Different from leisure language learners (such as in high school French classes or Duolingo), for the characters in "English" won the Pulitzer Award in Sanaz Toossi, the language habit seems to be inevitable OK. The play is based on Iran's Kara Season in 2008. It tells the story of four adults who take a course to pass English as a foreign language test (TOEFL).

Everyone has a reason for their own good results: Elham (Tara Ash) requires good results in order to go to Australia to go to medical school; Elham (Tara Ash) requires good results; Omed (Omed (Omed ( Hadi Tabar) get a green card; Roya (POOYA MOHSENI) in order to meet the requirements of his son in Canada, his son raises her daughter in English; Golly (Ava La La Zazad) may not have the next plan, but but She knows that fluent English is necessary. Although there are some fun -the vocabulary practice game that shows and tells the ball and the screening of the classic romantic comedy -but pass this exam is the most important thing for these four English learners.

As a policy, students can only use teaching languages ​​to communicate. Of course, this rule will always be broken. In the creation of the script, Tussi designed a system that avoids subtitles: when the character speak English, they have strong Iranian accent, but when they speak Persian on the surface, they speak English without accent. This difference is very obvious on the stage and has never been explained, but once the conversation begins, the audience will automatically understand and prove the power of writing and ideas. Every detail of the language operation in this play has been carefully considered and implemented with superb techniques.

What leads this group of people is Marjan Neshat, who grew up in Iran, lived in Manchester, England for nine years, and then returned. Because all other characters wanted to leave Iran, Marian chose to return to make them confused. When I was first asked why I came back, she pointed to Iran's worrying history and said, "We often come back in those days" (this is a ghost -like echo with Tussi's "I hope you will be here". The play tells the difficulties of leaving and returning during the Iranian war. Later, she admitted more intimately that in Manchester, she was tired of the English life of 24/7, constantly focusing on translation and trying to assimilate at the cost of losing her personality. She asked painfully: "How long can you isolate yourself from you?"

Marian is a fascinating example. His language and cultural identity often inconsistent with other characters. She acknowledged that "I always prefer to express myself in English" and like to be called Mary, and explain "small sacrifice", such as English, "can open our world in English." Her student opposed: Elm told her that the name Marian was not difficult to read, and Roya sadly declared: "Our mother can name us. Not foreigners." They accused her of hating her language, her language, her Culture, and believes that she comes from "disgusting".

Marian showed obvious favorite at different moments, such as almost fluent Omed, and conflict with the most struggling Elm. Sometimes, Marian will copy the prejudice of the outside world to reflect on the trauma she may have experienced, because she has a gentle guidance to severely criticizing Elum's accent (even if her accent began to decline, causing a cycle of self -hatred).

The director of Knude Adams covers all intricate languages ​​in the play, let us focus on words, their meanings, their expression methods, and the effort of each search for words, each careful phrase, each accent error error The reason behind the "w" sound. Essence His delicate guidance is also reflected in the key silence: smoke outside the classroom, inadequate attention during the test, and the contemplation of Mary's contemplation and unforgettable pictures by Marian through translucent curtains.

The actors interpreted their characters vividly and praised: Ilham played by Aisho is fierce, irritable, and victorious; Omed played by Tabar is very cute, but also too good; Licenan, bright eyes, but very smart. The Queen of Roya, played by Pooya, is prestigious, loyal. The Marian played by Inner Saudi Arabia is a bit cunning, swaying between goodness and strictness, pointed and support, self -deprecation and desire. The performance of Neshat is a star, and ASHE and POOYA are cooking according to their roles, and Lalezarzadeh is pleasing.

The setting of Marsha Ginsberg is a rotating cube; most of the time we are in the classroom, and the two walls have been demolished. There is a nasty pillar at the corner, which barely blocked the sight -although this may have its own meaning, revealing the potential non -language barrier between us and them, and also helping the classroom to bring the necessary closing horror and nervousness to the classroom. feel.

At the same time, the light designed by Reza Behjat is a miracle. Behjat's work is more attractive rather than naturalism, but it is rooted in sunset and shadows, gorgeous capture of light through the screen of the sheep, and cleverly solve the design challenge of the ceiling scenery. There is a large light device on the corner of the stage. It slides upward to evoke the path of the sun, so that the lines of the window glass dance gorgeously on the floor.

Earlier, Goli said that she liked English because "English does not want to become Persian poetry." But at the same time, she compared English to rice, a flexible cooking main food, you can use it to "make any you you can do anything you. "I like". She explained that when you cook rice, it will not sink, but floats on the water. The irony here is self -evident and beautiful: Goli can't help speak with poetry, even with her less skilled English. The genius of Tussi's writing is that although the conversation is written in English, it always feels like it is written in Persian. We can see that each of her characters clearly think in Persian, relying on practices, grammar, and syntax. Perhaps the most sad thing is Persian poetry and translate her speech into English.

The political factors of linguistics, translation, and learning foreign languages ​​constitute a drama that is emotionally attractive and intellectual. "English" has naturally won the 2023 Pulitzer Drama Award, which is undoubtedly a masterpiece of drama. It is undeniable that this is one of the best dramas in the past ten years. Fortunately, this Broadway performance will allow more audiences to sign up for the course of Tussi. After all, even for those who use English as a mother tongue, we still have a lot of things about English to learn, especially for those who must learn English.