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阿索尔·富加德直面审查制度,冲破种族禁忌,采用纪实与象征相结合的戏剧手法,揭露种族主义的遗余在南非的后殖民语境下给有色人种(尤其是黑人)造成的心灵创伤与身份焦虑,并以饱蘸人性的笔触书写他们的“他者”生存困境以及文化身份诉求。在自传体戏剧《“哈罗德少爷”与男仆》中,富加德聚焦种族问题,围绕黑人的臣属地位展开后殖民叙事,颠覆了传统的主仆模式,并揭示出南非种族问题的殖民本质。本文拟结合南非的后殖民语境和种族隔离时期的社会文化现状,以《“哈罗德少爷”与男仆》为研究对象,管窥富加德力图消弭种族冲突、为南非多种族文化搭建平等对话空间的后殖民戏剧艺术。
Facing the censorship system, Assur Fogad broke the taboo on racial taboos and used a combination of documentary and symbolic theatrical techniques to expose the legacy of racist remnants of colored people (especially blacks) in South Africa’s post-colonial context Trauma and identity anxiety, and write their “others ” survival predicament and cultural identity appeal with full brushing of humanity. In Autobiographical Theater, Master Harold and The Servant, Fogad focused on racial issues, post-colonial narratives around the status of blacks, subverting the traditional masters and servants and revealing the issue of race in South Africa Colonial nature. Based on the postcolonial context of South Africa and the social and cultural conditions during the period of apartheid, this article will focus on Lord Harold and The Servant, focusing on Fogard’s efforts to eliminate racial conflicts and build a multiracial culture for South Africa Postcolonial theater art in the space of equal dialogue.