女性的困境
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摘要
本论文探讨了女性困境在美国当代先锋剧大师福尼斯的代表作:《费芙和她的朋友们》和《生活的行为》中的体现。为了突显父权制社会对女性无处不在的约制力量,本文集中分析了女性困境的三种不同的表现形式:外界,界面和内在。第一章主要研究福尼斯的导演技巧中空间布景上的特色。福尼斯的这两部作品,从不同的却又互补的方面,描述了女性在家庭空间中的受困处境。第二章主要讨论了福尼斯在戏剧舞台上对暴力的表现。暴力作用于女性身体,而女性身体又是连接外界和内在的界面。该章节主要讨论了福尼斯所表现的两种暴力形式:无形的精神折磨和有形的身体暴力。无论是哪种形式,他们都是为了保持父权制社会男性主宰,女性附属的阶层关系服务的。本文的第三章主要探讨了女性人物内在的心理发展过程.当女性受困于家庭空间,而且又承受着来自社会和家庭的暴力时,她们的受困处境在内在心理层面也得到了很好的表现。本文作者将两部剧作中的人物分成不同组群。在自我的挣扎中,她们或是体现出心理分裂,或是体现出最后的对于父权制意识形态的内化。结论一章探讨了两剧耐人寻味的结尾,并将两剧设置的故事时间背景与真实的历史时间做了比较。这两部作品所设置的时间背景正好反映了历史上女权主义运动的发展和倒退。在这五十年的时间间距中,女性在父权制社会中的受困处境并没有太大的改善。同时,本文作者还指出,作为戏剧老师的福尼斯,她的作品旨意并不在于提供解决问题的现成答案,而是寄希望于观众/读者们来找到女性困境的出路。
In this thesis, I conduct a research of the entrapment of women represented in two of the best dramatic works of Maria Irene Fornes: Fefu and Her Friends and The Conduct of Life. Concentrating on the three forms of manifestations of entrapment of women from exterior, interface and interior aspects, I arrange my thesis in a way that underpins the pervasive power of patriarchal forces on women. In Chapter One, I study Fornes' directing technique in spatial arrangement of her sets. Both plays, in a different but supplementary way, represent her efforts to portray entrapment of women in domestic confinement. In Chapter Two, I exam Fornes' dramatization of violence on the female body, which serves as the interface connecting the exterior world and interior world of women. I focus on two types of violence: the invisible mental torture and the visible physical violence, both of which are used to maintain the hierarchal order of male dominance and female subordinance. In Chapter Three, I discuss the women characters' interior psychological development rendered by domestic confinement in the exterior world of women and the violence at the interface of the female body. I segregated women characters into groups, which exhibit differences yet share similarities among themselves, either displaying psychological disintegration in their struggles or the final internalization of patriarchal ideology. In Conclusion, I draw a timeline for the plays and parallel them with the progress and regression of the women's movement. Fifty years in between the plays are set, there seems to be little changes of women's' entrapped situation in patriarchal societies. I also point out in the conclusion that Fornes, also as a great teacher in theatre, is not intended to give out answers but to let spectators/readers find out their own answers to the entrapped situation of women.
In this thesis, I conduct a research of the entrapment of women represented in two of the best dramatic works of Maria Irene Fornes: Fefu and Her Friends and The Conduct of Life. Concentrating on the three forms of manifestations of entrapment of women from exterior, interface and interior aspects, I arrange my thesis in a way that underpins the pervasive power of patriarchal forces on women. In Chapter One, I study Fornes' directing technique in spatial arrangement of her sets. Both plays, in a different but supplementary way, represent her efforts to portray entrapment of women in domestic confinement. In Chapter Two, I exam Fornes' dramatization of violence on the female body, which serves as the interface connecting the exterior world and interior world of women. I focus on two types of violence: the invisible mental torture and the visible physical violence, both of which are used to maintain the hierarchal order of male dominance and female subordinance. In Chapter Three, I discuss the women characters' interior psychological development rendered by domestic confinement in the exterior world of women and the violence at the interface of the female body. I segregated women characters into groups, which exhibit differences yet share similarities among themselves, either displaying psychological disintegration in their struggles or the final internalization of patriarchal ideology. In Conclusion, I draw a timeline for the plays and parallel them with the progress and regression of the women's movement. Fifty years in between the plays are set, there seems to be little changes of women's' entrapped situation in patriarchal societies. I also point out in the conclusion that Fornes, also as a great teacher in theatre, is not intended to give out answers but to let spectators/readers find out their own answers to the entrapped situation of women.
引文
Fornes, Maria Irene. "Fefu and Her Friends."The Bedford Introduction to Drama. Ed. Lee A. Jacobus. New York: St. Martin's Press, 1989.
—. Plays: Mud, the Danube, the Conduct of Life, Sarita.New York: Performing Arts Journal Pub, 1989.
—. "Notes on Fefu." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999. 221-223.
—. "I Write These Messages That Come." The Theatre of Maria Irene Fornes .Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999.213-220.
—. "Creative Danger." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999. 230-233.
—"From an Interview with Scott Cummings." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999.234-241.
—"Maria Irene Fornes in conversation with Rod Wooden at the Green Room, Manchester, 20 November 1994." In Contact With The Gods?: Directors talk theatre. Ed. Maria M. Delgado and Paul Heritage. Manchester: Manchester University Press, 1996. 97-105.
Case, Sue-Ellen. Feminism and Theatre. London: Macmillan Publishers Ltd, 1988.
Cummings, Scott T. "The Poetry of Space in A Box Stenography in the Works of Maria Irene Fornes." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999. 175-185.
Beauvoir, Simone de. The Second Sex. Trans and Ed. H.M. Parshley. New York: Bantam Books, 1961.
Delgado, Maria M. and Caridad Svich. eds, Conducting a Life: Reflections On The Theatre of Maria Irene Fornes,Lyme,New Hampshire:Smith and Kraus,1999.
Dolan,Jill."Materialist Feminism:Apparatus-Based Theory and Practice." The Feminist Spectator as Critic.Ann Arbor:UMI Research Press,1988.99-117.
Drukman,Steven."notes on fornes(with apologies to Susan Sontag)," American Theatre,September,2000,pp.36-39,85.
Farfan,Penny."Feminism,Metatheatricality,and Mise-en-scene in Maria Irene Fornes's Fefu and Her Friends." Modern Drama 40(1997):442-53.
Fuchs,Elinor."Fefu and Her Friends:The View from the Stone." The Theatre of Maria Irene Fornes.Ed.Marc Robinson.Baltimore:The Johns Hopkins University Press,1999.85-108.
Geis,Deborah R.,"Wordscapes of the Body:Performative Language as Gestus in Maria Irene Fomes's Plays."Feminist Theatre and Theory.Ed.Helene Keyssar.London:Macmillan Press Ltd,1996.168-188.
Greer,Germaine.The Female Eunuch.New York:Mcgram-Hill Book Company,1971.
Humm,Maggie.Ed.Modern Feminism:Political,Literary,Cultural.New York:Columbia University Press,1992.
Keyssar,Helene."Drama and the Dialogic Imagination:The Heidi Chronicles and Fefu and Her Friends." Feminist Theatre and Theory.Ed.Helene Keyssar.London:Macmillan Press Ltd,1996.109-136.
Keyssar."Feminist Theater of the Seventies in the United States" The Cambridge Companion to American Women Playwrights,Ed.Brenda Murphy.Shanghai:Shanghai Foreign Language Education Press,2001.
Kent,Assunta Bartolomucci.Maria Irene Fornes and Her Critics.Westport:Greenwood Press,1996.
Kintz,Linda."Permeable Boundaries,Femininity,Fascism and Violence:Fomes's The Conduct of Life." Cultural Critique 6(1991):79-89.
Maoqing,Chen."Women as Dasein-An Existentialist Interpretation of the Play Fefu and Her Friends." Journal of Xinjiang University(Social Science Edition)31.No.3(Sep 2003):122-125.
Maoqing,"Mother of Advant-garde in Contemporary American Theater-Introduction of Maria Fornes and Her Plays." Theatre Arts: Journal of Shanghai Theater Academy 115. No.5: 49-58.
Millet, Kate. Sexual Politics. New York: Simon and Schuster Inc, 1990.
Moroff, Diane Lynn. Fornes: Theatre in the Present Tense. Ann Arbor: University of Michigan Press, 1997.
Munk, Erika." Staging of Fefu and Her Friends." The Bedford Introduction to Drama. Ed. Lee A. Jacobus. New York: St. Martin's Press, 1989. 602-603.
Murray, Piper." ' They are Well Together. Women are Not': Productive Ambivalence and Female Hom(m)osociality in Fefu and Her Friends." Modern Drama. 44, no. 4 (winter 2001): 398-415.
Pevitts, Beverly Byers. "Fefu and Her Friends." Women in American Theatre. Ed. Helen Krich Chinoy and Linda Walsh Jenkins. New York: Theatre Communications Group, 1897.314-317.
Porterfield, Sally. "Black Cats and Green Trees: The Art of Maria Irene Fornes." Modern Drama .43, no. 2 (summer 2000): 204-15.
Savran, David. "Maria Irene Fornes." In Their Own Words: Contemporary American Playwrights. New York: Theatre Communications Group, 1988. 51-69.
Schuler, Catherine A., "Gender Perspective and Violence in the Plays of Maria Irene Fornes and Sam Shepard." Modern American Drama: The Female Canon. Ed June Schulueter. London: Associated University Press, 1990. 219-228.
Shewey, Don. The Advocate.Los Angeles: Nov 9, 1999. Iss. 798; pg. 74-6.
Sofer, Andrew. "Maria Irene Fornes: Acts of Translation." A Companion to Twentieth Century American Drama. David Krusner eds. MA: Blackwell Publication, 2005.440-455.
Sontag, Susan. Preface to Maria Irene Fornes: Plays: Mud, the Danube, the Conduct of Life, Sarita. New York: Performing Arts Journal Pub, 1989.7-10.
Wetzsteon, Ross. "Irene Fornes: Elements of Style." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999. 25-38.
Wolf, Stacy. "Re/Presenting Gender, Re/Presenting Violence: Feminism, Form and the Plays of Maria Irene Fornes." Theatre Studies.37 (1992): 17-31.
Worthen, W. B., "Still Playing Games: Ideology and Performance in the Theatre of Maria Irene Fornes." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999.61-75.
—. Plays: Mud, the Danube, the Conduct of Life, Sarita.New York: Performing Arts Journal Pub, 1989.
—. "Notes on Fefu." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999. 221-223.
—. "I Write These Messages That Come." The Theatre of Maria Irene Fornes .Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999.213-220.
—. "Creative Danger." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999. 230-233.
—"From an Interview with Scott Cummings." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999.234-241.
—"Maria Irene Fornes in conversation with Rod Wooden at the Green Room, Manchester, 20 November 1994." In Contact With The Gods?: Directors talk theatre. Ed. Maria M. Delgado and Paul Heritage. Manchester: Manchester University Press, 1996. 97-105.
Case, Sue-Ellen. Feminism and Theatre. London: Macmillan Publishers Ltd, 1988.
Cummings, Scott T. "The Poetry of Space in A Box Stenography in the Works of Maria Irene Fornes." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999. 175-185.
Beauvoir, Simone de. The Second Sex. Trans and Ed. H.M. Parshley. New York: Bantam Books, 1961.
Delgado, Maria M. and Caridad Svich. eds, Conducting a Life: Reflections On The Theatre of Maria Irene Fornes,Lyme,New Hampshire:Smith and Kraus,1999.
Dolan,Jill."Materialist Feminism:Apparatus-Based Theory and Practice." The Feminist Spectator as Critic.Ann Arbor:UMI Research Press,1988.99-117.
Drukman,Steven."notes on fornes(with apologies to Susan Sontag)," American Theatre,September,2000,pp.36-39,85.
Farfan,Penny."Feminism,Metatheatricality,and Mise-en-scene in Maria Irene Fornes's Fefu and Her Friends." Modern Drama 40(1997):442-53.
Fuchs,Elinor."Fefu and Her Friends:The View from the Stone." The Theatre of Maria Irene Fornes.Ed.Marc Robinson.Baltimore:The Johns Hopkins University Press,1999.85-108.
Geis,Deborah R.,"Wordscapes of the Body:Performative Language as Gestus in Maria Irene Fomes's Plays."Feminist Theatre and Theory.Ed.Helene Keyssar.London:Macmillan Press Ltd,1996.168-188.
Greer,Germaine.The Female Eunuch.New York:Mcgram-Hill Book Company,1971.
Humm,Maggie.Ed.Modern Feminism:Political,Literary,Cultural.New York:Columbia University Press,1992.
Keyssar,Helene."Drama and the Dialogic Imagination:The Heidi Chronicles and Fefu and Her Friends." Feminist Theatre and Theory.Ed.Helene Keyssar.London:Macmillan Press Ltd,1996.109-136.
Keyssar."Feminist Theater of the Seventies in the United States" The Cambridge Companion to American Women Playwrights,Ed.Brenda Murphy.Shanghai:Shanghai Foreign Language Education Press,2001.
Kent,Assunta Bartolomucci.Maria Irene Fornes and Her Critics.Westport:Greenwood Press,1996.
Kintz,Linda."Permeable Boundaries,Femininity,Fascism and Violence:Fomes's The Conduct of Life." Cultural Critique 6(1991):79-89.
Maoqing,Chen."Women as Dasein-An Existentialist Interpretation of the Play Fefu and Her Friends." Journal of Xinjiang University(Social Science Edition)31.No.3(Sep 2003):122-125.
Maoqing,"Mother of Advant-garde in Contemporary American Theater-Introduction of Maria Fornes and Her Plays." Theatre Arts: Journal of Shanghai Theater Academy 115. No.5: 49-58.
Millet, Kate. Sexual Politics. New York: Simon and Schuster Inc, 1990.
Moroff, Diane Lynn. Fornes: Theatre in the Present Tense. Ann Arbor: University of Michigan Press, 1997.
Munk, Erika." Staging of Fefu and Her Friends." The Bedford Introduction to Drama. Ed. Lee A. Jacobus. New York: St. Martin's Press, 1989. 602-603.
Murray, Piper." ' They are Well Together. Women are Not': Productive Ambivalence and Female Hom(m)osociality in Fefu and Her Friends." Modern Drama. 44, no. 4 (winter 2001): 398-415.
Pevitts, Beverly Byers. "Fefu and Her Friends." Women in American Theatre. Ed. Helen Krich Chinoy and Linda Walsh Jenkins. New York: Theatre Communications Group, 1897.314-317.
Porterfield, Sally. "Black Cats and Green Trees: The Art of Maria Irene Fornes." Modern Drama .43, no. 2 (summer 2000): 204-15.
Savran, David. "Maria Irene Fornes." In Their Own Words: Contemporary American Playwrights. New York: Theatre Communications Group, 1988. 51-69.
Schuler, Catherine A., "Gender Perspective and Violence in the Plays of Maria Irene Fornes and Sam Shepard." Modern American Drama: The Female Canon. Ed June Schulueter. London: Associated University Press, 1990. 219-228.
Shewey, Don. The Advocate.Los Angeles: Nov 9, 1999. Iss. 798; pg. 74-6.
Sofer, Andrew. "Maria Irene Fornes: Acts of Translation." A Companion to Twentieth Century American Drama. David Krusner eds. MA: Blackwell Publication, 2005.440-455.
Sontag, Susan. Preface to Maria Irene Fornes: Plays: Mud, the Danube, the Conduct of Life, Sarita. New York: Performing Arts Journal Pub, 1989.7-10.
Wetzsteon, Ross. "Irene Fornes: Elements of Style." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999. 25-38.
Wolf, Stacy. "Re/Presenting Gender, Re/Presenting Violence: Feminism, Form and the Plays of Maria Irene Fornes." Theatre Studies.37 (1992): 17-31.
Worthen, W. B., "Still Playing Games: Ideology and Performance in the Theatre of Maria Irene Fornes." The Theatre of Maria Irene Fornes. Ed. Marc Robinson. Baltimore: The Johns Hopkins University Press, 1999.61-75.