In listening to the narratives of the Congolese, I came to terms with the extent to which their bodies had become battlefields.
Interpretation
The quote highlights the struggles and trauma faced by the Congolese people, illustrating their bodies as symbols of conflict and suffering.
Lynn Nottage's quote reflects a deep understanding of the physical and psychological scars left on the Congolese people due to ongoing violence and conflict. By emphasizing that their bodies represent actual battlefields, it conveys the idea that personal narratives are intertwined with larger socio-political issues, encouraging listeners to acknowledge the profound impact of war on human lives.
In practice
In a speech about the impact of war on civilians, this quote can emphasize the profound consequences of conflict.
People probably have different philosophies about this, but I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices; you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
There were not a lot of women in the theater department - it was really run by men, and so the message was that women can be onstage, but women can't really be backstage.
The person whose work introduced me to the craft was Lorraine Hansberry. The person who taught me to love the craft was Tennessee Williams. The person who really taught me the power of the craft was August Wilson, and the person who taught me the political heft of the craft was Arthur Miller.
I was repeatedly told that there isn't an African American woman who can open a show on Broadway. I said, 'Well, how do we know? How do we know if we don't do it?' I said, 'I think you're wrong.'
Once working people discover that, collectively, we have more power than we do as individual silos, then we become an incredibly powerful force. But I think that there are powers that be that are invested in us remaining divided along racial lines, along economic lines.
It's incumbent on us to reach beyond the confines of the institutions that traditionally produce art and find new ways to get it to the people.
Grim-visaged war hath smoothed his wrinkled front; _x000D_ _x000D_ And now, instead of mounting barbed steeds _x000D_ _x000D_ To fright the souls of fearful adversaries, _x000D_ _x000D_ He capers nimbly in a lady's chamber _x000D_ _x000D_ To the lascivious pleasing of a lute.
Smell that? You smell that? Napalm, son. Nothing else in the world smells like that. I love the smell of napalm in the morning.
Sometimes, in the trenches, you get the sense of something, ancient. One trench we held, it had skulls in the side, embedded, like mushrooms. It was actually easier to believe they were men from Marlborough's army, than to think they'd been alive a year ago. It was as if all the other wars had distilled themselves into this war, and that made it something you almost can't challenge. It's like a very deep voice, saying; 'Run along, little man, be glad you've survived
A war doesn’t merely kill off a few thousand or a few hundred thousand young men. It kills off something in a people that can never be brought back. And if a people goes through enough wars, pretty soon all that’s left is the brute, the creature that we—you and I and others like us—have brought up from the slime.
In a guerrilla war, the line between legitimate and illegitimate killing is blurred. The policies of free-fire zones, in which a soldier is permitted to shoot at any human target, armed or unarmed, further confuse the fighting man's moral senses.
We know now that in modern warfare, fought on any considerable scale, there can be no possible economic gain for any side. Win or lose, there is nothing but waste and destruction.
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