论《安·非她命》中的后现代创作技巧
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摘要
英国当代剧作家马丁·昆普在其代表作《安·非她命》中大量地运用拼贴、互文性及突出读者在戏剧创作中的主体性等后现代创作技巧,生动形象地构筑了一个中心模糊化、情节碎片化的"荒诞"世界,并通过其间所折射出的人际淡漠、暴力伤害、大屠杀、种族歧视和女性身份建构危机等尖锐的现实问题,引导读者对当前社会弊端及个人生存困境有所反思与行动。
Based on three major postmodernist writing techniques: collage,intertextuality and text theory,British contemporary playwright Martin Crimp vividly constructs a vague and fragmented world of "absurdity"in his representative work Attempts on Her Life,through which Crimp discusses a series of sharp realistic problems such as interpersonal apathy,violence,massacre,racial discrimination and crisis of female identity construction,aiming to guide readers to ponder and act upon the current social malpractice and modern people's living dilemma.
Based on three major postmodernist writing techniques: collage,intertextuality and text theory,British contemporary playwright Martin Crimp vividly constructs a vague and fragmented world of "absurdity"in his representative work Attempts on Her Life,through which Crimp discusses a series of sharp realistic problems such as interpersonal apathy,violence,massacre,racial discrimination and crisis of female identity construction,aiming to guide readers to ponder and act upon the current social malpractice and modern people's living dilemma.
引文
[1] Middeke,Martin,Peter Paul Schnierer,and Aleks Sierz. The Methuen Drama Guide to Contemporary British Play-wrights[M]. London:Bloomsbury Methuen Drama,2011:82.
[2]王先霈,王又平.文学理论批评术语汇释[M].北京:高等教育出版社,2006:802.
[3]胡全生.英美后现代主义小说叙述结构研究[M].上海:复旦大学出版社,2002:147-148.
[4]汉斯·蒂斯·雷曼.后戏剧剧场[M].李亦男,译.北京:北京大学出版社,2010:103.
[5]严程莹,李启斌.西方戏剧文学的话语策略:从现代派戏剧到后现代派戏剧[M].昆明:云南大学出版社,2009:395.
[6]陈爱敏.西方戏剧十五讲[M].北京:对外经济贸易大学出版社,2013:224.
[7]陈世丹.美国后现代主义小说艺术论[M].上海:复旦大学出版社,2002:16.
[8]刘文.辩证性和革命性:克里斯蒂娃和巴特的互文本理论[J].西南民族大学学报:人文社科版,2005(5):209-212.
[9] Sierz,Aleks. The Theatre of Martin Crimp[M]. London:Methuen Drama,2006:2.
[10]邓刚.布朗肖和巴特论作者之死[J].当代作家评论,2016(4):200-207
[11]张静.主体虚空与文本多义———论罗兰·巴特的作者观[J].福建论坛:人文社会科学版,2010(8):117-121.
[12]伊哈布·哈桑.后现代转向[M].刘象愚,译.上海:上海人民出版社,2015:5.
(1)Crimp,Martin.Attempts on her Life[M].London:faber and faber,1997:58.后文中的剧本引文均出自此版本,仅在括号中标示页码。中文译文为笔者自行翻译。
[2]王先霈,王又平.文学理论批评术语汇释[M].北京:高等教育出版社,2006:802.
[3]胡全生.英美后现代主义小说叙述结构研究[M].上海:复旦大学出版社,2002:147-148.
[4]汉斯·蒂斯·雷曼.后戏剧剧场[M].李亦男,译.北京:北京大学出版社,2010:103.
[5]严程莹,李启斌.西方戏剧文学的话语策略:从现代派戏剧到后现代派戏剧[M].昆明:云南大学出版社,2009:395.
[6]陈爱敏.西方戏剧十五讲[M].北京:对外经济贸易大学出版社,2013:224.
[7]陈世丹.美国后现代主义小说艺术论[M].上海:复旦大学出版社,2002:16.
[8]刘文.辩证性和革命性:克里斯蒂娃和巴特的互文本理论[J].西南民族大学学报:人文社科版,2005(5):209-212.
[9] Sierz,Aleks. The Theatre of Martin Crimp[M]. London:Methuen Drama,2006:2.
[10]邓刚.布朗肖和巴特论作者之死[J].当代作家评论,2016(4):200-207
[11]张静.主体虚空与文本多义———论罗兰·巴特的作者观[J].福建论坛:人文社会科学版,2010(8):117-121.
[12]伊哈布·哈桑.后现代转向[M].刘象愚,译.上海:上海人民出版社,2015:5.
(1)Crimp,Martin.Attempts on her Life[M].London:faber and faber,1997:58.后文中的剧本引文均出自此版本,仅在括号中标示页码。中文译文为笔者自行翻译。