论南非戏剧《歹徒》中的记忆呈现  

On Memory Presentation in South African Play Gangster

作　　者：黄坚[1] 谭琦 HUANG Jian;TAN Qi(School of Foreign Studies,Changsha University of Science&Technology,Changsha 410114,China)

机构地区：[1]长沙理工大学外国语学院,湖南长沙410114

出　　处：《南昌师范学院学报》2021年第3期77-80,共4页Journal of Nanchang Normal University

基　　金：国家社会科学基金项目“文化记忆与身份认同视角下当代非洲戏剧研究”,编号:17BWW058。

摘　　要：南非戏剧家马什·马蓬亚在作品《歹徒》中展现了强烈的现实关怀和社会责任感,其自身的被审讯经历构成了该剧的核心线索。凭借身体实践和诗歌意象,该剧构建了身体文字记忆;而剧中的空间划分、灯光切换和画面定格则解码了视觉图像记忆。通过这两类不同方式的记忆呈现,马蓬亚让观众在感受强烈的视觉冲击的同时,完成了对审讯经历的回忆和重构。很显然,个体记忆与集体记忆的交融,为有效唤醒南非黑人的身份意识提供了必要前提,从而引导他们在回忆中直面现实并定位自我,最终达成与自我的和解。South African playwright Maishe Maponya shows a strong concern for reality and a sense of social responsibility in his work Gangster.The playwright's own interrogation experience constitutes the core clue of the drama.With physical practice and poetic imagery,the play constructs body and verbal memory,while the space division,light switching and picture freeze frames decode visual image memory.The two different ways of presenting memory have a strong visual impact on the audience,while also recalling and reconstructing Maponya's own interrogation experience.The integration of both individual and collective memory provides the prerequisites for the awakening of black South Africans'identity consciousness,thus guiding them to confront reality and position themselves in their collective memories,and finally reaching a reconciliation with themselves.

关 键 词：《歹徒》 马什·马蓬亚 记忆重构 自我和解 

分 类 号：I106.3[文学—世界文学]