Beth Herstein: You have a personal

Beth Herstein: You have a personal connection to aphasia because of the experience of your good friend and mentor Joseph Chaikin. Can you talk a little about that and about how you came to write this play?
Susan Yankowitz: I began work in the theater with Joseph Chaikin, who was really a legendary figure. He was my inspiration. He gave me my entry into the theater, with Terminal, in 1969. We remained friends after that and worked together on several projects over the years. In 1984, he was having surgery to replace a valve in his heart—he had developed a heart condition after having rheumatic fever as a child. During the surgery, a clot went to his brain and caused him to have aphasia, which none of us at the time knew anything about. What it is, for those who don't know, is an injury to the language center in the brain, which causes the words to get lost somehow in the mind. The intelligence is there—the person knows what he wants to say but just can't find the right words.
A year or two after this, Joe asked me if I would write a play about [aphasia]. He asked me, I think, for a few reasons. One is that we were close. The other is that I had written a novel about a deaf mute, so he knew I had a particular feeling for problems dealing with communication. Another thing was simply that he wanted to have a vehicle to instruct people, to educate them, about this condition. When he would go out in public—similar to what I showed in the play—people would assume he was an idiot, he didn't understand anything. For somebody of Joe's outstanding intelligence and previous eloquence, it was just a horrible situation.

BH: What drew you to write that earlier novel? How do you explain your preexisting interest in the issue of communication?
SY: I guess I have always had the sense that I am not able to really articulate what is inside of me, and my words only approximate either my thought or my feeling. The second thing is a sense that I'm not understood—that what I have to say doesn't really communicate in the way I would like to other people, so they don't really understand who I am, what I'm trying to express. Probably an early childhood feeling. [laughs] But, one of my many therapists will probably have a better answer about that.

BH: Those feelings can be part of what drive people to express themselves creatively, including in language.
SY: That's probably true. My sister is a sculptor, so she has found another creative outlet. But, actually, a lot of our themes overlap.

BH: I read an interview you and she did together about balancing parenting and being working professionals in the arts. As I watched the show, I remembered that you had a son, because the dynamic between Anna and her daughter felt very real to me, and the daughter's behavior throughout seemed very authentic.
SY: I think when you write a play—and probably to a large degree when you write a novel—you are all the characters. So I feel very close to that character; I feel that I was like her. But, also, of course, a parent would understand that parent-child relationship better than someone who wasn't a parent.

BH: There is some discussion of science in the play because Anna is an astronomer. You also challenge the audience to think about and respond to the ideas in the play. Can you talk about the challenge of writing a play about ideas while maintaining dramatic tension?
SY: When Joe asked me to write a play, he gave me three conditions. One was that the main character be a woman, not a man. One was that the person be injured in a car accident, as opposed to a stroke or something that happened on the operating table. Both of those are understandable as ways of distancing the material from himself a little bit. But, the third condition was that she should be an astronomer. I asked him why. I will never forget his response to that. He said, "Stars, stars. So many stars." And he made a gesture, pointing above. I said, "Yes, but what about them?" He couldn't find the words to express it.
When I started working on the play, I knew nothing about astronomy. I knew less about astronomy than I knew about aphasia. So I had to research them both. In researching, I discovered what I thought was this fabulous metaphor, which was the dark matter of the brain and the mystery of the brain, and the dark holes in the cosmos, the black holes in the cosmos. Some of the same language actually applies to both of them, words like "missing" and "mystery." This became for me the center of the play.
[laughs] But this was not at all what Joe had in mind. He directed the first production. I kept asking him, "Was this what you meant?" He said, "It's not what I meant." But, he loved the play even though I didn't capture his purpose.

BH: Night Sky has had a long life, and it's been performed in a lot of university settings over the years. To what do you attribute the success and ongoing life of the show?
SY: What it might be is that it is actually a play with an inspiring message, which is not so frequent in much of my other work, which tends to be darker. I don't know why it is, but students in acting programs feel that they can inhabit this very complicated character [of Anna]. But they do inhabit the character, and they often do it well. And that's another interesting thing. They get it. They understand how difficult it is to speak. Often, it's somebody who has a language problem. For instance, most recently there was a production at Salem State, and the woman who chose it and directed it is Japanese. She's had her own struggle with the language, with communicating, with being understood, and this was definitely one of the things that attracted her.

BH: Have you been very involved in the New York production?
SY: I've been to every rehearsal and performance. I think this week will mark the end of it. But, yeah, I have been completely involved. I've had a kind of love fest with the director [Daniella Topol]. She is a person I've never worked with before. She's young enough to be my daughter, and I think she's just terrific. I also think it's a really fabulous cast. Jordan [Baker] is really astonishing as Anna. Each night she finds something new that actually lends another note to the overall music of the play. She's really extraordinary in that. I haven't actually seen that many actors of her caliber.
We cast [Baker] from an audition. It's a very interesting sidelight which I'd like to write about sometime. Not many actors want to come in and audition. In the theater, people consider it an insult, "You should know my work." I think we're really lucky Jordan was willing to come in. Neither of us wanted to cast somebody we couldn't see first. Just because you're a good actor doesn't mean you can do this role.

BH: There is a lot of humor in Night Sky, even in scenes about the challenges of living with aphasia or interacting with someone with aphasia.
SY: That's an important aspect of the show to me. The humor is in the play because it has a counterpart in the real experience. People make mistakes when they speak—we all make mistakes, but aphasics in particular make mistakes. The kind of mistakes they make is fascinating, and I include that in the play. My husband said to me for example, he really loves the scene in which an aphasic patient practices how to match up an emotion and a word. He says, "I scarred" before he says "I scared." There is a relationship between scarred and scared. It's not just a word that he's substituting. It's a word that is close in its meaning to the word that he's trying to find. The same thing with Joe when we were in rehearsal for the revival of Terminal in 1996. He said to one of the actors, "Zebra. More zebra." Of course, we all said, "What do you mean?" We were all laughing, because we knew that wasn't what he meant. Then he said, "Zipper." We knew that wasn't it. Finally, we got to the word "zigzag." [Chaikin wanted the actor to move across the stage in a zigzag direction.] If you think about it, a zebra has stripes, and a zipper has that pattern. So, he was close to zigzag but he couldn't find the word. And the play tries to leaven what is a very painful situation in a lot of ways with humor. When the play works well, there is a balance between the humor and the pathos.

BH: Is there anything in particular you hope audiences will get out of this play?
SY: I'm really glad when people understand how rich our language is. When we speak, we have a gold mine. We have so many words at our command. It's a beautiful thing to be able to use language. In our time in particular, there's really a kind of dismissal of language. The kind of shorthand I use myself, on Facebook or wherever we go. I think that generations are now growing up without a love of language.
The other thing is that there are these wonderful forms of communication that are available to us. Like music, like other languages, like touch. We probably should avail ourselves of them more as ways of speaking to one another.
Finally, though I don't have any prescriptions for what people should think about the show, I hope they come out of it with the idea that people can change. What happens to Anna is that her intellectual self is forced to retire to some degree, and it allows space for her emotional or spiritual life to emerge. I actually think this is something that happens often in cases of brain injury, that a different aspect of the self can emerge. And I think that is something that is important to understand about human things, that we're not fixed.

BH: One other question I have is about collaboration, which always interests me. Can you talk about your own history of collaboration, and say how important it has been to you?
SY: At its best, it's the most fruitful form of making theater. At its worst, it's hell. And there have been instances of that hell. Often the hell is when other people don't do their work. We don't all have the same work ethic, and that is really

BH: What drew you to write that earlier novel? How do you explain your preexisting interest in the issue of communication?
SY: I guess I have always had the sense that I am not able to really articulate what is inside of me, and my words only approximate either my thought or my feeling. The second thing is a sense that I'm not understood—that what I have to say doesn't really communicate in the way I would like to other people, so they don't really understand who I am, what I'm trying to express. Probably an early childhood feeling. [laughs] But, one of my many therapists will probably have a better answer about that.

BH: Those feelings can be part of what drive people to express themselves creatively, including in language.
SY: That's probably true. My sister is a sculptor, so she has found another creative outlet. But, actually, a lot of our themes overlap.

BH: I read an interview you and she did together about balancing parenting and being working professionals in the arts. As I watched the show, I remembered that you had a son, because the dynamic between Anna and her daughter felt very real to me, and the daughter's behavior throughout seemed very authentic.
SY: I think when you write a play—and probably to a large degree when you write a novel—you are all the characters. So I feel very close to that character; I feel that I was like her. But, also, of course, a parent would understand that parent-child relationship better than someone who wasn't a parent.

BH: There is some discussion of science in the play because Anna is an astronomer. You also challenge the audience to think about and respond to the ideas in the play. Can you talk about the challenge of writing a play about ideas while maintaining dramatic tension?
SY: When Joe asked me to write a play, he gave me three conditions. One was that the main character be a woman, not a man. One was that the person be injured in a car accident, as opposed to a stroke or something that happened on the operating table. Both of those are understandable as ways of distancing the material from himself a little bit. But, the third condition was that she should be an astronomer. I asked him why. I will never forget his response to that. He said, "Stars, stars. So many stars." And he made a gesture, pointing above. I said, "Yes, but what about them?" He couldn't find the words to express it.
When I started working on the play, I knew nothing about astronomy. I knew less about astronomy than I knew about aphasia. So I had to research them both. In researching, I discovered what I thought was this fabulous metaphor, which was the dark matter of the brain and the mystery of the brain, and the dark holes in the cosmos, the black holes in the cosmos. Some of the same language actually applies to both of them, words like "missing" and "mystery." This became for me the center of the play.
[laughs] But this was not at all what Joe had in mind. He directed the first production. I kept asking him, "Was this what you meant?" He said, "It's not what I meant." But, he loved the play even though I didn't capture his purpose.

BH: Night Sky has had a long life, and it's been performed in a lot of university settings over the years. To what do you attribute the success and ongoing life of the show?
SY: What it might be is that it is actually a play with an inspiring message, which is not so frequent in much of my other work, which tends to be darker. I don't know why it is, but students in acting programs feel that they can inhabit this very complicated character [of Anna]. But they do inhabit the character, and they often do it well. And that's another interesting thing. They get it. They understand how difficult it is to speak. Often, it's somebody who has a language problem. For instance, most recently there was a production at Salem State, and the woman who chose it and directed it is Japanese. She's had her own struggle with the language, with communicating, with being understood, and this was definitely one of the things that attracted her.

BH: Have you been very involved in the New York production?
SY: I've been to every rehearsal and performance. I think this week will mark the end of it. But, yeah, I have been completely involved. I've had a kind of love fest with the director [Daniella Topol]. She is a person I've never worked with before. She's young enough to be my daughter, and I think she's just terrific. I also think it's a really fabulous cast. Jordan [Baker] is really astonishing as Anna. Each night she finds something new that actually lends another note to the overall music of the play. She's really extraordinary in that. I haven't actually seen that many actors of her caliber.
We cast [Baker] from an audition. It's a very interesting sidelight which I'd like to write about sometime. Not many actors want to come in and audition. In the theater, people consider it an insult, "You should know my work." I think we're really lucky Jordan was willing to come in. Neither of us wanted to cast somebody we couldn't see first. Just because you're a good actor doesn't mean you can do this role.

BH: There is a lot of humor in Night Sky, even in scenes about the challenges of living with aphasia or interacting with someone with aphasia.
SY: That's an important aspect of the show to me. The humor is in the play because it has a counterpart in the real experience. People make mistakes when they speak—we all make mistakes, but aphasics in particular make mistakes. The kind of mistakes they make is fascinating, and I include that in the play. My husband said to me for example, he really loves the scene in which an aphasic patient practices how to match up an emotion and a word. He says, "I scarred" before he says "I scared." There is a relationship between scarred and scared. It's not just a word that he's substituting. It's a word that is close in its meaning to the word that he's trying to find. The same thing with Joe when we were in rehearsal for the revival of Terminal in 1996. He said to one of the actors, "Zebra. More zebra." Of course, we all said, "What do you mean?" We were all laughing, because we knew that wasn't what he meant. Then he said, "Zipper." We knew that wasn't it. Finally, we got to the word "zigzag." [Chaikin wanted the actor to move across the stage in a zigzag direction.] If you think about it, a zebra has stripes, and a zipper has that pattern. So, he was close to zigzag but he couldn't find the word. And the play tries to leaven what is a very painful situation in a lot of ways with humor. When the play works well, there is a balance between the humor and the pathos.

BH: Is there anything in particular you hope audiences will get out of this play?
SY: I'm really glad when people understand how rich our language is. When we speak, we have a gold mine. We have so many words at our command. It's a beautiful thing to be able to use language. In our time in particular, there's really a kind of dismissal of language. The kind of shorthand I use myself, on Facebook or wherever we go. I think that generations are now growing up without a love of language.
The other thing is that there are these wonderful forms of communication that are available to us. Like music, like other languages, like touch. We probably should avail ourselves of them more as ways of speaking to one another.
Finally, though I don't have any prescriptions for what people should think about the show, I hope they come out of it with the idea that people can change. What happens to Anna is that her intellectual self is forced to retire to some degree, and it allows space for her emotional or spiritual life to emerge. I actually think this is something that happens often in cases of brain injury, that a different aspect of the self can emerge. And I think that is something that is important to understand about human things, that we're not fixed.

BH: One other question I have is about collaboration, which always interests me. Can you talk about your own history of collaboration, and say how important it has been to you?
SY: At its best, it's the most fruitful form of making theater. At its worst, it's hell. And there have been instances of that hell. Often the hell is when other people don't do their work. We don't all have the same work ethic, and that is really

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ชาว Herstein: คุณมีการเชื่อมต่อส่วนบุคคล aphasia เนื่องจากประสบการณ์ของเพื่อนที่ดี และโจเซฟ Chaikin ที่ปรึกษา สามารถคุณพูดคุยเล็กน้อย เกี่ยวกับที่ และวิธีการที่คุณมาเขียนเล่นนี้หรือไม่Yankowitz ศิริรัตน์: ฉันเริ่มทำงานในโรงละครกับโจเซฟ Chaikin ซึ่งเป็นตัวเลขตำนานจริง ๆ เขาได้แรงบันดาลใจของฉัน เขาให้ฉันฉันเข้าโรงละคร กับเทอร์มินัล ใน 1969 เรายังคง เพื่อนหลังจากนั้น และทำงานร่วมกันในโครงการหลายปี ในปี 1984 เขามีการผ่าตัดเปลี่ยนลิ้นหัวใจในตัวเขาได้พัฒนาโรคหัวใจหลังจากมีไข้รูมาติกเป็นเด็ก ในระหว่างผ่าตัด clot ไปสมอง และที่ไม่มีเราเวลาเกิดเขา aphasia รู้อะไรเกี่ยวกับ มันคืออะไร สำหรับผู้ที่ไม่ทราบ เป็นการบาดเจ็บศูนย์ภาษาในสมอง ซึ่งทำให้คำที่หายไปอย่างใดในจิตใจ ปัญญามี — บุคคลรู้ว่าสิ่งที่เขาอยากพูด แต่เพียงไม่สามารถค้นหาคำที่เหมาะสมปีหรือสองปีหลังจากนี้ โจถามผมถ้า ผมจะเขียนการเล่นเกี่ยวกับ [aphasia] เขาถาม คิด เหตุผลไม่ หนึ่งคือที่เราถูกปิด อื่น ๆ คือว่า ผมได้เขียนนวนิยายเกี่ยวกับการปิดเสียงคนหูหนวก เพื่อให้เขารู้ว่า ผมมีความรู้สึกที่เฉพาะสำหรับปัญหาในการจัดการกับการสื่อสาร สิ่งอื่นเป็นเพียงว่า เขาต้องการรถไปแนะนำคน รู้ไป เกี่ยวกับเงื่อนไขนี้ เมื่อเขาจะออกไปในที่สาธารณะ — คล้ายกับสิ่งที่ผมพบนั้น — คนจะคิดว่าเขาเป็นคนบ้า เขาไม่ได้เข้าใจอะไร สำหรับผู้ชายของปัญญาที่โดดเด่นของโจและ eloquence ก่อนหน้านี้ มันเป็นเพียงสถานการณ์ที่น่ากลัวBH: อะไรวาดคุณสามารถเขียนนวนิยายที่ก่อนหน้านี้หรือไม่ คุณอธิบายความสนใจอิงในเรื่องของการสื่อสารได้อย่างไรซี่: ผมคิดว่า ฉันจะมีความรู้สึกที่ฉันไม่สามารถจริง ๆ ประกบสิ่งภายในของฉัน และคำพูดของฉันเท่านั้นประมาณของฉันความคิดหรือความรู้สึกของฉัน สิ่งสองคือ ความรู้สึกที่ว่า ฉันไม่ใช่ตัวว่า สิ่งที่ฉันได้กล่าวว่า ไม่จริง ๆ สื่อสารแบบฉันเหมือนคนอื่น ๆ ดังนั้นพวกเขาไม่จริง ๆ เข้าใจที่ฉัน สิ่งที่ฉันกำลังพยายามแสดง คงเป็นปฐมวัยความรู้สึก [หัวเราะ] แต่ บำบัดของฉันหลายอย่างใดอย่างหนึ่งอาจจะมีคำตอบที่ดีว่าBH: ความรู้สึกเหล่านั้นได้เป็นส่วนหนึ่งของคนขับรถว่าการสร้างสรรค์ รวมถึงภาษาซี่: ก็คงจริง น้องสาวของฉันเป็นประติมา เพื่อเธอได้พบร้านสร้างสรรค์อื่น ได้ จริง การทับซ้อนของชุดรูปแบบของเราBH: ฉันอ่านสัมภาษณ์คุณและเธอได้ร่วมกันเกี่ยวกับดุลเป็นตัวหลัก และการทำงานผู้เชี่ยวชาญในศิลปะ ผมเห็นการแสดง ฉันจำที่ คุณมีลูกชาย เพราะแบบไดนามิกระหว่างแอนนาและลูกสาวของเธอรู้สึกกับผมจริง และลักษณะการทำงานของลูกสาวตลอดดูเหมือนจริงมากซี่: ผมคิดว่า เมื่อเขียนการเล่น — และคงตัวใหญ่เมื่อคุณเขียนนวนิยาย — คุณมีตัวอักษรทั้งหมด ดังนั้น รู้สึกมากใกล้กับอักขระ ผมรู้สึกว่า ผมชอบเธอ แต่ ยัง แน่นอน หลักการเข้าใจความสัมพันธ์แม่ลูกที่ดีกว่าคนที่ไม่ได้เป็นหลักBH: เป็นสนทนาบางของวิทยาศาสตร์นั้นมีเพราะแอนนา เป็นนักดาราศาสตร์ นอกจากนี้คุณยังท้าทายให้ผู้ชมคิด และตอบสนองความคิดในการเล่น คุณสามารถพูดคุยเกี่ยวกับความท้าทายในการเขียนการเล่นเกี่ยวกับความคิดในขณะที่รักษาความตึงเครียดอย่างมากซี่: เมื่อโจถามเขียนการเล่น เขาให้ฉันสามเงื่อนไข หนึ่งไม่ว่า ตัวละครหลักเป็นผู้หญิง ผู้ชายไม่ หนึ่งคือการที่บุคคลได้รับบาดเจ็บในอุบัติเหตุรถยนต์ ตรงข้ามกับสมองหรือสิ่งที่เกิดขึ้นในตารางการปฏิบัติงาน ทั้งสองคนจะเข้าใจเป็นวิธี distancing วัสดุจากตัวเองหน่อย แต่ เงื่อนไขที่สาม ว่า เธอควรจะเป็นนักดาราศาสตร์ ฉันถามเขาทำไม ฉันไม่เคยจะลืมตอบที่ เขากล่าวว่า "ดาว ดาว หลายดาว" และเขาทำรูปแบบลายเส้น ชี้ข้างต้น ฉันกล่าวว่า "ใช่ แต่พวกเขา" เขาไม่สามารถค้นหาคำในการแสดงนั้นเมื่อเริ่มทำงานในการเล่น ฉันรู้อะไรเกี่ยวกับดาราศาสตร์ ผมรู้น้อยเกี่ยวกับดาราศาสตร์มากกว่าที่ผมรู้เกี่ยวกับ aphasia ดังนั้นผมจะวิจัยพวกเขาทั้งสอง ในการทำการวิจัย ฉันพบสิ่งที่ผมคิดว่า นี้เทียบนิยาย ซึ่งเป็นสสารมืดของสมองและความลึกลับของสมอง และหลุมดำในหลุมดำในการดาวกระจาย ดาวกระจาย จริงของภาษาเดียวกันใช้ทั้งของพวกเขา คำเช่น "ขาด" และ "ปริศนา" นี้เป็นสำหรับฉันของเล่น[หัวเราะ] แต่นี้ไม่เลยโจที่มีในจิตใจ เขากำกับการผลิตแรก ฉันขอให้เขาเก็บไว้ "ถูกสิ่งที่คุณตั้งใจได้อย่างไร" เขากล่าวว่า "มันเป็นไม่สิ่งที่ฉันตั้งใจ" ได้ รักการเล่นแม้ว่าฉันไม่ได้จับจุดประสงค์ของเขาBH: คืนฟ้ามีชีวิตยาวนาน และมันจะถูกดำเนินการในล็อตของมหาวิทยาลัยค่าปี ที่ทำคุณกำหนดความสำเร็จและชีวิตอย่างต่อเนื่องของการแสดงSY: What it might be is that it is actually a play with an inspiring message, which is not so frequent in much of my other work, which tends to be darker. I don't know why it is, but students in acting programs feel that they can inhabit this very complicated character [of Anna]. But they do inhabit the character, and they often do it well. And that's another interesting thing. They get it. They understand how difficult it is to speak. Often, it's somebody who has a language problem. For instance, most recently there was a production at Salem State, and the woman who chose it and directed it is Japanese. She's had her own struggle with the language, with communicating, with being understood, and this was definitely one of the things that attracted her.BH: Have you been very involved in the New York production?SY: I've been to every rehearsal and performance. I think this week will mark the end of it. But, yeah, I have been completely involved. I've had a kind of love fest with the director [Daniella Topol]. She is a person I've never worked with before. She's young enough to be my daughter, and I think she's just terrific. I also think it's a really fabulous cast. Jordan [Baker] is really astonishing as Anna. Each night she finds something new that actually lends another note to the overall music of the play. She's really extraordinary in that. I haven't actually seen that many actors of her caliber.We cast [Baker] from an audition. It's a very interesting sidelight which I'd like to write about sometime. Not many actors want to come in and audition. In the theater, people consider it an insult, "You should know my work." I think we're really lucky Jordan was willing to come in. Neither of us wanted to cast somebody we couldn't see first. Just because you're a good actor doesn't mean you can do this role.BH: There is a lot of humor in Night Sky, even in scenes about the challenges of living with aphasia or interacting with someone with aphasia.SY: That's an important aspect of the show to me. The humor is in the play because it has a counterpart in the real experience. People make mistakes when they speak—we all make mistakes, but aphasics in particular make mistakes. The kind of mistakes they make is fascinating, and I include that in the play. My husband said to me for example, he really loves the scene in which an aphasic patient practices how to match up an emotion and a word. He says, "I scarred" before he says "I scared." There is a relationship between scarred and scared. It's not just a word that he's substituting. It's a word that is close in its meaning to the word that he's trying to find. The same thing with Joe when we were in rehearsal for the revival of Terminal in 1996. He said to one of the actors, "Zebra. More zebra." Of course, we all said, "What do you mean?" We were all laughing, because we knew that wasn't what he meant. Then he said, "Zipper." We knew that wasn't it. Finally, we got to the word "zigzag." [Chaikin wanted the actor to move across the stage in a zigzag direction.] If you think about it, a zebra has stripes, and a zipper has that pattern. So, he was close to zigzag but he couldn't find the word. And the play tries to leaven what is a very painful situation in a lot of ways with humor. When the play works well, there is a balance between the humor and the pathos.BH: Is there anything in particular you hope audiences will get out of this play?SY: I'm really glad when people understand how rich our language is. When we speak, we have a gold mine. We have so many words at our command. It's a beautiful thing to be able to use language. In our time in particular, there's really a kind of dismissal of language. The kind of shorthand I use myself, on Facebook or wherever we go. I think that generations are now growing up without a love of language.The other thing is that there are these wonderful forms of communication that are available to us. Like music, like other languages, like touch. We probably should avail ourselves of them more as ways of speaking to one another.Finally, though I don't have any prescriptions for what people should think about the show, I hope they come out of it with the idea that people can change. What happens to Anna is that her intellectual self is forced to retire to some degree, and it allows space for her emotional or spiritual life to emerge. I actually think this is something that happens often in cases of brain injury, that a different aspect of the self can emerge. And I think that is something that is important to understand about human things, that we're not fixed.BH: One other question I have is about collaboration, which always interests me. Can you talk about your own history of collaboration, and say how important it has been to you?SY: At its best, it's the most fruitful form of making theater. At its worst, it's hell. And there have been instances of that hell. Often the hell is when other people don't do their work. We don't all have the same work ethic, and that is really

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ผลลัพธ์ (ไทย) 2:[สำเนา]

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ผลลัพธ์ (ไทย) 3:[สำเนา]

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เบธ herstein : คุณมีความสัมพันธ์ส่วนตัวกับคุณ เพราะประสบการณ์จากเพื่อนและอาจารย์ โจเซฟ ไชคิ่น . คุณสามารถพูดคุยเล็กน้อยเกี่ยวกับที่และเกี่ยวกับวิธีการที่คุณมาเขียนเล่นแบบนี้
ซูซาน yankowitz : ฉันเริ่มทำงานในโรงละครกับโจเซฟ ไชคิ่น ใครเป็นเหมือนรูปในตำนาน เขาเป็นแรงบันดาลใจของฉัน เขาให้ฉันรายการของฉันในโรงละคร กับเทอร์มินัล ใน 1969เรายังคงเป็นเพื่อนกันต่อไป และทำงานร่วมกันในโครงการหลายๆ ปี ในปี 1984 เขาได้รับการผ่าตัดเพื่อเปลี่ยนลิ้นหัวใจของเขา เขาได้พัฒนาโรคหัวใจหลังจากโรคไขข้อไข้เป็นเด็ก ในระหว่างการผ่าตัดลิ่มเลือดไปสมองของเขาและทำให้เขาต้องความจำเสื่อม ซึ่งไม่มีใครในเวลารู้อะไรเกี่ยวกับ คืออะไร สำหรับคนที่ไม่รู้คือการบาดเจ็บที่ศูนย์ภาษาในสมองซึ่งทำให้คำพูดที่จะได้รับหายไปอย่างใดในจิตใจ ปัญญามีคนที่รู้ว่าสิ่งที่เขาต้องการจะพูด แต่ก็ไม่สามารถหาคำที่เหมาะสม .
หรือสองปีหลังนี้ โจถามผม ถ้าผมจะเขียนเกี่ยวกับการเล่น [ ภาษา ] เขาถามฉัน ฉันคิดว่าด้วยเหตุผลบางประการ หนึ่งคือว่า เราสนิทกันอื่น ๆที่ฉันได้เขียนนวนิยายเกี่ยวกับคนหูหนวกเป็นใบ้ เขารู้ว่าฉันมีความรู้สึก โดยเฉพาะปัญหาที่เกี่ยวข้องกับการสื่อสาร อีกเรื่องก็ที่เขาอยากจะได้รถ สอนให้คน เพื่อให้ความรู้แก่พวกเขาเกี่ยวกับเงื่อนไขนี้ เมื่อเขาจะออกไปในที่สาธารณะคล้ายกับสิ่งที่ผมพบในการเล่น คนก็คิดว่าเขาโง่ เขาไม่ได้เข้าใจอะไรเลยสำหรับบางคนของโจ ที่สติปัญญาและซูเปอร์โนวาก่อนหน้านี้ , มันเป็นแค่สถานการณ์ที่น่ากลัว

BH : ที่ดึงคุณเขียนนวนิยายก่อนหน้านี้ ? คุณจะอธิบายยังไงของคุณจากความสนใจในปัญหาของการสื่อสาร ?
SY : ฉันว่าฉันมักมีความรู้สึกว่า ฉันไม่สามารถจริงๆบอกสิ่งที่อยู่ในตัวผม และผมพูดแค่ประมาณให้ความคิดหรือความรู้สึกของผม

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การสนับสนุนเครื่องมือแปลภาษา: กรีก, กันนาดา, กาลิเชียน, คลิงออน, คอร์สิกา, คาซัค, คาตาลัน, คินยารวันดา, คีร์กิซ, คุชราต, จอร์เจีย, จีน, จีนดั้งเดิม, ชวา, ชิเชวา, ซามัว, ซีบัวโน, ซุนดา, ซูลู, ญี่ปุ่น, ดัตช์, ตรวจหาภาษา, ตุรกี, ทมิฬ, ทาจิก, ทาทาร์, นอร์เวย์, บอสเนีย, บัลแกเรีย, บาสก์, ปัญจาป, ฝรั่งเศส, พาชตู, ฟริเชียน, ฟินแลนด์, ฟิลิปปินส์, ภาษาอินโดนีเซี, มองโกเลีย, มัลทีส, มาซีโดเนีย, มาราฐี, มาลากาซี, มาลายาลัม, มาเลย์, ม้ง, ยิดดิช, ยูเครน, รัสเซีย, ละติน, ลักเซมเบิร์ก, ลัตเวีย, ลาว, ลิทัวเนีย, สวาฮิลี, สวีเดน, สิงหล, สินธี, สเปน, สโลวัก, สโลวีเนีย, อังกฤษ, อัมฮาริก, อาร์เซอร์ไบจัน, อาร์เมเนีย, อาหรับ, อิกโบ, อิตาลี, อุยกูร์, อุสเบกิสถาน, อูรดู, ฮังการี, ฮัวซา, ฮาวาย, ฮินดี, ฮีบรู, เกลิกสกอต, เกาหลี, เขมร, เคิร์ด, เช็ก, เซอร์เบียน, เซโซโท, เดนมาร์ก, เตลูกู, เติร์กเมน, เนปาล, เบงกอล, เบลารุส, เปอร์เซีย, เมารี, เมียนมา (พม่า), เยอรมัน, เวลส์, เวียดนาม, เอสเปอแรนโต, เอสโทเนีย, เฮติครีโอล, แอฟริกา, แอลเบเนีย, โคซา, โครเอเชีย, โชนา, โซมาลี, โปรตุเกส, โปแลนด์, โยรูบา, โรมาเนีย, โอเดีย (โอริยา), ไทย, ไอซ์แลนด์, ไอร์แลนด์, การแปลภาษา.