The eyes of Denmo Ibrahim’s Bella glitter like jewels in a cave. There’s something precious and complete unto itself inside this Yale creative writing professor, but only past a dark, lonely tunnel no one enters.
The eyes of Tyler Miclean’s Christopher, Bella’s student, seem perpetually shrouded: under floppy side-parted bangs, under a brooding brow, under Mike Post’s lighting design — which grounds the New Haven of “The Sound Inside” in the shadows of dreams, as if anyone who steps outside a small pool of light would vanish forever. Christopher is a mystery with a chip on its shoulder, the kind that dares Bella not to solve but to engage.
In Adam Rapp’s play, which opened Tuesday, May 31, at Marin Theatre Company, the world is not a friendly place for literary types. That very term might conjure an image of a poser broadcasting his or her own erudition, and Christopher and Bella are certainly guilty of some one-upmanship over who knows Dostoevsky better when he first barges into her office hours.
But even that tete-a-tete is no mere battle of snobs. In Christopher’s physical and verbal outbursts, in his swaggering declarations about his own novel, Bella somehow senses a kindred spirit, a fellow misfit. He’s over the top and full of life and talent; she’s quiet and small with a health crisis looming. Yet they share a simple and pure relationship with reading and writing, one not for show.
It’s not for the outside world at all, really. The rest of the planet has forsaken these two, or they it, and now the scope of their experience is only as wide as their imagination and observation, their ability to shoehorn insight and fancy into prose. That mutual appreciation for the author’s inner life makes possible not just an unlikely friendship, but an impossible favor and a mystery that seeps out of Christopher’s in-progress book and into their lives.
因此，“内部声音”中有很多叙述，易卜拉欣必须仔细阅读，详细介绍了贝拉的病史，她的家族史，她的书架，她曾经崛起，但现在是作者的明星。每一个言语碎片都是潜在的收获果实。正如她所叙述的那样，一条特别谨慎的台词可能在她身后看来（爱德华·海恩斯（Edward Haynes）做了风景秀丽的设计）。然后，易卜拉欣在它上徘徊，评估它的丰满度，坚定性，无论是适合有一天出版的，还是用自我掩饰的耸耸肩丢弃的过度成熟废料。
易卜拉欣（Ibrahim）由贾森·米纳达基斯（Jasson Minadakis）执导，在这次思想会议上让观众进入了她的同谋和红颜知己，她一直在抬起唱片的伴侣，好像在说：“你能相信这个孩子吗？”然后，“嗯，他发现了我的弱点。”她似乎在剧本中的每一个曲折和转弯都建立了一个新的自我，每一个禁止的冲动。在她的表演中，每一刻都可以朝着一千个不同的方向发展，就像现实生活一样，这是一种深深的人性化的冲动，从来没有作家的沉重手，可以做出决定。
Even as death stalks “The Sound Inside,” the show offers a life-affirming reminder that impressions, descriptions, reflections, curiosity and words are yours for the taking; that no matter how narrowly circumscribed your life is, the author’s instinct to pin down and create and the reader’s satisfaction in witnessing and feeling are available to all of us. If we’re lucky, for an instant, we might find a like-minded soul with whom to share such pleasures. Most of the time, we’re just imagining ourselves in someone else’s story.
M“The Sound Inside”:由亚当·拉普（Adam Rapp）撰写。由Jasson Minadakis执导。到6月19日。一小时40分钟。$ 25- $ 60。米尔谷米勒大街397号的马林剧院公司。415-388-5208。www.marintheatre.org