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標題: Ritual Performance in Harold Pinter's The Homecoming and Edward Albee's Who's Afraid of Virginia Woolf?
作者: 李佳錞
Lee, Chia-chun
關鍵字: 儀式
Harold Pinter
Edward Albee
出版社: 外國語文學系
摘要: 哈洛.品特的《回家》與愛德華.阿爾比的《誰怕吳爾芙?》反映自我追尋救贖的意圖。二位劇作家透過儀式的表現來達到救贖的目標,運用象徵、暗喻的方式表達主題,追求和諧與一致的人生觀。在這二部劇作中,他們模擬儀式的過程,似真似假似夢的情境,讓裡面的角色演出內心的慾望,並藉由儀式的表演,消弭精神上的恐懼。雖然尼釆提出上帝已死,暗示著對神祕力量的否定,但在此我認為二位劇作家仍試圖以儀式的形式,在悲觀的氛圍中建立一絲希望,並藉由《回家》中的露絲及《誰怕吳爾芙?》裡的喬治做為執行者,解除劇中的衝突。 本篇論文的第一章,我將著重「儀式」在劇場的功能,並說明這兩部劇作如何以儀式的形式呈現;其功能在於將劇中人物的內心恐懼具體化,進而促使角色的轉變,轉變的過程中,尋求抵抗與妥協之間的平衡。第二章主要探討哈洛.品特《回家》中的露絲如何扮演女神的形象,以及如何呈現雙重角色的特質,另外我想藉由露絲這位女性角色,討論劇作家的雌雄同體風格。第三章主要探討愛德華.阿爾比中《誰怕吳爾芙?》的男性角色喬治,藉由儀式的召喚,妻子瑪莎似乎成為他的分身,將喬治內心的憂慮搬上台面。
The themes of Harold Pinter's The Homecoming and Edward Albee's Who's Afraid of Virginia Woolf? imply the quest of the self and the orientation of redemption by the way of ritual performances. With the forms of metaphors and symbols, they simulate the process of ritual to achieve integrity. In the liminal stage of ritual and verisimilitude, the characters perform their desire and eliminate their fears. Even though Nietzsche contends that God is dead, implying the negation of mysterious power, I presume that both Pinter and Albee try to offer the hope within the aura of pessimism and Ruth in The Homecoming as well as George in Who's Afraid of Virginia Woolf? play the roles of executor to exorcise the conflicts. In Chapter One, I will discuss the function of “ritual” and elaborate the way of ritual employed in these two plays. The function of ritual reifies the characters' inner fear and consists in the dramatic transformation in order to bring them the balance in face of conflicts and realities. In Chapter Two, I will reinforce Ruth's image as a Goddess and her double roles as well as through the character Ruth Pinter's tendency toward an “androgynous writer.” In Chapter Three, Martha, in Who's Afraid of Virginia Woolf? plays the mirror image of George and personifies his fears by the way of ritual performance.
Appears in Collections:外國語文學系所



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