根植于后现代荒原中的机能失常——解读萨姆·谢泼德的《被埋葬的孩子》

On Dysfunctions Rooted in a Postmodern Wasteland:Interpretation of Sam Shepard's Buried Child

《被埋葬的孩子》是萨姆.谢泼德1979年普利策戏剧奖的获奖作品。不少评论家将其视作谢泼德向现实主义传统的回归。实际上,他的现实主义是摒弃了传统现实主义的种种理性的推想之后的"开放现实主义"。尽管谢泼德被有些评论家称为"最现代的剧作家",但他在《被埋葬的孩子》中所采用的视角却是后现代的:那些曾经为人所熟知的前因和后果的有机联系、过去和现在的连续性都被彻底击碎了。谢泼德所呈现的,是一片后现代的荒原景象。本文将从个人,到家庭,到社会逐层论述"根植"于其中的机能失常。

Buried Child is the Pulitzer Prize winner for drama in 1979 by Sam Shepard （1943）.Some critics considered this play as Shepard＇s return to the realistic tradition.Actually, his realism is called ＂open realism＂,which captures a reality that disregards realism＇s supposition of the rational. In Buried Child, all the familiar modernist assumptions about cause and effect and conlinuity of past and present are shattered. Although Shepard is called by some critics a.s the most modernist playwrighl, the perspective adopted in Buried Child, however, is that of postmodernism. This paper interprets Buried Child as a postmodern dramatization of The Waste Land with dysfunctions at the centre, dipping into Ihe play from the single individual, to the larger family unit and to the society as a whole.