《回家》对《玩偶之家》的文本继承与回应

The Homecoming's Reception of A Doll's House and Its Textual Response to the Same

易卜生的《玩偶之家》与品特的《回家》在题材、故事、人物、结构和意趣等方面一脉相承。比较二者,不但能彰显各自的戏剧张力与内涵,而且还共同呈现出一幅更为切近、深邃的人生画面。这既是一次作者与作者之间血脉关系的再呈现,也是一次作者、读者、观众与你我之间的心与心的面对和交流。

Ibsen＇s A Doll＇s House and Pinter＇s The Homecoming are actually different versions of the same story over a stretch of time. In A Doll＇s House, Nora leaves her home for her disillusionment that she is just her husband＇s doll. In The Homecoming, Ruth leaves her professor-of-philosophy husband without any manifest reason. In the change from Nora＇s determined leaving of her hard-earned home to Ruth＇s chancy coming and leaving of a home, it becomes somehow clear that dolls and less dolls are actually rife in this world, and that a question finally rises to loom before every you and me in the audience： are we going home, or making a home, and, how far is home？