摘要
亚裔剧作家黄哲伦的半自传体戏剧《黄面孔》以作者本人和父亲的真实经历为蓝本,旨在通过戏剧人物的身份政治和身份流变表达族群间平等和谐的愿望。本文通过族群操演性的理论概念来分析剧中亚裔身份的生成与流变,揭示亚裔标签的荒谬性以及亚裔身份的流动性与身份的断裂,并探讨作者在侗族大歌中寻找到的多元文化之间和谐共生的终极理想。
Yellow Face is a senti-autobiographical play by Asian-American playwright David Henry Hwang, written on the basis of Hwang and his father's true-life experiences. Yellow Face purports to deliver Hwang's ideal dream of harmonious intercultural relations through identity polities and the fluid identities of Asian- Americans represented in the play. Based on the theoretical framework of ethnic pefformativity, this essay probes into the performative process, the fluidity, and the rupture of Asian-American identity, revealing the absurdity of the label "Asian-Americans". It goes on to discuss an ideal and harmonious relationship in American multi-cultural society traced in the Dong chorus.
作者
张秋梅
Zhang Qiumei(School of Foreign Studies of Nanjing University;Nanjing University of Information Science and Technology)
出处
《戏剧艺术》
CSSCI
北大核心
2018年第5期92-99,共8页
Theatre Arts
基金
南京大学双一流重大项目"事件理论与当代欧美批评理论前沿"的阶段性成果.
关键词
《黄面孔》
族群操演性
亚裔身份流动性
身份断裂
Yellow Face
ethnic performativity
fluidity of Asian Americans
rupture of identity