2007-08-012024-05-17https://scholars.lib.ntu.edu.tw/handle/123456789/693770摘要：哲學家班雅明（Walter Benjamin）曾說：「每一首史詩都懷抱著對未來的夢想，而一旦有了夢想，便註定要醒來。」 小說家喬依斯（James Joyce）更曾不客氣的指出：「歷史是一齣我得試著醒過來的惡夢。」 十九世紀末愛爾蘭民族主義者所懷抱的美好「夢想」，或說是孜孜建構的國家論述，在歷經北愛動亂（The Northern Ireland Troubles）的流血衝突，及女性主義者放大鏡般檢視後，已然是個搖搖欲墜、倏忽將醒的「夢」。向來把國家文化發展視為己任的愛爾蘭劇場人士，一貫透過舞台來傳達對民族的冀望與批判，進而影響大眾品味與價值標準，奠定凸顯愛爾蘭性（Irishness）的戲劇典律（canon）。典律固然有其藝術及文化價值，然而並非全然無可非議，特別是當中可能隱含文化與性別暴力。 本研究將分三大重心。（一）從維多利亞時代的Dion Boucicault的劇作切入，追溯在葉慈等人創立愛爾蘭民族劇場（Irish National Theatre，或Abbey Theatre）之前，彰顯民族特色的戲碼如何透過商業機制發軔、如何透過公開辯論與南愛政府背書，於二十世紀中而漸成主流。再對照歷年戲劇選集（anthology）之編目，與北愛於七○年代以後所上演的劇本，深究既有典律隱含的盲點。（二）沿續第一部份之研究，將探討於不同地域、世代所創作的劇本，如何建立與抵抗為國家服務的英雄論述。將採微觀的角度，檢視個別民族英雄（如Michael Collins、&Eacute;amon de Valera），如何被當代劇作家所「去神話」（de-mythologization）；以宏觀的方式探討歷代劇場如何呈現或誤現（misrepresentation）歷史事件。（三）從女性與弱勢族群的角度，更深入探索以父權價值為重，過分關照愛爾蘭政治、歷史的戲劇典律，是否長期否定愛爾蘭內部「他者」的存在。女劇作家如何突破既有的劇場框架，以新的創作手法顛覆劇場內外的語言、政治、文化、性別等符碼<br> Abstract: Walter Benjamin once commented that “every epoch not only dreams the next, but while dreaming impels it towards wakefulness.” James Joyce, Irish novelist, grumbled in Ulysses, “[h]istory is a night from which I am trying to awake.” At the turn of the twenty-first century, the dream, or nightmare, or national discourse, which many Irish nationalists had knitted together since the end of the nineteenth century, could no longer sustain itself without blood since the break-out of the Northern Ireland Troubles in the late 1960s. Furthermore, the feminists’ close observations on the violence of the Troubles in public and private spheres have made those dreamers wary of the tenability of their political beliefs. This research project on drama will therefore aim at reconstructing the ways in which contemporary Irish playwrights—who have observed or experienced the consequences of the Troubles—have fabricated a new notion of Irishness. Their repertoire, or an emerging, dramatic canon, might therefore have justified some unconventional, not necessarily patriotic, viewpoints, while also engendering more issues around the invisible, perhaps persistent, violence on those already on the social margin. This project has three emphases. Firstly, an analysis of Dion Boucicault’s patriotic Irish plays, written at the height of the Victorian age, will trace how Irishness, as a dramatised racial trait, had been enacted in the commercial theatres before W. B. Yeats and his contemporaries established the Irish Literary Theatre, or Abbey Theatre, in the early twentieth century. It will investigate how public debates on the arts and the Free State government helped the making of a mainstream dramatic canon for later generations. It will, furthermore, survey the editing of Irish anthologies on drama produced during the second half of the twentieth century, along with the new dramas produced in Northern Irish theatres since the 1970s. It will, not surprisingly, reveal the contradictory values and cultural stereotypes present in existing and emerging canons. Secondly, this project will examine plays written by playwrights with different agendas, dissimilar backgrounds, and opposing genders and generations, to show how they could resist or uphold a heroic discourse serviceable to the Irish nation. It will apply both microcosmic and macrocosmic approaches to the maintenance of heroic myths and/or iconic figures in the Irish theatre. The former will delve into the projection of individual national heroes, for instance, Michael Collins and &Eacute;amon de Valera, to explore how contemporary playwrights de-mythologise these renowned characters and make them re-appraisable. The latter will scrutinise the ways in which modern Irish theatres have inappropriately over-interpreted h愛爾蘭劇場典律北愛動亂愛爾蘭女劇作家後殖民Irish theatrecanonThe Northern Ireland TroublesIrish women playwrightspostcolonial.