so language in art remains a highly ambiguous transaction, a quicksand, a trampoline, a frozen pool ht give ht there, on the spot.
政治戏剧所展现的是完全不同的问题，尽一切可能避免说教。客观性是最基本的，人物必须被允许呼吸自己的空气。作者不能限制和压抑他们以满足自己的品味、性格或偏见。他必须准备着从不同的角度，以完整的不受限的观念接近他们，也许偶然的情景中会使他们吃惊，但终究是给他们完全的自由按照他们的意愿行事。这并不总是成功。当然政治嘲讽戏完全不牵扯这些规矩，事实上它所做的正与其相反，但这正是它的功能所在。
political theatre presents an entirely different set of problems. sermonising has to be avoided at all cost. objectivity is essential. the characters must be alloles, from a full and uninhibited range of perspectives, take them by surprise, perhaps, occasionally, but nevertheless give them the freedom to go e of options to operate in a dense forest of possibility before finally focussing on an act of subjugation.
《山语》假装没有这样的行为范围，它就持续地残忍、短暂和丑陋，但是戏中的士兵确实得到了一些享受。有的时候人忘记了折磨者是很容易变得厌倦的，他们需要一些玩笑以保持他们的精神面貌。这已经被发生在巴格达abu ghraih的事件证实了。《山语》只持续了20分钟，但它可以一小时一小时地继续下去，同样的模式可以重复来重复去，永无休止。
mountain language pretends to no such range of operation. it remains brutal, short and ugly. but the soldiers in the play do get some fun out of it. one sometimes forgets that torturers become easily bored. they need a bit of a laugh to keep their spirits up. this has been confirmed of course by the events at abu ghraib in baghdad. mountain language lasts only 20 minutes, but it could go on for hour after hour, on and on and on, the same pattern repeated over and over again, on and on, hour after hour.
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