加拿大原住民戏剧中的“厌女症”书写

《干唇得搬去卡普斯卡辛》（Dry Lips Oughta Move to Kapuskasing,1989）是当代加拿大最负盛名的原住民剧作家汤姆森·海威（Tomson Highway）的代表作。这部戏剧以幽默、荒诞的写实笔法描写了保留地原住民物质与精神上的悲惨窘境,尤其凸显了原住民男性对原住民女性的厌恶和憎恨。剧中的原住民女性所体现出来的女性特征、地位、母性,甚至生育都与原住民传统大相径庭。她们不仅是男性的附属品、更是男性发泄的对象。事实上,海威并没有强化主流社会对原住民女性刻板形象的认识;相反,他认为殖民压迫和父权制度是女性暴力行为的根源,而且只有赤裸裸地揭露殖民主义的本质,原住民女性所遭受的创伤才能获得真正的文化治愈。

Dry Lips Oughta Move to Kapuskasing （ 1989）, the representative theatrical work produced by Tomson Highway, the most celebrated native dramatist in Canada, portrays the physical and psychological plight of Natives in Contemporary Canada in a comedic and absurdist manner, highlighting Native men＇s misogynistic acts of violence against Native women. The depictions of Native women＇s sexuality, status, maternity and birth-giving axe in sharp contrast with those found in traditional native women. They are property subject to male will as well as commodity over which male has rightful control. Instead of perpetuating negative stereotypes held by mainstream society regarding Native women, Highway argues that the colonial oppression and patriarchy are the source of violence against Native women, and he suggests that cultural healing for the trauma suffered by Native women will only be attained when the colonial legacy is blatantly exposed.