‘Disgraced’ interrogates definitions of identity and Islam in America
2014-10-30 22:10:08


GWEN IFILL: Now: a prize-winning play about the impact faraway conflicts have on personal lives.(1)
GWEN IFILL:现在的位置: 获奖剧本是关于遥远冲突影响对个人生活。

Jeffrey Brown has our report from our New York studio.(2)
杰弗里布朗有我们从我们的纽约工作室的报告。

ACTOR: I’m sitting in nigh office. I’m red-lining a contract due at 6:00. Steven walks in.(3)
ACTOR:我坐在左近的办公室。我是红衬砌的合同截止日期为 6:00。Steven 走路的样子。

JEFFREY BROWN: When we first meet Amir in the space “Disgraced,” he is living a contemporary version of the American dream,(4)
JEFFREY BROWN:当我们第一次见 Amir 空间"Disgraced"中的时,他生活现代版的美国梦,

up-and-coming corporate lawyer, expensive apartment on Manhattan’s Upper East Side, and beautiful artist wife.(5)
有前途的公司律师,昂贵的公寓,在曼哈顿的上东区和漂亮的艺术家的妻子。

He’s a Pakistani-American who has largely turned his back on the religion of his parents, Islam.(6)
他是巴基斯坦裔美国人很大程度上有他的父母,伊斯兰教的宗教他背过身去。

But he’s also living in post-9/11 America and understands and even plays with the realities of that.(7)
但他也住在开机自检-9/11 美国理解甚至玩弄的现实。

At a dinner party, he explains to friend how he volunteers for security checks at airports.(8)
在晚餐聚会上,他向朋友解释他如何用于机场安检志愿者。

ACTOR: I know they’re looking at me, so I figure why not make it easier for everyone involved?(9)
ACTOR:他们看着我,所以我想为什么不让它更容易为大家所涉及知道

ACTRESS: I have never heard of anybody doing that before.(10)
ACTRESS:我从来没有听说过有人做过。

ACTOR: On top of people being more and more afraid of folks who look like me, we end up being resented, too.(11)
ACTOR:在人们越来越害怕看起来像我的人,我们最终被憎恨,太。

ACTRESS: Those agents are working hard not to discriminate,(12)
ACTRESS:这些代理正在努力不去歧视,

and then here’s this guy. He walks right up to them and calls them out on it.(13)
然后在这里,这个家伙。他向右向他们走去,叫他们出来吧。

ACTOR: Pure, unmitigated passive aggression.(14)
ACTOR:纯粹的十足的被动侵略。

(LAUGHTER)
JEFFREY BROWN: There’s plenty of humor in “Disgraced,” but quite a bit more pain, as Amir’s world and identity comes undone.(15)
JEFFREY BROWN:有很多幽默的"Disgraced",但很多的痛苦,作为 Amir 的世界和身份来撤消。

The writer of “Disgraced” is 43-year-old Ayad Akhtar, a Milwaukee native who grew up in a secular Muslim family.(16)
"Disgraced"的作者是 43 岁 · 阿亚德赫塔,密尔沃基土生土长的人,在世俗的穆斯林家庭中长大。

ACTOR: I don’t expect you or your friends to understand what I was talking about.(17)
ACTOR:我不期望你或你的朋友了解我在说什么。

JEFFREY BROWN: He’s explored various flash points of contemporary life as a novelist, actor, and screenwriter,(18)
JEFFREY BROWN:他还研究了各种闪光点作为小说家、 演员和编剧,当代生活的

as in the 2005 movie “The War Within” about a Pakistani student who after being abducted and interrogated by the CIA attempts an attack on New York.(19)
在 2005 年这部"战争以内"关于一个巴基斯坦的学生被绑架,并由中情局审问后试图对纽约的攻击。

Premiering two years ago, “Disgraced” earned Akhtar the 2013 Pulitzer Prize.(20)
首映两年前,"丢脸"赢得阿赫塔尔 2013年普利策奖。

Just before opening night last week on Broadway, I asked him what he was after in writing the play.(21)
只是之前开幕夜上周在百老汇大街上,问他他是在写该剧本后。

AYAD AKHTAR, Playwright, “Disgraced”: There was a character who was speaking to me with this kind of relentless passion,(22)
AYAD AKHTAR, Playwright, “Disgraced”:有人在跟我以饱满的热情,这种说话的人物

Amir, the lead character in the play, who has this very particular point of view on Islam.(23)
Amir,主角在剧中,对伊斯兰教有这非常特别的观点。

He’s Muslim birth — of birth and origin, but has sort of strongly moved away from it and is very critical of Islam.(24)
他是穆斯林的诞生 — — 出生和起源,但有种强烈移开,是非常关键的伊斯兰教。

But I came to understand that what the play was really trying to get at was the way in which we secretly continue to hold on to our tribal identities,(25)
却懂得了什么这出戏真的想要在是的方式,在其中我们偷偷地继续坚持我们部落的身份,

our identities of birth, of education, despite our — despite getting more enlightened.(26)
我们的教育,出生的身份尽管我们 — — 尽管越来越开明。

JEFFREY BROWN: There’s almost a suggestion that, whatever we do, our education, or our jobs, or our marriages,(27)
JEFFREY BROWN:几乎是一项建议,无论我们做什么,我们的教育或我们的工作,我们的婚姻,

we can’t — we never get past this kind of tribal allegiances.(28)
我们不能 — — 我们永远不会摆脱这种部族的忠诚。

AYAD AKHTAR: It — I didn’t seem to be able to pull the play away from that conclusion. I tried.(29)
AYAD AKHTAR:它 — — 我似乎不是能够把这出戏从这一结论。我试过。

But these characters continued to find meaning and find some kind of safety as the situation, the dramatic situation devolved, in those tribal identities.(30)
但这些字符继续意义并找到某种形式的安全情况,下放,这些部落的标识中的戏剧性的场景。

JEFFREY BROWN: As the drama unfolds, Amir moves from a sharp critique of Islam to admitting feelings of sympathy to a world view he has rejected.(31)
JEFFREY BROWN:随着剧情的展开,Amir 移动从伊斯兰教尖锐批判到世界的眼光,他已拒绝承认的同情。

ACTOR: Are you telling me you never felt anything like that, an unexpected blush of…(32)
ACTOR:你告诉我你从来没有过这样的事情,一个意想不到的脸红......

(CROSSTALK)
ACTOR: No. No. I don’t feel anything like a blush.(33)
ACTOR:号不,一点也没有感觉泛起了红晕。

ACTOR: When you hear about Israel throwing its military weight around?(34)
ACTOR:当你听到关于以色列军事仗势欺人?

ACTOR: I am critical of Israel. A lot of Jews are.(35)
ACTOR:批判以色列 !很多犹太人都。

ACTOR: And when you hear about Ahmadinejad talk about wiping Israel into the Mediterranean, how do you feel did then?(36)
ACTOR:然后当你听到内贾德擦以色列入地中海,谈论你的感觉是如何做吗?

ACTOR: Outraged, like everyone else.(37)
ACTOR:像其他人一样感到愤怒。

ACTOR: Not everyone feels outraged. A lot of folks like hearing that.(38)
ACTOR:不是每个人都感到愤怒。很多人喜欢听的。

JEFFREY BROWN: How much of this did have — reflect any of your own sense of Americanness, Islam, being a Muslim, sense of identity?(39)
JEFFREY BROWN:这有多少没有 — — 反映出对你自己的美国心,伊斯兰教,被一名穆斯林,认同感感吗?

AYAD AKHTAR: Right. It’s a good question. I think it’s one I’m still grappling with and still working through in a series of works that “Disgraced” is one of.(40)
AYAD AKHTAR:好。它是一个很好的问题。我认为这是一个我仍在忙于和仍然工作通过一系列的作品中,"Disgraced"是之一。

And I think there’s a long history of sort of post-colonial Muslim self-definition the last,(41)
我认为那里是历史悠久的后殖民穆斯林自我最后,排序

I would say, 200 years, where defining oneself in opposition to the West or separate from the West has been an important part of what it means to call oneself Muslim.(42)
会说,200 年来,在哪里定义自己反对西方或单独从西方一直它意味着把自己称为穆斯林的重要组成部分。

I think that, obviously, in the past decade or so,(43)
以为,很明显,在过去十年左右的时间,

there has been such tremendous geopolitical upheavals that there’s a way in which that’s being called into question. So…(44)
一直这样巨大的地缘政治动乱,还有,这被称为质疑的方式。苏。

JEFFREY BROWN: At a personal level?(45)
JEFFREY BROWN:在个人层面吗?

AYAD AKHTAR: At a personal level, at a nation-state level.(46)
AYAD AKHTAR:在个人层面,在民族国家一级。

JEFFREY BROWN: Yes.(47)
JEFFREY BROWN:是的。

AYAD AKHTAR: It’s being called into question.(48)
AYAD AKHTAR:它是被称为成了问题。

All of the sort of extraordinary conflicts that we see unfolding in the Middle East are part and parcel of what I’m talking about.(49)
这种非同寻常我们看到展开在中东地区的冲突都是部分和包裹自己在谈些什么。

And so the work that I’m doing, “Disgraced” included, is about exploring the various contradictions that arise because of that history and those fealties.(50)
所以我在做的工作,"灰头土脸",包括是关于探索的那段历史和那些 fealties 出现的各种矛盾。

JEFFREY BROWN: Of being a Muslim in America after 9/11?(51)
JEFFREY BROWN:在 9/11 之后是一个穆斯林,在美国吗?

AYAD AKHTAR: Well, in part being Muslim. Being American. What are the overlaps?(52)
AYAD AKHTAR:嗯,部分被穆斯林。作为美国人。重叠部分是什么?

What are the contradictions? Are those contradictions real? Are they historical?(53)
矛盾是什么?这些矛盾是真实的吗?他们是历史呢?

Are they passed simply from parent to child, or is it something much larger?(54)
是他们只是从父母传给孩子,或者是它大得多的东西吗?

Is there an inherent conflict between Islam and the West?(55)
有伊斯兰和西方之间的固有矛盾吗?

JEFFREY BROWN: And have you figured this out, or is this what you’re doing in the work?(56)
JEFFREY BROWN:你有没有想这一点,这是你做的工作?

AYAD AKHTAR: I think to have an answer would be above my pay grade.(57)
AYAD AKHTAR:我认为要有以上我薪酬等级会回答。

(LAUGHTER)
AYAD AKHTAR: I get away with — I get away with trying to see what the various perspectives yield in terms of human lives and the solutions that individuals come up with to these questions.(58)
AYAD AKHTAR:我侥幸 — — 侥幸想看看不同的角度产生的人类生命和个人来处理这些问题的解决方案。

JEFFREY BROWN: I wonder just how you see theater, as a kind of provocation, you know, as something that makes us think a lot.(59)
JEFFREY BROWN:我不知道,只是如何你看到剧院,作为一种挑衅,你知道,作为使我们想了很多的东西。

AYAD AKHTAR: Right.(60)
AYAD AKHTAR:好。

JEFFREY BROWN: This is a kind of provocative piece of writing.(61)
JEFFREY BROWN:这是文章的一种挑衅篇。

AYAD AKHTAR: It is. And I think that, at its best, what the theater does is, it gathers us together.(62)
AYAD AKHTAR:它是。而且我认为,充其量,剧院做什么是,它将我们拢在一起。

We, social herding animals, arrive together into a room,(63)
我们社会放牧牲畜,一起到进一个房间,

and we behold something that actually happens before us, not something mediated to us by a screen, but the presence of live performers,(64)
我们不料实际上发生在我们面前的东西,不是给我们介导着一个屏幕,不过在场的现场表演,

which hearkens back to a kind of experience of a ritual,(65)
这回经验的一种仪式,一种去天涯海角

and an experience of one mind, one body, a kind of communion that happens in the audience between audience and performers that allows us, reaches into us,(66)
和万众一心、 一体、 一种发生在听众观众和演员之间,让我们的交流经验将手伸进我们,

where we can experience things more deeply than we can individually.(67)
在那里我们可以深深地比我们可以单独体验的东西。

JEFFREY BROWN: Even if it’s provoking questions of real identity, am I a Muslim? Am I a Jew? Am I an American? Who am I?(68)
JEFFREY BROWN:即使它是引起问题的真实身份,我是穆斯林吗?我岂是犹太人呢?我是一个美国人吗?我是谁?

AYAD AKHTAR: Well, those sound like some pretty good questions for our time. So I don’t mind doing that.(69)
AYAD AKHTAR:嗯,那些声音喜欢一些很好的问题,我们的时间。所以我不介意做那件事。

JEFFREY BROWN: All right, the play is “Disgraced.” Ayad Akhtar, thank you so much.(70)
JEFFREY BROWN:好吧,这出戏是"没脸见"。阿亚德阿赫塔尔,谢谢你这么多。

AYAD AKHTAR: Thank you, Jeffrey.(71)
AYAD AKHTAR:谢谢你,杰弗瑞。


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