“东区三部曲”对“直面戏剧”的奠基作用  

The Foundational Role of the “East End Trilogy” in “In-Yer-Face Theatre”

作　　者：范方俊[1] 范宁 Fan Fangjun;Fan Ning

机构地区：[1]中国人民大学文学院,北京100872

出　　处：《江西社会科学》2025年第2期77-85,207,共10页Jiangxi Social Sciences

基　　金：国家社会科学基金重大项目“中外戏剧经典的跨文化阐释与传播研究”(20&ZD283)。

摘　　要：“直面戏剧”是20世纪90年代在英国崛起的先锋戏剧流派。在“直面戏剧”中,最知名的剧作家是萨拉·凯恩,她也因此被一些评论者视为“直面戏剧”的先驱性人物。而事实上,在凯恩之前,英国剧作家菲利普·雷德利所创作的“东区三部曲”,在思想主题上对“帝国怀乡”情结的反讽,在戏剧风格上的“挑衅性”特征以及个人化的艺术倾向,已为“直面戏剧”的发展奠定基础。而他在作品中重塑当时英国这一“想象的共同体”的尝试,更强化了他作为奠基者的地位。“In-yer-face theatre” is a pioneering school of drama that emerged in the United Kingdom during the 1990s. While Sarah Kane is often hailed as a key figure within this genre, its roots can be traced back to the “East End trilogy” by British playwright Philip Ridley. Ridley's trilogy, with its ironic exploration of “Empire nostalgia”, its provocative theatrical style and deeply personal artistic tendencies,played a crucial role in laying the essential groundwork for the evolution of “in-yer-face theatre”. The attempt he made to reshape the “imagined community” of Britain at that time in his works has further strengthened his position as a founder.

关 键 词：英国戏剧 菲利普·雷德利 东区三部曲 直面戏剧 

分 类 号：I106.3[文学—世界文学]