摘要
美国剧作家山姆·谢泼德从知识分子的良知与正义出发,针对两次海湾战争创作了两部反战剧《震惊》(States of Shock,1991)和《地狱之神》(The God of Hell,2004)。这两部戏剧的情节都体现了微观权力的运作以及男权政治手段的具体运用。其内容,从家庭层面的父权制到国家层面的男权政治,从微观到宏观,证明了战争思维逻辑的荒谬,产生了令人震惊的艺术效果。值得注意的是,微观权力和男权政治作用于男女主人公身上所产生的效果是不同的,针对男性的规训与惩罚对女性不仅不起作用,而且还激起了女性以特有的方式进行反抗。因此,微观权力运作为基础,男权政治为特点,女性的反抗为亮点,这三个方面共同建构了谢泼德这两部戏剧的反战主题。
American playwright Sam Shepard out of conscience and justice as an intellectual created two anti-war plays States of Shock(1991) and The God of Hell(2004), which were respectively produced after the two Gulf Wars. Both of the plots of the two plays expose the operation of the micro-power and the practice of patriarchic politics. Their contents, evolving from the operation of patriarchy in a family to the function of patriarchic politics in a nation, proof that from microcosmic to macroscopic perspective the logic of warlike thought is absurd, and effect artistically the sense of shock. It is worth noting that results caused by micro-power and patriarchy are different. The act of discipline and punishment on men is effective, but it is not only in vain but also arouses resistance when on women. Micro-power, patriarchic politics and the resistance of women feature in the two political plays and construct their anti-war theme.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2021年第1期153-165,共13页
Drama:The Journal of the Central Academy of Drama
