《奥利安娜》的诱惑

On the Seduction in Oleanna

生产话语的霸权让我们产生许多认知误区,造成了我们的意识矛盾和分裂。既有研究都不自觉地局限在生产之镜中解读马梅特的戏剧《奥利安娜》,形成逃避性解读。基于诱惑的合法性,可以在波德里亚意义上的生产与诱惑的张力中解读这部戏剧,详解剧中的诱惑表演,为戏中的被告与戏外的被告(剧作家)辩护脱罪。《奥利安娜》的重大意义,不在于它对女性主义的表面攻击,而在于它启示我们打破生产之镜对我们意识的垄断性控制,直面自己的(可)诱惑性,诱导我们重建诱惑之镜与生产之镜之间的张力。

The hegemony of discourse production constantly courses misunderstandings,resulting in gaps and contradiction in our consciousness. Almost all the available researches on David Mamet's Oleanna unconsciously interprete it in the mirror of production,which has caused evasive interpretations. This paper places the play back into the tension between production and seduction both in Baudriallardian sense,reading carefully the seduction scenes in the play on stage and exculpating the accused character and the equally accused playwright. The significance of the play is not in its apparent confrontation with feminism,but in urging us to break the discursive monopoly of production,and facing our seducible self,and guiding us into a conscious reconstruction of the tension between production and seduction.