《海上夫人》加勒比改写中的全球史意识

The Global Historical Consciousness in the Caribbean Adaptation of The Lady from the Sea

在全球史的视野与方法中重读易卜生的《海上夫人》,并细绎埃利诺•库克2017年的加勒比改写,为理解易卜生所称的“新方向”提供了阐释空间,“新方向”蕴含的是19世纪全球史意识之权舆。易卜生用微观叙事塑造出全球海洋贸易史语境中的挪威,并借艾梨达的身份困境,表达了对民族–国家宏大历史主体话语的复杂忧虑。库克的改写则变焦于加勒比的动植物变化,揭示了殖民主义性别话语对易卜生的局限,抵抗了全球史观和世界戏剧史观中的去资本主义化话语和去政治化话语。

Rereading Ibsen’s The Lady from the Sea within the perspective and methodology of global history and interpreting Elinor Cook’s 2017 Caribbean-set adaptation provides space for understanding what Ibsen calls the “new direction”, which lies within the global historical consciousness budding in the 19th century. Ibsen’s micro-narrative shapes Norway in the context of the history of the global maritime trade, and Ellida’s identity dilemma suggests his complex concern with the discourse of the nation-state as a grand historical subject. Cook’s adaptation, on the other hand, turns the focus onto the flora and fauna of the Caribbean, revealing the limits of colonial-gender discourses to Ibsen, and resisting the decapitalization and depoliticization in both the views of global history and the history of world theatre.