布莱希特史诗剧中性别表演的建构与解构——以《四川好人》为例  

The Construction and Deconstruction of Gender Performativity in Brecht’s Epic Theatre: A Case Study of The Good Person of Szechwan

作　　者：陈书盈 CHEN Shuying

机构地区：[1]美国南卡罗来纳大学语言文学与文化系

出　　处：《戏剧艺术》2022年第6期84-92,93,共10页Theatre Arts

摘　　要：布莱希特的《四川好人》刻画了女主人公沈黛及其通过变装扮演成的另一个男性角色隋达,描绘了两个角色在动作、姿态和举止上的不同性别表现,以及他们在相同社会环境下不同的生存境遇。布氏演剧法中的“姿态”概念较好地体现了朱迪斯·巴特勒提出的“性别表演”理论,生动地揭示出社会对性别表现和性别角色的塑造和建构。同时布莱希特通过剧中角色的变装强化间离效果,颠覆和解构观众对传统的性别角色和规范的认知。《四川好人》中性别表演的建构与解构促进了观众对性别身份和性别表现的思考和再审视。Brecht’s The Good Person of Szechwan portrays the female protagonist Shen Teh into a male character Shui Ta by cross-dressing. The play shows the different gender representations of the two characters in their actions, gestures, and behavior, as well as their strikingly divergent situations under the same social circumstance. The concept of “Gestus” in Brechtian acting methods embodies Judith Butler’s theory of “gender performativity”, vividly revealing the social constructions of gender representations and gender roles. Meanwhile, Brecht strengthens the alienation effect through the character’s cross-dressing, which subverts and deconstructs the audience’s recognition of traditional gender roles and norms. By presenting the construction and deconstruction of gender performativity, The Good Person of Szechwan encourages the audience to contemplate and reexamine gender identity and gender representation.

关 键 词：布莱希特 史诗剧 性别表演 间离效果 四川好人 

分 类 号：J80[艺术—戏剧戏曲]