卡里尔·丘吉尔

英国 · 1938–

英国剧作家,其形式创新、政治锋芒的作品重新定义了舞台的可能性,运用重叠对话、时间错位与结构陌生化,揭露隐藏在资本主义、性别与权力体制中的暴力。

维基百科 ↗

“Top girls don't put themselves forward, / top girls seize the day. / Top girls keep their nerve and look / as if they're having a wonderful time.”

英语

“顶尖女孩不主动出头,/顶尖女孩抓住时机。/顶尖女孩保持镇定,看上去/仿佛她们正过得精彩。”

《顶尖女孩》

“I don't see how the theater can fail to be political. Every play is political whether the writer intends it or not. If it supports the status quo, that is a political act. If it's silent about injustice, that silence is political.”

英语

“我不明白戏剧怎么可能不是政治性的。每部剧都是政治性的,无论作者是否有意。如果它支持现状,那就是一种政治行为。如果它对不公保持沉默,那沉默就是政治性的。”

《新戏剧季刊》访谈

“The terrible thing is that sometimes you look at the world and you can't tell what's terrible.”

英语

“可怕的是,有时你看着这个世界,却分辨不出什么是可怕的。”

《远方》

“Ordinary things are what I find most frightening. Most political damage is done by ordinary people behaving ordinarily within systems that have extraordinary consequences.”

英语

“日常之物是我觉得最可怕的。大多数政治伤害是由普通人在具有非凡后果的体制中以普通方式行事所造成的。”

关于《远方》(皇家宫廷剧院节目单)

索尔特 / 伯纳德

“What's so frightening? That I might be the same as the next one? That the next one won't come from me? How do I know what I feel is what I feel?”

英语

“什么如此可怕?我可能和下一个一样?下一个不会来自我?我怎么知道我感受到的就是我感受到的?”

《一个数字》

“I think the century can't be dealt with by individual characters. The whole structure has to carry the meaning. People are not in charge of their own destinies — systems are.”

英语

“我认为这个世纪无法通过单个人物来处理。整个结构必须承载意义。人并非自身命运的主宰——体制才是。”

《卫报》访谈