论马丁·麦克多纳《利南三部曲》对西部田园的黑色书写
摘要
在爱尔兰文学中,爱尔兰西部一直占有独特的位置,被叶芝、辛格等作家视为最具爱尔兰性、民族性和诗性的田园神话。与这种浪漫主义的西部想象不同,当代剧作家马丁·麦克多纳在其代表作《利南三部曲》中从后现代的视角走进西部神话主题,为世人刻画了一幅家庭空间破碎、殖民阴影困扰和信仰坍塌的当代爱尔兰西部图景,以一种黑色田园意象消解了传统的西部浪漫叙事,构建了一个介于过去与现在、真实与想象之间的阈限性西部社会,一个另类的爱尔兰西部文学景观。
Irish West holds an icon place in Irish literature,which is portrayed by Yeats and Synge as a poetic pastoral myth that best represents Irishness and nationality.Differing from the romantic western imagination of Irish Literary Revival writers,such as Yeats and Synge,Irish playwright Martin Mc Donagh reexamines western myth from a postmodern perspective by depicting a vivid panorama of contemporary Irish West:dysfunctional family relationship,post-colonization trauma and the fall of religious authority.In this way,Mc Donagh demystifies the traditional romantic narration of Irish West through black writing of western pastoral,thus constructing a liminal western society that juxtaposes the past and the present,reality and imagination so as to form an alternative literary landscape of Irish West.
Irish West holds an icon place in Irish literature,which is portrayed by Yeats and Synge as a poetic pastoral myth that best represents Irishness and nationality.Differing from the romantic western imagination of Irish Literary Revival writers,such as Yeats and Synge,Irish playwright Martin Mc Donagh reexamines western myth from a postmodern perspective by depicting a vivid panorama of contemporary Irish West:dysfunctional family relationship,post-colonization trauma and the fall of religious authority.In this way,Mc Donagh demystifies the traditional romantic narration of Irish West through black writing of western pastoral,thus constructing a liminal western society that juxtaposes the past and the present,reality and imagination so as to form an alternative literary landscape of Irish West.
引文
(1)Mimi Kramer,“Three for the Show”,Time Magazine(August 1997),71页。1997年,麦克多纳的四部戏剧同时在伦敦上演,分别是《利南的美人》、《康尼马拉的骷髅》、《荒漠的西部》和《伊尼什曼岛的瘸子》。
(2)Robert L.King,“The Irish and Others”,The North American Review(November-December,2000),p.44.
(3)Mary Luckhurst,“Martin Mc Donagh's Lieutenant of Inishmore:Selling(-Out)to the English”,Contemporary Theatre Review(November 2004),p.35.
(4)Shaun Richards,“The Outpouring of a Morbid,Unhealthy Mind:The Critical Condition of Synge and Mc Donagh”,Irish University Review(Spring-Summer 2003),p.202.
(5)Terry Giffard,Pastoral(London and New York:Routledge,1999),p.10.
(6)Lady Augusta Gregory,Our Irish Theatre(New York:Oxford University Press,1972),p.20.
(7)何林:《叶芝与爱尔兰文化身份的建构》,载《当代文坛》2010年第四期,120-123页。
(8)Nicholas Grene,“Ireland in Two Minds:Martin Mc Donagh and Conor Mc Pherson”,Yearbook of English Studies(January,2005),p.299.
(9)Martin Mc Donagh,Plays 1:The Beauty Queen of Leenane:A Skull in Connemara:The Lonesome West(London and New York:Bloomsbury Publishing,1999),p.114.(文中相关引文均为作者译自原文,以后引用,在正文中随文标注页码。)
(10)Aleks Sierz,In-yer-face Theatre:British Drama Today(London:Faber&Faber,2014),p.224.
(11)Tim P.Coogan,The Famine Plot:England's Role in Ireland's Greatest Tragedy(New York:Palgrave-Macmillan,2012),p.229.
(12)Samuel Beckett,Waiting for Godot(London:Faber&Faber,1981),p.51.
(13)Andrew Gibson,“Afterword”,Beckett and Ireland,ed.Sean Kennedy(Cambridge:Cambridge university press,2010),p.192.
(14)John Waters,“The Irish Mummy:The Plays and Purpose of Martin Mc Donagh”,in Druids,Dudes and Beauty Queens:The Changing Face of Irish Theatre,ed.Dermot Bolger(Dublin:New Island,2001),p.53.
(15)Nicholas Grene,“Black Pastoral:1990s Images of Ireland”,Litteraria Pragensia(October 2000),p.68.
(16)李元:《民族身份的重述——凯尔特之虎时期的爱尔兰戏剧》,载《当代外国文学》2013年第一期,78-86页。
(17)Fintan O'Toole,“Nowhere Man”,The Irish Times(26 April1997 Weekend Supplement),p.1.
(18)Sean O'Hagan,“The Wild West:Interview with Martin McDonagh”,The Guardian(24 March,2001),p.24.
(19)Arnold Van Gennep,The Rites of Passage,trans.Monika B.Vizedom and Gabrielle L.Caffee(Chicago:University of Chicago Press,1960),p.10.
(20)Victor Turner,The Ritual Process:Structure and Anti-Structure(New York:De Gruyter,1969),p.95.
(21)Homi K.Bhabha,The Location of Culture(London and New York:Routledge,1994),p.2.
(22)Victor Turner,The Ritual Process:Structure and Anti-Structure,p.96.
(23)米歇尔·福柯:《另类空间》,王喆译,载《世界哲学》2006年第六期,52-57页。
(24)Victor Turner,Dramas,Fields,and Metaphors:Symbolic Action in Human Society(Ithaca,NY:Cornell University Press,1974),p.233.
(25)Nicholas Grene,“Black Pastoral:1990s Images of Ireland”,p.70.
(2)Robert L.King,“The Irish and Others”,The North American Review(November-December,2000),p.44.
(3)Mary Luckhurst,“Martin Mc Donagh's Lieutenant of Inishmore:Selling(-Out)to the English”,Contemporary Theatre Review(November 2004),p.35.
(4)Shaun Richards,“The Outpouring of a Morbid,Unhealthy Mind:The Critical Condition of Synge and Mc Donagh”,Irish University Review(Spring-Summer 2003),p.202.
(5)Terry Giffard,Pastoral(London and New York:Routledge,1999),p.10.
(6)Lady Augusta Gregory,Our Irish Theatre(New York:Oxford University Press,1972),p.20.
(7)何林:《叶芝与爱尔兰文化身份的建构》,载《当代文坛》2010年第四期,120-123页。
(8)Nicholas Grene,“Ireland in Two Minds:Martin Mc Donagh and Conor Mc Pherson”,Yearbook of English Studies(January,2005),p.299.
(9)Martin Mc Donagh,Plays 1:The Beauty Queen of Leenane:A Skull in Connemara:The Lonesome West(London and New York:Bloomsbury Publishing,1999),p.114.(文中相关引文均为作者译自原文,以后引用,在正文中随文标注页码。)
(10)Aleks Sierz,In-yer-face Theatre:British Drama Today(London:Faber&Faber,2014),p.224.
(11)Tim P.Coogan,The Famine Plot:England's Role in Ireland's Greatest Tragedy(New York:Palgrave-Macmillan,2012),p.229.
(12)Samuel Beckett,Waiting for Godot(London:Faber&Faber,1981),p.51.
(13)Andrew Gibson,“Afterword”,Beckett and Ireland,ed.Sean Kennedy(Cambridge:Cambridge university press,2010),p.192.
(14)John Waters,“The Irish Mummy:The Plays and Purpose of Martin Mc Donagh”,in Druids,Dudes and Beauty Queens:The Changing Face of Irish Theatre,ed.Dermot Bolger(Dublin:New Island,2001),p.53.
(15)Nicholas Grene,“Black Pastoral:1990s Images of Ireland”,Litteraria Pragensia(October 2000),p.68.
(16)李元:《民族身份的重述——凯尔特之虎时期的爱尔兰戏剧》,载《当代外国文学》2013年第一期,78-86页。
(17)Fintan O'Toole,“Nowhere Man”,The Irish Times(26 April1997 Weekend Supplement),p.1.
(18)Sean O'Hagan,“The Wild West:Interview with Martin McDonagh”,The Guardian(24 March,2001),p.24.
(19)Arnold Van Gennep,The Rites of Passage,trans.Monika B.Vizedom and Gabrielle L.Caffee(Chicago:University of Chicago Press,1960),p.10.
(20)Victor Turner,The Ritual Process:Structure and Anti-Structure(New York:De Gruyter,1969),p.95.
(21)Homi K.Bhabha,The Location of Culture(London and New York:Routledge,1994),p.2.
(22)Victor Turner,The Ritual Process:Structure and Anti-Structure,p.96.
(23)米歇尔·福柯:《另类空间》,王喆译,载《世界哲学》2006年第六期,52-57页。
(24)Victor Turner,Dramas,Fields,and Metaphors:Symbolic Action in Human Society(Ithaca,NY:Cornell University Press,1974),p.233.
(25)Nicholas Grene,“Black Pastoral:1990s Images of Ireland”,p.70.