戏剧音乐化:论《伊尼什莫尔岛的中尉》中的朋克音乐与暴力隐喻
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摘要
戏剧和朋克音乐的结合是爱尔兰当代戏剧家马丁·麦克多纳创作的显著特色,也是当代文学创作文化性转向的一个典范。在其代表作《伊尼什莫尔岛的中尉》中,麦克多纳运用"戏剧音乐化"的叙事策略,将碎片化的音乐歌词镶嵌于戏剧文本之中,同时吸取朋克音乐中的暴力美学、虚无主义及性别跨界等内涵,从而使该剧表现出鲜明的音乐化特征。通过对朋克音乐的跨媒介效仿,麦克多纳以暴力隐喻的方式戏谑地再现了"北爱冲突"这一重大事件,并表达了一个和平主义者的政治诉求。此外,麦克多纳对戏剧兼容不同艺术门类的实验创新,表明大众文化不仅能为精英文化的发展提供精神指导和刺激源泉,而且为当代戏剧获得更大的展演空间提供了跨媒介想象的可能性。
The combination of drama and punk music is distinctive in Martin McDonagh's writing and a representative of the musicalization of literature. The Lieutenant of Inishmore is the musicalization of drama: McDonagh mixes lyrics with text, and employs the elements of punk music, such as violence, nihilism, and gender, to represent the Northern Ireland Conflict in the eyes of a pacifist. The Lieutenant of Inishmore demonstrates that pop culture is a reservoir for high culture, and provides transmedia possibilities for contemporary drama.
The combination of drama and punk music is distinctive in Martin McDonagh's writing and a representative of the musicalization of literature. The Lieutenant of Inishmore is the musicalization of drama: McDonagh mixes lyrics with text, and employs the elements of punk music, such as violence, nihilism, and gender, to represent the Northern Ireland Conflict in the eyes of a pacifist. The Lieutenant of Inishmore demonstrates that pop culture is a reservoir for high culture, and provides transmedia possibilities for contemporary drama.
引文
[1]Frye, N. Introduction:Lexis and Melos[M]. New York:Columbia University Press, 1957:ix-xxvii.
[2]维尔纳.沃尔夫.音乐——文学媒介间性与文学、小说的音乐化[J].李雪梅,译.杭州师范大学学报:哲社版,2014(1).
[3]Hoggard, L. Martin McDonagh:Playboy of the West End World[N]. Independent, 2002-06-15.
[4]Huber, W. The Early Plays:Shooting Star and Hard Man from South London[M]//L. Chambers and E. Jordan, eds. The Theatre of Martin McDonagh:A World of Savage Stories. Dublin:Carysfort Press, 2006:14.
[5]Lenz, P. Anything New in the Fecking West:Martin McDonagh'sLeenane Trilogy and the Juggling with Irish Literary Stereotypes[M]//M.RubikandE.Mettinger-Schartmann,eds.(Dis)continuities:Trends and Traditions in Contemporary Theatre and Drama English. Trier:Wissenschaflicher Verlag Trier, 2002:25.
[6]Black, J. Britain since the Seventies:Politics and Society in the Consumer Age[M]. London:Reaktion books, 2004:47.
[7]Henry, T. Break All Rules! Punk Rock and the Making of a Style[M].Ann Arbor:UMI research press, 1989:4.
[8]O'Toole,F. A Mind in Connemara:The Savage World of Martin McDonagh[N]. The New Yorker,2006-03-06.
[9]Wolf, M."Martin McDonagh on a Tear"[J].American Theatre,1998(1).
[10]O'Hagan, S.The Wild West:Interview with Martin McDonagh[N]. The Guardian, 2001-03-24.
[11]McDonagh, M. The Lieutenant of Inishmore[M]. London:Bloomsbury Publishing, 2001.
[12]Lahr, J.The Lieutenant of Inishmore[N]. New Yorker, 2006-03-13.
[13]Tyson, L. Critical Theory Today:A User-friendly Guide[M].New York and London:Routledge, 2006:102.
[14]Pilkington, L. Theatre and the State in Twentieth-Century Ireland:Cultivating the People[M]. London:Routledge, 2001:146.
[15]杰姆逊.后现代主义与文化理论[M].唐小兵,译.北京:北京大学出版社,2005:200.
[16]Hall, S and T. Jefferson, eds. Resistance through Rituals:Youth Subcultures in Post-war Britain[M].London:Hutchinson, 1976:72.
[17]Jordan, E."Martin McDonagh's The Lieutenant of Inishmore:Commemoration and Dismemberment through Farce"[J].Hungarian Journal of English and American Studies, 2009(2).
[18]Lonergan, P. The Theatre and Films of Martin McDonagh[M].London:Methuen Drama,2012:94.
[19]Brantley, B. The Year Broadway Was Worth The Ovation[N].The York Times, 2006-12-24.
[20]Ree, C."The Good, the Bad, and the Ugly:The Politics of Morality in Martin McDonagh's The Lieutenant ofInishmore"[J].New Theatre Quarterly, 2005(1).
[21]Wilcock, M."Put to Silence:Murder, Madness and Moral Neutrality in Shakespeare's Titus Andronicus and Martin McDonagh's The Lieutenant of Inishmore"[J]. Irish University Review, 2008(2).
[22]Luckhurst, M."Martin McDonagh's The Lieutenant of Inishmore:Selling(-Out)to the English"[J].Contemporary Theatre Review, 2004(4).
[23]Sierz, A. In-Yer-Face Theatre:British Drama Today[M].London:Faber and Faber, 2001:5.
(1)INLA:爱尔兰民族解放军(Irish National Liberation Army)的缩写。作为准军事性的小组织,它寻求北爱尔兰和爱尔兰共和国的统一,成立于20世纪70年代早期,当时是临时爱尔兰共和军(Provisional Irish Republican Army)的一个分支。
(1)Bloody Sunday,“血色星期天”。1972年1月30日,在北爱尔兰的Derry市,英国皇家伞兵持械屠杀了十三名手无寸铁的平民,起因是平民的游行示威。
[2]维尔纳.沃尔夫.音乐——文学媒介间性与文学、小说的音乐化[J].李雪梅,译.杭州师范大学学报:哲社版,2014(1).
[3]Hoggard, L. Martin McDonagh:Playboy of the West End World[N]. Independent, 2002-06-15.
[4]Huber, W. The Early Plays:Shooting Star and Hard Man from South London[M]//L. Chambers and E. Jordan, eds. The Theatre of Martin McDonagh:A World of Savage Stories. Dublin:Carysfort Press, 2006:14.
[5]Lenz, P. Anything New in the Fecking West:Martin McDonagh'sLeenane Trilogy and the Juggling with Irish Literary Stereotypes[M]//M.RubikandE.Mettinger-Schartmann,eds.(Dis)continuities:Trends and Traditions in Contemporary Theatre and Drama English. Trier:Wissenschaflicher Verlag Trier, 2002:25.
[6]Black, J. Britain since the Seventies:Politics and Society in the Consumer Age[M]. London:Reaktion books, 2004:47.
[7]Henry, T. Break All Rules! Punk Rock and the Making of a Style[M].Ann Arbor:UMI research press, 1989:4.
[8]O'Toole,F. A Mind in Connemara:The Savage World of Martin McDonagh[N]. The New Yorker,2006-03-06.
[9]Wolf, M."Martin McDonagh on a Tear"[J].American Theatre,1998(1).
[10]O'Hagan, S.The Wild West:Interview with Martin McDonagh[N]. The Guardian, 2001-03-24.
[11]McDonagh, M. The Lieutenant of Inishmore[M]. London:Bloomsbury Publishing, 2001.
[12]Lahr, J.The Lieutenant of Inishmore[N]. New Yorker, 2006-03-13.
[13]Tyson, L. Critical Theory Today:A User-friendly Guide[M].New York and London:Routledge, 2006:102.
[14]Pilkington, L. Theatre and the State in Twentieth-Century Ireland:Cultivating the People[M]. London:Routledge, 2001:146.
[15]杰姆逊.后现代主义与文化理论[M].唐小兵,译.北京:北京大学出版社,2005:200.
[16]Hall, S and T. Jefferson, eds. Resistance through Rituals:Youth Subcultures in Post-war Britain[M].London:Hutchinson, 1976:72.
[17]Jordan, E."Martin McDonagh's The Lieutenant of Inishmore:Commemoration and Dismemberment through Farce"[J].Hungarian Journal of English and American Studies, 2009(2).
[18]Lonergan, P. The Theatre and Films of Martin McDonagh[M].London:Methuen Drama,2012:94.
[19]Brantley, B. The Year Broadway Was Worth The Ovation[N].The York Times, 2006-12-24.
[20]Ree, C."The Good, the Bad, and the Ugly:The Politics of Morality in Martin McDonagh's The Lieutenant ofInishmore"[J].New Theatre Quarterly, 2005(1).
[21]Wilcock, M."Put to Silence:Murder, Madness and Moral Neutrality in Shakespeare's Titus Andronicus and Martin McDonagh's The Lieutenant of Inishmore"[J]. Irish University Review, 2008(2).
[22]Luckhurst, M."Martin McDonagh's The Lieutenant of Inishmore:Selling(-Out)to the English"[J].Contemporary Theatre Review, 2004(4).
[23]Sierz, A. In-Yer-Face Theatre:British Drama Today[M].London:Faber and Faber, 2001:5.
(1)INLA:爱尔兰民族解放军(Irish National Liberation Army)的缩写。作为准军事性的小组织,它寻求北爱尔兰和爱尔兰共和国的统一,成立于20世纪70年代早期,当时是临时爱尔兰共和军(Provisional Irish Republican Army)的一个分支。
(1)Bloody Sunday,“血色星期天”。1972年1月30日,在北爱尔兰的Derry市,英国皇家伞兵持械屠杀了十三名手无寸铁的平民,起因是平民的游行示威。