继承与转向——论露西·柯克伍德戏剧的女性书写  

Inheritance and Diversion:A Study of the Feminist Ideas in Lucy Kirkwood's Plays

作　　者：熊之莺 XIONG Zhiying

机构地区：[1]南京大学文学院

出　　处：《戏剧艺术》2020年第5期133-144,共12页Theatre Arts

摘　　要：露西·柯克伍德是英国千禧世代中少有的具有话语权的女性编剧。其创作以《中美》为界,前期剧作展现出较明显的女性主义思想,倾向将父权制作为万恶之源;后期则转向超越男/女二元对立、希冀两性和谐共存的新女性主义思想。柯克伍德前期创作从叙事结构到观念都受到以卡里尔·丘吉尔为首的英国1970年代女性主义剧作家的影响;后期开始尝试消解原有话语体系中与社会性别相关的所指,使“女人”回归为“人”。其与丘吉尔等人的不同可看作是身处各自社会背景下两代女性主义者间的差异。Lucy Kirkwood is one of the few millennial female playwrights with extensive influence in British theatre.With the creation of Chimerica,her career can be divided into two stages.The works of her early stage show an obvious feminist ideology that has a tendency to regard patriarchy as the source of all evils.In the later stage,she turned to the new feminism which transcends the male-female binary opposition and hopes for the harmonious coexistence of both sexes.Her early plays were influenced,both in the narrative structure and in the feminist ideas,by the British feminist playwrights of the 1970s led by Caryl Churchill.In the later works,she tried to eliminate the gender-related designatums in the original discourse system and restore‘woman’to‘human’.The difference between her and Churchill can be seen as the difference between two generations of feminists in their respective social contexts.

关 键 词：露西·柯克伍德 英国戏剧 女性主义戏剧 卡里尔·丘吉尔 

分 类 号：J80[艺术—戏剧戏曲]