恩托扎格·商格的戏剧美学——以《献给想要自杀的有色人种女孩》为例
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摘要
在其代表作《献给想要自杀的有色人种女孩》中,非裔美国戏剧家商格不仅利用配舞诗剧这种来源于非洲的传统戏剧形式重现非裔美国传统文化,还通过演绎七位非裔美国女孩的悲惨经历,诠释了其戏剧美学中的黑人女权主义。该剧中非裔传统文化意识与黑人女权主义的并置,既体现了商格的戏剧美学,也反映了商格对非裔美国女性的身份困境的深入思考。在商格看来,被歧视的非裔美国女性必须紧密团结起来,以自己的方式言说自我,重建非裔美国女性身份。
In her representative play For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf, African American playwright Ntozake Shange not only expresses her understanding of traditional African American culture through the form of choreopoem, which is deeply rooted in the African tradition, but also expounds her dramatic aesthetics in terms of black feminism by dramatizing seven black girls' pathetic experiences. By juxtaposing African American cultural awareness and black feminism in the play, Shange articulates her dramatic aesthetics and her deep concerns over African American women's dilemma in a white dominant society. According to Shange, African American women, who have long been forgotten and despised, should be united and make their voices heard in a unique way in order to reconstruct their ethnic and gender identities.
In her representative play For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf, African American playwright Ntozake Shange not only expresses her understanding of traditional African American culture through the form of choreopoem, which is deeply rooted in the African tradition, but also expounds her dramatic aesthetics in terms of black feminism by dramatizing seven black girls' pathetic experiences. By juxtaposing African American cultural awareness and black feminism in the play, Shange articulates her dramatic aesthetics and her deep concerns over African American women's dilemma in a white dominant society. According to Shange, African American women, who have long been forgotten and despised, should be united and make their voices heard in a unique way in order to reconstruct their ethnic and gender identities.
引文
Betsko,Kathleen,and Rachel Koening.“Ntozake Shange.”Interviews with Contemporary Women Playwrights,edited by James Landis,et al.,Beech Tree Books,1987,pp.365-76.
Fisher,James.“Boogie Woogie Landscapes:the Dramatic/Poetic Collage of Ntozake Shange.”Contemporary African Women Playwrights:A Case Book,edited by Philip C.Kolin,Routledge,2007,pp.83-98.
Foucault,Michel.The History of Sexuality,Volume I:An Introduction.Translated by Robert Hurly.Pantheon,1978.
Gates,Henry Louis,Jr.,and Nellie Y.McKay,editors.The Norton Anthology of African American Literature.W.W.Norton,1997.
Hart,Lynda,editor.Making a Spectacle:Feminist Essays on Contemporary Women’s Theatre.U of Michigan P,1989.
Kubik,Gerhard.Africa and the Blues.UP of Mississippi,1999.
Lester,Neal A.“At the Heart of Shange’s Feminism:An Interview.”Black American Literature Forum,vol.24,no.4,1990,pp.717-30.
——.Ntozake Shange:A Critical Study of the Plays.Garland,1995.
——.“Ntozake Shange.”Speaking on Stage,edited by Philip C.Kolin and Colby H.Kullman,U of Alabama P,1996,pp.216-29.
Lyons,Brenda.“Interview with Ntozake Shange.”The Massachusetts Review,vol.28,no.4,1987,pp.687-96.
Pate,Alexs.“A Conversation with Ntozake Shange.”Black Renaissance/Renaissance Noir,vol.10,no.2,2010,pp.78-85.
Shange,Ntozake.For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf.Scribner Poetry,1977.
——.Three Pieces.Penguin,1982.
Wilkerson,Margaret B.“Music as Metaphor:New Plays of Black Women.”Making a Spectacle:Feminist Essays on Contemporary Women’s Theatre,edited by Lynda Hart,U of Michigan P,1989,pp.61-75.
[1]杜波依斯所说的“双重意识”,指非裔美国人由于种族歧视在政治、经济和文化等各方面遭受诸多的不平等待遇,使得他们在自我认同时陷入混乱,导致他们在选择美国认同或者非洲认同时内心充满矛盾、犹豫不决,这是非裔美国人文化认同矛盾的根本原因,也即杜波依斯所指出的,一个黑人总是感觉到他的两重性——“自己是美国人,而同时又是黑人;感觉到两个灵魂、两种思想、两种不可调和的努力;两种冲突的理想在同一个黝黑的躯体里”。参见W.E.B.Du Bois, The Souls of Black Folk.Bantam, 1989, p.45.
[2]柯林斯将美国文学中传统的非裔美国女性形象分为四类:忠诚温顺的保姆,善于操纵、好斗的女家长,懒惰、不负责任的福利母亲,富于性挑逗的娼妓。通过强化刻板形象,主流社会试图将非裔美国女性身上的种族、性别和阶级压迫合理化。参见Patricia Hill Collins, Black Feminist Thought:Knowledge, Consciousness, and the Politics of Empowerment.Routledge, 1991, pp.67-90.
Fisher,James.“Boogie Woogie Landscapes:the Dramatic/Poetic Collage of Ntozake Shange.”Contemporary African Women Playwrights:A Case Book,edited by Philip C.Kolin,Routledge,2007,pp.83-98.
Foucault,Michel.The History of Sexuality,Volume I:An Introduction.Translated by Robert Hurly.Pantheon,1978.
Gates,Henry Louis,Jr.,and Nellie Y.McKay,editors.The Norton Anthology of African American Literature.W.W.Norton,1997.
Hart,Lynda,editor.Making a Spectacle:Feminist Essays on Contemporary Women’s Theatre.U of Michigan P,1989.
Kubik,Gerhard.Africa and the Blues.UP of Mississippi,1999.
Lester,Neal A.“At the Heart of Shange’s Feminism:An Interview.”Black American Literature Forum,vol.24,no.4,1990,pp.717-30.
——.Ntozake Shange:A Critical Study of the Plays.Garland,1995.
——.“Ntozake Shange.”Speaking on Stage,edited by Philip C.Kolin and Colby H.Kullman,U of Alabama P,1996,pp.216-29.
Lyons,Brenda.“Interview with Ntozake Shange.”The Massachusetts Review,vol.28,no.4,1987,pp.687-96.
Pate,Alexs.“A Conversation with Ntozake Shange.”Black Renaissance/Renaissance Noir,vol.10,no.2,2010,pp.78-85.
Shange,Ntozake.For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf.Scribner Poetry,1977.
——.Three Pieces.Penguin,1982.
Wilkerson,Margaret B.“Music as Metaphor:New Plays of Black Women.”Making a Spectacle:Feminist Essays on Contemporary Women’s Theatre,edited by Lynda Hart,U of Michigan P,1989,pp.61-75.
[1]杜波依斯所说的“双重意识”,指非裔美国人由于种族歧视在政治、经济和文化等各方面遭受诸多的不平等待遇,使得他们在自我认同时陷入混乱,导致他们在选择美国认同或者非洲认同时内心充满矛盾、犹豫不决,这是非裔美国人文化认同矛盾的根本原因,也即杜波依斯所指出的,一个黑人总是感觉到他的两重性——“自己是美国人,而同时又是黑人;感觉到两个灵魂、两种思想、两种不可调和的努力;两种冲突的理想在同一个黝黑的躯体里”。参见W.E.B.Du Bois, The Souls of Black Folk.Bantam, 1989, p.45.
[2]柯林斯将美国文学中传统的非裔美国女性形象分为四类:忠诚温顺的保姆,善于操纵、好斗的女家长,懒惰、不负责任的福利母亲,富于性挑逗的娼妓。通过强化刻板形象,主流社会试图将非裔美国女性身上的种族、性别和阶级压迫合理化。参见Patricia Hill Collins, Black Feminist Thought:Knowledge, Consciousness, and the Politics of Empowerment.Routledge, 1991, pp.67-90.
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