ABSTRACT

This study is of threefold. First, it investigates the way Tony Kushner’s Homebody/Kabul was received when it first premiered a few months after the events of September 11. The timing is particularly important because considerable emphasis is often placed on the relevance of the play to the historical and political context as an important reason for the play’s success. Second, the study explores the way representative male and female Afghan characters are portrayed in the play, especially in comparison to their British counterparts. The discussion in this part shows how reviewers and critics considered the issue of characterization in Homebody/Kabul as another important measure for the play’s degree of success. Thirdly, the paper explores whether Homebody/Kabul did in fact succeed in offering an alternative perspective of the Afghan people and their culture that challenges the hegemonic, static, and considerably Orientalist discourse in the Western mainstream media.

摘要

这项研究是三方面的。首先，它研究了托尼·库什纳（Tony Kushner）的Homebody /喀布尔（Kabul）在9月11日事件发生后的几个月首次首次亮相时的接待方式。时机特别重要，因为通常会着重强调戏剧与历史和政治背景的相关性作为该剧成功的重要原因。其次，研究探索了戏剧中具有代表性的阿富汗男性和女性角色的表现方式，特别是与英国同伴相比。本部分中的讨论显示了审阅者和评论家如何将“居家/喀布尔”中的特征化问题视为该剧成功程度的另一重要指标。第三，本文探讨了Homebody /喀布尔 实际上，它确实成功地为阿富汗人民及其文化提供了另一种观点，这些观点挑战了西方主流媒体对霸权，静态和相当东方主义的论述。