《Ravenhill’s Shopping》中的欲望与失落以及《****》和《Kane’s blast:新文化中令人不安的趋势》

Eugene Ngezem
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摘要

当现代世界悬在道德崩溃的边缘时,一些作家释放了道德约束,从而将不道德带到市场广场上,消费者似乎渴望在他们的世界里道德墙的倒塌。为了迎合这种渴望,马克·拉文希尔(Mark Ravenhill)颇具煽衅性的剧名和剧本《购物与做爱》(Shopping and Fucking, 1996)和莎拉·凯恩(Sarah Kane, 1995)充满激情的剧名《被炸》(blast, 1995)呈现了穿着现代人性服装的道德败坏的角色。这些角色固守着野蛮的、反复出现的性习惯,似乎暗示着人类尊严的不断侵蚀,他们以一种可怕的严厉,在任何时候、任何场合都固守着性。就像燃烧的蜡烛消耗了自己的高度,在前面的剧作家的作品中,长期的性冲动和性活动描绘了我们的世界,削弱了人类的雕像。故事发生在经济萧条、毒品泛滥的伦敦东区,《购物与寻欢作乐》就像一层华盖,下面是愤怒、冲动、猖獗的性与毒品,以及随之而来的损失。与此类似,莎拉·凯恩(Sarah Kane)的《爆破》(blast)以一个饱受战争蹂躏的城市为背景,再现了我们社会的废墟,描绘了一些堕落的人物,他们随心所欲地做爱,却不受惩罚。
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Lust and Loss in Ravenhill’s Shopping and F****ing & Kane’s Blasted: Troubling Trends in a New Culture
As the modern world hangs on a string of utter moral collapse, several writers unleash moral restraints, thus bringing immorality to the market square to consumers who seem to yearn for the collapse of moral walls in their world. Hearkening to such cravings, Mark Ravenhill’s provocative title and play, Shopping and Fucking (1996), and Sarah Kane’s flaming play, Blasted (1995), present morally bankrupt characters clothed in the garments of modern humanity. Glued to wild and recurrent sexual habits, suggesting, as it were, the unceasing erosion of human dignity, these characters cling, with menacing sternness, to sex at all times and in all lieu. Like burning candles that consume their own heights, chronic sexual drives and activities in the works of the foregoing playwrights depict our world and diminish the statue of humanity. Set in an economically dejected and drug-redden East End of London, Shopping and F****ing serves as a canopy under which sits rancorous, impulsive, and rampant sex and drugs with the attendant loss they create. In a similar vein, Sarah Kane’s Blasted, set in a war-torn city, which duplicate the ruins of our societies, depicts depraved characters who have sex at whim and with impunity.
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