论话剧《喜福会》中女性成长与华裔身份认同

发布时间：2018-01-20 03:27

本文关键词： 谭恩美《喜福会》身份认同　出处：《戏剧文学》2017年12期 　论文类型：期刊论文

【摘要】：作为海外华文文学优秀的代表作——谭恩美的处女作《喜福会》自1989年问世以来,就受到来自学界的关注及好评。1993年8月6日,中美两国的戏剧界首度合作,将谭恩美的《喜福会》通过话剧的形式首演于上海人民剧院并取得巨大成功,此次合作的成功标志着开启了中美戏剧界合作的新篇章。优秀的话剧作品需要时代检验,需要戏剧评论者加以评论才更加完美。戏剧评论者多从历史主义的角度、生态女性的角度、女权主义的角度及他者形象的角度来解读同名话剧《喜福会》,很少对这部话剧从童年、婚恋及婚姻中母亲对女儿影响的角度来进行阐述。本文通过不同时期母亲对女儿的影响,来研究话剧《喜福会》中四位女儿的华裔身份认同。
[Abstract]:As an outstanding representative of overseas Chinese literature, Tan En-mei 's first work, Joy Luck Club, has been paid close attention to and praised by scholars since its publication in 1989. August 6th 1993. For the first time, the theatrical circles of China and the United States worked together to premiered Amy Tan's "Joy Luck Club" in the form of a play at the Shanghai people's Theatre with great success. The success of this cooperation marks the opening of a new chapter of Sino-American drama cooperation. Excellent drama works need to be tested by the times. The drama critics interpret the drama from the perspective of historicism, ecological women, feminism and the image of others to interpret the drama of the same name "Joy Luck Club". This play is seldom elaborated from the perspectives of childhood, marriage and the influence of mothers on their daughters. This paper discusses the influence of mothers on their daughters in different periods. To study the Chinese identity of the four daughters in the drama Joy Luck Club.
【作者单位】：长春工程学院外国语学院;
【分类号】：J824
【正文快照】： “作为中美两国戏剧界名流首次合作的产物”,[1“]1993年8月6日,由上海人民艺术剧院同美国耶鲁——中国协会和长港剧院合作”[2]将谭恩美的《喜福会》通过话剧的形式首演于上海人民剧院并取得巨大成功,标志着开启中美戏剧界合作的新篇章。“1994年和1997年由中方导演俞洛生率

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