诱惑与惶惑:《谁害怕弗吉尼亚·伍尔夫?》纳粹主义生命政治的戏剧张力构成  

Hallucination and Hesitation:the Dramatic Tension Constructed upon Nazi Biopolitics in Who's Afraid of Virginia Woolf?

作　　者：康雅丽 梁超群[2] KANG Yali;LIANG Chaoqun

机构地区：[1]华东师范大学外语学院 [2]华东师范大学美国研究中心

出　　处：《戏剧艺术》2020年第5期145-153,共9页Theatre Arts

摘　　要：阿尔比的著名剧作《谁害怕弗吉尼亚·伍尔夫?》的主题历来众说纷纭,其实阿尔比创作此剧的一个重要隐匿动机就是对于美国纳粹主义生命政治的批判。任何政治共同体中都存在生命政治运作,它本身也无所谓善恶。回头来看,纳粹主义生命政治是恶的极致,然在当时的历史语境中,许多个体生命因其隐蔽的蛊惑性而受到诱惑,而在感受到诱惑的同时,个体又会因为它的反人类性而感到惶惑。该剧作为一个巨大的艺术魅力之源,呈现了由人物的诱惑与惶惑这两种情感反应所构成的有效戏剧张力。Edward Albee's Who's Afraid of Virginia Woolf?has been much controversial in terms of its themes,many long-neglected textual fragments suggest that one of the playwright's secret motives behind his creation of this drama is to critique America's Nazi biopolitics.Any political community necessarily involves itself in some biopolitical operation and biopolitics is inherently neither good nor evil.In retrospect,Nazi biopolitics is biopolitics at its most wicked,but in its own times,many individuals are seduced by its hallucinatory discourse while hesitating to surrender to it because they viscerally feel its inhumanity.A major artistic merit of the play is its effective dramatic tension between such contradictory emotional responses in which the characters are caught.

关 键 词：阿尔比 谁害怕弗吉尼亚·伍尔夫 生命政治 戏剧张力 

分 类 号：J80[艺术—戏剧戏曲]