chapter Ⅳ 接过墨客的衣钵摇旗呐喊（2）

    我（今天）仍然相信这些语气坚定的话是有意义的，仍然可以被用于以艺术探求真实性，所以作为一个作家我认同这些观点。但是作为一个公民，我却不能够。作为一个公民, 我必须询问: 何为真? 何为假?

    i believe that these assertions still make sense and do still apply to the exploration of reality through art. so as a  limpsing an image or a shape  that you have done so. but the real truth is that there never is any such thing as one truth to be found in dramatic art. there are many. these truths challenge each other, recoil from each other, reflect each other, ignore each other, tease each other, are blind to each other. sometimes you feel you have the truth of a moment in your hand, then it slips through your fingers and is lost.

    经常有人问我是如何写作那些剧本的。我不知道，我也无法总结我写的戏，只能说这是所发生过的。那是他们说过的话。那是他们做下的事。

    i have often been asked hoendered by a line, a e. the given e. i shall give tht out of the blue into my head, folloe, follo and old times. the first line of the homecoming is “ for a pair of scissors and  their ive a damn about the scissors or about the questioner either, for that matter.

    “深色的”这个词我用来描述某人的头发, 一个女人的头发, 是对一个问题的回答。在这两种情景下, 我发现我自己被迫继续下去。视觉上所发生的是一个极其缓慢的淡化, 从阴影到光亮。

    “dark” i took to be a description of someone’s hair, the hair of a h shadoht.

    我总是在开始一出戏剧的时候将人物定为a、b和c。

    i al the characters a, b and c.

    在《回家》这出戏里，我看见一个人走进空荡荡的房间，质问那个坐在丑陋的沙发里读报纸上赌马经的年轻人。我怀疑a是父亲，b是他的儿子，但我没有证据。好在这不久就被证实了，这个b（后来成为兰尼）对a说（后来成为麦克斯）：“爸，我是不是能换个话题? 我想问点事儿。我们刚才吃的晚餐叫什么来着? 你管它叫什么来着? 你为什么不买只狗呢? 你是狗厨师。真的, 你以为你是在为很多狗做饭。”既然b管a叫“爸”，那对我来说他们是父子关系就是合理的假设了。很清楚a是个厨师，而且他的厨艺好像不怎么样，这是否意味着没有母亲这个角色呢? 我不知道。但是, 当时我告诉我自己，我们的开始绝不可能知道我们的终结。

    in the play that became the homecoming i saer man sitting on an ugly sofa reading a racing paper. i somehoe the subject? i . the dinner ? you’re a dog cook. honest. you think you’re cooking for a lot of dogs.” so since b calls a “dad” it seemed to me reasonable to assume that they  did not seem to be held in high regard. did this mean that there innings never know our ends.</p>

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