舞台上的“血腥星期日”:《荣誉市民》和《迦太基人》中的元戏剧构作  

Staging Bloody Sunday:On the Meta-theatricality of Brian Friel’s The Freedom of the City and Frank McGuiness’s Carthaginians

作　　者：李元[1] 林懿璇 LI Yuan;LIN Yixuan

机构地区：[1]广东外语外贸大学英文学院,广州510420 [2]广东外语外贸大学英语语言文化院

出　　处：《天津师范大学学报（社会科学版）》2023年第2期78-85,共8页Journal of Tianjin Normal University(Social Science)

摘　　要：布莱恩·弗里尔创作于1973年的《荣誉市民》和弗兰克·麦吉尼斯创作于1988年的《迦太基人》均聚焦1972年在北爱德里发生的血腥星期日事件,以元戏剧结构再现历史现场,或呈现历史创伤。前者写于事件发生后不久,围绕多线叙事展开,揭示主流叙事与个体叙事的差异;后者创作于16年后,以戏中戏双重结构追溯民族分裂和暴力冲突的根源。此外,两部作品都塑造了具有自反意识的角色,《荣誉市民》以此反映底层人民的真实处境和诉求,而《迦太基人》则通过具有自反意识的艺术家形象,表明疗愈历史创伤的途径是接纳和拥抱多元的身份。两部作品以元戏剧构作对同一历史事件进行不同的再现和反思,相互映照,是北爱问题剧的代表之作。Brian Friel’s The Freedom of the City(1973) and Frank McGuiness’ s Carthaginians(1988) are plays about Bloody Sunday,one of the most significant events of the Troubles. Both plays employ meta-theatricality either to reenact living history or to expose historical trauma. Written shortly after Bloody Sunday,the meta-theatrical structure of The Freedom of the City consists of multiple narratives that are used to reveal the discrepancy between individual narrative and mainstream discourses. Carthaginians was created 16 years after the event,and explores the root causes of national trauma through the meta-theatrical structure of play-withinthe-play. Moreover,both plays create self-reflexive characters who take the lead in disrupting theatrical illusions,thereby compelling the audience to engage with the play actively and critically.

关 键 词：血腥星期日 北爱问题剧 元戏剧 《荣誉市民》 《迦太基人》 

分 类 号：I206.7[文学—中国文学]