Fringe in 2006 to critical acclaim21.
1 weaver | |
n.织布工;编织者 | |
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2 garnered | |
v.收集并(通常)贮藏(某物),取得,获得( garner的过去式和过去分词 ) | |
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3 accolades | |
n.(连结几行谱表的)连谱号( accolade的名词复数 );嘉奖;(窗、门上方的)桃尖拱形线脚;册封爵士的仪式(用剑面在肩上轻拍一下) | |
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4 regiment | |
n.团,多数,管理;v.组织,编成团,统制 | |
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5 playwright | |
n.剧作家,编写剧本的人 | |
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6 vet | |
n.兽医,退役军人;vt.检查 | |
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7 darts | |
n.掷飞镖游戏;飞镖( dart的名词复数 );急驰,飞奔v.投掷,投射( dart的第三人称单数 );向前冲,飞奔 | |
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8 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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9 warehouse | |
n.仓库;vt.存入仓库 | |
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10 testimony | |
n.证词;见证,证明 | |
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11 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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12 choreographed | |
v.设计舞蹈动作( choreograph的过去式和过去分词 ) | |
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13 sketch | |
n.草图;梗概;素描;v.素描;概述 | |
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14 narrates | |
v.故事( narrate的第三人称单数 ) | |
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15 emblem | |
n.象征,标志;徽章 | |
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16 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
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17 fabled | |
adj.寓言中的,虚构的 | |
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18 enlist | |
vt.谋取(支持等),赢得;征募;vi.入伍 | |
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19 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
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20 warfare | |
n.战争(状态);斗争;冲突 | |
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21 acclaim | |
v.向…欢呼,公认;n.欢呼,喝彩,称赞 | |
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