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兔秋戏剧挑战月 一些National Theatre Live

Under Milk Wood


Tag: National Theatre Live, Michael Sheen, Karl Johnson, Siân Phillips, Dylan Thomas, Lyndsey Turner,


主演是Rory Kinnear大头娃娃,那时候还蛮年轻的。现代版的改编,有台式电脑。抽烟说to be。

Tag: National Theatre Live, William Shakespeare, Rory Kinnear,

Prima Facie



Your honour, I am here in a unique position. Usually I stand at the bar, but now I am in this courtroom as a witness, a complainant, a victim. As a barrister, I have questioned women in sexual assault cases on the assumption that evidence can be delivered in a clean, logical package, and now I have seen from my own attempts here that it cannot be. In all of my professional life, I have participated in a system that has done this to women, and now I know it is not right. It is not reasonable, because now I know, from my own life, both as a woman and a lawyer, that the lived experience of sexual assault, it is not remembered in a neat, consistent, scientific parcel. And it’s because of that, the law often finds evidence “unbelievable”. So, I understand a witness can be mistaken in their evidence. I have suggested it time and time again. But this is not a car accident, or a home invasion. This is rape. It’s a crime against the person and now I know. You know, when a woman says “no”, when her actions say “no”, it is nor a subtle, unreadable thing at all. Yet before this, I too, I would suggest that she was mistaken. But when a woman has been violated, it is a corrosive wound. It is one that starts with terror and pain deep into the body. It then overtakes the mind, the soul. Yet before this, I too, I would suggest that “she was confused”. I mean, the message is, if we do not deliver our evidence neatly in a clear linear story, with consistency in recall, then we are lying. Yet before this, I would point out inconsistencies as proof of doubt. I would tell the jury they couldn’t possibly be sure. As a lawyer I know, I know, the law, it cannot jettison consistency entirely, but in sexual assault cases, can we keep using it as the litmus test of credibility? Because, as a victim, let me tell you the rape and the perpetrator, they are vividly recalled. The peripheral details, not so clearly. If a woman is rattled by having to relive the nightmare in court, if a woman’s experience of rape is not as the court likes it to be, the we conclude that she is prone to exaggeration and it’s because of this she is so often disbelieved. 

So here in court, I want to call it out. The law of sexual assault, it spins on the wrong axis. A woman’s experience of sexual assault, it does not fit in the male-defined system of truth. So it cannot be truth, and therefore, there cannot be justice. The law has been shaped by generations and generations of men. There was a time, not so long ago, when courts like this did not see non-consensual sex in marriages as rape, did not see that battered women, they fight back in a manner distinct from the way that men fight. Yet once we see, I mean, we cannot unsee, can we? Now I see from my own experience that we have got it all wrong when it comes to sexual assault. We don’t interrogate the law’s own assumptions, instead we persist on interrogating the victims. The law is an organic thing. It is defined by us. It is constructed by us, in light of our experiences. All of ours, so there are no excuses any more. It must change because the truth is that one in three women are sexually assaulted and their voices, there need to be heard, they need to be believed in order for justice to be done.

Tag: National Theatre Live, Suzie Miller, Jodie Comer,

The Beaux’ Stratagem


Tag: National Theatre Live, George Farquhar, Susannah Fielding, Pippa Bennett-Warner, Samuel Barnett, Geoffrey Streatfeild,