全新正版黄哲伦后现代剧场美学研究978756742苏州大学出版社

Chapter One Introduction

1.1 Literature review

1.1.1 Critica rceto of Hwangs theatre in Chinese Mainland

1.1.2 Overseas critica rceto of Hwangs theatre

1.1.3 Comments on critica rcetos of Hwangs theatre

1.2 Research objectives

1.3 Methodology

1.4 Terminologies

1.5 Theorizing performativity:a Butlerian lens

1.6 Structure of the book

Chapter Two Unnatural Narrative: Disrupting the Coherence of Master Narrative

2.1 Unreliable narrators: perpetuators of stereotypes

2.1.1 Dale in FOB : the embodiment of internalized sterotypes

2.1.2 Gallimard in M. Butterfly: perpetrator and victim of stereotypes

2.1.3 Ahn in Golden Child: a witness to enactments of stereotypes

2.1.4 DHH in Yellow Face : an upholder of the notion of authenticity

2.1.5 Summary

2.2 Anti-realistic characters: rejecting the process of performativity

2.2.1 The notion of performativity in Trying to Find Chinatown and Bondage

2.2.2 Performers of multiple roles in FOB, The Dance and the Railroad and M.Butterfly

2.. Marcuss "passing" in Yellow Face

2.2.4 Summary

. Unnatural temporalities : disrupting the linearity of master narrative

..1 Memories and flashbacks

..2 Fusion of the isible and the mundane

.. Summary

2.4 Anti-mimetic spaces: breaking fixed spatialities and creating heterotopias

2.5 Hwangs unnatural narrative and the notion of performativity

Chapter Three The Metaaatic:Generating Estrangement and Critiquing the Process of Performativity

3.1 Varieties of te earamatic in Hwangs theatre

3.2 The play within the play:breaking the aatic illusion

3.2.1 The play within the play in FOB

3.2.2 The play within the play in M. Butterfly

3.. The play within the play in Golden Child

3.2.4 The play within the play in Yellow Face

3.3 Role playing within the role: creating double identities and negating homogeneity

3.3.1 Role playing within the role in FOB

3.3.2 Role playing within the role in M. Butterfly

3.3.3 Role playing within the role in Yellow Face

3.3.4 Role playing within the role in Hwangs other plays

3.4 Self-reference: creating estrangement and urging the audience to reconsider reality

3.4.1 Self-reference in M. Butterfly

3.4.2 Self-reference in Yellow Face

3.5 Hwangs metaaa and the deconstruction of essentialist views on identity

3.5.1 The function of the play within the play

3.5.2 The function of role playing within the role

3.5.3 The function of self-reference

3.5.4 The function of other metaaatic devices

Chapter Four Heterotopic Stage Space:Opening Up Possibilities for a Color-Blind Communitas

4.1 Heterotopia: a liminal space

4.2 Heterotopia in/and theatre

4.3 Heterotopic spaces in the performances of Hwangs plays

4.3.1 Real spaces that have heterotopic qualities in Hwangs plays

4.3.2 Imagined heterotopias in Hwangs plays

4.3.3 Multimedia performances in Yellow Face:creating a heterotopia to express the fluidity of space and identity

4.4 Hwangs heterotopic stage space and the setting-up of a color-blind communitas

Chapter Five Conclusion

Appendix

An Interview with David Henry Hwang

Performative Identity on a Liminal Stage: An Interview with David Henry Hwang

Bibliography

祁亚平，陕西咸阳人，华东师范大学英语语言文学博士，安徽工业大学外国语学院副教授。主要从事当代美国、爱尔兰戏剧研究，主持并完成省部级课题3项，发表CSSCI近10篇。近期有：《杂糅舞台空间中的种族操演——论黄哲伦<黄面孔>的后现代戏剧策略》，载《外国文学动态研究》2019年第2期；《论当代爱尔兰戏剧家弗里尔<建构历史>中的新历史主义史学观》，载《外国文学》2019年第4期。目前正主持社会科学一般项目“20世纪爱尔兰经典剧目改编与认同研究”(21BWW060)。

该书稿试图以黄哲伦的主要剧作为研究对象，从叙事形式、戏剧结构和剧场空间三个层面探讨黄氏后现代剧场美学。该书稿指出，黄哲伦运用非自然叙事质疑话语的连续；借元戏剧手法打破剧场幻觉，揭示身份的表演本质；通过营造异质舞台空间，为多元文化进行协商与对话搭建平台。该书稿强调，黄哲伦本着形式为内容服务的原则，以后现代剧场美学很好地演绎了身份的表演与流动，彰显了形式与内容之间的辩统一关系。