Betrayed: A Play
ααααΆ 2008 Β· Farrar, Straus and Giroux
5.0star
ααΆαααΆαααααα 1report
ααααα
βα’αα‘α·α
ααααΌαα·α
128
ααααα
family_home
ααΆααα·αααα·
info
reportααΆαααΆαααααα αα·αααα·ααΆαααααααα·αααααΌαααΆααααααααααΆαααα αααααααααααααα
α’αααΈααααα βα’αα‘α·α ααααΌαα·αααα
Based on George Packer's account in The New Yorker, Betrayed is a riveting and morally complex drama that explores in the Iraqis' own words the ways in which we have already abandoned them.
Millions of Iraqis, spanning the country's religious and ethnic spectrum, welcomed the overthrow of Saddam Hussein. But the mostly young men and women who embraced America's project so enthusiastically that they were prepared to risk their lives for it by aiding the U.S. forces constitute a small minority. On a cold, wet night in January 2007, George Packer met two such Iraqi men in the lobby of the Palestine Hotel, in central Baghdad to hear their story and those of other Iraqis working as translators and additional key personnel for the U.S. military and occupation authorities. They assumed that their perspective would be valuable to foreigners who knew little or nothing of Iraq. But instead of respect and gratitude, those who chose to help bridge the gap between the occupiers and the occupied were met with suspicion and hostility. They have been killed by insurgents and militias, ignored by U.S. officials, fired from their jobs without reason or recourse, and prevented from fleeing to the States for safety.
Betrayed had its world premiere in January 2008, off-Broadway at the Culture Project.
Millions of Iraqis, spanning the country's religious and ethnic spectrum, welcomed the overthrow of Saddam Hussein. But the mostly young men and women who embraced America's project so enthusiastically that they were prepared to risk their lives for it by aiding the U.S. forces constitute a small minority. On a cold, wet night in January 2007, George Packer met two such Iraqi men in the lobby of the Palestine Hotel, in central Baghdad to hear their story and those of other Iraqis working as translators and additional key personnel for the U.S. military and occupation authorities. They assumed that their perspective would be valuable to foreigners who knew little or nothing of Iraq. But instead of respect and gratitude, those who chose to help bridge the gap between the occupiers and the occupied were met with suspicion and hostility. They have been killed by insurgents and militias, ignored by U.S. officials, fired from their jobs without reason or recourse, and prevented from fleeing to the States for safety.
Betrayed had its world premiere in January 2008, off-Broadway at the Culture Project.
ααΆαααΆααααααΆα αα·αααα·ααΆαααααα
5.0
ααΆαααΆαααααα 1
α’αααΈβα’ααααα·αααα
George Packer is a staff writer for The New Yorker and the author of The Assassinsβ Gate: America in Iraq, which received numerous prizes and was named one of the ten best books of 2005 by The New York Times Book Review. He is also the author of the novels The Half Man and Central Square, and the works of nonfiction The Unwinding: An Inner History of the New America, The Village of Waiting and Blood of the Liberals, which won the 2001 Robert F. Kennedy Book Award. His play, Betrayed, ran in Manhattan for five months in 2008 and won the Lucille Lortel Award for Outstanding Play. He lives in Brooklyn.
ααΆααααααααααα βα’αα‘α·α ααααΌαα·αααα
ααααΆααααΎαα’αααΈααΆααααααΎαααααα’αααα
α’αΆαβααααααΆα
ααΌαααααααααΆααα αα·αβααααααα
ααα‘αΎααααααα·ααΈ Google Play Books αααααΆαα Android αα·α iPad/iPhone α ααΆβααααΎααααΆαααααβαααααααααααααααα·ααΆαα½αβααααΈβααααα’αααβ αα·αβα’αα»ααααΆαα±ααβα’αααα’αΆααααβααΆαα’ααΈαααΊαα·α α¬ααααΆαβα’ααΈαααΊαα·αβαα
αααααααΈααααααα
αα»αααααΌαααβαα½ααα αα·ααα»αααααΌααα
α’αααα’αΆα
ααααΆααααααα
ααΆααα‘αααααααΆααα·ααα
αααα»α Google Play αααααααΎαααααα·ααΈαα»αααααΆαα’ααΈαααΊαα·ααααα»ααα»αααααΌαααααααα’αααα
eReaders αα·αβα§αααααβαααααβααα
ααΎααααΈα’αΆααα
ααΎβα§ααααα e-ink ααΌα
ααΆβα§αααααα’αΆαβααααα
α’αα‘α·α
ααααΌαα·α Kobo α’αααααΉαααααΌαβααΆαααβα―αααΆα α αΎαβαααααααΆαα
βα§αααααβααααα’αααα ααΌαα’αα»ααααααΆαβααΆαααααΆααααα’α·αααααααααααααααααα½α ααΎααααΈαααααα―αααΆαβαα
α§αααααα’αΆαααααα
βα’αα‘α·α
ααααΌαα·ααααααααΆααα
