学术预告：The Haunted Houses of American Theatre
应我校外国语学院陈爱敏教授邀请，美国纽约城市大学研究生院杰出教授大卫· 萨夫兰(David Savran)将来我校进行讲座和学术讨论会。
题目：The Haunted Houses of American Theatre
题目：Prominent Plays, Playwrights and Schools across the 20-21st Century
大卫· 萨夫兰 简介：
大卫· 萨夫兰 （David Savran )是美国戏剧研究杰出教授，纽约城市大学研究生院维拉·莫里 ·罗伯特讲席教授。获得康奈尔大学戏剧艺术专业博士，是《美国戏剧与剧场》杂志共同主编，一直担任美国戏剧研究协会副会长，2011，2012担任普利策奖评委，曾两年连续担奥比奖评委，2005到2010年连续5年担任罗西尔· 罗特尔（the Lucille Lortel Awards）奖提名委员会成员， 2013-2014年再次当选。至今出版专著8部，最近的一部专著《名流/内幕：戏剧，爵士乐，新中产阶级的形成》（Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class 2009） 获2008-2009度美国乔 A. 卡拉威奖最佳戏剧评论图书奖（该奖项两年一次，颁发给在美国戏剧研究方面成绩最突出的专著）。萨夫兰主要研究美国20世纪后期和21世纪美国戏剧，专注于流行文化、音乐剧和性别研究，是美国戏剧批评界的领军人物。
讲座“The Haunted Houses of American Theatre”摘要
The Haunted Houses of American Theatre
The theatre has always been haunted.Many of the oldest and most prominent plays in the canon feature real ghosts who appear onstage. Many more feature figurative ghosts who suggest that the living are always haunted by the dead. Rather than trace the long history of ghosts onstage, I will examine the sudden explosion of ghosts—and of haunted houses—on United States stages since the 1990s. So many recent, highly acclaimed plays feature ghosts. Many more take place in houses that are literally haunted. This paper answers the questions: why is the theatre haunted? What is it haunted by?
I argue that the re-appearance of ghosts demonstrates that the U.S. theatre at the beginning of the twenty-first century has become a place to encounter the theatrical past and the cultural past. For ghosts have become so important because they function as a point of intersection between personal memory and the histories of theatre and culture. A similar process obtains in relation to the appearance of haunted houses in recent plays. For the U.S. theatre remains preoccupied with canonical works that are almost invariably set in once-grand, middle-class houses that have now become full of ghosts. So many prize-winning plays are explicitly haunted by the traditions inherited from Henrik Ibsen, Anton Chekhov, and Eugene O’Neill, in terms of structure, themes, and styles. To support my thesis, I will provide brief analyses of several recent plays that take place in haunted houses, including Bruce Norris’s Clybourne Park, Tracy Letts’s August: Osage County, Brenden Jacobs-Jenkins’sAppropriate, and Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures.