2009-08-012024-05-17https://scholars.lib.ntu.edu.tw/handle/123456789/692027摘要：愛爾蘭劇場向來具有強烈的社會批判性，也是反映文化變革的前哨站。本年度將持續針對愛爾蘭戲劇研究常被忽視的主題，以建構更完整的劇場發展論述。本年度擬由全球化的角度切入，探討當代劇作家如何透過呈現移居該國的少數族裔（如黑人及猶太人），批判當前緊縮之難∕移民政策。本研究也將探索具濃厚種族色彩的「愛爾蘭性」（Irishness），在有色人種移入的全球化時代，所受到的挑戰及可能之變易；也將透過後殖民論述，審視愛爾蘭文化底層對「他者」的排斥，比其他有色人種的前殖民地更為複雜，凸顯政治意識形態所建構之身分認同極為脆弱。全球化對劇場的影響，也透露愛爾蘭人的自我認同，已近被改寫的臨界點。在此論述基礎上，本年度將延續過去兩年對愛爾蘭女性劇作家之研究，探討瑞德（Christina Reid）三部以北愛爾蘭首府貝爾法斯特為背景之劇作，細究新教徒女性及黑白混血兒，在（過去）族群對立嚴重的北愛社會所經歷的掙扎。透過對此少數族群的刻畫，劇作家如何以新的社會良知，鬆動以往政治正確的「愛爾蘭性」？此研究將有助於彌補愛爾蘭戲劇典律過於偏重父權、白人、民族主義所造成之疏漏，也將透過全球化的視野，對種族議題進行更深入的探索。瑞德的三部作品分別為：《瓷杯裡的茶》（Tea in a China Cup, 1983）、《貝爾法斯特市的美女》（The Belle of the Belfast City, 1989），以及《我的名字，我該告訴你我的名字嗎？》（My Name, Shall I Tell You My Name?, 1989）。<br> Abstract: Contemporary Irish theatre, following in its long tradition as a critical forum of political and social issues, has been a mirror of the transformation of Ireland in recent years. However, this transformation occurs in so rapid a manner that an increasing number of asylum seekers from Africa, economic immigrants from Eastern Europe, and returning citizens from North America, have not made themselves at home in Ireland. These newcomers, altering the ethnic landscape of Ireland, have potentially unsettled the racialism of Irishness—formerly understood as Catholic, Caucasian, nationalistic, and patriarchal. Moreover, they exerted mixed influences on some old/current residents who sometimes extend their welcomes in racist terms—of which some are not even aware. Playwrights, susceptible to the explicit and implicit racism in Ireland, have produced works that question the stereotypes of these racial minorities, revealing the unappealing face of Irish culture that has turned Belfast, for instance, into a “race-hate capital of Europe” and “the most racist city in the world.” On the foundation of research on Irish women dramatists conducted in the past two years, this year’s project will focus on Christina Reid’s three war dramas that engage the ethnic and denominational conflicts in Belfast—from a significant global perspective. This project will also examine how this Belfast-born playwright, alongside other playwrights, dramatizes racial conflicts in Ireland and overseas, in an attempt to evaluate the racist protectionism in Irish culture. The research on racial minorities in theatrical performances will not only be a challenge to the racialist discourse of the established dramatic canon, but also break fresh ground for the Irish theatre which is now striding out of the shadow of anti-colonial sentiments. Reid’s three war dramas include Tea in a China Cup (1983), The Belle of the Belfast City (1989), and My Name, Shall I Tell You My Name? (1989).瑞德愛爾蘭典律全球化黑人戲劇Christina ReidIrelandCanonGlobalizationBlackDrama