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題 名 | 政治化身體與語言--凱洛邱琪爾的雜成劇場=Politicizing the Body and Language: Caryl Churchill's Hybrid Theatre |
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作 者 | 張逸帆; | 書刊名 | 高雄師大學報 |
卷 期 | 13 2002.04[民91.04] |
頁 次 | 頁111-126 |
分類號 | 873.55 |
關鍵詞 | 凱洛邱琪爾; 雜成劇場; 性別政治; 示意; 主體性; Caryl Churchill; Hybrid theatre; Gender politics; Signification; Subjectivity; |
語 文 | 中文(Chinese) |
中文摘要 | 本論文探討英國女作家凱洛邱斯爾(Caryl Churchill)雜成劇場(hybrid theatre)中的身體及語言政治,以1986年《滿口鳥隻》(A Mouthful of Birds),1994年的《史快克》(The Skriker)及1997年的《旅館》(Hotel)、《這是一把椅子》(This is a Chair)、《藍色的心》(blue Heart)等劇為例,分析語言及非語言因心相互補充劇場的示意功能,並探究表演者的肢體性如何問題化邱斯爾劇場中的身體與性別政治。邱斯爾劇中角色的主體「具有增殖、粉碎與重建意義的能力」(Kristeva 165),身體不再是約化的單一符碼,而是邸有銘刻於文化層級的性的標示及意義(Dolan 66)。邱斯爾以口語戲劇、舞蹈、默劇、歌劇等多重示意系統,呈現了主體的多壁性質,深化劇場的性別論述。 |
英文摘要 | This paper examines Caryl Churchill's politicization of body and language in her hybrid theatre. It looks at such hybrid plays as A Mouthful of Birds (1986), The Skirker (1994) and Hotel (1997) to analyze how non-verbal means of signification complements spoken drama; more specifically, how performers' corporeality and the use of audio-visual elements problematize Churcill's theatrical discourse and gender representation. Churchill's characters reveal to be "speaking subjects [who are able to] multiple, pulverise and revive meanings" (Kristeva 165). The body can no longer be reduced to "a sign free of connotation"; women's bodies, in particular, "bear the mark and meaning of their sex, which inscribes them within a cultural hierarchy" (Dolan 66). In addition to a subversion of spoken drama, Churchill's experimental use of use non-verbal means of signification as dance, mime, opera singing in these hybrid plays has much troubled her gender politics. |
本系統中英文摘要資訊取自各篇刊載內容。