“户外日戏剧社”与爱尔兰文化身份的建构(1980—1994)
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摘要
"户外日戏剧社"由当代爱尔兰戏剧大师布赖恩·弗里埃尔和北爱演员斯蒂芬·瑞于1980年在德里市共同创办。该剧社作为继"阿贝剧院"之后爱尔兰最具影响力而又最具争议的文化团体,不仅推动了北爱舞台戏剧的发展与繁荣,而且承载着厚重的文化政治意图。本文拟通过回顾"户外日"的发展轨迹,结合当时的社会文化语境来考察该剧社的创建理念、主要文化活动及其负载的文化意识形态,进而探讨"户外日"在想象、建构爱尔兰文化身份和最终实现多元文化共荣共存的局面等方面所发挥的重要作用。
The Field Day Theatre Company was co-founded by Brian Friel and Stephen Rea in Derry in 1980. As one of the most influential and controversial cultural entity in Ireland, the company intends to address the colonial crisis in Northern Ireland and plays an indispensable role in promoting the development of Irish drama. Seeing Ireland as a postcolonial context, the paper intends to trace the evolution of the company and thus probes into its main cultural activities highly loaded with political and cultural ideologies. The Field Day Theatre Company undoubtedly has made irreplaceable contributions to the imagination and construction of Irish cultural identity and the prospect of multicultural co-existence.
The Field Day Theatre Company was co-founded by Brian Friel and Stephen Rea in Derry in 1980. As one of the most influential and controversial cultural entity in Ireland, the company intends to address the colonial crisis in Northern Ireland and plays an indispensable role in promoting the development of Irish drama. Seeing Ireland as a postcolonial context, the paper intends to trace the evolution of the company and thus probes into its main cultural activities highly loaded with political and cultural ideologies. The Field Day Theatre Company undoubtedly has made irreplaceable contributions to the imagination and construction of Irish cultural identity and the prospect of multicultural co-existence.
引文
[1]KILROY,THOMAS.Friendship[J].Irish University Review,1999,29(1).
[2]YUCHEN,LIN.Field Day Revisited(I):An Interview with Seamus Deane[J].Concentric:Literary and Cultural Studies,2007,33(1).
[3]SZABO,CARMEN.“Clearing the Ground":The Field Day Theatre Company and the Construction of Irish Identities[M].Newcastle:Cambridge Scholars Publishing,2007.
[4]生安锋.霍米·巴巴的后殖民理论研究[M].北京:北京大学出版社,2011.
[5]ANDREWS,ELMER.The Art of Brian Friel:Neither Reality nor Dreams[M].London:Macmillan Press,1995.
[6]LONERGAN,PATRICK.Theatre and Globalization:Irish Drama in the Celtic Tiger Era[M].New York:Palgrave Macmillan,2009.
[7]WELCH,ROBERT.The Abbey Theatre 1899-1999:Form and Pressure[M].New York:Oxford University Press,1999.
[8]KILROY,THOMAS.Double Cross[M].London:Faber and Faber,1986.
[9]FRIEL,BRIAN.Translations[M].London:Faber and Faber,1981.
[10]MURRAY,CHRISTOPHER.Brian Friel:Essays,Diaries,Interviews:1964-1996[M].London:Faber and Faber,1999.
[11]FRIEL,BRIAN.Plays Two[G].London:Faber and Faber,1999.
[12]TYMOCZKO,MARIA.Translation in a Postcolonial Context:Early Irish Literature in English Translation[M].Manchester:St.Jerome Publishing House,1999.
[13]O'MALLEY,AIDAN.Field Day and the Translation of Irish Identities:Performing Contradictions[M].New York:Palgrave Macmillan,2011.
[14]DEANE,SEAMUS.Introduction[M]//Nationalism,Colonialism,and Literature,by Terry Eagleton,Fredric Jameson and Edward W.Said.Minneapolis:University of Minnesota Press,1990.
[15][美]爱德华·萨义德.东方学[M].王宇根,译.北京:生活·读书·新知三联书店,2000.
[16]RICHTARIK,MARILYNN.Acting Between the Lines:The Field Day Theatre Company and Irish Cultural Politics(1980-1984)[M].Oxford:Clarendon Press,1994.
[17]DEANE,SEAMUS.Heroic Styles:The Tradition of an Idea[M].Derry:Field Day Theatre Company,1984.
[18]YUCHEN,LIN.Field Day Revisited(Ⅱ):An Interview with Declan Kilberd[J].Concentric:Literary and Cultural Studies,2007,33(2).
1例如,在《户外日戏剧社与爱尔兰身份的翻译》(Field Day and the Translation of Irish Identities:Performing Contradictions,Palgrave Macmillan,2011)中,奥玛莉(Aidan O’Malley)集中分析了剧社的演出剧目及其隐含的后殖民意识形态,凸显了文化翻译在爱尔兰身份建构中的作用;萨博(Carmen Szabo)在《“清理场地”:户外日戏剧社与爱尔兰身份的建构》(“Clearing the Ground”:The Field Day Theatre Company and the Construction of Irish Identities,Cambridge Scholars Publishing,2007)中,通过探究代表剧目中的政治意图呈现“户外日”在文化干预和建构爱尔兰身份方面的重要贡献;在《表演于字里行间:户外日戏剧社与爱尔兰文化政治(1980—1984)》(Acting Between the Lines:the Field Day Theatre Company and Irish Cultural Politics(1980-1984),Clarendon Press,1994)中,瑞克塔里克(Marilynn Richtarik)以当地报刊评论为主要参考文献,聚焦于“户外日”前5年上演的剧目,并指出剧社在未来发展中可能遇到的挑战。
2 “Field Day Revisited(Ⅰ):An Interview with Seamus Deane”,Concentric:Literary and Cultural Studies,2007(1):201-221;“Field Day Revisited(Ⅱ):An Interview with Declan Kilberd”,Concentric:Literary and Cultural Studies,2007(2):203-235.
1作为一家非营利性的艺术团体,“户外日”为了获得德里市政局(the Derry City Council)、北爱尔兰艺术协会(the Arts Council of Northern Ireland)和南方共和国艺术协会(the Arts Council of the Republic of Ireland)等机构的资金赞助,相继招揽了诗人谢默斯·希尼(Seamus Heaney,1939—2013)、文学评论家兼作家谢默斯·迪恩、纪录片制作人大卫·汉蒙德(David Hammond,1928—2008)和诗人汤姆·泼林(Tom Paulin)担纲艺术指导,正式组建理事委员会。1986年,“户外日”上演了戏剧《背叛》(Double Cross),其作者托马斯·吉尔罗伊(Thomas Kilroy)随后也加入了该理事会,成为唯一来自南方共和国的成员。
2 该术语最初由期刊The Crane Bag(1977—1985)的两位创办人理查德·科尔尼(Richard Kearney)与马克·海德曼(Mark Hederman)在1977年1号刊上提出,后来“户外日”挪用这一术语。“province”的爱尔兰语为“coiced”,亦指“第五”之义,“the Fifth Province”即“the fifth fifth”。
1参见祁亚平:《爱尔兰的语言文化危机与身份重构——剧本〈翻译〉的后殖民解读》,载《当代外国文学》2010年第4期,第118—126页。
1前6本包括《再次回顾语言问题》(Tom Paulin,A New Look at the Language Question,1983)、《一封公开信》(Seamus Heaney,An Open Letter,1983)、《文明人和野蛮人》(Seamus Deane,Civilians and Barbarians,1983)、《英雄形式:一种观念的传统》(Seamus Deane,Heroic Styles:The Tradition of an Idea,1984)、《神话与祖国》(Richard Kearney,Myth and Motherland,1984)以及《英爱态度》(Declan Kilberd,Anglo-Irish Attitudes,1984)。最后3本问世于1988年,分别是伊格尔顿(Terry Eagleton)的《民族主义:反讽与关怀》(Nationalism:Irony and Commitment)、詹明信(Fredric Jameson)的《现代主义和帝国主义》(Modernism and Imperialism)和萨义德(Edward Said)的《叶芝与去殖民化》(Yeats and Decolonization)。
[2]YUCHEN,LIN.Field Day Revisited(I):An Interview with Seamus Deane[J].Concentric:Literary and Cultural Studies,2007,33(1).
[3]SZABO,CARMEN.“Clearing the Ground":The Field Day Theatre Company and the Construction of Irish Identities[M].Newcastle:Cambridge Scholars Publishing,2007.
[4]生安锋.霍米·巴巴的后殖民理论研究[M].北京:北京大学出版社,2011.
[5]ANDREWS,ELMER.The Art of Brian Friel:Neither Reality nor Dreams[M].London:Macmillan Press,1995.
[6]LONERGAN,PATRICK.Theatre and Globalization:Irish Drama in the Celtic Tiger Era[M].New York:Palgrave Macmillan,2009.
[7]WELCH,ROBERT.The Abbey Theatre 1899-1999:Form and Pressure[M].New York:Oxford University Press,1999.
[8]KILROY,THOMAS.Double Cross[M].London:Faber and Faber,1986.
[9]FRIEL,BRIAN.Translations[M].London:Faber and Faber,1981.
[10]MURRAY,CHRISTOPHER.Brian Friel:Essays,Diaries,Interviews:1964-1996[M].London:Faber and Faber,1999.
[11]FRIEL,BRIAN.Plays Two[G].London:Faber and Faber,1999.
[12]TYMOCZKO,MARIA.Translation in a Postcolonial Context:Early Irish Literature in English Translation[M].Manchester:St.Jerome Publishing House,1999.
[13]O'MALLEY,AIDAN.Field Day and the Translation of Irish Identities:Performing Contradictions[M].New York:Palgrave Macmillan,2011.
[14]DEANE,SEAMUS.Introduction[M]//Nationalism,Colonialism,and Literature,by Terry Eagleton,Fredric Jameson and Edward W.Said.Minneapolis:University of Minnesota Press,1990.
[15][美]爱德华·萨义德.东方学[M].王宇根,译.北京:生活·读书·新知三联书店,2000.
[16]RICHTARIK,MARILYNN.Acting Between the Lines:The Field Day Theatre Company and Irish Cultural Politics(1980-1984)[M].Oxford:Clarendon Press,1994.
[17]DEANE,SEAMUS.Heroic Styles:The Tradition of an Idea[M].Derry:Field Day Theatre Company,1984.
[18]YUCHEN,LIN.Field Day Revisited(Ⅱ):An Interview with Declan Kilberd[J].Concentric:Literary and Cultural Studies,2007,33(2).
1例如,在《户外日戏剧社与爱尔兰身份的翻译》(Field Day and the Translation of Irish Identities:Performing Contradictions,Palgrave Macmillan,2011)中,奥玛莉(Aidan O’Malley)集中分析了剧社的演出剧目及其隐含的后殖民意识形态,凸显了文化翻译在爱尔兰身份建构中的作用;萨博(Carmen Szabo)在《“清理场地”:户外日戏剧社与爱尔兰身份的建构》(“Clearing the Ground”:The Field Day Theatre Company and the Construction of Irish Identities,Cambridge Scholars Publishing,2007)中,通过探究代表剧目中的政治意图呈现“户外日”在文化干预和建构爱尔兰身份方面的重要贡献;在《表演于字里行间:户外日戏剧社与爱尔兰文化政治(1980—1984)》(Acting Between the Lines:the Field Day Theatre Company and Irish Cultural Politics(1980-1984),Clarendon Press,1994)中,瑞克塔里克(Marilynn Richtarik)以当地报刊评论为主要参考文献,聚焦于“户外日”前5年上演的剧目,并指出剧社在未来发展中可能遇到的挑战。
2 “Field Day Revisited(Ⅰ):An Interview with Seamus Deane”,Concentric:Literary and Cultural Studies,2007(1):201-221;“Field Day Revisited(Ⅱ):An Interview with Declan Kilberd”,Concentric:Literary and Cultural Studies,2007(2):203-235.
1作为一家非营利性的艺术团体,“户外日”为了获得德里市政局(the Derry City Council)、北爱尔兰艺术协会(the Arts Council of Northern Ireland)和南方共和国艺术协会(the Arts Council of the Republic of Ireland)等机构的资金赞助,相继招揽了诗人谢默斯·希尼(Seamus Heaney,1939—2013)、文学评论家兼作家谢默斯·迪恩、纪录片制作人大卫·汉蒙德(David Hammond,1928—2008)和诗人汤姆·泼林(Tom Paulin)担纲艺术指导,正式组建理事委员会。1986年,“户外日”上演了戏剧《背叛》(Double Cross),其作者托马斯·吉尔罗伊(Thomas Kilroy)随后也加入了该理事会,成为唯一来自南方共和国的成员。
2 该术语最初由期刊The Crane Bag(1977—1985)的两位创办人理查德·科尔尼(Richard Kearney)与马克·海德曼(Mark Hederman)在1977年1号刊上提出,后来“户外日”挪用这一术语。“province”的爱尔兰语为“coiced”,亦指“第五”之义,“the Fifth Province”即“the fifth fifth”。
1参见祁亚平:《爱尔兰的语言文化危机与身份重构——剧本〈翻译〉的后殖民解读》,载《当代外国文学》2010年第4期,第118—126页。
1前6本包括《再次回顾语言问题》(Tom Paulin,A New Look at the Language Question,1983)、《一封公开信》(Seamus Heaney,An Open Letter,1983)、《文明人和野蛮人》(Seamus Deane,Civilians and Barbarians,1983)、《英雄形式:一种观念的传统》(Seamus Deane,Heroic Styles:The Tradition of an Idea,1984)、《神话与祖国》(Richard Kearney,Myth and Motherland,1984)以及《英爱态度》(Declan Kilberd,Anglo-Irish Attitudes,1984)。最后3本问世于1988年,分别是伊格尔顿(Terry Eagleton)的《民族主义:反讽与关怀》(Nationalism:Irony and Commitment)、詹明信(Fredric Jameson)的《现代主义和帝国主义》(Modernism and Imperialism)和萨义德(Edward Said)的《叶芝与去殖民化》(Yeats and Decolonization)。
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