Given the disparity between Ms. Blanchett’s Australian accent and Ms. Huppert’s French one, you won’t take them for actual kin—nor should you, said Ms. Blanchett. “It’s an elliptical, labyrinthine play, and we’re exploring the ellipsis in the play, so we’re sisters in an abstract sense. That’s just the outer surface of the play, there to be played with. We talked at one point about swapping roles. We also talked about whether, at a certain point, we might fall into French. We played around with those things and with those concepts, but ultimately we decided not to pursue them. It’s a bit like throwing mud on the wall and seeing what sticks. Those ideas didn’t stick. “鉴于两人口音区别,你不会觉得她俩是有血缘关系的亲姐妹”,但“这是一部多解的、迷宫式的戏剧,而我们在探索这些多解的东西。所以抽象意义上我们仍是姐妹。(姐妹)只是该剧的外表皮,需要在表演时披着。”“我们曾谈论过互换角色,某个时期也曾谈论过用法语演,这些想法全都演练过,但最后都放弃了。这就像把烂泥扔上墙看能否黏住。这些想法都没扶上壁。
“Strangely, and coincidentally, when we were first performing The Maids and I told Todd about it, he emailed me a photograph of him from when he was in university and playing Salonge in an all-male production of The Maids,” Ms. Blanchett said. “That’s one way to do it,” she conceded, adding, “There’s no ‘right way’ to do a play.” “古怪而又巧合的是,当跟托德海因斯【《Im not there》《Carol》导演】说起我要演本剧时,他给我email了一张他早年在大学演本剧的照片,是演Solange【这次于佩尔的角色,而本剧的标准版是全部由男演员反串的】。” “这是一种方式。但是去演一部剧,并不存在一种所谓的“正确的方式”。”