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美国华裔作家黄哲伦在美国戏剧界可谓尽人皆知的有名人物,1988年推出的《蝴蝶君》使得黄哲伦在百老汇上占得一席之地,同时也为亚裔戏剧家在这个世界闻名的戏剧舞台上赢得了声誉。2011年黄哲伦的《中式英语》再次在百老汇上演,而且喝彩声四起,这更加奠定了黄哲伦作为一个族裔剧作家在美国主流文化圈中的坚实地位。自《蝴蝶君》上演至今,学术界、文艺界,西方、中国,乃至国际演艺界和学术界对该剧的评论热情一浪高过一浪,因而论文、专著可谓是汗牛充栋,对剧中两性关系、东西方关系、文化、政治、身份等有过深入的研究,其中不乏真知灼见,但也有不少对剧作家本人意图的曲解。至今的研究中,少有学者去探讨黄哲伦本人在该剧结尾的结束语中恳切提出的对于“各方的一个请求”的深刻含义。那么这个对于“各方的一个请求”意蕴何在?剧作家的目的何为?这正是拙作所要讨论的问题。
American Chinese writer Huang Zhe Lun is a well-known figure in the American theater industry. The introduction of “Butterfly Queen” in 1988 made Huang Zhe Lun a place on Broadway and won acclaim for Asian dramatists on this world famous theater scene. In 2011, Huang Zhelun’s “Chinglish” was staged again on Broadway, applauded everywhere, which further laid the solid position of Huang Zhelun as an ethnic playwright in the mainstream cultural circle of the United States. Since the “Butterfly King” staged so far, academics, literary and art circles, the West, China, and even the international entertainment and academic circles on the play’s comment enthusiasm wave after wave, so papers, monographs can be described as sweat, Relations, the relationship between East and West, culture, politics, identity, etc. There is no lack of insight into it, but there are also many misinterpretations of the writer’s own intentions. Few scholars have so far explored the profound implication that Hsiu-lun Huang himself put forward at the end of the play for a “request from all sides”. So what is the implication of this “request for all” and what is the purpose of the dramatist? This is exactly the question to be discussed in my book.