本文以品特的早期戏剧《生日晚会》为例,结合作家生平、时代背景、文本等,从政治主题、政治背景下的女性形象等方面着重探讨了早期戏剧中掩盖在荒诞背后的政治性,指出品特剧中的政治声音一直存在,威胁即是对政治意蕴的折射。相对而言,荒诞也只是与品特意愿相符的写作方式而已。 Taking Petter ’s early drama “Birthday Party” as an example, this article focuses on the politics behind the absurdity in the early drama from the perspectives of the author’ s life, the background of the times, the texts, etc. It points out that the political voice in Pintere’s play has always existed, and the threat is the refraction of political connotation. Relatively speaking, absurdity is only a way of writing that is in line with the wishes of the subject.