摘要
本文回顾了作者如何在尼日利亚走上了剧本创作的道路,以及其后的职业发展。尼日利亚1960年摆脱英国殖民主义获得独立。但是由于文人领导人的腐败和无能,独立之后不过十年便陷入军事独裁。这一时期,尼日利亚作为石油产出国,极大地受益于国际市场的旺盛需求。然而可悲的是,轻易到手的财富只让掌权的军人比其前任平民政府更加腐败。在这种后殖民加军事统治的状况下,我们面临着双重的挑战,一方面要从本国的多元文化中创造出新的戏剧,另一方面,要创造有政治担当的戏剧,揭露军政府的腐败,又要绕过他们的审查制度。这就是作者所说的"戏剧的秘密起义",其本人的剧作足以成为例证。
This paper discusses the genesis, as well as the subsequent evolution, of the author's work as a playwright in Nigeria. The country won its independence from British colonialism in 1960,but fell under military dictatorship within a decade because of the corruption and ineptitude of civilian leaders. It was a period when the oil-producing country benefitted immensely from a propitious world market but,sadly, this easy wealth only encouraged the soldiers in power to become even more corrupt than their civilian predecessors. In this post-colonial, military state therefore, the Nigerians found themselves faced with the double challenge of inventing a new theatre out of culturally heterogeneous resources, and at the same time, creating a politically committed theatre which would expose the venality of the soldiers without however being suppressed by their censors. This is what the author has described as 'the theatre of surreptitious insurrection'and which his work exemplifies.
出处
《国际社会科学杂志（中文版）》
2016年第4期122-135,共14页
International Social Science Journal（Chinese Edition）
