无处安放的文化共同体:美国西亚裔戏剧中的后现实主义书写  

Cultural Community in Dilemma:“Post-realism”in American West Asian Plays

作　　者：郭英剑[1] 张成文 Guo Yingjian;Zhang Chengwen

机构地区：[1]中国人民大学外国语学院 [2]赣南师范大学外国语学院

出　　处：《戏剧（中央戏剧学院学报）》2024年第3期42-57,共16页Drama:The Journal of the Central Academy of Drama

基　　金：2021年度国家社科基金重大项目“美国族裔文学中的文化共同体思想研究”(项目编号:21&ZD282)的阶段性成果。

摘　　要：“9·11”恐怖袭击事件进一步加剧了棕色人种在美国影视和文学界的刻板印象,使得“棕色”一度成为“恐怖”的颜色,同时也使得“伊斯兰恐惧症”在现实生活中大肆蔓延,美国西亚裔文化共同体因此陷入种种困境。为了积极应对这些困境,美国黎巴嫩裔剧作家萨姆·尤尼斯和美国叙利亚裔剧作家贾米尔·库里分别在各自的代表作《棕色小镇》和《清真寺警报》中,通过戏剧这种表达方式,尝试打破强加在阿拉伯裔和穆斯林身上的刻板印象,积极探索如何以一种正确的方式呈现这些“他者”群体,并反思美国西亚裔戏剧的发展和形式,呈现出明显的“后现实主义”特征。The 9/11 terrorist attacks marked a turning point in the development of American West Asian theater,intensifying the stereotypical portrayal of brown people in American film and literature.The color brown temporarily became associated with terror,concurrently fueling the proliferation of"Islamophobia"in real life,and the Western Asian cultural community in the United States also fell into various difficulties as a result.To respond positively to these dilemmas,American playwrights of Lebanese and Syrian descent,Sam Younes and Jamil Khoury,respectively,attempted to dismantle the imposed stereotypes on Arab and Muslim individuals and actively explored how to accurately represent these"other"groups through the medium of drama in their seminal works Brown Town and Mosque Alert.They also reflected on the evolution and form of American West Asian theater,presenting distinct characteristics of"post-realism".

关 键 词：棕色人种 “穆斯林恐惧症” 刻板印象 戏剧 后现实主义 

分 类 号：J83[艺术—戏剧戏曲]