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研究生: 莊淑涵
Chuang Shu-han
論文名稱: 正在發生的未來:艾德華•邦德《戰爭三部曲》中反面烏托邦之呈現
The Happening Future: Dystopia Represented in Edward Bond's War Plays
指導教授: 傅思迪 博士
Dr. Steven Frattali
口試委員:
學位類別: 碩士
Master
系所名稱: 人文社會學院 - 外國語文學系
Foreign Languages and Literature
論文出版年: 2005
畢業學年度: 93
語文別: 英文
論文頁數: 80
中文關鍵詞: 戰爭三部曲艾德華•邦德反面烏托邦社會主義資本主義歷史與回憶
外文關鍵詞: War Plays, Edward Bond, dystopia, socialism, capitalism, history and memory
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  • 社會改革的急切需求一直是艾德華•邦德長期關注的議題。藉由使用暴力的戲劇手法,將其直接呈現在觀眾面前,邦德意指喚醒觀眾對社會正在惡化的議題的重視,並期望觀眾可以採取積極的態度來面對這些積弊已久的社會問題。然而,邦德並不會在他的戲劇中告訴觀眾該如何解決這些問題,或者是勾勒出一個美麗的未來世界來鼓舞觀眾;因此,他的戲劇總是以一種對社會未來無可奈何之感作結。然而,邦德最想迫切傳達地訊息並非社會改革就能帶來一個美麗未來的保證,而是如果不趕快進行社會改革,我們的社會將會是反面烏托邦,而我們再也沒有資格稱自己為人類。在《戰爭三部曲》中所呈現的,即是一個惡劣的未來世界,一個正在形成的反面烏托邦。
    本論文將試著分析在邦德的《戰爭三部曲》是如何呈現出反面烏托邦的概念。第一章為導言。第二章討論《紅,黑,無知》,藉由呈現出個體在社會化階段中逐漸被社會所侵蝕、受控,探討反面烏托邦的形成。第三章討論《錫罐人》,一個在原子彈爆發後存活下來的新人類,一個看似趨近完美的資本主義社會,卻依舊無法逃脫滅亡的命運,是種對烏托邦想像的幻滅。第四章討論《大和平》,藉由主要角色──「女人」──其心路歷程來探討烏托邦的最終可能性。本論文將以邁向烏托邦為艾德華•邦德身為社會主義者的最終理想作結。也許烏托邦仍只是個美麗的幻想,然而就邦德來說,社會可以不斷地改革,就是他心中烏托邦之所在。


    The urgent need of social reform has long been one of Edward Bond’s major concerns. By staging violent scenes directly in front of the spectator, Bond intends to awaken the audience to the worsening social conditions, and thus have the spectator take a positive attitude toward such social problems that have long existed. Instead of offering answers to the social problems he proposes in his plays or picturing a beautiful future in the end, Bond’s plays often end up with a sense of the impossibility of social reform. Nevertheless, the most important message that Bond conveys is not the guarantee of a hopeful future, but rather that the result of not taking any action can only be imagined in terms of a dystopia where we are no longer qualified to call ourselves human beings. What is represented in The War Plays is the harsh world of the future, a dystopian condition that is actually happening now.
    My thesis aims to analyze how the notions of dystopia are represented in Bond’s War Plays. Chapter one is the introduction chapter. Chapter two deals with Red, Black and Ignorant. By presenting different phases in which individuality is gradually socialized by the state power, Bond points out the construction of dystopia. Chapter three deals with The Tin Can People. A group of people survive the nuclear bomb and lives in an almost perfect capitalist society. Yet, they fail to last their society and disillusioned with utopia. Chapter four deals with Great Peace. Through the wanderings of the main character, the Woman, Bond points out there still remains possibility of utopia. The thesis concludes with Bond’s ultimate goal towards utopia as a socialist. To Bond, as long as the social revolution takes place, there is where his utopia lies.

    Abstract Acknowledgments Chapter One: Introduction……………………………………………1 Chapter Two: Red, Black and Ignorant—Construction of Dystopia…………19 Chapter Three: The Tin Can People—Disillusionment with Utopia……………38 Chapter Four: Great Peace—Possibility of Utopia………………………………55 Chapter Five: Conclusion—Towards Utopia…………………………………………73 Selected Bibliography………………………………………………76

    Selected Bibliography
    Barthes, Roland. Camera Lucida. Trans. Richard Howard. London: Vintage, 2000.
    Bond, Edward. Introduction. Plays: 2. By Bond. London: Methuen, 1974. ix-xviii.
    ---. “Notes on Post-Modernism.” Two Post-Modern Plays. By Bond. London: Methuen, 1990. 213-44.
    ---. “Commentary on The War Plays.” The War Plays. By Bond. London: Methuen, 1991. 245-363.
    ---. The War Plays. London: Methuen, 1991.
    ---. Edward Bond: Letters II. Ed. Ian Stuart. Luxembourg: Harwood Academic Publishers, 1995.
    ---. Interview. “Modern and Postmodern Theatres.” New Theatre Quarterly By Ulrich Köppen. 13.50 (1997): 99-105.
    ---. The Hidden Plot. London: Methuen, 2000.
    Brecht, Bertolt. Brecht on Theatre. Ed. and Trans. John Willett. New York: Hill and Wang, 1992.
    Brockett, Oscar G. Perspectives on Contemporary Theatre. Baton Rouge: Louisiana State University Press, 1971.
    Brook, Peter. The Empty Space. New York: Atheneum, 1968.
    Cohn, Ruby. “Diversities of Verse.” Retreats from Realism in Recent English Drama. New York: Cambridge UP, 1991. 70-94.
    ---. “ Artists’ Arias: Edward Bond and Sam Shepard.” Anglo-American Interplay in Recent Drama. New York: Cambridge UP, 1995. 36-57.
    Coult, Tony. The Plays of Edward Bond. London: Eyre Methuen, 1979.
    Dickson, Keith. Towards Utopia: A Study of Brecht. Oxford: Clarendon Press, 1978.
    Duncan, Joseph E. “The Child and the Old Man in the Plays of Edward Bond.” Modern Drama 19.1 (1976): 1-10.
    “Dystopia.” Wikipedia: The Free Encyclopedia. 1 August 2005, 02:04 UTC. Wikipedia. 7 August 2005 < http://en.wikipedia.org/wiki/Dystopia>.
    Eagleton, Terry. “Nature and Violence: the Prefaces of Edward Bond.” Critical Quarterly 26.1-2 (1984): 127-35.
    Eddershaw, Margaret. “Performing Brecht in the Twenty-first Century—Dinosaurs came later.” Performing Brecht: Forty Years of British Performances. New York: Routledge, 1996. 151-73.
    Engels, Frederick. The Origin of the Family, Private Property, and the State. New York: International Publishers, 1985.
    Garner, Stanton B., Jr. “Post-Brechtian Anatomies: Weiss, Bond, and the Politics of Embodiment.” Theatre Journal 42.2 (1990): 145-64.
    Hirst, David L. Edward Bond. London: Macmillan, 1985.
    Hollinger, Veronica. “Playing at the End of the World: Postmodern Theater.” Staging the Impossible. Ed. Patrick D. Murphy. London: Greenwood Press, 1990. 182-196.
    Howard, Tony. “ ‘ No One Outside These Arms’: Edward Bond’s The War Plays.” Acts of War: The Representation of Military Conflict on the British Stage and Television since 1945. Eds. Tony Howard and John Stokes. Aldershot, Hants: Scolar Press, 1996. 127-44.
    Innes, Christopher. “Edward Bond: Rationalism, Realism, and Radical Solutions.” Modern British Drama: The Twentieth Century. Cambridge: Cambridge UP, 2002. 152-78.
    ---. “Edward Bond’s Political Spectrum.” Modern Drama 25.2 (1982): 189-206.
    Jameson, Fredric. Brecht and Method. London: Verso, 2000.
    Jenkins, Anthony. “Edward Bond: A Political Education.” British & Irish Drama since 1960. Ed. James Acheson. New York: St. Martin’s Press, 1993. 103-116.
    King, Kimball. Ed. Modern Dramatists: A Casebook of Major British, Irish, and American Playwrights. New York: Routledge, 2001.
    Klaić, Dragan. The Plot of the Future: Utopia and Dystopia in Modern Drama. Michigan: The University of Michigan Press, 1991.
    Kumar, Krishan. Utopia and Anti-Utopia in Modern Times. Oxford: Basil Blackwell, 1987.
    ---. Utopianism. Minneapolis: University of Minnesota Press, 1991.
    Lacey, Stephen. British Realist Theatre: The New Wave in Its Context 1956-1965. New York: Routledge, 1995.
    Levitas, Ruth. The Concept of Utopia. Hertfordshire: Syracuse UP, 1990.
    Malcolm Hay and Philip Roberts. Edward Bond: a Study of His Plays. London: Eyre Methuen, 1980.
    Mannheim, Karl. Ideology and Utopia: an Introduction to the Sociology of Knowledge. Trans. Louis Wirth and Edward Shils. San Diego: Harcourt Brace Jovanovich, 1985.
    Milne, Drew. “Drama in the Culture Industry: British Theatre after 1945.” British Culture of the Postwar: An Introduction to Literature and Society 1945-1000. Eds. Alistair Davies and Alan Sinfield. New York: Routledge, 2000. 169-91.
    Modelman, Perry. “Beyond Politics in Bond’s Lear.” Modern Drama 23 (1980): 269-76.
    Nicholson, Helen. “Acting, Creativity and Social Justice: Edward Bond’s The Children.” Research in Drama Education 8 (2003): 9-23.
    Peacock, D. Keith. “Edward Bond’s Historical Allegories.” Radical Stages. Westport: Greenwood Press, 1991. 139-51.
    Rademacher, Frances. “Violence and the Comic in the Plays of Edward Bond.” Modern Drama 23 (1980): 258-68.
    Reinelt, Janelle. “Theorizing Utopia: Edward Bond’s War Plays.” The Performance of Power: Theatrical Discourse and Politics. Eds. Sue-Ellen Case and Janelle Reinelt. Iowa: University of Iowa Press, 1991. 221-32.
    ---. “Edward Bond: Parables for Our Times.” After Brecht: British Epic Theater. Michigan: The University of Michigan Press, 1996. 49-80.
    Scharine, Richard. The Plays of Edward Bond. London: Associated UP, 1975.
    Scholes, Robert. Structural Fabulation: An Essay on Fiction of the Future. Notre Dame, Ind.: Notre Dame University Press, 1975.
    Spencer, Jenny S. “Edward Bond’s Dramatic Strategies.” Contemporary English Drama. Ed. C.W. Bigsby. London: Edward Arnold Publishers, 1981. 123-137.
    ---. “Political Parables.” Dramatic Strategies in the Plays of Edward Bond. Cambridge: Cambridge UP, 1992. 108-142.
    ---. “Remembering the Future.” Dramatic Strategies in the Plays of Edward Bond. Cambridge: Cambridge UP, 1992. 220-246.
    Stoll, Karl-Heinz. “Interviews with Edward Bond and Arnold Wesker.” Twentieth Century Literature 411-39.
    Stuart, Ian. “A Political Language for the Theatre: Edward Bond’s RSC Workshops, 1992.” New Theatre Quarterly 10.39 (1994): 207-16.
    ---. “Bond’s War Plays at Avignon.” New Theatre Quarterly 41 (1995): 192-3.
    Tener, Robert L. “Edward Bond’s Dialectic: Irony and Dramatic Metaphors.” Modern Drama 25.3 (1982): 423-34.
    Wandor, Michelene. “Language and Politics: the Senior Generation—Stoppard, Pinter, Bond, McGrath.” Drama Today. London: Longman, 1993. 18-30.
    Wiles, Timothy J. The Theater Event: Modern Theories of Performance. Chicago; The University of Chicago Press, 1980.
    Williams, Raymond. Problems in Materialism and Culture. London: Verso, 1980.

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