性别身份与舞台表现——从《欲望号街车》到《美梦重圆》

Gender Identity and Stage Representation——from A Streetcar Named Desire to Belle Reprieve

性别身份,尤其是同性恋身份所具有的社会政治色彩决定了不同时代的剧作家在处理这一题材时采用不同的舞台表现形式。《欲望号街车》采用了象征手法,充分利用舞台上的资源———灯光、音乐、枪声、回忆、幻觉等来暗示自杀的同性恋丈夫对妻子留下的道义上的内疚与自责。对《欲望号街车》的重写剧作《美梦重圆》则采用“异装”、戏中戏等形式大胆直白地表达这一主题。两剧对同性恋身份舞台表现形式的不同不仅带有特定历史时期的烙印,而且渗透了剧作家不同的审美价值取向。

Playwrights in different times will deal with gender identity, in particular homosexual identity, in different ways because of its social and political tendency. A Streetcar Named Desire（1947） involves the use of images and symbols, and employs stage resources like lighting, music and shot etc. to.suggest Blanche＇s guilt towards the suicide committed by Allan, her husband, a gay. WhileBelle Reprieve（ 1991）, a rewritten play on Streetcar, directly represents gender identity on stage through techniques like cross -dressing, butch -femme role playing, a play within a play etc. The comparison reveals the playwrights＇individual dramatic aesthetic as well as different attitudes of society towards homosexual identity.