TOUCHING TEXT BRITISH NEW WRITING
那些讓我們心動的文字


Honour Bayes

Honour Bayes

Honour Bayes is a theatre critic and journalist who have had work published in The Guardian, Time Out, The Stage, IdeasMag, Total Theatre, The Church Times and Exeunt Magazine. She is a regular columnist for The Stage focusing on Off West End and Fringe theatres with a particular interest on contemporary performance practice.

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昂納·貝葉斯

昂納·貝葉斯是一名戲劇評 論家和新聞工作者,曾在《衛 報》、《閑暇》、《舞臺》、《思 想雜誌》、《總劇院》、《教會 時報》和《退場》上發表文 章。因為對當代舞臺表演有 著濃厚的興趣,她也擔任著 《舞臺》雜誌中倫敦西區外 劇院和邊緣小劇院欄目的定 期專欄作家。

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In 1956 John Osborne’s ‘Look Back in Anger’ at the Royal Court Theatre heralded a new era in British theatre and a genre was born: New Writing. While all playwrights start off as unknown new writers, New Writing usually refers to those British writers who emerged in successive waves in the wake of Osborne’s explosive play. Each new wave has reinvented theatrical language, often being contemporary in tone, urgent in theme and experimental in form.

1956年在皇家宮廷劇院上演的約翰·奧斯本 (John Osborne)的《憤怒中回首(Look Back in Anger)》預示著英國劇院一個新時代的到來,同 時也衍生出一個新流派:新寫作派。雖然所有劇 作家都是從不知名的新作家開始一步步發展的, 但新寫作派通常指那些緊隨奧斯本開創性戲劇 的英國作家。每一波新浪潮都重塑戲劇言語、使 用當代話語、選用緊張主題、創新新形式。

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Over the years rather than petering out this tide of new talent in British theatre has gone from strength to strength. The end of the 20th Century was defined by what critic Aleks Sierz termed ‘In- Yer-Face theatre’, a theatre that “grabs the audience by the scruff of the neck and shakes it until it gets the message”. Personified by writers such as Sarah Kane, Mark Ravenhill and Anthony Neilson this was writing that was extreme, shocking and disturbing but also poetic and acutely beautiful, both capturing the zeitgeist and questioning it.

過去幾年,這些英國戲劇的新人才隊伍不僅沒有失去光芒,而是不斷壯 大。評論家阿列克·齊爾茨(Aleks Sierz)將20世紀末稱為“直面戲劇”, 這種戲劇用最直接、甚至有些粗魯的方式讓觀眾明白作者想要傳遞的 信息。莎拉·凱恩(Sarah Kane)、馬克·雷文希爾(Mark Ravenhill)和 安東尼(Anthony Neilson)等作家的作品都很偏激、令人震驚不安,但 同時不失詩意與美感,既抓住了時代的潮流,又實現了創新。

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It’s a movement that both stylistically and conceptually forms the basis of much of the new writing that we see on British stages today. But In-Yer-Face theatre was also of its time, defining an
era that’s been and gone. It is to the 1990s what absurdism was to the 1950s, or what kitchen-sink drama was to the Macmillan years. As we move further into the 21st Century the question is “what is New Writing now?”

對於今天我們所看到的新寫作創造的英國舞臺戲劇,這項運動在風格和 概念方面為其奠定了基礎。直面劇場也是當年時代的產物,意味著一個 時代戲劇的過去和消逝:從20世紀50年代的什麽是荒誕主義到1986年麥 克米倫時代的什麽是市井生活的嚴肅戲劇(kitchen-sink drama)。當我 們踏入21世紀後,隨之而來的問題是什麽是新寫作?


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