意识形态幻象的批判与超越
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摘要
本文的研究对象是二战后,即1945年到2008年的美国戏剧,论述范围包括美国的大众商业剧和替补戏剧。本文从意识形态的批判角度论述替补戏剧对美国主流幻象的批判与超越,文中把替补戏剧批判的意识形态幻象分为四种:理性主义、个人主义、民主自由和天赋使命幻象等。本文将把非百老汇的替补戏剧放置到美国整体的戏剧产业体系中进行考察,在与百老汇大众商业剧的互动关系中,解读其所具有的批判幻象功能。
本文主要得出以下结论:
外百老汇、外外百老汇和地区剧院里的替补戏剧交汇了安托南·阿尔托的残酷戏剧理论与布莱希特的史诗剧理论,创造性地融汇成用非理性或疯癫来批判和超越意识形态幻象。这种倾向性是自古希腊悲剧诞生以来就植根于严肃戏剧之中的文化基因,其具有颠覆权威、破除幻象的力量,故而一直受到官方理性文化的排挤和压制。美国的替补戏剧从尼采以降的现代西方戏剧理论的非理性浪潮中,继承和吸纳了这一被压抑的传统。
替补戏剧反抗承载着意识形态幻象功能的百老汇大众商业剧。这些替补剧作大都在一些破旧的小剧院、废弃的地下室、酒吧、阁楼、教堂等非百老汇剧院里上演,这些地理位置具有巴赫金狂欢化的“广场性”意义。非百老汇剧院的替补戏剧一直致力于革新传统戏剧的陈规戒律,积极让观众参与戏剧的表演,使戏剧回归大众狂欢、本能展示的仪式传统。
美国的替补戏剧表现一些外位于主流、一贯被主流判定为“疯癫”的沉默群体,提供给他们发出自己独立声音的平台,这些群体包括流浪者、同性恋、少数族裔、疯人等。这些群体一方面控诉官方文化对其压制,致使其沦为疯癫;另一方面,这些疯癫群体拥有禁锢于主流文化中的人所没有的“第二视力”,这种文化的外位处境给予他们审视文明困境的绝佳位置。美国的剧作家通过这些疯癫人物积极地批判官方的意识形态幻象,探索解决文明困境的另一种可能性,像50年代田纳西·威廉斯重建神秘世界的努力,60年代爱德华·阿尔比的毛泽东式的社会主义理想,70年代约翰·古厄尔呼吁回归美国固有传统,重建家庭的伦理价值,新世纪里托尼·库什纳提出的另种社会运作准则——母性原则等等。戏剧成为了剧作家表达自己思想观念的媒介,成为社会观念和社会变化的实验室,故而美国的替补戏剧是严肃而为人生的。本文认为在批判意识形态幻象的同时也需要警惕另种可能性,即他者的意志再次“意识形态化”,在走出了意识形态幻象之后再次滑回意识形态的怪圈。阿米利·巴拉克的革命戏剧正是没有处理好这种关系,从而导致了他实践的失败。
美国的戏剧文化保持着旺盛的生命力,不仅仅是因为它有全球最先进的百老汇艺术,更重要的是它存在着反抗百老汇大众商业剧的剧作家群体,他们承担起了知识分子的职责,敢于挑战权威和陈规陋习,敢于发出自己独立的声音,并通过替补戏剧积极地参与社会关切问题的讨论,这种独立声音的存在也是美国不断实现自我超越的文化渊源。
This dissertation focuses on the American mass commercial drama and alternative drama from 1945 to 2008 from the perspective of ideological critique and transcendence. The paper is, by putting the non-Broadway alterative drama in the complete system of the American theatre industry in which the interaction between the alternative drama and the Broadway's commercial theater are obviously seen, to analyze four ideological illusions in the plays, namely the illusion of rationalism, of individualism, of democracy and freedom, and of the manifest destiny.
The dissertation reaches the following conclusions:
The plays of alternative drama in the Off-Broadway, Off-Off Broadway and regional theatre convergence of Antonin Artaud's brutal theatre theory and Brecht's epic drama theory creatively adopt the non-rational or madness to criticize and surpass the mainstream ideological illusions. This tendency was rooted in the ancient Greek tragedy and has formed its foundation in the serious drama ever since. At the same time the tendency has become the target of repression and exclusion by the authority for its power of both subverting the established ideas and breaking the ideological illusions. American alternative drama inherits and absorbs this suppressed tradition, carrying on what Nietzsche revealed as the modern irrational Western drama theory.
Alternative drama fights against the Broadway mass commercial drama which carries the ideological illusion. Most of the alternative plays are played at the small old theatres, abandoned basements, bars, mezzanines, churches and other non-Broadway theater stages, whose location carries the meaning of what Bakhtin calls the Carnival "plaza". Non-Broadway's alternative drama has always been committed to the change of the stereotypes of the traditional theatre, allowing the audience to actively participate in the drama performances, calling back the true nature of the play as a public revelry, or a ceremony for the instinct.
Alternative theatre speaks for the silent group, and offers them a stage of voices. The group includes vagrants, homosexuals, minorities, and the mad. They are actually outside of the mainstream group who takes them as mad. Alternative theatre carries with them a second sight—the perception the mainstream culture lacks—out of their oppressed state which makes them see through the problems of the civilization. Through the figures in the play, the American dramatists form their critique of the official ideological illusion, exploring ways of the dilemma brought by the civilization. Tennessee Williams aimed to reconstruct the mysterious world in his plays in the 1950s; Edward Albee expressed his Mao-style socialist ideals in his plays in the 1960s; John Guare called for the return of the traditional American moral values of the family in the 1970s; and in the 21~(st) century Tony Kushner proposed a different social discipline—the maternal principle. Drama becomes the media for playwright to express their own ideas and the laboratory to test the social attitudes and social changes. Alternative theatre, therefore, can be taken as the serious drama for life.
The dissertation also holds the idea that another danger should be guarded against, and that is the will of the other could be re-ideologized when the ideological illusion is put to criticism, forming the vicious cycle. Amiri Baraka's theater practice shows his failure of coping with this problem.
American theatrical culture has maintained a strong vitality, not only because it has the world's most advanced art of the Broadway theater, but also because it has a large group of dramatists showing their resistance to the commercial Broadway theater. It is they who assume the duty of intellectuals, challenge the authority and stereotypes, and voice their ideas, so that they could always take the social problems into their consideration, maintaining their independent way of thinking and at the same time helping form the American way of self transcendence.
本文主要得出以下结论:
外百老汇、外外百老汇和地区剧院里的替补戏剧交汇了安托南·阿尔托的残酷戏剧理论与布莱希特的史诗剧理论,创造性地融汇成用非理性或疯癫来批判和超越意识形态幻象。这种倾向性是自古希腊悲剧诞生以来就植根于严肃戏剧之中的文化基因,其具有颠覆权威、破除幻象的力量,故而一直受到官方理性文化的排挤和压制。美国的替补戏剧从尼采以降的现代西方戏剧理论的非理性浪潮中,继承和吸纳了这一被压抑的传统。
替补戏剧反抗承载着意识形态幻象功能的百老汇大众商业剧。这些替补剧作大都在一些破旧的小剧院、废弃的地下室、酒吧、阁楼、教堂等非百老汇剧院里上演,这些地理位置具有巴赫金狂欢化的“广场性”意义。非百老汇剧院的替补戏剧一直致力于革新传统戏剧的陈规戒律,积极让观众参与戏剧的表演,使戏剧回归大众狂欢、本能展示的仪式传统。
美国的替补戏剧表现一些外位于主流、一贯被主流判定为“疯癫”的沉默群体,提供给他们发出自己独立声音的平台,这些群体包括流浪者、同性恋、少数族裔、疯人等。这些群体一方面控诉官方文化对其压制,致使其沦为疯癫;另一方面,这些疯癫群体拥有禁锢于主流文化中的人所没有的“第二视力”,这种文化的外位处境给予他们审视文明困境的绝佳位置。美国的剧作家通过这些疯癫人物积极地批判官方的意识形态幻象,探索解决文明困境的另一种可能性,像50年代田纳西·威廉斯重建神秘世界的努力,60年代爱德华·阿尔比的毛泽东式的社会主义理想,70年代约翰·古厄尔呼吁回归美国固有传统,重建家庭的伦理价值,新世纪里托尼·库什纳提出的另种社会运作准则——母性原则等等。戏剧成为了剧作家表达自己思想观念的媒介,成为社会观念和社会变化的实验室,故而美国的替补戏剧是严肃而为人生的。本文认为在批判意识形态幻象的同时也需要警惕另种可能性,即他者的意志再次“意识形态化”,在走出了意识形态幻象之后再次滑回意识形态的怪圈。阿米利·巴拉克的革命戏剧正是没有处理好这种关系,从而导致了他实践的失败。
美国的戏剧文化保持着旺盛的生命力,不仅仅是因为它有全球最先进的百老汇艺术,更重要的是它存在着反抗百老汇大众商业剧的剧作家群体,他们承担起了知识分子的职责,敢于挑战权威和陈规陋习,敢于发出自己独立的声音,并通过替补戏剧积极地参与社会关切问题的讨论,这种独立声音的存在也是美国不断实现自我超越的文化渊源。
This dissertation focuses on the American mass commercial drama and alternative drama from 1945 to 2008 from the perspective of ideological critique and transcendence. The paper is, by putting the non-Broadway alterative drama in the complete system of the American theatre industry in which the interaction between the alternative drama and the Broadway's commercial theater are obviously seen, to analyze four ideological illusions in the plays, namely the illusion of rationalism, of individualism, of democracy and freedom, and of the manifest destiny.
The dissertation reaches the following conclusions:
The plays of alternative drama in the Off-Broadway, Off-Off Broadway and regional theatre convergence of Antonin Artaud's brutal theatre theory and Brecht's epic drama theory creatively adopt the non-rational or madness to criticize and surpass the mainstream ideological illusions. This tendency was rooted in the ancient Greek tragedy and has formed its foundation in the serious drama ever since. At the same time the tendency has become the target of repression and exclusion by the authority for its power of both subverting the established ideas and breaking the ideological illusions. American alternative drama inherits and absorbs this suppressed tradition, carrying on what Nietzsche revealed as the modern irrational Western drama theory.
Alternative drama fights against the Broadway mass commercial drama which carries the ideological illusion. Most of the alternative plays are played at the small old theatres, abandoned basements, bars, mezzanines, churches and other non-Broadway theater stages, whose location carries the meaning of what Bakhtin calls the Carnival "plaza". Non-Broadway's alternative drama has always been committed to the change of the stereotypes of the traditional theatre, allowing the audience to actively participate in the drama performances, calling back the true nature of the play as a public revelry, or a ceremony for the instinct.
Alternative theatre speaks for the silent group, and offers them a stage of voices. The group includes vagrants, homosexuals, minorities, and the mad. They are actually outside of the mainstream group who takes them as mad. Alternative theatre carries with them a second sight—the perception the mainstream culture lacks—out of their oppressed state which makes them see through the problems of the civilization. Through the figures in the play, the American dramatists form their critique of the official ideological illusion, exploring ways of the dilemma brought by the civilization. Tennessee Williams aimed to reconstruct the mysterious world in his plays in the 1950s; Edward Albee expressed his Mao-style socialist ideals in his plays in the 1960s; John Guare called for the return of the traditional American moral values of the family in the 1970s; and in the 21~(st) century Tony Kushner proposed a different social discipline—the maternal principle. Drama becomes the media for playwright to express their own ideas and the laboratory to test the social attitudes and social changes. Alternative theatre, therefore, can be taken as the serious drama for life.
The dissertation also holds the idea that another danger should be guarded against, and that is the will of the other could be re-ideologized when the ideological illusion is put to criticism, forming the vicious cycle. Amiri Baraka's theater practice shows his failure of coping with this problem.
American theatrical culture has maintained a strong vitality, not only because it has the world's most advanced art of the Broadway theater, but also because it has a large group of dramatists showing their resistance to the commercial Broadway theater. It is they who assume the duty of intellectuals, challenge the authority and stereotypes, and voice their ideas, so that they could always take the social problems into their consideration, maintaining their independent way of thinking and at the same time helping form the American way of self transcendence.
引文
1 Willard Thorp.American Writing in the 20~(th) Century.Cambridge,Mass.,Havard University Press,1960.p.251.
2 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅱ(1870—1945).Cambridge University Press,1998.pp.289-290.
3 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre.Vol.Ⅲ(Post-World War Ⅱto the 1990s).Cambridge University Press,1998.pp.249-50.
1 蕾补戏剧定义详见本文第13-4页。
1 主要观点详见罗伯特·布鲁斯汀的论文《为什么美国戏剧不是文学》(Why American Plays Are Not Literature,1959).Robert Sanford Brustein.Why American Plays Are Not Literature.in American Drama and Its Critics.Ed.Alan S.Downer.Toronto:Umiversity of Toronto Press,1965.p.245-56.
2 C.W.E.Bigsby.Why American Drama is Literature.In Gilert Debusscber & Henry I.Schvey.New Essays on American Drama.Amesterdam-Atlanta.GA.1989.pp.3-12.
1 Robert Sanford Brustein.Why American Plays Are Not Literature.in Alan S.Downer Ed..American Drama and Its Critics.Toronto:Umiversity of Toronto Press,1965.p.245-56.
2 转引自比格斯比.1945-2000年的现代美国戏剧(英文影印本).北京:外语教学与研究出版社,2006年.第2页.不少评论者都持有此立场。命名“荒诞派戏剧”的著名英国戏剧理论家马丁·艾斯林亦对美国剧作家山姆·谢泼德、约翰·古厄尔和兰福德·威尔逊有歧视性的评论,见下文第三章第一节。
3 蒂博代把批评分成有教养者的批评,专业工作者的批评和艺术家的批评。详见阿尔贝·蒂博代.六说文学批评.赵坚译.北京:三联书店,1989年版.第3页.
1 To Be(come) Young,Gay,and Black:Lorraine Hansberry's Existentialist Routes to Anticolonialism,2008(4).
2 Black Panthers.Red Guards,and Chinamen:Constructing Asian American Identity through Performing Blackness,1969-1972,2005(4).
3 The Smearing of Joe McCarthy:The Lavender Scare,Gossip.and Cold War Politics,2005(4).
4 The Flight of the Japanese Butterfly:Orientalism,Nationalism,and Performances of Japanese Womanhood,2004(4).
5 Performing Imaginary Rhetoric,2000(2).
6 Brenda Murphy & Laurie J.C.Cella.Twentieth Century American Drama:Critical Concepts in Literary and Cultural Studies.London & New York:Routledge,2006.
1 David Krasner.A Companion to Twentieth-Century American Drama.Blackwell Publishing,2006.
2 论述的主要剧作家为苏珊·格拉斯佩尔、尤金·奥尼尔、格裘德·斯汀(Gertrude Stein)、田纳西·威廉斯、阿瑟·密勒、爱德华·阿尔比、山姆·谢泼德、奥古斯特·威尔逊、约翰·古厄尔、美国女性剧作家群贝斯·海蕾(Beth Henley)、玛莎·诺曼(Marsha Norman)、朱娜·巴恩斯(Djuna Barnes)、丽贝卡·吉尔曼(Rebecca Gilman)和简·玛丁(Jane Martin)、大卫·马维特、玛丽亚·伊琳·福纳斯等。
3 主要的戏剧种类有:实验戏剧、单人剧(又称独角戏,Solo Performance Drama)、同性恋戏剧、犹太戏剧、女性戏剧、黑人戏剧等。
4 主要的主题是戏剧中的种族和民族性、宗教信仰问题。
5 Don B.Wilmeth & Christopher Bigsby.The Cambridge History of AmericanTheatre.Cambridge University Press,1998.
1 Alan S.Downer Ed..American Drama and Its Critics.Toronto:Umiversity of Toronto Press,1965.
2 Gilert Debusscher & Henry I.Schvey.New Essays on American Drama.Amsterdam-Atlanta.GA.1989.
1 “黑人戏剧网”收录的剧作绝大部分由北美大陆剧作家创作,但也有部分是由非洲、欧洲等地的剧作家创作的。
2 该数据截止时间为2009年2月末。
1 刘雪岚、丁晓君、肖静等.中国“十五”期间美国诗歌与戏剧研究.外国文学研究.2005(3).第20页.
1 吴戈.中美戏剧交流的文化解读.昆明:云南大学出版社,2006年.
2 吾文泉.跨文化对话与融会:当代美国戏剧在中国.北京:中国社会科学出版社,2005年.
1 本雅明.机械复制时代的艺术作品.见汉娜·阿伦特编.启迪:本雅明文选(张旭东,王斑译).北京:三联书店,2008年.第240页.
2 转引自马泰·卡林内斯库.现代性的五副面孔(顾爱彬、李瑞华译).北京:商务印书馆,2003年.第224,228页.
3 周宁.想象与权力:戏剧意识形态研究.厦门:厦门大学出版社,2003年.第143页.
1 周宁.想象与权力:戏剧意识形态研究.厦门:厦门大学出版社,2003年.第147页.
2 马泰·卡林内斯库.现代性的五副面孔.顾爱彬、李瑞华译.北京:商务印书馆。2003年.第245页.
3 参见周维培.当代美国戏剧(1950-1995).南京:南京大学出版社,1999年.第7页.
1 参见Brenda Murphy.Congressional Theatre:Dramatizing McCarthy on Stage,Film,and Television.Cambridge:Cambridge University Press,1999.pp.2-3.
或另见 Arthur Miller.The Theatre Essays of Arthur Miller.Ed.Robert A.Martin and Steven R.Centola.New York:Viking,1978.pp.231-2.
2 阿尔都塞.列宁与哲学.布鲁斯特译.纽约:每月评论出版社,1978年,第176页.
转引自理查德·D.沃尔夫.意识形态国家机器、消费主义和美国资本主义:左派的教训.吴昕炜译.《学术研究》.2008(6).
1 Brenda Murphy.Congressional Theatre:Dramatizing McCarthy on Stage,Film,and Television.Cambridge:Cambridge University Press,1999.pp.2-3.
2 David Gelernter.Americanism:The Fourth Great Western Religion.New York:Doubleday.2007.
1 李时学.20世纪西方左翼戏剧研究(博士学位论文).厦门:厦门大学.2006年.第178页.
2 Brenda Murphy.Congressional Theatre:Dramatizing McCarthyism on Stage,Film,and Television.New York:Cambridge University Press,1999.
3 Nora M.Alter.Vietnam Protest Theatre:The Television War on Stage.Bloomington & Indianapolis:Indiana University Press,1996.
1 《送冰的人来了》虽然创作于1939年,但是1934年奥尼尔创作完《无穷的岁月》后,就一直沉寂剧坛达12年之久。《送冰的人来了》首演于1946年,该剧的影响力主要是在二战之后。许多戏剧研究著作,像比格斯比的《1945-2000年的现代美国戏剧》都把该剧作为其研究的对象。
1 柏拉图.柏拉图全集·第2卷.王晓朝译.北京:人民出版社.2003年.第510-511页.
1 Asli Gocer.The Puppet Theater in Plato's Parable of the Cave.The Classical Journal,Vol.95,No.2(Dec.,1999-Jan.,2000).p.119.
2 柏拉图.柏拉图全集·第2卷.王晓朝译.北京:人民出版社.2003年.第628页.
3 海德格尔.路标·柏拉图的真理学说.孙周兴译.北京:商务印书馆.2000年.第261页.
4 海德格尔.路标·柏拉图的真理学说.孙周兴译.北京:商务印书馆.2000年.第266页.
1 海德格尔.路标·柏拉图的真理学说.孙周兴译.北京:商务印书馆.2000年.第274页.
2 亚里士多德.尼各马科伦理学.苗力田译.北京:中国社会科学出版社.1990年.第10页.
3 亚里士多德.亚里士多德全集.第八卷.北京:中国人民大学出版社,1992年.第36页.
4 亚里士多德.诗学.罗念生译.北京:人民文学出版社,1962年.第28-29页.
5 亚里士多德.诗学.罗念生译.北京:人民文学出版社,1962年.第25-6页.
1 希利斯·米勒.解读叙事.申丹译.北京:北京大学出版社,2002年.第12页.
2 Jeffrey Rusten.Who "invented" comedy? The ancient candidates for the origins of comedy and the visual evidence.American Journal of Philology 127(2006).p.37.
1 转引自余秋雨.戏剧理论史稿.上海:上海文艺出版社,1983年.第211页.
1 巴赫金.诗学与访谈·陀思妥耶夫斯基诗学问题.白春仁、顾亚铃译.石家庄:河北教育出版社,1998年.第170-172页.
1 尼采.悲剧的诞生.周国平译.北京:三联书店,1986年.第51页.
2 尼采.悲剧的诞生.周国平译.北京:三联书店,1986年.第91页.
1 苏珊·桑塔格.反对阐释.程巍译.上海:上海译文出版社,2003年.第189页.
2 详见拙文范煜辉.阿尔托的残酷戏剧与想象的东方戏剧.戏剧文学.2008(11).
3 安托南·阿尔托,桂裕芳译.残酷戏剧——戏剧及其重影.中国戏剧出版社,1993年.第105页.
1 中国戏剧出版社编辑部编.论布莱希特戏剧艺术.北京:中国戏剧出版社,1984年.第91页.
1 布莱希特.布莱希特论戏剧.丁扬忠译.北京:中国戏剧出版社.1990年,第338,311,78页.
2 布莱希特.布莱希特论戏剧.丁扬忠译.北京:中国戏剧出版社.1990年,第202页.
3 埃米尔·施塔格尔.诗学的基本概念.胡其鼎译.北京:中国社会科学出版社,1992年.第121-2页.
1 埃米尔·施塔格尔.诗学的基本概念.胡其鼎译.北京:中国社会科学出版社,1992年.第124页.
2 苏珊·桑塔格.反对阐释.程巍译.上海:上海译文出版社,2003年.第189页.
1 米歌尔·福柯.古典时代疯狂史.林志朋译.北京:三联书店.2005年.第21页.
2 周宁.想象与权力:戏剧意识形态研究.厦门:厦门大学出版社,2003年.第154页.
3 Peter W.Ferran.New Measures for Brecht in America.Theatre.25:2(1994):9.
4 详见本文第三章第三节的相关论述。
5 转引自周宁.想象与权力:戏剧意识形态研究.厦门:厦门大学出版社,2003年版.第159页.
1 Andrew B.Harris.Broadway Theatre.London & New York:Routledge,1994.p.3.
2 参见08年7月12日维基百科:http://en.wikipedia.org/wiki/Broadway_theatre
1 Andrew B.Harris.Broadway Theatre.London & New York:Routledge,1994.p.6.
2 汪义群.当代美国戏剧.上海:上海外语教育出版社,1992年.第2页.
3 Montrose J.Moses & John Mason Brown Eds.The American Theatre as Seen by Its Critics 1752-1934.New York:Norton,1934.pp.132-33.
4 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅱ(1870—1945).Cambridge University Press,1998.344.
1 Andrew B.Harris.Broadway Theatre.London & New York:Routledge,1994.p.8.
2 曼哈顿分为老城下城(Downtown)、中城(Midtown)和上城(Uptown)。其中曼哈顿的下城,位于曼哈顿岛南部,是最繁华的地区。
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅱ(1870—1945).Cambridge University Press,1998.pp.289-290.
2 电视机销量的数据非常能说明问题。1948年美国的电视机销量为17万2千台,而到了1950年达到500万台,在1960年达到了7900万台,90%的美国家庭都经常收看电视,而且平均每周观看的时间超过了44小时,甚至比工作的时间都长,根本没有时间去观看戏剧和参加其他的业余娱乐活动。Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ(Post-World War Ⅱ to the 1990s).Cambridge University Press,1998.p.99,p.103.
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ(Post-World War Ⅱ to the 1990s).Cambridge University Press,1998.p.109.我们有必要做个比较,同期在1965年在外百老汇上演一部纯正的戏剧(Straight Play)平均只要花费1万5千到2万美元,在百老汇每周运作费用平均只要2500美元而在百老汇却要2万美元。在60年代外百老汇上演一部音乐剧的开销只要4万。相对低廉的运营成本能够使外百老汇更有利于实践创新。
2 Francis Fergusson.Broadway.In Alvin B.Kernan.The Modern American Theatre:A Collection of Critical Essays.p.106.
转引自汪义群.当代美国戏剧.上海:上海外语教育出版社,1992年.第64页.
3 Chistopher Bigsby ed..Arthur Miller and Company.London:Hardback Methuen & Co,1990.pp.179-80.
1 New York Times,10 May,1960.
2 David Savron.In Their Own Word:Contemporary American Playwrights.New York:Theatre Communications Group,1988.pp179-80.
87 2008年11月1日http://en.wikipedia.org/wiki/List_of_the_100_Longest-Running_Broadway_shows
88 场次统计的截至时间为2008年9月28日.
89 有600场是在百老汇之外的剧院里上演。
90 M是音乐剧Musical的缩写。
91 2006年对该剧进行了改编,改编剧作的演出场次为463场,后面的演出统计数字包括改编剧的演出场次。
92 2006年对该剧进行了改编,改编剧作的演出场次为759场,后面的演出统计数字包括改编剧的演出场次。
93 创作于1969年的原剧演出的场次已经达1314场,后面的统计数字不包括之前上演的。
94 原作已经上演936场,后面的统计数字不包括之前上演的。
95 2008年11月1日 http://en.wikipedia.org/wiki/List_of_the_100_Longest-Running_Broadway_shows
96 此排名是该剧在百老汇百部演出次数最多的剧作中的排名。
97 “The Voice of the Turtle”不应译成《乌龟的声音》。其实剧名中的Turtle是“turtledove”的简称,整个剧名暗指《旧约·雅歌》第2章第12节:“因为冬天已往,雨水止住过去了。地上百花开放、百鸟呜叫的时候已经来到,斑鸠的声音在我们境内也听见了。”(The Voice of the turtledove is heard in our land)所以该剧应译成《斑鸠之声》或《春到人间》。
1 Jean Anouilh.Plays:One.Intro.Ned Chaillet.The Lark,trans.Christopher Fry.London:Methuen,1987.pp.227-28.
2 James K.Lyons.Bertolt Brecht in America.Princeton,N.J.:Princeton University Press,1980.p.347.
3 Richard Moody.Lillian Hellman:Playwright.New York:Pegasus,1972.p.247.
1 露丝·罗森.找寻昨天——关于美国肥皂剧(上).安景夫译.选自:托德基特林编著.看电视.纽约:潘希恩出版社,1986.北京电影学院学报.2001(2).
2 马泰·卡林内斯库.现代性的五副面孔(顾爱彬、李瑞华译).北京:商务印书馆。2003年版.第276页.
1 Bernard Rosenberg and David White Ed.Mass Culture:The Popular Arts in America.New York:Free Press,1964.p.66.
1 萨义德.东方学.王宇根译.北京:三联书店,1999年.第2页.
2 杨绍林.透视纽约百老汇,求索中国话剧未来之路.戏剧艺术.2008年(1).
1 Stuart Little.Off-Broadway:The Prophetic Theatre.New York:Coward,McCann & Geoghegan,1972.p.42.
1 Gerald M.Berkowitz.New Broadways:Theatre Across America 1950-1980.Totowa,N.J.:Rowman and Littlefield,1982.p.27.
2 Julian Beck.The Life of the Theatre.San Francisco:City Lights Books,1972.p.7.
3 Stuart Little.Off-Broadway:The Prophetic Theatre.New York:Coward,McCann & Geoghegan,1972.p.54.
1 Gerald M.Berkowitz.New Broadways:Theatre Across America 1950-1980.Totowa,N.J.:Rowman and Littlefield,1982.p.29.
2 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ..Cambridge University Press,1998.pp.199-200.
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ(Post-World War Ⅱ to the 1990s).Cambridge University Press,1998.109.
1 C.W.E.Bigsby.Critical Introduction to Twentieth-Century.American Drama·Vol.3(Beyond Broadway).Cambridge:Cambridge University Press,1985.pp.25-9.
2 引自维基百科:http://en.wikipedia.org/wiki/Joe_Cino(2009年3月5日)
3 Albert Poland & Bruce Mailman.The Off-Off Broadway Book:The Plays,Peope,Theatre.Indianapolis:Bobbs-Merrill,1972.p.17.
1 8英尺即2.438米。
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ(Post-World War Ⅱ to the 1990s).Cambridge University Press,1998.p.202.
1 Robert Pasolli.A Book on the Open Theatre.Indianpolis:University of Indiana Press,1970.pp.50-1.
2 Margo Jones.Theatre-in-the-Round.New York:Rinehart & Co.,1951.p.6.
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ(Post-World War Ⅱ to the 1990s).Cambridge University Press,1998.p.246.
2 Robert Brustein.New York Times.May 22th,1988.
1 贝托特·布莱希特.布莱希特论戏剧.丁扬忠等译.北京:中国戏剧出版社,1990.第340页.
2 Joseph T.Shipley.Lamp at Midnight.The New Leader,22 December 1947.
3 Irwin Shaw.Theatre:The Earth Stands Still.From New Republic 119.(29 December 1947):36.
4 Variety,22 December.1947.
1 Thomas R.Dash.Women's Wear Daily.22 December.1947.
2 See Brustein's review of The Connection,The New Republic,28 September 1959:30.
1 附录为本文作者范煜辉所做。南开大学规定发表论文必须和学位论文相关,故而将此文作为附录置于此。
2 Contemporary Authors Online(David Henry Hwang),Thomson Gale,2005.
3 New Yorker,November 2,1981:April 4.
4 丁文莉.论黄哲伦在<蝴蝶君>中对东方主义的不完全解构.徐州师范大学学报.2007(3).
5 贝斯特、凯尔纳.后现代理论:批判性的质疑.张志斌译.北京:中央编译出版社.1999年.第213页.
1 Marry Moss-Coane."David Henry Hwang," in Speaking on Stage:Interviews with Contemporary American Playwrights,Edited by philip C.Kolin,Tuscalooss:University of Alabama Press,1996.p.277.
2 David Savran.In Their Own Words.New York..Theatre Communications Group,1988.p.118.
3 Douglas Street.David Henry Hwang,Western Writers Series,Boise:Boise State University,1989.no.90.
1 萨义德.东方学.王宇根译.北京:三联书店,1999年.第2页.
1 David Henry Hwang:"Afterword" in M.Butterfly.New York:Penguin,1988.p.96.
2 刘心武.“泛东方”想象.读书.1997年(8).
3 David Henry Hwang.M.Butterfly,From Lee A.Jacobus.The Bedford Introduction to Drama(Fourth Edition)Boston and New York:Bedford ST.Martin's,2001.p.1572.
1 Jackson R.Bryer,"David Henry Hwang," in his The Playwright's Art:Conversations with Contemporary American Dramatists,New Brunswick,N.J.:Rutgers University Press,1995.p.123.
2 David Henry Hwang:M.Butterfly.p.1558.
1 David Henry Hwaag:M.Butterfly.p.1554.
2 Washington Post.February 10,December 10,1988.
1 David Savraa.In Their Own Words.New York:Theatre Communications Group,1988.p.121.
1 Amy Ling.Between Worlds:Women Writers of Chinese Ancestry.New York:Pergamon Press,1990.p.11.
2 From website:http://www.m-w.com/dictionary/dragon lady
3 James S.Moy.David Henry Hwang's M.Butterfly and Philip Kan Gotanda's Yankee Dawg You Die:Repositioning Chinese American Marginality on the American Stage.Theatre Journal 42(1)(1990).p.48.
4 Karen Shimakawa."Who's to Say?" or,Making Space for Gender and Ethnicity in "M.Butterfly".Theatre Journal,Vol.45,No.3(Oct.,1993).p.350.
1 Brian Nelson.Asian American drama:9 plays from the Multiethnic Landscape.NY:Applause,1997.p.175.
1 Alan Heimert & Andrew Delbaco edited.A Model of Christian Charity,From The Puritans in America:A Narrative Anthology,Cambridge.Mass.:Harvard University Press,1985.p.90.
2 Henry Steele Commager.The American Mind.New Haven:Yale University Press,1950.p.8.
1 马克斯·韦伯.新教伦理和资本主义精神.于晓、陈维纲等译.北京:三联书店,1987年.第33-6页.
2 马克斯·韦伯.新教伦理和资本主义精神.于晓、陈维纲等译.北京:三联书店,1987年.第15页.
3 马克斯·维贝尔.世界经济通史.姚曾庾译.上海:上海译文出版社,1981年.第288.301-2.283页.
1 马克斯·韦伯.新教伦理和资本主义精神.于晓、陈维纲等译.北京:三联书店.1987年.第38、78页.
2 马克斯·韦伯.新教伦理和资本主义精神.于晓、陈维纲等译.北京:三联书店,1987年.第15页.
3 马克斯·韦伯.新教伦理和资本主义精神.于晓、陈维纲等译.北京:三联书店,1987年.第142-3页.
4 马克斯·维贝尔.世界经济通史.姚曾虞译.上海:上海译文出版社,1981年.第313-4页.
1 周维培.当代美国戏剧史(1950-1995).南京:南京大学出版社,1999年版.第161页.
1 Alan Levy.Doc Smith's Rx for Comedy.New York Times Magazine,7 March 1965.p.42,
2 Neil Simon.Come Blow Your Horn.From The Comedy of Neil Simon.New York:Avon Books,1971.pp.28-9.
1 参见马尔库塞.单向度的人:发达工业社会意识形态研究.刘继译.上海:上海译文出版社,2006年.第6-7页.
2在该作品集(Collected plays)中收录了阿瑟·密勒主要的社会剧代表作,包括:《推销员之死》、《炼狱》、 《桥头眺望》、《不合时宜的人》、《回忆两个星期一》等。From Miller's discussion of A Memory of Two Mondays in "On Social Plays"(preface to the original edition of A View from the Bridge).p.49.
1 Stanley Kauffmaan.A Review of an Italian Film.New Republic.Feb.15,1964:p.35.
2 阿瑟·密勒.外国当代剧作选·第4卷.郭继德等译.北京:中国戏剧出版社,1992年.第413-4页.
3 From Miller's discussion of A Memory of Two Mondays in "On Social Plays".preface to the original edition of A View from the Bridge.p.15.
4 威廉·白瑞德.非理性的人:存在主义探源.彭镜禧译.哈尔滨:黑龙江教育出版社,1988年.第30页.
1 阿瑟·密勒.外国当代剧作选·第4卷.郭继德等译.北京:中国戏剧出版社,1992年版,第416-7页。
2 康德.判断力批判.邓晓芒译.北京:人民出版社,2002年.第57页.
3 H.H.Gerth & C.Wright Mills eds.From Max Weber:Essays in Sociology,NewYork:Oxford University Press,1946.p.342.
4 马尔库塞.审美之维.李小兵译.北京:三联书店,1989年.第8页.
1 马尔库塞.单向度的人:发达工业社会意识形态研究.刘继译.上海:上海译文出版社,2006年版.第62-3页.
2 阿瑟·密勒.外国当代剧作选·第4卷.郭继德等译.北京:中国戏剧出版社,1992年版,第482页。
3 马尔库塞.单向度的人:发达工业社会意识形态研究.刘继译.上海:上海译文出版社,2006年版.第54页.
1 阿瑟·密勒.外国当代剧作选·第4卷.郭继德等译.北京:中国戏剧出版社.1992年版,第455-6页。
2 Nancy Traubitz.Myth as a Basis of Dramatic Structure in Orpheus Descending.From Dorothy Parker ed..Modern American Drama:Williams,Miller,Albee,and Shepard.Toronto:University of Toronto Press, 1987.p.8.
1 Tennessee Williams.The theatre of Tennessee Williams·Vol.3.New York:New directions Publishing Corpation,1991.pp.265-266.
2 巴赫金.拉伯雷研究.李兆林等译.石家庄:河北教育出版社.1998年.第58页.
1 Tennessee Williams.The theatre of Tennessee Williams·Vol.3.New York:New directions Publishing Corpation,1991.p.316.
2 Tennessee Williams.The theatre of Tennessee Williams·Vol.3.New York:New directions Publishing Corpation,1991.p.341.
1 齐格蒙·鲍曼.现代性与大屠杀.杨渝东、史建华译.南京:译林出版社,2002年.第24-5页.
2 巴赫金.诗学与访谈.白春仁、顾亚玲译.石家庄:河北教育出版社,1998年.第161页.
1 Day Cyrus.The Iceman and the Bridegroom:Some Observations.Raleigh,Ed..Twentieth Century Interpretations of Iceman Cometh.London:Methuen,1988.p.81.
1 巴赫金.诗学与访谈.白春仁、顾亚玲译.石家庄:河北教育出版社,1998年.第163-4页.
2 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第156页.
3 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第203页.
1 Louis Sheaffer.O'Neill:Son and Artist.Boston:Little,1973.p.532.
2 齐格蒙·鲍曼.现代性与大屠杀.杨渝东、史建华译.南京:译林出版社,2002年.第125页.
1 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第205页.
2 《送冰的人来了》中最为复杂的人物是希基、拉里和帕里特。奥尼尔曾在给朋友麦高文的信中谈到:“剧中的破酒家不是来自哪一家,而是我所呆过的三家酒家结合而成的。剧中人物也都源自于我所结识过的真实的人,有些亲密些,有些疏远点。”(见奥尼尔文集·第六卷,第356-7页)。据研究,霍普酒吧的三家酒家的原型是曾经酗酒的奥尼尔经常出入的杰米牧师酒吧(Jimmy the Priest's),格林威治镇的金天鹅酒吧(Golden Swan)和适合高层次消费、却声名狼藉的花园旅馆(Garden Hotel)的酒吧间。在俗称“地狱之洞”的金天鹅酒家中,奥尼尔碰到了各种各样的赌徒、匪徒、被开除的警察、往昔坦慕尼派的政客、失败的记者和妓女。这些人物的经历给奥尼尔创作《送冰的人来了》以灵感,像这家酒家的店主汤姆·华莱士就是霍普酒家哈利·霍普的原型,雨果·卡尔马的原型是西波利特·哈维尔(Hippolyte Havel),捷克斯洛伐克革命者,曾经一度是埃玛·戈德曼的情人,乔·英特是奥尼尔的赌友乔·史密斯,埃德·莫舍结合了两个奥尼尔熟知的马戏团的人比尔·克拉克和杰克·库劳克,而酒吧的男招待罗基和查克也都有现实原型,而只有帕里特是奥尼尔根据当时轰动性的新闻改编的,应该说奥尼尔在他身上用力最深。(Eugene O'Neill,National Theatre(Great Britain).The Iceman Cometh·Introduction to the Play.Nick Hern Books.1993.p.Ⅻ-ⅩⅢ.)
3 参见Winifred Frazer.E.G and E.G O.:Emma Goldman and "The Iceman Cometh".Gainesville:University of Florida Press,1974.和John Patrick Diggins.Eugene O'Neill's America:Desire Under Democracy.Chicago and London,2007.p.245.
1 Barbara Gelb.Concealing While Revealing:O'Neill's Way With Truth.The New York Times.April.4,1999.
2 Emma Goldman.Living My Life.New York:Knopf,1931.p.88.该书网络版可见网址:http://dwardmac.pitzer.edu/Anarchist_Archives/goldman/living/livingtoc.html
3 Emma Goldman.Anarchism and Other Essays(Third revised edition,New York:Mother Earth Publishing Association.1917.网络版:http://womenshistory.about.com/library/etext/bl_eg_an1_annrchism.htm
1 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第167页.
2 巴枯宁(1814-1876):无政府主义早期的理论家,在整个无政府主义运动中享有崇高的地位,其理论被奉为是无政府主义者的精神圭桌,故而“巴枯宁”也成为了无政府主义的代名词。
3 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第217页.
1 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第307页.
2 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第164页.
1 奥尼尔.奥尼尔文集·第6卷·奥尼尔论戏剧.刘海平译.北京:人民文学出版社,2006年.第358页.引文中的着重号为原文所有。
2 Louis Sheaffer.O'Neill:Son and Artist.Boston:Little Brown & Co..1973.p.532.
3 巴赫金.诗学与访谈.白春仁、顾亚玲译.石家庄:河北教育出版社,1998年.第170页.
1 奥尼尔.奥尼尔文集·第6卷·奥尼尔论戏剧.刘海平译.北京:人民文学出版社,2006年.第357页.引文中的着重号为原文所有。
2 巴赫金.巴赫金全集·第六卷·拉伯雷的创作与中世纪和文艺复兴时期的民间文化.李兆林等译.石家庄:河北教育出版社,1998年.第317页.
3 巴赫金.诗学与访谈.白春仁、顾亚玲译.石家庄:河北教育出版社,1998年.第161页.
1 Eugene O'Neill.Eugene O'Neill at Work:Newly Released Idea for Play(Virginia Floyd ed.).New York:Frederick Ungar.1981.p.261.
2 Doris Fnik,O'Neill and the Tragic Tension.New Brunswick,NJ:Rutgers University Press,1958.p.626.
3 Eugene O'Neill,National Theatre(Great Britain).The Iceman Cometh·Introduction to the Play.Nick Hern Books.1993.p.ⅩⅢ.
4 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第164页.
5 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第168页.
1 王志耕.日瓦戈与圣愚.外国文学评论.2006(2).第39页.
2 John Patrick Diggins.Eugene O'Neill's America:Desire Under Democracy.Chicago and London,2007.p.247.
3 王志耕.神正论与现实视野的开拓——陀思妥耶夫斯基诗学综论.外国文学评论.2002(2).第103页.
4 马克思·韦伯,学者和政治家(1919年),90页,转引自达尼洛·马尔图切利.现代性社会学.姜志辉译.南京:译林出版社,2007年.第154-5页.
1 转引自鲁晓雁.黑暗王国的魔怪——试析格拉斯《狗年月》中的神话意象.外国文学研究.2007(2).
2 让-保罗·萨特.萨特文学论文集.施康强等译.合肥:安徽文艺出版社,1998年.p.428.
1 相关的评论如Kevin Ohi.Devouring Creation:Cannibalism,Sodomy.and the Scene of Analysis in "Suddenly Last Summer".Cinema Journal.Vol.38,No.3.(Spring,1999).pp.27-49;
Sam Spiegel,Joseph Mankiewiez,Albert Johnson.Reviewed Work:Suddenly Last Summer.Film Quaxtedy,Vol.13,No.3.(Spring,1960).pp.42-44.
2 Esther Jackson.The Broken World of Tennessee Williams.Madison..Univ.of Wisconsin Press,1965.p.69.
3 Tennessee Williams.The Theatre of Tennessee Williams·Vol.2.New York:New directions Publishing Corporation,1991.p.419.
4 Judith J.Thompson.Tennessee Williams'Play:Memory,Myth,and Symbol.New York:Peter Lang Publishing,Inc.,2002.p.4.
1 Esther Jackson.The Synthetic Myth.From Ed.By Brenda Murphy,Laurie J.C.Cella.Twentieth Century American Drama:Critical Concepts in Literary and Cultural Studies.New York:Routledge.2006.p.192.
1 别林斯基.别林斯基选集·第2卷.上海:上海译文出版社,1980年.第96页.
2 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.pp.355-356.
3 Esther Jackson.The Broken World of Tennessee Williams.Madison:Univ.of Wisconsin Press,1965.ⅹ.
1 迷幻海峡是加拉帕戈斯群岛的一部分。
2 参见Joel Daniel Worden.The Galapagos in American Consciousness:American Fiction Writers'Responses to Darwinism.Delaware:University of Delaware.2005(Summer).
3 罗德·霍顿.美国文学思想背景.房炜等译.北京:人民文学出版社,1991年.第179页.
1 Hesse,Mary.B.Revolutions and Reconstructions in the Philosophy of Science.Bloomington..Indiana UP,1980.186.
2 引自达尔文《贝格尔号航行日记》(The Voyagc of the Beagle)英文原版电子书第17章,全文可见网站:http://www.literature.org/authors/darwin-charles/the-voyage-of-the-beagle/chapter-17.html
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.p.357.
2 Herman Melville.Great Short Works of Herman Melville.Ed.Warner Berthoff.New York:Harper.1969.p.106.
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.2.New York:New Directions Publishing Corporation,1991.p.421.
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.p.357.
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.pp.421-422.
2 奥西里斯是被宇宙之神塞斯(Seth)肢解成14块,并抛尸荒野。他的姐姐也是他的妻子伊西丝(Isis)找到了他其中身体的十三块,但是第十四块,也就是奥希里斯的生殖器却被鱼给吞食了。因此,奥希里斯虽然是丰产之神,但是却没有男性的生殖力。
3 阿蒂斯是西布莉(Cybele)女神的儿子,力大无比,众神畏惧,设计杀之,干刀万剐,毁灭其体。血染之地,生出一株杏树。河神之女娜娜(Nana),采食此树所结之杏,怀孕生子。她弃子于林中,由山羊养育,后日又为牧童收养,长大成人,秀美绝伦,这就是复生的阿蒂斯。恰巧他的前生母亲西布莉一见钟情,但他却爱上了当地国王的女儿,拒绝圣母的迷恋。圣母痛苦失恋,肝肠寸断。千方百计寻机陷害阿蒂斯,日夜追逐不休,使得阿蒂斯神经错乱,在梁松树下自行去势,流血致死。有评论者认为塞巴斯蒂安与文柏夫人的原型就是阿蒂斯神话中的阿蒂斯与圣母西布莉。
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.p.414.
2 安托南·阿尔托.残酷戏剧——戏剧及其重影.桂裕芳译.北京:中国戏剧出版社,1993.p.4.
3 乔治·巴塔耶.色情、耗费与普遍经济.汪民安编译.长春:吉林人民出版社,2003.p.18.
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.pp.415-418.
1 诺思罗普·弗莱.批评的剖析.陈慧等译.天津:百花文艺出版社,1998年.第167,170页.
2 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.p.349.
3 Anthony S.Mercatante.The Magic Garden:The Myth and Folklore of Flowers,Plants,Trees,and Herbs.New York:Harper,1976.p.70.
1 弗洛伊德.梦的解析.英文影印本.北京:中国社会科学出版社.1999年.第353页.
亦参考弗洛伊德.弗洛伊德文集·第一卷.车文博主编.长春:长春出版社,1998年.第550页.
1 关于田纳西·威廉斯对安托南·阿尔托的接受关系,本文不再赘言。参见Annette J.Saddik."The inexpressible regret of all her regrets":Tennessee Williams's later plays as Artaudian theatre of Cruelty.From Ed.By Brenda Murphy,Laurie J.C.Cella.Twentieth Century American Drama:Critical Concepts in Literary and Cultural Studies.New York:Routledge.2006.pp.259-309.
2 安托南·阿尔托.残酷戏剧——戏剧及其重影.桂裕芳译.北京:中国戏剧出版社,1993.第27页.
1 Degler C N..Out of our past.New York:Harper & Row Publishers,Inc.,1984.pp.16-7.
2 转引自端木义万.美国社会文化透视.南京:南京大学出版社,1999年.第53页.
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre.Vol.Ⅱ.(1870-1945).Cambridge University Press,1998.pp.387-8.
2 H.Clews.Individualism verus Socialism.New York,1907.pp.1-3.
转引自史蒂文·卢克斯.个人主义.阎克文译.南京:江苏人民出版社,2001年.第28页.
1 Arieli.Individualism and Nationalism in American Ideology.Cambridge,Mass.,1964.pp.345-6.
2 托克维尔.论美国的民主.董果良译.北京:商务印书馆,1991年.第525-6页.
3 David M.Schneider & Reymond T.Smith.Class Differences and Sex-Roles in American Kinship and Family Structure.Englewood Cliffs,N.J:Prentice-Hall,1973.p.24.
4 Ken Mandelbaum.A Chorus Line and the Musicals of Michael Bennett.New York:St.Martin's Press,1989.p.289.
1 参见维基百科网址:http://en.wikipedia.org/wiki/A_Chorus_Line
2 转引自史蒂文·卢克斯.个人主义.阎克文译.南京:江苏人民出版社.2001年.第7、9页.
3 托克维尔.论美国的民主.董果良译.北京:商务印书馆,1991年.第627页.
1 罗伯特·N·贝拉等.心灵的习性.美国人生活中的个人主义和公共责任.崔宏彪、周穗明等译.北京:三联书店,1991年.第214-5页.
2 Alan Trachtenberg.The Incorporation of American:Culture and Society in the Gilded Age.New York:Hill and Wang,1982.p.5.
3 大卫·理斯曼等.孤独的人群.王崑,朱虹译.南京:南京大学出版社,2002年.第18页.
亦参见弗雷德里克·杰姆逊.后现代主义与文化理论.唐小兵译.西安:陕西师范大学出版社,1987年.第46-7页.
1 Don B.Wilmeth,Christopher Bigsby.The Cambridge History of Americcm Theatre·VoI.Ⅲ.Cambridge:Cambridge University Press.2000.p.104.
2 Harold Clurman.The House of Blue Leaves.The Nation 212.9(Mar.1,1971):p.285.
1 Kew Gardens:英国皇家园林。
2 Astoria:意为Astor住的地方,以John Jacob Astor的名字命名,约翰·约伯·阿斯托是德国裔美国人,做毛皮生意的资本家。在他1849年逝世时,其资产超过了2000万美国。按照最近的福布斯排行,如果换算成07年的美元,其资产达到了1150亿美元,这使他成为了美国历史上排行第四的最有钱的富豪。
3 El Dorado:黄金国埃尔多拉多,理想中的黄金国,传说中的宝山。
4 the Alhambra:西班牙著名故宫,中世纪摩尔人在西班牙建立的格拉纳达王国的皇宫。阿尔汗布拉意为“红堡”。
5 "Introduction" In John Guare.The House of Blue Leaves and Chaucer in Rome.Woodstock & New York:The Overlook Press,2002.pp.3-4.
6 "Introduction" In The House of Blue Leaves and Chaucer in Rome.Woodstock & New York:The Overlook Press,p.4.
7 Harold Clurman.The Nation 212.9(Mar.1,1971):p286.
1 http://en.wikipedia.org/wiki/Black_comedy
2 Patricia Bosworth.Yes for a Young Man's Fantasies.New York Times 7 March 1971,sec.2:12.对古厄尔戏剧文体的归类,评论者认为古厄尔的作品在滑稽笑剧、黑色喜剧与哥特戏剧之间波动。(Black Comedy of John Guare,p.11)笔者认为,滑稽笑剧和哥特戏剧都各自揭示了古厄尔戏剧风格的一极。滑稽笑剧忽略了剧中阴郁的哥特风格,而哥特戏剧则不能涵盖其戏剧中的滑稽成分。“笑剧”是古厄尔自己对作品的文体命名,但古厄尔对笑剧的内涵做了再界定,扩展了该形式的边界。古厄尔所指的“笑剧”与“黑色喜剧”的内涵相近,故最为恰当。
3 Gene A.Plunka.The Black Comedy of John Guare.Newark:University of Delaware Press,2002.p.15.
1 Daryl Chin.From Popular to Pop:The Arts in/of Commerce.Performing Arts Journal 37:p.9.
2 John Guare.The House of Blue Leaves and Chaucer in Rome.Woodstock & New York:The Overlook Press,2002.p.74.
3 John Guare & John L.DiGaetani.A Search for a Postmodern Theater:Interviews with Contemporary Playwrights.Westport:Greenwood Press,1991.
4 "Introduction" In The House of Blue Leaves and Chaucer in Rome.Woodstock & New York:The Overlook Press,p.6.
1 The House of Blue Leaves and Chaucer in Rome.p.25.
2 The House of Blue Leaves and Chaucer in Rome.p.41.
3 Samuel J.Bernstein.The Strands Entwined:A New Direction in American Drama.Boston:Northeastern UP,1980.p.48.
1 The House of Blue Leaves and Chaucer in Rome.p.21.
2 The House of Blue Leaves and Chaucer in Rome.p.21-2.
3 The House of Blue Leaves and Chaucer in Rome.p.65.
1 The House of Blue Leaves and Chaucer in Rome.p.53.
2 Gautam Dasgupta."John Guare".American Playwrights:A Critical Survey.Ed.Bonnie Marranca and Gantam Dasgupta.Vol.1.New York:Drama Book Specialists,1981.p.47.
3 Gene A.Plunka.The Black Comedy of John Guare.Newark:University of Delaware Press,2002.p.15.
1 转引自 Daryl Chin.From Popular to Pop.The Arts in/of Commerce:Mass Media and the New Imagery.Performing Arts Journal,Vol.13,No.1(Jan.,1991),p.13.
2 Harold Clurman.The Nation 212.9(Mar.1,1971):p256.
1 John Guare & John L.DiGaetani.A Search for a Postmodern Theater:Interviews with Contemporary Playwrights.Westport:Grcenwood Press,1991.
2 Harold Clurman.The Nation 212.9(Mar.1.1971):p286.
3 肯·凯西是美国著名的小说家,其代表作《飞跃疯人院》(Flew Over the Cuckoo's Nest)后被改编成同名电影获多项奥斯卡金奖.使其闻名遇迩。《飞跃疯人院》的故事也应和了反精神病运动的观点。
4 Frank Rich.The House of blue Leaves.The New York Times.(Match 20,1986,Thursday).
1 Carol A.B.Warren.Sociology of Health and Illness-Insanity:The Idea and its Consequences.Contemporary Sociology,Vol.17,No.2.(Mar.,1988),pp.235-236.
2 John Guare & John L.DiGaetani.A Search for a Postmodern Theater:Interviews with Contemporay Playwrights.Westport:Creenwood Press,1991.
3 Gautam Dasgupta.John Guare.in American Playwrights:A Critical Survey.vol.1,ed.Bonnie Marranca and Gautam Dasgupta(New York:Drama Book Specialists,1981).p.42.
1 Lloyd Rose.A New American Master.Atlantic Monthly,March 1984.p.121.
2 The House of Blue Leaves and Chaucer in Rome.p.27.
1 The House of Blue Leaves and Chaucer in Rome.p.46.
2 Gene A.Plunka.The Black Comedy of John Guare.Newark:University of Delaware Press,2002.pp.16-17.
1 The House of Blue Leaves and Chaucer in Rome.p.31.
2 The House of Blue Leaves and Chaucer in Rome.p.26.
3 The House of Blue Leaves and Chaucer in Rome.p.29.
4 The House of Blue Leaves and Chaucer in Rome.p.33.
5 The House of Blue Leaves and Chaucer in Rome.p.85.
1 Tad Friend.The Guare Facts.Vogue,Match 1992.p.328.
2 Gene A.Plunka.The Black Comedy of John Guare.Newark:University of Delawate Press,2002.p.14.
1 克里斯多夫·拉斯奇.自恋主义文化.陈红雯、吕明译.上海:上海文化出版社,1988年.第8页.
2 周维培.当代美国戏剧史(1950-1995).南京:南京大学出版社,1999年.第235页.
3 阿瑟·密勒.外国当代剧作选·第4卷.郭继德等译.北京:中国戏剧出版社,1992年.第11页.
1 Richard Gottlieb."The Engine' That Drives Playwright David Mamet.New York Times.January 15~(th),1978.p.D4.
2 David Mamet.Writing in Restaurants.London.1988.p.27.
3 比格斯比(C.W.E.Bigsby).1945-2000年的现代美国戏剧(英文影印本Modern American Drama:1945-2000).北京:外语教学与研究出版社,2006年.第213页.
4 Jack V.Barbera.Ethical Perversity in America:Some Observations on David Mamet's American Buffalo.Modern Drama 24.3(1981):p.270.
1 David Mamet.American Buffalo.New York:Grove Press.1976.p.25.
1 Robert Brustein.Three Views of America.The Third Theatre.New York:Simon and Schuster,1970.p.54.
2 Arthur Kopit.Indians.Hill and Wang,New York,1969.p.9.
3 以上内容主要来自互联网Google检索,关键词“Buffalo Nickel”,主要网址为:www.goldmountainmining.com/inbufnic.html.wwwen.wikipedia.org/wiki/James_Earle_Fraser_(sculptor)
1 Christopher Bigsby.The Cambridge Companion to David Mamet.Cambridge University Press,2004.p.70.
2 M.Weber.TheMeaning of 'Ethical Neutrality'in Sociology and Economics.In M.Weber on the Methodology of the Social Sciences.p.44.
转引自史蒂文·卢克斯.个人主义.阎克文译.南京:江苏人民出版社,2001年.第84-5页.
3 Matthew Roudane.Something Out of Nothing.In Leslie Kane,ed,,.David Mamet in Conversation.(Ann Arbor:University of Michigan Press,2001).pp.46-7.
1 David Mamet.American Buffalo.New York:Grove Press.1976,p.22.
2 Wilmeth,Don B & Miller,Tice L.,ed.Cambridge Guide to American Theatre.Cambridge:Cambridge University Press,1993.p.36.
3 周维培.当代美国戏剧史(1950-1995).南京:南京大学出版社,1999年.第244页.
1 比格斯比(C.W.E.Bigsby).1945-2000年的现代美国戏剧(英文影印本Modern American Drams:1945-2000).北京:外语教学与研究出版社,2006年.第215-6页.
2 David Mamet.American Buffalo.New York:Grove Press.1976,p.148.
3 Michael Billington.Dream Sequence:David Mamet talks to Michael Billington.The Guardian,16 Feb..1989.
4 Michael Billington.Dream Sequence:David Mamet talks to Michael Billington.The Guardian,16 Feb..1989.
1 Peter Conn.Literature in American.New York:Cambridge University Press,1989.p.449.
2 岳西宽、张卫星编译.美国历届总统就职演说.北京:中央编译出版社,1995年.第258页.
3 岳西宽、张卫星编译.美国历届总统就职演说.北京:中央编译出版社,1995年.第272页.
4 Theodore W.Hassan.Contemporary American Literature,1947-1972.New York:Frederick Ungar Publishing Co.Inc.,1973.p.40.
5 Peter Conn.Literature in American.New York:Cambridge University Press,1989.p.447.
6 克里斯多夫·拉斯奇.自恋主义文化.陈红雯、吕明译.上海:上海文化出版社,1988年.第70页.
1 崔西·莱茨是美国著名的电影、电视、舞台剧演员,以及电影和舞台剧编剧。1965年7月出生于美国南方俄克拉荷马州塔尔萨的一个艺术氛围浓厚的家庭。父亲丹尼斯·莱茨是演员兼教授,母亲比莉曾是著名的畅销书作家,哥哥肖恩是作曲家和爵士音乐家。从小受到了家庭熏陶的莱茨,在俄克拉荷马州的杜兰特上完高中之后,就外出闯荡,曾做过电话销售员和临时戏剧演员。20岁时莱茨定居芝加哥,他先后加入了芝加哥的实验剧场——名门剧社和荒原狼剧场,参演过15部戏剧和13部电影,这帮助他积累了丰富鲜活的舞台经验,并为以后从事戏剧和电影编剧奠定了实践基础。1993年以来,莱茨先后创作完成了5部戏剧《杀手乔》(Killer Joe,1993)、《来自内布拉斯加州的男人》(Man from Nebraska,2003)、《虫卵》(Bug,2004)、《八月:奥色治郡》(August:Osage County,2007)、《上等油炸圈饼》(Superior Donuts,2008),及1部由同名剧本改编的电影脚本《虫卵》(Bug,2007)。莱茨的《来自内布拉斯加州的男人》曾在04年最后入围普利策戏剧奖,但最后无功而返。
2 Chris Jones.'August' is only more intense as it opens on Broadway.Chicago Tribune Theatre Critic.Dec.5,2007.网络电子版:http://www.chicagotribune.com/features/magazine/chi-080224augustnyc-story,0,7005888.story
3 Melissa Rose Bernardo.August:Osage County.Entertainment Weekly.Dec 11,2007.
4 Richard Zoglin.Tracy Letts:August's Family Guy.Time Entertainment.Thursday,Jun.12,2008.网络电子版见http://www.time.com/time/magazine/article/0,9171,1813991,00.html
1 Interview:Pulitzer Winner Tract Letts Explains Why Bug Deserves Another Look.网络电子版:http://hermitosis.blogspot.com/2008/05/pulitzer-winner-tracy-letts-on-his.html
2 转引自Hilton Als.Family Planning:Tract Letts and Aaron Sorkin on irreconcilable differences.The New Yorker.Dec.24,2007.网络电子版见:http://www.newyorker.com/arts/crities/theatre/2007/12/24/071224crth_theatre_als
3 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.11.
1 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.38,p.41.
2 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.36.
3 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.53.
1 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.92.
1 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.pp.25-6.
2 利波维茨基.空虚时代:论当代个人主义(方仁杰,倪复生译).北京:中国人民大学出版社,2007年.第66页.
3 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.133.
4 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.89.
1 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.113.
2 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2005.p.27.
1 http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/theatre/article5324292.ece
2 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.45.
3 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.138.
4http://www.telegraph.co.uk/culture/theatre/3563234/Augnst-Osage-County,-the-first-great-American-play-of-the -century.html
1 黑格尔.小逻辑.贺麟译.北京:商务印书馆,1980年.第279-280页.
2 斯狄丛.现代戏剧理论(1880-1950).王建译.北京:北京大学出版社,2006年.第7页.
3 斯狄丛.现代戏剧理论(1880-1950).王建译.北京:北京大学出版社,2006年.第72页.
1 详见斯狄丛.现代戏剧理论(1880-1950).王建译.北京:北京大学出版社,2006年.第72页.
1 周宁.西方戏剧理论史.厦门:厦门大学出版社,2008年.第1056-1057页.
2 Performing Arts Journal.Fall,1977.p.20.
转引自周宁.西方戏剧理论史.厦门:厦门大学出版社,2008年.第1055-1056页.
1 Edward Albee.The Plays·Vol.2·Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.2.
2 Edward Albee.The Plays Vol.2 Introduction to Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.1.
3 Gerald Weales.A Review of Box and Quotations from Chairman Mao Tse-Tung.Commonweal,Vol.LⅩⅩⅩⅨ,No.4,October 25,1968.p.120.
4 Anthony West.Theatre,Vogue 152(15 November 1968):92.
1 Henry Hewes.Woman Overboard.Saturday Review 51.23 March 1968:34.
2 Anonymous.Dead Space.Time 92(11 October 1968):73.
3 Jack Kroll.Inside the Cube.Newsweek 71(18 March 1968):109,110.
4 Jack Kroll.Leaping Lizards.Newsweek 85(10 February 1975):75.
5 Ruby Cohn.Albee's Box and Ours.Modern Drama 14(September 1971):137-43.Bigsby.Albee,pp.151-64.
6 Edward Albee.The Plays·Vol.2·Box and Ouotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.1.
7 尼采.悲剧的诞生.周国平译.北京:三联书店,1986年.第24-25页.
8 尼采.悲剧的诞生.周国平译.北京:三联书店,1986年.第30页.
1 Edward Albee.The Plays ·Vol.2·Introduction to Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.1.
2 Edward Albee.The Plays ·Vol.2·Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.3.
3 Edward Albee with Jeffrey Goldman.An Interview with Edward Albee.From Studies in American Drama.1945-Present,Vol.6,No.1,1991,p.64.
1 维特根斯坦.《逻辑哲学论》结尾:转引自毛峰.神秘主义诗学.北京:三联书店,1998年.第298页.
1 Edward Albee.The Plays · Vol.2 · Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.pp.5-10.
1 Richard Farr.Edward Albee Playwright Interview.The Progressive 60.n8.August 1996.p.39.
2 Edward Albee.Preface to The American Dream.New York.1961.p.8.
3 Marisa Helms.The Milk Spiller.Minnesota Public Radio.June 4,1999.参见明尼苏达州公共广播电台网址:http://news.minnesota.publicradio.org/features/199906/04_helmsm_milk-m/
1 Anita M.Stenz.Edward Albee:the Poet of Loss.New York:Mouton Publishers The Hague,1978.p.89.
2 Edward Albee.The Plays · Vol.2 · Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.15.
3 巴赫金.陀思妥耶夫斯基诗学问题.白春仁、顾亚铃译.第58页.见《巴赫金文集·诗学与访谈》.石家庄:河北教育出版社,1998.
4 Edward Albee with Jeffrey Goldman.An Interview with Edward Albee.in Studies in American Drama,1945-Present,Vol.6,No.1,1991.p.64.
1 Richard E.Amacher.Edward Albee.New York:Date Published,1969.pp.157-155.
2 Edward Albee.The Plays · Vol.2 · Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.45.
1 Anita M.Stenz.Edward Albee:the Poet of Loss.New York:Mouton Publishers The Hague,1978.p.110.
2 C.W.E.Bigsby.Albee.New York:Chip's Bookshop,1978.p.160.
1 Gilbert Debusscher.Edward Albee:Tradition and Renewal.Translated from the French by Anne D.Williams.Mcmlixix:Center for American Studies Brussels,1967.p.32.
2 Bai Niu.The Power of Myth:A Study of Chinese Elements in the Plays of O'Neill,Albee,Hwang,and Chin.Boston University,1995.pp.78-79.
3 Edward Albee.The Plays · Vol.2 · Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.22.
1 周宁编注.孔教乌托邦.北京:学苑出版社,2004年.第221页.
1 见Edward Albee.The Plays · Vol.2 · Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.6,p.71,p.42,p.44,p.45.
1 C.W.E.Bigsby.Albee.New York:Chip's Bookshop,1978.p.154.
2 尼采.悲剧的诞生.周国平译.北京:三联书店,1986年.第74页.
1 Ruby Cohn.Edward Albee.Minneapolis:University of Minnesota Press,1969.p.6.
2 Edward Albee,Philip C.Kolin.Conversation with Edward Albee.Jackson:University Press of Mississippi,1988.p.13.
1 Huntington,Samuel P..Who Are We?.New York:Simon & Schuster,2004.p.68.
1 Nietzsche Frederick.On Truth and Falsity in Their Ultramoral Sense.Oscar Levy.The Complete Works of Frederick Nietzche.Translated by Maximilian A.Magge.New York:Gordon Press,1974.180.
2 道格拉斯·凯尔纳.媒体文化——介于现代与后现代之间的文化研究、认同性与政治.丁宁译.北京:商务印书馆,2004年.p.100.
3 William James.The Social Value of the College-Bred.Essays,Comments.and Reviews.Cambridge,Mass,.Harvard University Press,1987.p.109.
1 Israel Zangwill.The Melting Pot Drama in Four Acts.Kessinger Publishing,,2005.p.33.
1 Nick Aaron Ford,The Contemporary American Novel(Boston:Meador Publishing Co.1936).pp.96-7.
2 Haeold R.Issacs.Idols of the Tribe:Group Identity and Political Change.Cambridge,Mass:Harvard Univerisity Press,1989.pp.85-86.
3 周维培.当代美国戏剧史(1950—1995).南京:南京大学出版社.1999年,第186-7页.
4 Benston K.W.Imanmu Amiri Baraka(LeRoi Jones):a Collection of Critical Essay.New Jersey:Prentice-Hall Inc..1978.p.95.
1 Benston,Kimberly W.Baraka:The Renegade and the Mask.New Haven:Yale University Press,1976.149
2 A.Robert Lee.Imamu Amiri Baraka..American Drama.Ed.Clive Bloom.New York:St.Martin's Press,1995.p.97.
3 W.E.B.Dubois.Randall Kenan.The Souls of Black Folk:With a New Introduction by Randall Kenan.New York:Signet Classic,1995.pp.45-6.
1 Houston Baker.The Journey Back:Issues in Black Literature and Culture.Chicago:University of Chicago Press,1980.p.106..
1 Larry Neal.The Black Arts Movement.Drama Review 12.4(Summer 1968).p.29.
2 LeRoi Jones.Home:Social Essays.Morrow,1966.p.230.
3 Wallace,Michele.Black Macho and the Myth of the Superwoman.London:Verso,1978.p.30.
1 C.W.E Bigsby.The Second Black Renaissance:Essays in Black Literature.Westport,Connecticut:Greenwood Press.1980.p.239.
2 Amid Baraka.Dutchman and The Slave.New York:Morrow Quill Paperbacks,1964.p.2.
3 弗朗兹·法农.黑皮肤,白面具.万冰译,南京:译林出版社,2005年.第2页。
4 弗朗兹·法农.黑皮肤,白面具.万冰译,南京:译林出版社,2005年.第4页。
1 Stokely Carmichael.Stokely Speaks:Black Power to Pan-Africanism,New York:Random House,1971.p.36.
2 Amiri Baraka.Dutchman and The Slave.New York:Morrow Quill Paperbacks,1964.p.9.
3 弗朗兹·法农.黑皮肤,白面具.万冰译,南京:译林出版社,2005年.第46页.
4 Sherley Anne Williams.Baraka,Imamu Amiri 1934-:Critical Essay.From Literature Criticism Series.Thomson Gale.
5 Amiri Baraka.Dutchman and The Slave.New York:Morrow Quill Paperbacks,1964.p.20-1.
1 Gilles Deleuze.Coldness and Cruelty.Urzone,Inc,1989.p.21.
2 Matthew Rebhorn.Flaying Dutchman:Masochism,Minstrelsy,and the Gender Politics of Amiri Baraka's Dutchman.Callaloo-Volume 26,Number 3,Summer 2003.p.796.
3 Amid Baraka.Dutchman and The Slave.New York:Morrow Quill Paperbacks,1964.p.13.
1 Amiri Baraka.Dutchman and The Slave.New York:Morrow Quill Paperbacks,1964.p.27-9.
1 Louis phillips.LeRoi Jones and Contemporary Black Drama.in The Black American Writer.edited by C.W.E.Bigsby,vol.Ⅱ,Poetry and Drama,1969.
2 George R.Adams.Black Militant Drama.American Imago,Vol.28,No.2,1971.
3 弗朗兹·法农:《黑皮肤,白面具》,万冰译,南京:译林出版社,2005年,第55页。
1 Amiri Baraka:Raise,Race.Rays,Raze:Essays Since 1965,New York:Random,1971,p.249.
2 Amiri Baraka:Raise,Race,Rays,Raze:Essays Since 1965,New York:Random,1971.p.242.
3 Hurston A.Baker,Jr.,The Journey Back:Issues in Black Literature and Criticism.p.6.
1 Howard Fast.Contemporary Authors Online.Detroit:Gale.Literature Resources from Gale.
1 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.p.5.
1 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.p.56.
2 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.pp.89-90.
1 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.p.57.
2 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.pp.59-60.
3 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.p.31.
1 圣经.可14:10-11;路22:3-6.
2 Eric Bentley.The Missing Communist.1956:rpt.What Is Theatre? New York:Atheneum,1968.p.313.
3 阿瑟·密勒,郭继德:《访阿瑟·密勒》,《外国文学》1987年(5).
1 纳尔逊·曼弗雷德·布莱克.美国社会生活与思想史·上册.许季鸿译.北京:商务印书馆,1994年.第107页.
另见Robert A.Martin.Arthur Miller's the Crucible backgrounds and Sources.Modern Drama 20(1977):280.
2 Brooks Atkinson.The Crucible.New York Times,1 February 1953:sec.2,1.
3 Dennis Welland.Arthur Miller.New York,1961.p.74.
1 Robert A.Martin.Arthur Miller's the Crucible backgrounds and Sources.Modern Drama 20(1977):279.
2 阿瑟·密勒.外田当代剧作选·第4卷(阿瑟·密勒卷).梅绍武等译.北京:中国戏剧出版社,1992年.第183-184页.
3 郭继德.美国戏剧史.郑州:河南人民出版社,1993年.第316页.
4 阿瑟·密勒.外国当代剧作选·第4卷(阿瑟·密勒卷).梅绍武等译.北京:中国戏剧出版社,1992年.第291页.
1 C.W.E Bigsby ed.The Cambridge Companion to Arthur Miller.London:Cambridge University Press,1997.p.98.
1 阿瑟·密勒.外国当代剧作选·第4卷.阿瑟·密勒卷.梅绍武等译.北京:中国戏剧出版社,1992年.第308页.
2 参见《二十世纪对<炼狱>的评价》,第12页。
转引自郭继德.美国戏剧史.郑州:河南人民出版社,1993年.第329页.
3 特里·伊格尔顿.甜蜜的暴力——悲剧的观念.方杰、方宸译,2007年.第141-2页.
4 拉雷恩.意识形态与文化身份:现代性和第三世界的在场.戴从容译.上海:上海教育出版社,2005年.第 140页.
1 本剧皆引自Tony Kushner.Angels in American.A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.译文参考了东尼·库许纳.美国天使:一个讨论全国性议题的同性恋幻想曲.孙忆南译.台北:时报文化出版企业有限责任公司,1996年.
2 Tony Kushner,Robert Vorlicky.Tony Kushner in Conversation.Ann Arbor:University of Michigan Press.1998.p.1.
3 Ten Questions for Tony Kushner.The New York Times.June 4,2004.网络电子版见:http://www.nytimes.com/2004/06/04/readersopinions/kushner-questions.html?pagewanted=1&ei=5070&en=5d415f2b8056de5f&ex=1231563600
1 《美国天使》的《千禧年近了》获1990年肯尼迪中心新美国戏剧基金会奖(Kennedy Centre Fund for New American Plays),1991年湾区戏剧评论家奖最佳戏剧(Bay Area Drama Critics Award for Best Play),1991年国家艺术俱乐部约瑟夫·凯塞林奖(National Arts Club Joseph Kesselring Award),1992年伦敦子夜标准奖最佳新晋戏剧(Evening Standard Award for Best New Play),1992年伦敦戏剧评论家奖最佳新晋戏剧(London Drama Critics Circle Award for Best New Play),1993年戏剧桌奖最佳剧作,1993年纽约戏剧评论界奖最佳戏剧,1993年普利策奖戏剧奖,1993年托尼奖最佳戏剧。而《重建》则获1990年肯尼迪中心新美国戏剧基金会奖,1992年洛杉矶戏剧评论家奖最佳新晋戏剧(Los Angeles Drama Critics Circle Award for Best New Play),1994年戏剧桌杰出剧作奖,1994年托尼奖最佳戏剧奖。
2 Jack Kroll.Heaven and Earth on Broadway.Newsweek.6 December.1993.p.83.
3 Frank Rich.Critic's Notebook:The Reaganite Ethos,With Roy Cohn As a Dark Metaphor.New York Times.5March.1992.C15.
1 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.47.
2 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.96.
3 Robinson,Gerard.Activism Through Art.New York Blade,2 July 2004:10.
4 Denver Post.AIDS a Leading Killer by '91.June 13.1986.p.1A.
5 David Blake.The Plague Years.Part 1.Rolling Stone.March 23.1985.p.50.
6 Daniel M.Fox.AIDS and the American Health Polity:The History and Prospects of a Crisis of Authority.The Milbank Quarterly.Vol.64,Supplement 1.1986.p18.
1 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.pp.241-242.
2 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.32.
1 Stephen J.Bottoms.Re-staging Roy:citizen Cohn and the search for Xanadu.Theatre Journal.48.2(May 1996):p157.
2 前期同性恋戏剧中弥漫着感伤主义的情调,像兰福德·威尔逊的《疯癫的伯莱特小姐》(The Madness of Lady Bright,1964)、罗伯特·帕特里克(Robert Patrick)的《游荡的主人》(The Haunted Host,1964)和马特·克劳利(Mart Crowley)的《圈子里的哥儿们》(The Boy in the Band,1968)等,这些作品中同性恋者无法对自身的性取向产生认同,外在意识形态对同性恋的排斥和厌恶,内化进了他们的意识,他们都表现出不同程度的“恐同症”或者“厌同症”,强大的社会压力剥夺了他们言说自我的权力,他们只能自怨自艾,自我抑制,对自身的性取向难以启齿。通过这种“怨妇”型的人物,前期的同性恋戏剧从侧面表现了所谓民主自由社会的虚伪性。
3 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.62.
4 Jeffrey Hart.The Autobiography of Roy Cohn.National Review.April 29,1988.p44.
1 Jonathan Freedman.Angels,Monsters,and Jews:Intersections of queer and Jewish Identity in Kushner's Angles in America.PMLA113(1998):pp.90-102.From Ed.By Brenda Murphy,Laurie J.C.Cella.Twentieth Century American Drama:Critical Concepts in Literary and Cultural Studies ·Vol.Ⅳ.New York:Routledge.2006.p.306.
2 歌德.歌德自传——诗与真(刘思慕译).北京:人民文学出版社,1983年.第837页.
3 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.221.
4 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.64.
1 Anonymous.www.americanfascistmovement.com/afmstore.5 February 2005.
2 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.118.
1 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.51.
2 James Fislaner.Understanding Ton),Kushner.Columbia,SC:University of South Carolina Press,2008.p.2.
3 John Lahr.After Angels.The New Yorker.3 Jan.2005:pp.42-52.
4 Robert H.Vorlicky,ed..Tony Kushner in Conversation.Ann Arbor:University of Michigan Press,1998.p.278.
1 Robert H.Vorlicky,ed..Tony Kushner in Conversation.Ann Arbor:University of Michigan Press,1998.p.218.
2 梁工、赵复兴.凤凰的再生:希腊化时期犹太文学研究.北京:商务印书馆,2000年.第23页.
3 Jacques Derrida.The Rhetoric of Drugs:An Interview.Trans.Michael Israel,differences 5(Spring,1993):p.5.
4 Richard Dellamora.Apocalyptic Overtures:Sexual Politics and the Sense of an Ending.New Brunswick,N.J.:Rutgers UP,1994.p.28.
5 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.170.
1 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.pp.250-251.
2 圣经·创世纪·32。
3 Bernard McGinn.Visions of the End:Apocalyptic Traditions in the Middle Ages.Columbia University Press,1998.
1 Tony Kushner.Angels m American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.98.
2 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.pp.22-24.
3 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.pp.178-179.
1 本雅明.历史哲学论纲.见汉娜·阿伦特编.启迪:本雅明文选(张旭东,王斑译).北京:三联书店,2008年.第276页.
2 本雅明.历史哲学论纲.见汉娜·阿伦特编.启迪:本雅明文选(张旭东,王斑译).北京:三联书店,2008年.第269页.
3 James Miller.Heavenquake:Queer Anagogies in Kushner's America.In Deborah R.Geis and Steven F.Kruger,ed..Approaching the Millennium:Essays on Angels in America.Ann Arbor:The University of Michigan Press.1997.p.68.
1 本雅明.历史哲学论纲.见汉娜·阿伦特编.启迪:本雅明文选(张旭东,王斑译).北京:三联书店,2008年.第267页.
2 Susan Knabe.History and AIDS in Was and Angels in America.Extrapolation.49.2(Summer 2008):p214.
3 同性恋对异性恋者的称呼。
1 Len Richmond & Gary Noguera ed..The Gay Liberation Book:Writings and Photographs on Gay(Men's)Liberation.San Francisco:Ramparts Press,1973.p.258-9.
2 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.16.
3 王尔德.社会主义制度下人的灵魂.选自《王尔德全集·评论随笔集》.杨东霞、杨烈等译.北京:中国文学出版社,2000年.第302页.
1 David Gelernter.Americanism:The Fourth Great Western Religion.New York:Doubleday.2007.
2 Albert K.Weinberg.Manifest Destiny:A Study of Nationalist Expansionism inAmerican History.Baltimore:John Hopkings,1935.pp.144-145.
3 Frederick Merk.Manifest Destiny and Mission in American History A Reinterpretation.New York:Alfred A.Knopf,1963.
1 Alexander DeConde,ed,Encyclopedia of American Foreign Policy · Vol.2.New York:Charles Scribner's Sonsm,1978.pp.532-533.
2 Henry R.Luce.The American Century,1941.In The Ideas o fHenry Luce.Edited by John K.Jessup.New York:Atheneum,1969.p.107.
3 Sterling Johnson.Global Search and Seizure:the US National Interest and International Law.Sanjose:Brookfield,1994.p.5.
1 Mark Gerzon.A Choice of Heroes:The Changing Faces of American Manhood.Boston:Houghton Mifflin,1982.p.32.
2 Tania Modleski.Feminism Without Women:Culture and Criticism in a Postfeminist Age.New York:Routledge,1991.p.72.
1 Robert Asahina.The Basic Training of American Playwrights:Theater and the Vietnam War.Theater,9,No.2(1978),p.34.
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2 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅱ(1870—1945).Cambridge University Press,1998.pp.289-290.
3 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre.Vol.Ⅲ(Post-World War Ⅱto the 1990s).Cambridge University Press,1998.pp.249-50.
1 蕾补戏剧定义详见本文第13-4页。
1 主要观点详见罗伯特·布鲁斯汀的论文《为什么美国戏剧不是文学》(Why American Plays Are Not Literature,1959).Robert Sanford Brustein.Why American Plays Are Not Literature.in American Drama and Its Critics.Ed.Alan S.Downer.Toronto:Umiversity of Toronto Press,1965.p.245-56.
2 C.W.E.Bigsby.Why American Drama is Literature.In Gilert Debusscber & Henry I.Schvey.New Essays on American Drama.Amesterdam-Atlanta.GA.1989.pp.3-12.
1 Robert Sanford Brustein.Why American Plays Are Not Literature.in Alan S.Downer Ed..American Drama and Its Critics.Toronto:Umiversity of Toronto Press,1965.p.245-56.
2 转引自比格斯比.1945-2000年的现代美国戏剧(英文影印本).北京:外语教学与研究出版社,2006年.第2页.不少评论者都持有此立场。命名“荒诞派戏剧”的著名英国戏剧理论家马丁·艾斯林亦对美国剧作家山姆·谢泼德、约翰·古厄尔和兰福德·威尔逊有歧视性的评论,见下文第三章第一节。
3 蒂博代把批评分成有教养者的批评,专业工作者的批评和艺术家的批评。详见阿尔贝·蒂博代.六说文学批评.赵坚译.北京:三联书店,1989年版.第3页.
1 To Be(come) Young,Gay,and Black:Lorraine Hansberry's Existentialist Routes to Anticolonialism,2008(4).
2 Black Panthers.Red Guards,and Chinamen:Constructing Asian American Identity through Performing Blackness,1969-1972,2005(4).
3 The Smearing of Joe McCarthy:The Lavender Scare,Gossip.and Cold War Politics,2005(4).
4 The Flight of the Japanese Butterfly:Orientalism,Nationalism,and Performances of Japanese Womanhood,2004(4).
5 Performing Imaginary Rhetoric,2000(2).
6 Brenda Murphy & Laurie J.C.Cella.Twentieth Century American Drama:Critical Concepts in Literary and Cultural Studies.London & New York:Routledge,2006.
1 David Krasner.A Companion to Twentieth-Century American Drama.Blackwell Publishing,2006.
2 论述的主要剧作家为苏珊·格拉斯佩尔、尤金·奥尼尔、格裘德·斯汀(Gertrude Stein)、田纳西·威廉斯、阿瑟·密勒、爱德华·阿尔比、山姆·谢泼德、奥古斯特·威尔逊、约翰·古厄尔、美国女性剧作家群贝斯·海蕾(Beth Henley)、玛莎·诺曼(Marsha Norman)、朱娜·巴恩斯(Djuna Barnes)、丽贝卡·吉尔曼(Rebecca Gilman)和简·玛丁(Jane Martin)、大卫·马维特、玛丽亚·伊琳·福纳斯等。
3 主要的戏剧种类有:实验戏剧、单人剧(又称独角戏,Solo Performance Drama)、同性恋戏剧、犹太戏剧、女性戏剧、黑人戏剧等。
4 主要的主题是戏剧中的种族和民族性、宗教信仰问题。
5 Don B.Wilmeth & Christopher Bigsby.The Cambridge History of AmericanTheatre.Cambridge University Press,1998.
1 Alan S.Downer Ed..American Drama and Its Critics.Toronto:Umiversity of Toronto Press,1965.
2 Gilert Debusscher & Henry I.Schvey.New Essays on American Drama.Amsterdam-Atlanta.GA.1989.
1 “黑人戏剧网”收录的剧作绝大部分由北美大陆剧作家创作,但也有部分是由非洲、欧洲等地的剧作家创作的。
2 该数据截止时间为2009年2月末。
1 刘雪岚、丁晓君、肖静等.中国“十五”期间美国诗歌与戏剧研究.外国文学研究.2005(3).第20页.
1 吴戈.中美戏剧交流的文化解读.昆明:云南大学出版社,2006年.
2 吾文泉.跨文化对话与融会:当代美国戏剧在中国.北京:中国社会科学出版社,2005年.
1 本雅明.机械复制时代的艺术作品.见汉娜·阿伦特编.启迪:本雅明文选(张旭东,王斑译).北京:三联书店,2008年.第240页.
2 转引自马泰·卡林内斯库.现代性的五副面孔(顾爱彬、李瑞华译).北京:商务印书馆,2003年.第224,228页.
3 周宁.想象与权力:戏剧意识形态研究.厦门:厦门大学出版社,2003年.第143页.
1 周宁.想象与权力:戏剧意识形态研究.厦门:厦门大学出版社,2003年.第147页.
2 马泰·卡林内斯库.现代性的五副面孔.顾爱彬、李瑞华译.北京:商务印书馆。2003年.第245页.
3 参见周维培.当代美国戏剧(1950-1995).南京:南京大学出版社,1999年.第7页.
1 参见Brenda Murphy.Congressional Theatre:Dramatizing McCarthy on Stage,Film,and Television.Cambridge:Cambridge University Press,1999.pp.2-3.
或另见 Arthur Miller.The Theatre Essays of Arthur Miller.Ed.Robert A.Martin and Steven R.Centola.New York:Viking,1978.pp.231-2.
2 阿尔都塞.列宁与哲学.布鲁斯特译.纽约:每月评论出版社,1978年,第176页.
转引自理查德·D.沃尔夫.意识形态国家机器、消费主义和美国资本主义:左派的教训.吴昕炜译.《学术研究》.2008(6).
1 Brenda Murphy.Congressional Theatre:Dramatizing McCarthy on Stage,Film,and Television.Cambridge:Cambridge University Press,1999.pp.2-3.
2 David Gelernter.Americanism:The Fourth Great Western Religion.New York:Doubleday.2007.
1 李时学.20世纪西方左翼戏剧研究(博士学位论文).厦门:厦门大学.2006年.第178页.
2 Brenda Murphy.Congressional Theatre:Dramatizing McCarthyism on Stage,Film,and Television.New York:Cambridge University Press,1999.
3 Nora M.Alter.Vietnam Protest Theatre:The Television War on Stage.Bloomington & Indianapolis:Indiana University Press,1996.
1 《送冰的人来了》虽然创作于1939年,但是1934年奥尼尔创作完《无穷的岁月》后,就一直沉寂剧坛达12年之久。《送冰的人来了》首演于1946年,该剧的影响力主要是在二战之后。许多戏剧研究著作,像比格斯比的《1945-2000年的现代美国戏剧》都把该剧作为其研究的对象。
1 柏拉图.柏拉图全集·第2卷.王晓朝译.北京:人民出版社.2003年.第510-511页.
1 Asli Gocer.The Puppet Theater in Plato's Parable of the Cave.The Classical Journal,Vol.95,No.2(Dec.,1999-Jan.,2000).p.119.
2 柏拉图.柏拉图全集·第2卷.王晓朝译.北京:人民出版社.2003年.第628页.
3 海德格尔.路标·柏拉图的真理学说.孙周兴译.北京:商务印书馆.2000年.第261页.
4 海德格尔.路标·柏拉图的真理学说.孙周兴译.北京:商务印书馆.2000年.第266页.
1 海德格尔.路标·柏拉图的真理学说.孙周兴译.北京:商务印书馆.2000年.第274页.
2 亚里士多德.尼各马科伦理学.苗力田译.北京:中国社会科学出版社.1990年.第10页.
3 亚里士多德.亚里士多德全集.第八卷.北京:中国人民大学出版社,1992年.第36页.
4 亚里士多德.诗学.罗念生译.北京:人民文学出版社,1962年.第28-29页.
5 亚里士多德.诗学.罗念生译.北京:人民文学出版社,1962年.第25-6页.
1 希利斯·米勒.解读叙事.申丹译.北京:北京大学出版社,2002年.第12页.
2 Jeffrey Rusten.Who "invented" comedy? The ancient candidates for the origins of comedy and the visual evidence.American Journal of Philology 127(2006).p.37.
1 转引自余秋雨.戏剧理论史稿.上海:上海文艺出版社,1983年.第211页.
1 巴赫金.诗学与访谈·陀思妥耶夫斯基诗学问题.白春仁、顾亚铃译.石家庄:河北教育出版社,1998年.第170-172页.
1 尼采.悲剧的诞生.周国平译.北京:三联书店,1986年.第51页.
2 尼采.悲剧的诞生.周国平译.北京:三联书店,1986年.第91页.
1 苏珊·桑塔格.反对阐释.程巍译.上海:上海译文出版社,2003年.第189页.
2 详见拙文范煜辉.阿尔托的残酷戏剧与想象的东方戏剧.戏剧文学.2008(11).
3 安托南·阿尔托,桂裕芳译.残酷戏剧——戏剧及其重影.中国戏剧出版社,1993年.第105页.
1 中国戏剧出版社编辑部编.论布莱希特戏剧艺术.北京:中国戏剧出版社,1984年.第91页.
1 布莱希特.布莱希特论戏剧.丁扬忠译.北京:中国戏剧出版社.1990年,第338,311,78页.
2 布莱希特.布莱希特论戏剧.丁扬忠译.北京:中国戏剧出版社.1990年,第202页.
3 埃米尔·施塔格尔.诗学的基本概念.胡其鼎译.北京:中国社会科学出版社,1992年.第121-2页.
1 埃米尔·施塔格尔.诗学的基本概念.胡其鼎译.北京:中国社会科学出版社,1992年.第124页.
2 苏珊·桑塔格.反对阐释.程巍译.上海:上海译文出版社,2003年.第189页.
1 米歌尔·福柯.古典时代疯狂史.林志朋译.北京:三联书店.2005年.第21页.
2 周宁.想象与权力:戏剧意识形态研究.厦门:厦门大学出版社,2003年.第154页.
3 Peter W.Ferran.New Measures for Brecht in America.Theatre.25:2(1994):9.
4 详见本文第三章第三节的相关论述。
5 转引自周宁.想象与权力:戏剧意识形态研究.厦门:厦门大学出版社,2003年版.第159页.
1 Andrew B.Harris.Broadway Theatre.London & New York:Routledge,1994.p.3.
2 参见08年7月12日维基百科:http://en.wikipedia.org/wiki/Broadway_theatre
1 Andrew B.Harris.Broadway Theatre.London & New York:Routledge,1994.p.6.
2 汪义群.当代美国戏剧.上海:上海外语教育出版社,1992年.第2页.
3 Montrose J.Moses & John Mason Brown Eds.The American Theatre as Seen by Its Critics 1752-1934.New York:Norton,1934.pp.132-33.
4 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅱ(1870—1945).Cambridge University Press,1998.344.
1 Andrew B.Harris.Broadway Theatre.London & New York:Routledge,1994.p.8.
2 曼哈顿分为老城下城(Downtown)、中城(Midtown)和上城(Uptown)。其中曼哈顿的下城,位于曼哈顿岛南部,是最繁华的地区。
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅱ(1870—1945).Cambridge University Press,1998.pp.289-290.
2 电视机销量的数据非常能说明问题。1948年美国的电视机销量为17万2千台,而到了1950年达到500万台,在1960年达到了7900万台,90%的美国家庭都经常收看电视,而且平均每周观看的时间超过了44小时,甚至比工作的时间都长,根本没有时间去观看戏剧和参加其他的业余娱乐活动。Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ(Post-World War Ⅱ to the 1990s).Cambridge University Press,1998.p.99,p.103.
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ(Post-World War Ⅱ to the 1990s).Cambridge University Press,1998.p.109.我们有必要做个比较,同期在1965年在外百老汇上演一部纯正的戏剧(Straight Play)平均只要花费1万5千到2万美元,在百老汇每周运作费用平均只要2500美元而在百老汇却要2万美元。在60年代外百老汇上演一部音乐剧的开销只要4万。相对低廉的运营成本能够使外百老汇更有利于实践创新。
2 Francis Fergusson.Broadway.In Alvin B.Kernan.The Modern American Theatre:A Collection of Critical Essays.p.106.
转引自汪义群.当代美国戏剧.上海:上海外语教育出版社,1992年.第64页.
3 Chistopher Bigsby ed..Arthur Miller and Company.London:Hardback Methuen & Co,1990.pp.179-80.
1 New York Times,10 May,1960.
2 David Savron.In Their Own Word:Contemporary American Playwrights.New York:Theatre Communications Group,1988.pp179-80.
87 2008年11月1日http://en.wikipedia.org/wiki/List_of_the_100_Longest-Running_Broadway_shows
88 场次统计的截至时间为2008年9月28日.
89 有600场是在百老汇之外的剧院里上演。
90 M是音乐剧Musical的缩写。
91 2006年对该剧进行了改编,改编剧作的演出场次为463场,后面的演出统计数字包括改编剧的演出场次。
92 2006年对该剧进行了改编,改编剧作的演出场次为759场,后面的演出统计数字包括改编剧的演出场次。
93 创作于1969年的原剧演出的场次已经达1314场,后面的统计数字不包括之前上演的。
94 原作已经上演936场,后面的统计数字不包括之前上演的。
95 2008年11月1日 http://en.wikipedia.org/wiki/List_of_the_100_Longest-Running_Broadway_shows
96 此排名是该剧在百老汇百部演出次数最多的剧作中的排名。
97 “The Voice of the Turtle”不应译成《乌龟的声音》。其实剧名中的Turtle是“turtledove”的简称,整个剧名暗指《旧约·雅歌》第2章第12节:“因为冬天已往,雨水止住过去了。地上百花开放、百鸟呜叫的时候已经来到,斑鸠的声音在我们境内也听见了。”(The Voice of the turtledove is heard in our land)所以该剧应译成《斑鸠之声》或《春到人间》。
1 Jean Anouilh.Plays:One.Intro.Ned Chaillet.The Lark,trans.Christopher Fry.London:Methuen,1987.pp.227-28.
2 James K.Lyons.Bertolt Brecht in America.Princeton,N.J.:Princeton University Press,1980.p.347.
3 Richard Moody.Lillian Hellman:Playwright.New York:Pegasus,1972.p.247.
1 露丝·罗森.找寻昨天——关于美国肥皂剧(上).安景夫译.选自:托德基特林编著.看电视.纽约:潘希恩出版社,1986.北京电影学院学报.2001(2).
2 马泰·卡林内斯库.现代性的五副面孔(顾爱彬、李瑞华译).北京:商务印书馆。2003年版.第276页.
1 Bernard Rosenberg and David White Ed.Mass Culture:The Popular Arts in America.New York:Free Press,1964.p.66.
1 萨义德.东方学.王宇根译.北京:三联书店,1999年.第2页.
2 杨绍林.透视纽约百老汇,求索中国话剧未来之路.戏剧艺术.2008年(1).
1 Stuart Little.Off-Broadway:The Prophetic Theatre.New York:Coward,McCann & Geoghegan,1972.p.42.
1 Gerald M.Berkowitz.New Broadways:Theatre Across America 1950-1980.Totowa,N.J.:Rowman and Littlefield,1982.p.27.
2 Julian Beck.The Life of the Theatre.San Francisco:City Lights Books,1972.p.7.
3 Stuart Little.Off-Broadway:The Prophetic Theatre.New York:Coward,McCann & Geoghegan,1972.p.54.
1 Gerald M.Berkowitz.New Broadways:Theatre Across America 1950-1980.Totowa,N.J.:Rowman and Littlefield,1982.p.29.
2 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ..Cambridge University Press,1998.pp.199-200.
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ(Post-World War Ⅱ to the 1990s).Cambridge University Press,1998.109.
1 C.W.E.Bigsby.Critical Introduction to Twentieth-Century.American Drama·Vol.3(Beyond Broadway).Cambridge:Cambridge University Press,1985.pp.25-9.
2 引自维基百科:http://en.wikipedia.org/wiki/Joe_Cino(2009年3月5日)
3 Albert Poland & Bruce Mailman.The Off-Off Broadway Book:The Plays,Peope,Theatre.Indianapolis:Bobbs-Merrill,1972.p.17.
1 8英尺即2.438米。
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ(Post-World War Ⅱ to the 1990s).Cambridge University Press,1998.p.202.
1 Robert Pasolli.A Book on the Open Theatre.Indianpolis:University of Indiana Press,1970.pp.50-1.
2 Margo Jones.Theatre-in-the-Round.New York:Rinehart & Co.,1951.p.6.
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre·Vol.Ⅲ(Post-World War Ⅱ to the 1990s).Cambridge University Press,1998.p.246.
2 Robert Brustein.New York Times.May 22th,1988.
1 贝托特·布莱希特.布莱希特论戏剧.丁扬忠等译.北京:中国戏剧出版社,1990.第340页.
2 Joseph T.Shipley.Lamp at Midnight.The New Leader,22 December 1947.
3 Irwin Shaw.Theatre:The Earth Stands Still.From New Republic 119.(29 December 1947):36.
4 Variety,22 December.1947.
1 Thomas R.Dash.Women's Wear Daily.22 December.1947.
2 See Brustein's review of The Connection,The New Republic,28 September 1959:30.
1 附录为本文作者范煜辉所做。南开大学规定发表论文必须和学位论文相关,故而将此文作为附录置于此。
2 Contemporary Authors Online(David Henry Hwang),Thomson Gale,2005.
3 New Yorker,November 2,1981:April 4.
4 丁文莉.论黄哲伦在<蝴蝶君>中对东方主义的不完全解构.徐州师范大学学报.2007(3).
5 贝斯特、凯尔纳.后现代理论:批判性的质疑.张志斌译.北京:中央编译出版社.1999年.第213页.
1 Marry Moss-Coane."David Henry Hwang," in Speaking on Stage:Interviews with Contemporary American Playwrights,Edited by philip C.Kolin,Tuscalooss:University of Alabama Press,1996.p.277.
2 David Savran.In Their Own Words.New York..Theatre Communications Group,1988.p.118.
3 Douglas Street.David Henry Hwang,Western Writers Series,Boise:Boise State University,1989.no.90.
1 萨义德.东方学.王宇根译.北京:三联书店,1999年.第2页.
1 David Henry Hwang:"Afterword" in M.Butterfly.New York:Penguin,1988.p.96.
2 刘心武.“泛东方”想象.读书.1997年(8).
3 David Henry Hwang.M.Butterfly,From Lee A.Jacobus.The Bedford Introduction to Drama(Fourth Edition)Boston and New York:Bedford ST.Martin's,2001.p.1572.
1 Jackson R.Bryer,"David Henry Hwang," in his The Playwright's Art:Conversations with Contemporary American Dramatists,New Brunswick,N.J.:Rutgers University Press,1995.p.123.
2 David Henry Hwang:M.Butterfly.p.1558.
1 David Henry Hwaag:M.Butterfly.p.1554.
2 Washington Post.February 10,December 10,1988.
1 David Savraa.In Their Own Words.New York:Theatre Communications Group,1988.p.121.
1 Amy Ling.Between Worlds:Women Writers of Chinese Ancestry.New York:Pergamon Press,1990.p.11.
2 From website:http://www.m-w.com/dictionary/dragon lady
3 James S.Moy.David Henry Hwang's M.Butterfly and Philip Kan Gotanda's Yankee Dawg You Die:Repositioning Chinese American Marginality on the American Stage.Theatre Journal 42(1)(1990).p.48.
4 Karen Shimakawa."Who's to Say?" or,Making Space for Gender and Ethnicity in "M.Butterfly".Theatre Journal,Vol.45,No.3(Oct.,1993).p.350.
1 Brian Nelson.Asian American drama:9 plays from the Multiethnic Landscape.NY:Applause,1997.p.175.
1 Alan Heimert & Andrew Delbaco edited.A Model of Christian Charity,From The Puritans in America:A Narrative Anthology,Cambridge.Mass.:Harvard University Press,1985.p.90.
2 Henry Steele Commager.The American Mind.New Haven:Yale University Press,1950.p.8.
1 马克斯·韦伯.新教伦理和资本主义精神.于晓、陈维纲等译.北京:三联书店,1987年.第33-6页.
2 马克斯·韦伯.新教伦理和资本主义精神.于晓、陈维纲等译.北京:三联书店,1987年.第15页.
3 马克斯·维贝尔.世界经济通史.姚曾庾译.上海:上海译文出版社,1981年.第288.301-2.283页.
1 马克斯·韦伯.新教伦理和资本主义精神.于晓、陈维纲等译.北京:三联书店.1987年.第38、78页.
2 马克斯·韦伯.新教伦理和资本主义精神.于晓、陈维纲等译.北京:三联书店,1987年.第15页.
3 马克斯·韦伯.新教伦理和资本主义精神.于晓、陈维纲等译.北京:三联书店,1987年.第142-3页.
4 马克斯·维贝尔.世界经济通史.姚曾虞译.上海:上海译文出版社,1981年.第313-4页.
1 周维培.当代美国戏剧史(1950-1995).南京:南京大学出版社,1999年版.第161页.
1 Alan Levy.Doc Smith's Rx for Comedy.New York Times Magazine,7 March 1965.p.42,
2 Neil Simon.Come Blow Your Horn.From The Comedy of Neil Simon.New York:Avon Books,1971.pp.28-9.
1 参见马尔库塞.单向度的人:发达工业社会意识形态研究.刘继译.上海:上海译文出版社,2006年.第6-7页.
2在该作品集(Collected plays)中收录了阿瑟·密勒主要的社会剧代表作,包括:《推销员之死》、《炼狱》、 《桥头眺望》、《不合时宜的人》、《回忆两个星期一》等。From Miller's discussion of A Memory of Two Mondays in "On Social Plays"(preface to the original edition of A View from the Bridge).p.49.
1 Stanley Kauffmaan.A Review of an Italian Film.New Republic.Feb.15,1964:p.35.
2 阿瑟·密勒.外国当代剧作选·第4卷.郭继德等译.北京:中国戏剧出版社,1992年.第413-4页.
3 From Miller's discussion of A Memory of Two Mondays in "On Social Plays".preface to the original edition of A View from the Bridge.p.15.
4 威廉·白瑞德.非理性的人:存在主义探源.彭镜禧译.哈尔滨:黑龙江教育出版社,1988年.第30页.
1 阿瑟·密勒.外国当代剧作选·第4卷.郭继德等译.北京:中国戏剧出版社,1992年版,第416-7页。
2 康德.判断力批判.邓晓芒译.北京:人民出版社,2002年.第57页.
3 H.H.Gerth & C.Wright Mills eds.From Max Weber:Essays in Sociology,NewYork:Oxford University Press,1946.p.342.
4 马尔库塞.审美之维.李小兵译.北京:三联书店,1989年.第8页.
1 马尔库塞.单向度的人:发达工业社会意识形态研究.刘继译.上海:上海译文出版社,2006年版.第62-3页.
2 阿瑟·密勒.外国当代剧作选·第4卷.郭继德等译.北京:中国戏剧出版社,1992年版,第482页。
3 马尔库塞.单向度的人:发达工业社会意识形态研究.刘继译.上海:上海译文出版社,2006年版.第54页.
1 阿瑟·密勒.外国当代剧作选·第4卷.郭继德等译.北京:中国戏剧出版社.1992年版,第455-6页。
2 Nancy Traubitz.Myth as a Basis of Dramatic Structure in Orpheus Descending.From Dorothy Parker ed..Modern American Drama:Williams,Miller,Albee,and Shepard.Toronto:University of Toronto Press, 1987.p.8.
1 Tennessee Williams.The theatre of Tennessee Williams·Vol.3.New York:New directions Publishing Corpation,1991.pp.265-266.
2 巴赫金.拉伯雷研究.李兆林等译.石家庄:河北教育出版社.1998年.第58页.
1 Tennessee Williams.The theatre of Tennessee Williams·Vol.3.New York:New directions Publishing Corpation,1991.p.316.
2 Tennessee Williams.The theatre of Tennessee Williams·Vol.3.New York:New directions Publishing Corpation,1991.p.341.
1 齐格蒙·鲍曼.现代性与大屠杀.杨渝东、史建华译.南京:译林出版社,2002年.第24-5页.
2 巴赫金.诗学与访谈.白春仁、顾亚玲译.石家庄:河北教育出版社,1998年.第161页.
1 Day Cyrus.The Iceman and the Bridegroom:Some Observations.Raleigh,Ed..Twentieth Century Interpretations of Iceman Cometh.London:Methuen,1988.p.81.
1 巴赫金.诗学与访谈.白春仁、顾亚玲译.石家庄:河北教育出版社,1998年.第163-4页.
2 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第156页.
3 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第203页.
1 Louis Sheaffer.O'Neill:Son and Artist.Boston:Little,1973.p.532.
2 齐格蒙·鲍曼.现代性与大屠杀.杨渝东、史建华译.南京:译林出版社,2002年.第125页.
1 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第205页.
2 《送冰的人来了》中最为复杂的人物是希基、拉里和帕里特。奥尼尔曾在给朋友麦高文的信中谈到:“剧中的破酒家不是来自哪一家,而是我所呆过的三家酒家结合而成的。剧中人物也都源自于我所结识过的真实的人,有些亲密些,有些疏远点。”(见奥尼尔文集·第六卷,第356-7页)。据研究,霍普酒吧的三家酒家的原型是曾经酗酒的奥尼尔经常出入的杰米牧师酒吧(Jimmy the Priest's),格林威治镇的金天鹅酒吧(Golden Swan)和适合高层次消费、却声名狼藉的花园旅馆(Garden Hotel)的酒吧间。在俗称“地狱之洞”的金天鹅酒家中,奥尼尔碰到了各种各样的赌徒、匪徒、被开除的警察、往昔坦慕尼派的政客、失败的记者和妓女。这些人物的经历给奥尼尔创作《送冰的人来了》以灵感,像这家酒家的店主汤姆·华莱士就是霍普酒家哈利·霍普的原型,雨果·卡尔马的原型是西波利特·哈维尔(Hippolyte Havel),捷克斯洛伐克革命者,曾经一度是埃玛·戈德曼的情人,乔·英特是奥尼尔的赌友乔·史密斯,埃德·莫舍结合了两个奥尼尔熟知的马戏团的人比尔·克拉克和杰克·库劳克,而酒吧的男招待罗基和查克也都有现实原型,而只有帕里特是奥尼尔根据当时轰动性的新闻改编的,应该说奥尼尔在他身上用力最深。(Eugene O'Neill,National Theatre(Great Britain).The Iceman Cometh·Introduction to the Play.Nick Hern Books.1993.p.Ⅻ-ⅩⅢ.)
3 参见Winifred Frazer.E.G and E.G O.:Emma Goldman and "The Iceman Cometh".Gainesville:University of Florida Press,1974.和John Patrick Diggins.Eugene O'Neill's America:Desire Under Democracy.Chicago and London,2007.p.245.
1 Barbara Gelb.Concealing While Revealing:O'Neill's Way With Truth.The New York Times.April.4,1999.
2 Emma Goldman.Living My Life.New York:Knopf,1931.p.88.该书网络版可见网址:http://dwardmac.pitzer.edu/Anarchist_Archives/goldman/living/livingtoc.html
3 Emma Goldman.Anarchism and Other Essays(Third revised edition,New York:Mother Earth Publishing Association.1917.网络版:http://womenshistory.about.com/library/etext/bl_eg_an1_annrchism.htm
1 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第167页.
2 巴枯宁(1814-1876):无政府主义早期的理论家,在整个无政府主义运动中享有崇高的地位,其理论被奉为是无政府主义者的精神圭桌,故而“巴枯宁”也成为了无政府主义的代名词。
3 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第217页.
1 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第307页.
2 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第164页.
1 奥尼尔.奥尼尔文集·第6卷·奥尼尔论戏剧.刘海平译.北京:人民文学出版社,2006年.第358页.引文中的着重号为原文所有。
2 Louis Sheaffer.O'Neill:Son and Artist.Boston:Little Brown & Co..1973.p.532.
3 巴赫金.诗学与访谈.白春仁、顾亚玲译.石家庄:河北教育出版社,1998年.第170页.
1 奥尼尔.奥尼尔文集·第6卷·奥尼尔论戏剧.刘海平译.北京:人民文学出版社,2006年.第357页.引文中的着重号为原文所有。
2 巴赫金.巴赫金全集·第六卷·拉伯雷的创作与中世纪和文艺复兴时期的民间文化.李兆林等译.石家庄:河北教育出版社,1998年.第317页.
3 巴赫金.诗学与访谈.白春仁、顾亚玲译.石家庄:河北教育出版社,1998年.第161页.
1 Eugene O'Neill.Eugene O'Neill at Work:Newly Released Idea for Play(Virginia Floyd ed.).New York:Frederick Ungar.1981.p.261.
2 Doris Fnik,O'Neill and the Tragic Tension.New Brunswick,NJ:Rutgers University Press,1958.p.626.
3 Eugene O'Neill,National Theatre(Great Britain).The Iceman Cometh·Introduction to the Play.Nick Hern Books.1993.p.ⅩⅢ.
4 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第164页.
5 奥尼尔.奥尼尔文集·第5卷·送冰的人来了.龙文佩、王德明译.北京:人民文学出版社,2006年.第168页.
1 王志耕.日瓦戈与圣愚.外国文学评论.2006(2).第39页.
2 John Patrick Diggins.Eugene O'Neill's America:Desire Under Democracy.Chicago and London,2007.p.247.
3 王志耕.神正论与现实视野的开拓——陀思妥耶夫斯基诗学综论.外国文学评论.2002(2).第103页.
4 马克思·韦伯,学者和政治家(1919年),90页,转引自达尼洛·马尔图切利.现代性社会学.姜志辉译.南京:译林出版社,2007年.第154-5页.
1 转引自鲁晓雁.黑暗王国的魔怪——试析格拉斯《狗年月》中的神话意象.外国文学研究.2007(2).
2 让-保罗·萨特.萨特文学论文集.施康强等译.合肥:安徽文艺出版社,1998年.p.428.
1 相关的评论如Kevin Ohi.Devouring Creation:Cannibalism,Sodomy.and the Scene of Analysis in "Suddenly Last Summer".Cinema Journal.Vol.38,No.3.(Spring,1999).pp.27-49;
Sam Spiegel,Joseph Mankiewiez,Albert Johnson.Reviewed Work:Suddenly Last Summer.Film Quaxtedy,Vol.13,No.3.(Spring,1960).pp.42-44.
2 Esther Jackson.The Broken World of Tennessee Williams.Madison..Univ.of Wisconsin Press,1965.p.69.
3 Tennessee Williams.The Theatre of Tennessee Williams·Vol.2.New York:New directions Publishing Corporation,1991.p.419.
4 Judith J.Thompson.Tennessee Williams'Play:Memory,Myth,and Symbol.New York:Peter Lang Publishing,Inc.,2002.p.4.
1 Esther Jackson.The Synthetic Myth.From Ed.By Brenda Murphy,Laurie J.C.Cella.Twentieth Century American Drama:Critical Concepts in Literary and Cultural Studies.New York:Routledge.2006.p.192.
1 别林斯基.别林斯基选集·第2卷.上海:上海译文出版社,1980年.第96页.
2 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.pp.355-356.
3 Esther Jackson.The Broken World of Tennessee Williams.Madison:Univ.of Wisconsin Press,1965.ⅹ.
1 迷幻海峡是加拉帕戈斯群岛的一部分。
2 参见Joel Daniel Worden.The Galapagos in American Consciousness:American Fiction Writers'Responses to Darwinism.Delaware:University of Delaware.2005(Summer).
3 罗德·霍顿.美国文学思想背景.房炜等译.北京:人民文学出版社,1991年.第179页.
1 Hesse,Mary.B.Revolutions and Reconstructions in the Philosophy of Science.Bloomington..Indiana UP,1980.186.
2 引自达尔文《贝格尔号航行日记》(The Voyagc of the Beagle)英文原版电子书第17章,全文可见网站:http://www.literature.org/authors/darwin-charles/the-voyage-of-the-beagle/chapter-17.html
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.p.357.
2 Herman Melville.Great Short Works of Herman Melville.Ed.Warner Berthoff.New York:Harper.1969.p.106.
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.2.New York:New Directions Publishing Corporation,1991.p.421.
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.p.357.
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.pp.421-422.
2 奥西里斯是被宇宙之神塞斯(Seth)肢解成14块,并抛尸荒野。他的姐姐也是他的妻子伊西丝(Isis)找到了他其中身体的十三块,但是第十四块,也就是奥希里斯的生殖器却被鱼给吞食了。因此,奥希里斯虽然是丰产之神,但是却没有男性的生殖力。
3 阿蒂斯是西布莉(Cybele)女神的儿子,力大无比,众神畏惧,设计杀之,干刀万剐,毁灭其体。血染之地,生出一株杏树。河神之女娜娜(Nana),采食此树所结之杏,怀孕生子。她弃子于林中,由山羊养育,后日又为牧童收养,长大成人,秀美绝伦,这就是复生的阿蒂斯。恰巧他的前生母亲西布莉一见钟情,但他却爱上了当地国王的女儿,拒绝圣母的迷恋。圣母痛苦失恋,肝肠寸断。千方百计寻机陷害阿蒂斯,日夜追逐不休,使得阿蒂斯神经错乱,在梁松树下自行去势,流血致死。有评论者认为塞巴斯蒂安与文柏夫人的原型就是阿蒂斯神话中的阿蒂斯与圣母西布莉。
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.p.414.
2 安托南·阿尔托.残酷戏剧——戏剧及其重影.桂裕芳译.北京:中国戏剧出版社,1993.p.4.
3 乔治·巴塔耶.色情、耗费与普遍经济.汪民安编译.长春:吉林人民出版社,2003.p.18.
1 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.pp.415-418.
1 诺思罗普·弗莱.批评的剖析.陈慧等译.天津:百花文艺出版社,1998年.第167,170页.
2 Tennessee Williams.The Theatre of Tennessee Williams·Vol.3.New York:New Directions Publishing Corporation,1991.p.349.
3 Anthony S.Mercatante.The Magic Garden:The Myth and Folklore of Flowers,Plants,Trees,and Herbs.New York:Harper,1976.p.70.
1 弗洛伊德.梦的解析.英文影印本.北京:中国社会科学出版社.1999年.第353页.
亦参考弗洛伊德.弗洛伊德文集·第一卷.车文博主编.长春:长春出版社,1998年.第550页.
1 关于田纳西·威廉斯对安托南·阿尔托的接受关系,本文不再赘言。参见Annette J.Saddik."The inexpressible regret of all her regrets":Tennessee Williams's later plays as Artaudian theatre of Cruelty.From Ed.By Brenda Murphy,Laurie J.C.Cella.Twentieth Century American Drama:Critical Concepts in Literary and Cultural Studies.New York:Routledge.2006.pp.259-309.
2 安托南·阿尔托.残酷戏剧——戏剧及其重影.桂裕芳译.北京:中国戏剧出版社,1993.第27页.
1 Degler C N..Out of our past.New York:Harper & Row Publishers,Inc.,1984.pp.16-7.
2 转引自端木义万.美国社会文化透视.南京:南京大学出版社,1999年.第53页.
1 Don B.Wilmeth,Christopher Bigsby Ed..The Cambridge History of American Theatre.Vol.Ⅱ.(1870-1945).Cambridge University Press,1998.pp.387-8.
2 H.Clews.Individualism verus Socialism.New York,1907.pp.1-3.
转引自史蒂文·卢克斯.个人主义.阎克文译.南京:江苏人民出版社,2001年.第28页.
1 Arieli.Individualism and Nationalism in American Ideology.Cambridge,Mass.,1964.pp.345-6.
2 托克维尔.论美国的民主.董果良译.北京:商务印书馆,1991年.第525-6页.
3 David M.Schneider & Reymond T.Smith.Class Differences and Sex-Roles in American Kinship and Family Structure.Englewood Cliffs,N.J:Prentice-Hall,1973.p.24.
4 Ken Mandelbaum.A Chorus Line and the Musicals of Michael Bennett.New York:St.Martin's Press,1989.p.289.
1 参见维基百科网址:http://en.wikipedia.org/wiki/A_Chorus_Line
2 转引自史蒂文·卢克斯.个人主义.阎克文译.南京:江苏人民出版社.2001年.第7、9页.
3 托克维尔.论美国的民主.董果良译.北京:商务印书馆,1991年.第627页.
1 罗伯特·N·贝拉等.心灵的习性.美国人生活中的个人主义和公共责任.崔宏彪、周穗明等译.北京:三联书店,1991年.第214-5页.
2 Alan Trachtenberg.The Incorporation of American:Culture and Society in the Gilded Age.New York:Hill and Wang,1982.p.5.
3 大卫·理斯曼等.孤独的人群.王崑,朱虹译.南京:南京大学出版社,2002年.第18页.
亦参见弗雷德里克·杰姆逊.后现代主义与文化理论.唐小兵译.西安:陕西师范大学出版社,1987年.第46-7页.
1 Don B.Wilmeth,Christopher Bigsby.The Cambridge History of Americcm Theatre·VoI.Ⅲ.Cambridge:Cambridge University Press.2000.p.104.
2 Harold Clurman.The House of Blue Leaves.The Nation 212.9(Mar.1,1971):p.285.
1 Kew Gardens:英国皇家园林。
2 Astoria:意为Astor住的地方,以John Jacob Astor的名字命名,约翰·约伯·阿斯托是德国裔美国人,做毛皮生意的资本家。在他1849年逝世时,其资产超过了2000万美国。按照最近的福布斯排行,如果换算成07年的美元,其资产达到了1150亿美元,这使他成为了美国历史上排行第四的最有钱的富豪。
3 El Dorado:黄金国埃尔多拉多,理想中的黄金国,传说中的宝山。
4 the Alhambra:西班牙著名故宫,中世纪摩尔人在西班牙建立的格拉纳达王国的皇宫。阿尔汗布拉意为“红堡”。
5 "Introduction" In John Guare.The House of Blue Leaves and Chaucer in Rome.Woodstock & New York:The Overlook Press,2002.pp.3-4.
6 "Introduction" In The House of Blue Leaves and Chaucer in Rome.Woodstock & New York:The Overlook Press,p.4.
7 Harold Clurman.The Nation 212.9(Mar.1,1971):p286.
1 http://en.wikipedia.org/wiki/Black_comedy
2 Patricia Bosworth.Yes for a Young Man's Fantasies.New York Times 7 March 1971,sec.2:12.对古厄尔戏剧文体的归类,评论者认为古厄尔的作品在滑稽笑剧、黑色喜剧与哥特戏剧之间波动。(Black Comedy of John Guare,p.11)笔者认为,滑稽笑剧和哥特戏剧都各自揭示了古厄尔戏剧风格的一极。滑稽笑剧忽略了剧中阴郁的哥特风格,而哥特戏剧则不能涵盖其戏剧中的滑稽成分。“笑剧”是古厄尔自己对作品的文体命名,但古厄尔对笑剧的内涵做了再界定,扩展了该形式的边界。古厄尔所指的“笑剧”与“黑色喜剧”的内涵相近,故最为恰当。
3 Gene A.Plunka.The Black Comedy of John Guare.Newark:University of Delaware Press,2002.p.15.
1 Daryl Chin.From Popular to Pop:The Arts in/of Commerce.Performing Arts Journal 37:p.9.
2 John Guare.The House of Blue Leaves and Chaucer in Rome.Woodstock & New York:The Overlook Press,2002.p.74.
3 John Guare & John L.DiGaetani.A Search for a Postmodern Theater:Interviews with Contemporary Playwrights.Westport:Greenwood Press,1991.
4 "Introduction" In The House of Blue Leaves and Chaucer in Rome.Woodstock & New York:The Overlook Press,p.6.
1 The House of Blue Leaves and Chaucer in Rome.p.25.
2 The House of Blue Leaves and Chaucer in Rome.p.41.
3 Samuel J.Bernstein.The Strands Entwined:A New Direction in American Drama.Boston:Northeastern UP,1980.p.48.
1 The House of Blue Leaves and Chaucer in Rome.p.21.
2 The House of Blue Leaves and Chaucer in Rome.p.21-2.
3 The House of Blue Leaves and Chaucer in Rome.p.65.
1 The House of Blue Leaves and Chaucer in Rome.p.53.
2 Gautam Dasgupta."John Guare".American Playwrights:A Critical Survey.Ed.Bonnie Marranca and Gantam Dasgupta.Vol.1.New York:Drama Book Specialists,1981.p.47.
3 Gene A.Plunka.The Black Comedy of John Guare.Newark:University of Delaware Press,2002.p.15.
1 转引自 Daryl Chin.From Popular to Pop.The Arts in/of Commerce:Mass Media and the New Imagery.Performing Arts Journal,Vol.13,No.1(Jan.,1991),p.13.
2 Harold Clurman.The Nation 212.9(Mar.1,1971):p256.
1 John Guare & John L.DiGaetani.A Search for a Postmodern Theater:Interviews with Contemporary Playwrights.Westport:Grcenwood Press,1991.
2 Harold Clurman.The Nation 212.9(Mar.1.1971):p286.
3 肯·凯西是美国著名的小说家,其代表作《飞跃疯人院》(Flew Over the Cuckoo's Nest)后被改编成同名电影获多项奥斯卡金奖.使其闻名遇迩。《飞跃疯人院》的故事也应和了反精神病运动的观点。
4 Frank Rich.The House of blue Leaves.The New York Times.(Match 20,1986,Thursday).
1 Carol A.B.Warren.Sociology of Health and Illness-Insanity:The Idea and its Consequences.Contemporary Sociology,Vol.17,No.2.(Mar.,1988),pp.235-236.
2 John Guare & John L.DiGaetani.A Search for a Postmodern Theater:Interviews with Contemporay Playwrights.Westport:Creenwood Press,1991.
3 Gautam Dasgupta.John Guare.in American Playwrights:A Critical Survey.vol.1,ed.Bonnie Marranca and Gautam Dasgupta(New York:Drama Book Specialists,1981).p.42.
1 Lloyd Rose.A New American Master.Atlantic Monthly,March 1984.p.121.
2 The House of Blue Leaves and Chaucer in Rome.p.27.
1 The House of Blue Leaves and Chaucer in Rome.p.46.
2 Gene A.Plunka.The Black Comedy of John Guare.Newark:University of Delaware Press,2002.pp.16-17.
1 The House of Blue Leaves and Chaucer in Rome.p.31.
2 The House of Blue Leaves and Chaucer in Rome.p.26.
3 The House of Blue Leaves and Chaucer in Rome.p.29.
4 The House of Blue Leaves and Chaucer in Rome.p.33.
5 The House of Blue Leaves and Chaucer in Rome.p.85.
1 Tad Friend.The Guare Facts.Vogue,Match 1992.p.328.
2 Gene A.Plunka.The Black Comedy of John Guare.Newark:University of Delawate Press,2002.p.14.
1 克里斯多夫·拉斯奇.自恋主义文化.陈红雯、吕明译.上海:上海文化出版社,1988年.第8页.
2 周维培.当代美国戏剧史(1950-1995).南京:南京大学出版社,1999年.第235页.
3 阿瑟·密勒.外国当代剧作选·第4卷.郭继德等译.北京:中国戏剧出版社,1992年.第11页.
1 Richard Gottlieb."The Engine' That Drives Playwright David Mamet.New York Times.January 15~(th),1978.p.D4.
2 David Mamet.Writing in Restaurants.London.1988.p.27.
3 比格斯比(C.W.E.Bigsby).1945-2000年的现代美国戏剧(英文影印本Modern American Drama:1945-2000).北京:外语教学与研究出版社,2006年.第213页.
4 Jack V.Barbera.Ethical Perversity in America:Some Observations on David Mamet's American Buffalo.Modern Drama 24.3(1981):p.270.
1 David Mamet.American Buffalo.New York:Grove Press.1976.p.25.
1 Robert Brustein.Three Views of America.The Third Theatre.New York:Simon and Schuster,1970.p.54.
2 Arthur Kopit.Indians.Hill and Wang,New York,1969.p.9.
3 以上内容主要来自互联网Google检索,关键词“Buffalo Nickel”,主要网址为:www.goldmountainmining.com/inbufnic.html.wwwen.wikipedia.org/wiki/James_Earle_Fraser_(sculptor)
1 Christopher Bigsby.The Cambridge Companion to David Mamet.Cambridge University Press,2004.p.70.
2 M.Weber.TheMeaning of 'Ethical Neutrality'in Sociology and Economics.In M.Weber on the Methodology of the Social Sciences.p.44.
转引自史蒂文·卢克斯.个人主义.阎克文译.南京:江苏人民出版社,2001年.第84-5页.
3 Matthew Roudane.Something Out of Nothing.In Leslie Kane,ed,,.David Mamet in Conversation.(Ann Arbor:University of Michigan Press,2001).pp.46-7.
1 David Mamet.American Buffalo.New York:Grove Press.1976,p.22.
2 Wilmeth,Don B & Miller,Tice L.,ed.Cambridge Guide to American Theatre.Cambridge:Cambridge University Press,1993.p.36.
3 周维培.当代美国戏剧史(1950-1995).南京:南京大学出版社,1999年.第244页.
1 比格斯比(C.W.E.Bigsby).1945-2000年的现代美国戏剧(英文影印本Modern American Drams:1945-2000).北京:外语教学与研究出版社,2006年.第215-6页.
2 David Mamet.American Buffalo.New York:Grove Press.1976,p.148.
3 Michael Billington.Dream Sequence:David Mamet talks to Michael Billington.The Guardian,16 Feb..1989.
4 Michael Billington.Dream Sequence:David Mamet talks to Michael Billington.The Guardian,16 Feb..1989.
1 Peter Conn.Literature in American.New York:Cambridge University Press,1989.p.449.
2 岳西宽、张卫星编译.美国历届总统就职演说.北京:中央编译出版社,1995年.第258页.
3 岳西宽、张卫星编译.美国历届总统就职演说.北京:中央编译出版社,1995年.第272页.
4 Theodore W.Hassan.Contemporary American Literature,1947-1972.New York:Frederick Ungar Publishing Co.Inc.,1973.p.40.
5 Peter Conn.Literature in American.New York:Cambridge University Press,1989.p.447.
6 克里斯多夫·拉斯奇.自恋主义文化.陈红雯、吕明译.上海:上海文化出版社,1988年.第70页.
1 崔西·莱茨是美国著名的电影、电视、舞台剧演员,以及电影和舞台剧编剧。1965年7月出生于美国南方俄克拉荷马州塔尔萨的一个艺术氛围浓厚的家庭。父亲丹尼斯·莱茨是演员兼教授,母亲比莉曾是著名的畅销书作家,哥哥肖恩是作曲家和爵士音乐家。从小受到了家庭熏陶的莱茨,在俄克拉荷马州的杜兰特上完高中之后,就外出闯荡,曾做过电话销售员和临时戏剧演员。20岁时莱茨定居芝加哥,他先后加入了芝加哥的实验剧场——名门剧社和荒原狼剧场,参演过15部戏剧和13部电影,这帮助他积累了丰富鲜活的舞台经验,并为以后从事戏剧和电影编剧奠定了实践基础。1993年以来,莱茨先后创作完成了5部戏剧《杀手乔》(Killer Joe,1993)、《来自内布拉斯加州的男人》(Man from Nebraska,2003)、《虫卵》(Bug,2004)、《八月:奥色治郡》(August:Osage County,2007)、《上等油炸圈饼》(Superior Donuts,2008),及1部由同名剧本改编的电影脚本《虫卵》(Bug,2007)。莱茨的《来自内布拉斯加州的男人》曾在04年最后入围普利策戏剧奖,但最后无功而返。
2 Chris Jones.'August' is only more intense as it opens on Broadway.Chicago Tribune Theatre Critic.Dec.5,2007.网络电子版:http://www.chicagotribune.com/features/magazine/chi-080224augustnyc-story,0,7005888.story
3 Melissa Rose Bernardo.August:Osage County.Entertainment Weekly.Dec 11,2007.
4 Richard Zoglin.Tracy Letts:August's Family Guy.Time Entertainment.Thursday,Jun.12,2008.网络电子版见http://www.time.com/time/magazine/article/0,9171,1813991,00.html
1 Interview:Pulitzer Winner Tract Letts Explains Why Bug Deserves Another Look.网络电子版:http://hermitosis.blogspot.com/2008/05/pulitzer-winner-tracy-letts-on-his.html
2 转引自Hilton Als.Family Planning:Tract Letts and Aaron Sorkin on irreconcilable differences.The New Yorker.Dec.24,2007.网络电子版见:http://www.newyorker.com/arts/crities/theatre/2007/12/24/071224crth_theatre_als
3 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.11.
1 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.38,p.41.
2 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.36.
3 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.53.
1 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.92.
1 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.pp.25-6.
2 利波维茨基.空虚时代:论当代个人主义(方仁杰,倪复生译).北京:中国人民大学出版社,2007年.第66页.
3 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.133.
4 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.89.
1 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.113.
2 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2005.p.27.
1 http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/theatre/article5324292.ece
2 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.45.
3 Teacy Letts.August:Osage County.New York:Theatre Communications Group,2008.p.138.
4http://www.telegraph.co.uk/culture/theatre/3563234/Augnst-Osage-County,-the-first-great-American-play-of-the -century.html
1 黑格尔.小逻辑.贺麟译.北京:商务印书馆,1980年.第279-280页.
2 斯狄丛.现代戏剧理论(1880-1950).王建译.北京:北京大学出版社,2006年.第7页.
3 斯狄丛.现代戏剧理论(1880-1950).王建译.北京:北京大学出版社,2006年.第72页.
1 详见斯狄丛.现代戏剧理论(1880-1950).王建译.北京:北京大学出版社,2006年.第72页.
1 周宁.西方戏剧理论史.厦门:厦门大学出版社,2008年.第1056-1057页.
2 Performing Arts Journal.Fall,1977.p.20.
转引自周宁.西方戏剧理论史.厦门:厦门大学出版社,2008年.第1055-1056页.
1 Edward Albee.The Plays·Vol.2·Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.2.
2 Edward Albee.The Plays Vol.2 Introduction to Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.1.
3 Gerald Weales.A Review of Box and Quotations from Chairman Mao Tse-Tung.Commonweal,Vol.LⅩⅩⅩⅨ,No.4,October 25,1968.p.120.
4 Anthony West.Theatre,Vogue 152(15 November 1968):92.
1 Henry Hewes.Woman Overboard.Saturday Review 51.23 March 1968:34.
2 Anonymous.Dead Space.Time 92(11 October 1968):73.
3 Jack Kroll.Inside the Cube.Newsweek 71(18 March 1968):109,110.
4 Jack Kroll.Leaping Lizards.Newsweek 85(10 February 1975):75.
5 Ruby Cohn.Albee's Box and Ours.Modern Drama 14(September 1971):137-43.Bigsby.Albee,pp.151-64.
6 Edward Albee.The Plays·Vol.2·Box and Ouotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.1.
7 尼采.悲剧的诞生.周国平译.北京:三联书店,1986年.第24-25页.
8 尼采.悲剧的诞生.周国平译.北京:三联书店,1986年.第30页.
1 Edward Albee.The Plays ·Vol.2·Introduction to Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.1.
2 Edward Albee.The Plays ·Vol.2·Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.3.
3 Edward Albee with Jeffrey Goldman.An Interview with Edward Albee.From Studies in American Drama.1945-Present,Vol.6,No.1,1991,p.64.
1 维特根斯坦.《逻辑哲学论》结尾:转引自毛峰.神秘主义诗学.北京:三联书店,1998年.第298页.
1 Edward Albee.The Plays · Vol.2 · Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.pp.5-10.
1 Richard Farr.Edward Albee Playwright Interview.The Progressive 60.n8.August 1996.p.39.
2 Edward Albee.Preface to The American Dream.New York.1961.p.8.
3 Marisa Helms.The Milk Spiller.Minnesota Public Radio.June 4,1999.参见明尼苏达州公共广播电台网址:http://news.minnesota.publicradio.org/features/199906/04_helmsm_milk-m/
1 Anita M.Stenz.Edward Albee:the Poet of Loss.New York:Mouton Publishers The Hague,1978.p.89.
2 Edward Albee.The Plays · Vol.2 · Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.15.
3 巴赫金.陀思妥耶夫斯基诗学问题.白春仁、顾亚铃译.第58页.见《巴赫金文集·诗学与访谈》.石家庄:河北教育出版社,1998.
4 Edward Albee with Jeffrey Goldman.An Interview with Edward Albee.in Studies in American Drama,1945-Present,Vol.6,No.1,1991.p.64.
1 Richard E.Amacher.Edward Albee.New York:Date Published,1969.pp.157-155.
2 Edward Albee.The Plays · Vol.2 · Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.45.
1 Anita M.Stenz.Edward Albee:the Poet of Loss.New York:Mouton Publishers The Hague,1978.p.110.
2 C.W.E.Bigsby.Albee.New York:Chip's Bookshop,1978.p.160.
1 Gilbert Debusscher.Edward Albee:Tradition and Renewal.Translated from the French by Anne D.Williams.Mcmlixix:Center for American Studies Brussels,1967.p.32.
2 Bai Niu.The Power of Myth:A Study of Chinese Elements in the Plays of O'Neill,Albee,Hwang,and Chin.Boston University,1995.pp.78-79.
3 Edward Albee.The Plays · Vol.2 · Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.22.
1 周宁编注.孔教乌托邦.北京:学苑出版社,2004年.第221页.
1 见Edward Albee.The Plays · Vol.2 · Box and Quotations from Chairman Mao Tse-tung.New York:Atheneum.1985.p.6,p.71,p.42,p.44,p.45.
1 C.W.E.Bigsby.Albee.New York:Chip's Bookshop,1978.p.154.
2 尼采.悲剧的诞生.周国平译.北京:三联书店,1986年.第74页.
1 Ruby Cohn.Edward Albee.Minneapolis:University of Minnesota Press,1969.p.6.
2 Edward Albee,Philip C.Kolin.Conversation with Edward Albee.Jackson:University Press of Mississippi,1988.p.13.
1 Huntington,Samuel P..Who Are We?.New York:Simon & Schuster,2004.p.68.
1 Nietzsche Frederick.On Truth and Falsity in Their Ultramoral Sense.Oscar Levy.The Complete Works of Frederick Nietzche.Translated by Maximilian A.Magge.New York:Gordon Press,1974.180.
2 道格拉斯·凯尔纳.媒体文化——介于现代与后现代之间的文化研究、认同性与政治.丁宁译.北京:商务印书馆,2004年.p.100.
3 William James.The Social Value of the College-Bred.Essays,Comments.and Reviews.Cambridge,Mass,.Harvard University Press,1987.p.109.
1 Israel Zangwill.The Melting Pot Drama in Four Acts.Kessinger Publishing,,2005.p.33.
1 Nick Aaron Ford,The Contemporary American Novel(Boston:Meador Publishing Co.1936).pp.96-7.
2 Haeold R.Issacs.Idols of the Tribe:Group Identity and Political Change.Cambridge,Mass:Harvard Univerisity Press,1989.pp.85-86.
3 周维培.当代美国戏剧史(1950—1995).南京:南京大学出版社.1999年,第186-7页.
4 Benston K.W.Imanmu Amiri Baraka(LeRoi Jones):a Collection of Critical Essay.New Jersey:Prentice-Hall Inc..1978.p.95.
1 Benston,Kimberly W.Baraka:The Renegade and the Mask.New Haven:Yale University Press,1976.149
2 A.Robert Lee.Imamu Amiri Baraka..American Drama.Ed.Clive Bloom.New York:St.Martin's Press,1995.p.97.
3 W.E.B.Dubois.Randall Kenan.The Souls of Black Folk:With a New Introduction by Randall Kenan.New York:Signet Classic,1995.pp.45-6.
1 Houston Baker.The Journey Back:Issues in Black Literature and Culture.Chicago:University of Chicago Press,1980.p.106..
1 Larry Neal.The Black Arts Movement.Drama Review 12.4(Summer 1968).p.29.
2 LeRoi Jones.Home:Social Essays.Morrow,1966.p.230.
3 Wallace,Michele.Black Macho and the Myth of the Superwoman.London:Verso,1978.p.30.
1 C.W.E Bigsby.The Second Black Renaissance:Essays in Black Literature.Westport,Connecticut:Greenwood Press.1980.p.239.
2 Amid Baraka.Dutchman and The Slave.New York:Morrow Quill Paperbacks,1964.p.2.
3 弗朗兹·法农.黑皮肤,白面具.万冰译,南京:译林出版社,2005年.第2页。
4 弗朗兹·法农.黑皮肤,白面具.万冰译,南京:译林出版社,2005年.第4页。
1 Stokely Carmichael.Stokely Speaks:Black Power to Pan-Africanism,New York:Random House,1971.p.36.
2 Amiri Baraka.Dutchman and The Slave.New York:Morrow Quill Paperbacks,1964.p.9.
3 弗朗兹·法农.黑皮肤,白面具.万冰译,南京:译林出版社,2005年.第46页.
4 Sherley Anne Williams.Baraka,Imamu Amiri 1934-:Critical Essay.From Literature Criticism Series.Thomson Gale.
5 Amiri Baraka.Dutchman and The Slave.New York:Morrow Quill Paperbacks,1964.p.20-1.
1 Gilles Deleuze.Coldness and Cruelty.Urzone,Inc,1989.p.21.
2 Matthew Rebhorn.Flaying Dutchman:Masochism,Minstrelsy,and the Gender Politics of Amiri Baraka's Dutchman.Callaloo-Volume 26,Number 3,Summer 2003.p.796.
3 Amid Baraka.Dutchman and The Slave.New York:Morrow Quill Paperbacks,1964.p.13.
1 Amiri Baraka.Dutchman and The Slave.New York:Morrow Quill Paperbacks,1964.p.27-9.
1 Louis phillips.LeRoi Jones and Contemporary Black Drama.in The Black American Writer.edited by C.W.E.Bigsby,vol.Ⅱ,Poetry and Drama,1969.
2 George R.Adams.Black Militant Drama.American Imago,Vol.28,No.2,1971.
3 弗朗兹·法农:《黑皮肤,白面具》,万冰译,南京:译林出版社,2005年,第55页。
1 Amiri Baraka:Raise,Race.Rays,Raze:Essays Since 1965,New York:Random,1971,p.249.
2 Amiri Baraka:Raise,Race,Rays,Raze:Essays Since 1965,New York:Random,1971.p.242.
3 Hurston A.Baker,Jr.,The Journey Back:Issues in Black Literature and Criticism.p.6.
1 Howard Fast.Contemporary Authors Online.Detroit:Gale.Literature Resources from Gale.
1 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.p.5.
1 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.p.56.
2 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.pp.89-90.
1 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.p.57.
2 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.pp.59-60.
3 Howard Fast.Thirty Pieces of Silver:A Play in Three Acts.New York:The Blue Heron Press,1954.p.31.
1 圣经.可14:10-11;路22:3-6.
2 Eric Bentley.The Missing Communist.1956:rpt.What Is Theatre? New York:Atheneum,1968.p.313.
3 阿瑟·密勒,郭继德:《访阿瑟·密勒》,《外国文学》1987年(5).
1 纳尔逊·曼弗雷德·布莱克.美国社会生活与思想史·上册.许季鸿译.北京:商务印书馆,1994年.第107页.
另见Robert A.Martin.Arthur Miller's the Crucible backgrounds and Sources.Modern Drama 20(1977):280.
2 Brooks Atkinson.The Crucible.New York Times,1 February 1953:sec.2,1.
3 Dennis Welland.Arthur Miller.New York,1961.p.74.
1 Robert A.Martin.Arthur Miller's the Crucible backgrounds and Sources.Modern Drama 20(1977):279.
2 阿瑟·密勒.外田当代剧作选·第4卷(阿瑟·密勒卷).梅绍武等译.北京:中国戏剧出版社,1992年.第183-184页.
3 郭继德.美国戏剧史.郑州:河南人民出版社,1993年.第316页.
4 阿瑟·密勒.外国当代剧作选·第4卷(阿瑟·密勒卷).梅绍武等译.北京:中国戏剧出版社,1992年.第291页.
1 C.W.E Bigsby ed.The Cambridge Companion to Arthur Miller.London:Cambridge University Press,1997.p.98.
1 阿瑟·密勒.外国当代剧作选·第4卷.阿瑟·密勒卷.梅绍武等译.北京:中国戏剧出版社,1992年.第308页.
2 参见《二十世纪对<炼狱>的评价》,第12页。
转引自郭继德.美国戏剧史.郑州:河南人民出版社,1993年.第329页.
3 特里·伊格尔顿.甜蜜的暴力——悲剧的观念.方杰、方宸译,2007年.第141-2页.
4 拉雷恩.意识形态与文化身份:现代性和第三世界的在场.戴从容译.上海:上海教育出版社,2005年.第 140页.
1 本剧皆引自Tony Kushner.Angels in American.A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.译文参考了东尼·库许纳.美国天使:一个讨论全国性议题的同性恋幻想曲.孙忆南译.台北:时报文化出版企业有限责任公司,1996年.
2 Tony Kushner,Robert Vorlicky.Tony Kushner in Conversation.Ann Arbor:University of Michigan Press.1998.p.1.
3 Ten Questions for Tony Kushner.The New York Times.June 4,2004.网络电子版见:http://www.nytimes.com/2004/06/04/readersopinions/kushner-questions.html?pagewanted=1&ei=5070&en=5d415f2b8056de5f&ex=1231563600
1 《美国天使》的《千禧年近了》获1990年肯尼迪中心新美国戏剧基金会奖(Kennedy Centre Fund for New American Plays),1991年湾区戏剧评论家奖最佳戏剧(Bay Area Drama Critics Award for Best Play),1991年国家艺术俱乐部约瑟夫·凯塞林奖(National Arts Club Joseph Kesselring Award),1992年伦敦子夜标准奖最佳新晋戏剧(Evening Standard Award for Best New Play),1992年伦敦戏剧评论家奖最佳新晋戏剧(London Drama Critics Circle Award for Best New Play),1993年戏剧桌奖最佳剧作,1993年纽约戏剧评论界奖最佳戏剧,1993年普利策奖戏剧奖,1993年托尼奖最佳戏剧。而《重建》则获1990年肯尼迪中心新美国戏剧基金会奖,1992年洛杉矶戏剧评论家奖最佳新晋戏剧(Los Angeles Drama Critics Circle Award for Best New Play),1994年戏剧桌杰出剧作奖,1994年托尼奖最佳戏剧奖。
2 Jack Kroll.Heaven and Earth on Broadway.Newsweek.6 December.1993.p.83.
3 Frank Rich.Critic's Notebook:The Reaganite Ethos,With Roy Cohn As a Dark Metaphor.New York Times.5March.1992.C15.
1 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.47.
2 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.96.
3 Robinson,Gerard.Activism Through Art.New York Blade,2 July 2004:10.
4 Denver Post.AIDS a Leading Killer by '91.June 13.1986.p.1A.
5 David Blake.The Plague Years.Part 1.Rolling Stone.March 23.1985.p.50.
6 Daniel M.Fox.AIDS and the American Health Polity:The History and Prospects of a Crisis of Authority.The Milbank Quarterly.Vol.64,Supplement 1.1986.p18.
1 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.pp.241-242.
2 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.32.
1 Stephen J.Bottoms.Re-staging Roy:citizen Cohn and the search for Xanadu.Theatre Journal.48.2(May 1996):p157.
2 前期同性恋戏剧中弥漫着感伤主义的情调,像兰福德·威尔逊的《疯癫的伯莱特小姐》(The Madness of Lady Bright,1964)、罗伯特·帕特里克(Robert Patrick)的《游荡的主人》(The Haunted Host,1964)和马特·克劳利(Mart Crowley)的《圈子里的哥儿们》(The Boy in the Band,1968)等,这些作品中同性恋者无法对自身的性取向产生认同,外在意识形态对同性恋的排斥和厌恶,内化进了他们的意识,他们都表现出不同程度的“恐同症”或者“厌同症”,强大的社会压力剥夺了他们言说自我的权力,他们只能自怨自艾,自我抑制,对自身的性取向难以启齿。通过这种“怨妇”型的人物,前期的同性恋戏剧从侧面表现了所谓民主自由社会的虚伪性。
3 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.62.
4 Jeffrey Hart.The Autobiography of Roy Cohn.National Review.April 29,1988.p44.
1 Jonathan Freedman.Angels,Monsters,and Jews:Intersections of queer and Jewish Identity in Kushner's Angles in America.PMLA113(1998):pp.90-102.From Ed.By Brenda Murphy,Laurie J.C.Cella.Twentieth Century American Drama:Critical Concepts in Literary and Cultural Studies ·Vol.Ⅳ.New York:Routledge.2006.p.306.
2 歌德.歌德自传——诗与真(刘思慕译).北京:人民文学出版社,1983年.第837页.
3 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.221.
4 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.64.
1 Anonymous.www.americanfascistmovement.com/afmstore.5 February 2005.
2 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.118.
1 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.51.
2 James Fislaner.Understanding Ton),Kushner.Columbia,SC:University of South Carolina Press,2008.p.2.
3 John Lahr.After Angels.The New Yorker.3 Jan.2005:pp.42-52.
4 Robert H.Vorlicky,ed..Tony Kushner in Conversation.Ann Arbor:University of Michigan Press,1998.p.278.
1 Robert H.Vorlicky,ed..Tony Kushner in Conversation.Ann Arbor:University of Michigan Press,1998.p.218.
2 梁工、赵复兴.凤凰的再生:希腊化时期犹太文学研究.北京:商务印书馆,2000年.第23页.
3 Jacques Derrida.The Rhetoric of Drugs:An Interview.Trans.Michael Israel,differences 5(Spring,1993):p.5.
4 Richard Dellamora.Apocalyptic Overtures:Sexual Politics and the Sense of an Ending.New Brunswick,N.J.:Rutgers UP,1994.p.28.
5 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.170.
1 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.pp.250-251.
2 圣经·创世纪·32。
3 Bernard McGinn.Visions of the End:Apocalyptic Traditions in the Middle Ages.Columbia University Press,1998.
1 Tony Kushner.Angels m American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.98.
2 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.pp.22-24.
3 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.pp.178-179.
1 本雅明.历史哲学论纲.见汉娜·阿伦特编.启迪:本雅明文选(张旭东,王斑译).北京:三联书店,2008年.第276页.
2 本雅明.历史哲学论纲.见汉娜·阿伦特编.启迪:本雅明文选(张旭东,王斑译).北京:三联书店,2008年.第269页.
3 James Miller.Heavenquake:Queer Anagogies in Kushner's America.In Deborah R.Geis and Steven F.Kruger,ed..Approaching the Millennium:Essays on Angels in America.Ann Arbor:The University of Michigan Press.1997.p.68.
1 本雅明.历史哲学论纲.见汉娜·阿伦特编.启迪:本雅明文选(张旭东,王斑译).北京:三联书店,2008年.第267页.
2 Susan Knabe.History and AIDS in Was and Angels in America.Extrapolation.49.2(Summer 2008):p214.
3 同性恋对异性恋者的称呼。
1 Len Richmond & Gary Noguera ed..The Gay Liberation Book:Writings and Photographs on Gay(Men's)Liberation.San Francisco:Ramparts Press,1973.p.258-9.
2 Tony Kushner.Angels in American,A Gay Fantasia on National Themes.New York:Theatre Communications Group,Inc..2003.p.16.
3 王尔德.社会主义制度下人的灵魂.选自《王尔德全集·评论随笔集》.杨东霞、杨烈等译.北京:中国文学出版社,2000年.第302页.
1 David Gelernter.Americanism:The Fourth Great Western Religion.New York:Doubleday.2007.
2 Albert K.Weinberg.Manifest Destiny:A Study of Nationalist Expansionism inAmerican History.Baltimore:John Hopkings,1935.pp.144-145.
3 Frederick Merk.Manifest Destiny and Mission in American History A Reinterpretation.New York:Alfred A.Knopf,1963.
1 Alexander DeConde,ed,Encyclopedia of American Foreign Policy · Vol.2.New York:Charles Scribner's Sonsm,1978.pp.532-533.
2 Henry R.Luce.The American Century,1941.In The Ideas o fHenry Luce.Edited by John K.Jessup.New York:Atheneum,1969.p.107.
3 Sterling Johnson.Global Search and Seizure:the US National Interest and International Law.Sanjose:Brookfield,1994.p.5.
1 Mark Gerzon.A Choice of Heroes:The Changing Faces of American Manhood.Boston:Houghton Mifflin,1982.p.32.
2 Tania Modleski.Feminism Without Women:Culture and Criticism in a Postfeminist Age.New York:Routledge,1991.p.72.
1 Robert Asahina.The Basic Training of American Playwrights:Theater and the Vietnam War.Theater,9,No.2(1978),p.34.
2 杰拉尔德·伯克维茨.新百老汇:1950到1980年美国各地戏剧.1982.第137页.
转引自郭继德.美国戏剧史.郑州:河南人民出版社,1993.第375页.
1 David Rabe.The Vietnam plays · Vol.1.New York:Grove Press.1993,p.59.
1 David Rabe.The Vietnam plays· Vol.1.New York:Grove Press.1993,p.60.
2 David Rabe.The Vietnam plays· Vol.1.New York:Grove Press.1993,p.23.
3 David Rabe.The Vietnam plays· Vol.1.New York:Grove Press.1993,p.71.
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2 David Rabe.The Vietnam plays · Vol.1.New York:Grove Press.1993,pp.66-7.
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1 阿瑟·米勒.阿瑟·米勒论剧散文.罗伯特·啊·马丁编.陈瑞兰、杨淮生选译.北京:三联书店,1987年.第97页.
2 David Rabe.The Vietnam plays · Vol.1.New York:Grove Press.1993,p.28.
1 巴赫金.小说理论.白春仁、晓河译.石家庄:河北教育出版社.1998年,第358页.
2 David Rabe.The Vietnam plays · Vol.1.New York:Grove Press.1993,p.32.
3 David Rabe.The Vietnam plays · Vol.1.New York:Grove Press.1993,p.34-5.
1 http://en.wikipedia.org/wiki/The_Adventures_of_Ozzie_and_Harriet
1 David Rabe.The Vietnam plays · Vol.1.New York:Grove Press.1993,p.126.
2 David Rabe.The Vietnam plays · Vol.1.New York:Grove Press.1993,p.174.
3 Desmond Rushe.Ugly Face of Army Brutalisation,Rev.of Streamers by David Rabe.Irish Independent[Dublin]3 Oct.1978:7.
4 David Rabe.The Vietnam plays · Vol.1,New York:Grove Press,1993,p.104.
1 Nelson Pressley.Theater of the Unnerved:the Stage Took a Hit Sept.11.Is Fearless Programming the Answer?.Washington Post.25 November 2002.G1.
1 Ming-ming Shen Kuo.Review of The Guys.Library Journal.October 15.2002.pp.72-73.
2 转引自谢泼德研究网站:http://www.sam-shepard.com/godofhell.html(2008年7月27日)
1 http://www.curtainup.com/terrorismdc.html(2008年7月27日)
2 The Terror We Inflict on Others.The New York Times.May 29,2005.
3 信仰伊斯兰教义的阿富汗女人的传统服饰。
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3 John Heilpern.Kushner's Great Homebody/Kabul Is Our Best Play.in Last 10 Years.New York Observer 7January 2002:A1,A27.
4 Barbara D.Phillips.Devils in American Taliban Lunacy Foreshadowed.Wall Street Journal 21 December 2001:W9.
5 James Fisher Ed..Tony Kushner:New Essays on the Art and Politics of the Plays.Jefferson,North Carolina,and London.2006.p.173.
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1 M.Gimbutas.The Living Goddesses.Berkeley:University of California Press,1999.
2 Mary R.Lefkowitz.Women in Greek Myth.Bristol Classical Press,1995.
1 Tony Kushner.Homebody/Habul.New York:Theatre Communications Group,2002.pp.112-3.
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2 Tony Kushner.Homebody/Habul.New York:Theatre Communications Group,2002.p.73.
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1 Steve Bruce.The New Age and Secularisation,In Ed.by S.Sutcliffe & M.Bowman.Beyond New Age:Exploring Alternative Spirituality.Edinburgh:Edinburgh University Press,2000.p.229.
1 Watson Ian.Towards A Third Theatre-Eugenio Barba And the Odin Theatre.New York:Routledge,1993.p.22.
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2 Edward Albee.Which Theater Is the Absurd One?.New York Times Magazine,25 February 1962,p.64.
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