威廉斯的成名作《玻璃动物园》是一出现代悲剧,讲述了上世纪30年代大萧条时期一个普通的南方中产阶级家庭的遭遇;而玛莎·诺曼的剧本《晚安,妈妈》则从女性的角度反映了当代女性在父权制的背景下重构自己身份的困境和无奈。看似不同背景,不同主体的两个剧本却在母女关系上出现了很大程度的重叠。本文拟从社会、家庭的框架中解读这层层纠葛而又压抑扭曲的母女关系,从而理出两剧中母亲和女儿的悲剧所在。 Williams’ fame, “Glass Zoo,” is a modern-day tragedy that tells the story of an ordinary South middle-class family during the Great Depression of the 1930s; Martha Norman’s play “Good Night, Mom” Reflects the dilemma and helplessness of contemporary women in reconstructing their identities under the patriarchal background. Seemingly different backgrounds, the two plays of different subjects have a large degree of overlap in mother-daughter relationship. This article intends to interpret these layers of disputes from the perspective of society and family and suppress the distorted relations between mother and daughter so as to find out the tragedies of the mothers and daughters in the two dramas.