Abstract:This paper considers how and why the American playwright David Ives's 2010–2012 New York hit play Venus in Fur directed by Walter Bobbie borrowed the plot of Euripides' Bacchae to dramatize a new version of Leopold van Sacher-Masoch's 1870 novella Venus in Furs (Venus im Pelz). The play gradually reveals that the actress auditioning for the part of its heroine, Vanda, is in fact the goddess herself, who arrives to challenge and punish the playwright/hero for refusing to comprehend her divinity/the nature of female sexuality. In Bacchae, Dionysus's divinity enables reversals of gender and power, hard-to-categorize blurring of genre boundaries, and an uncanny control of plot. As she transforms and directs the play, Vanda/Aphrodite's superhuman metatheatrical powers permit similar reversals to Venus in Fur, while challenging plots that traditionally link female liberation with (especially anti-male) violence and the female gender with a propensity for irrationality and uncontrolled desire. Through exploring and then reversing an initially stereotypical relation between male director and actress, the play exposes modern theater's own parallel agenda to reinforce traditional gender divisions.

中文翻译：

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皮草中的维纳斯：重塑美国的酒神

摘要：本文探讨了美国剧作家大卫·艾夫斯 2010-2012 年纽约热播剧《皮毛维纳斯》由沃尔特·博比 (Walter Bobbie) 执导，借用欧里庇得斯 (Euripides) 的《酒神》(Bacchae) 的情节，将利奥波德·范·萨赫-马索 (Leopold van Sacher-Masoch) 1870 年中篇小说《皮毛维纳斯》(Venus in Furs) 的新版本戏剧化的方式和原因。 （金星在佩尔兹）。该剧逐渐揭示，女主角万达的试镜实际上是女神本人，她来挑战和惩罚剧作家/英雄拒绝理解她的神性/女性性欲的本质。在 Bacchae 中，狄俄尼索斯的神性使性别和权力的逆转、难以归类的流派界限模糊以及对情节的不可思议的控制成为可能。当她改变和指导戏剧时，万达/阿佛洛狄忒超人的超戏剧力量允许类似于皮草的维纳斯，同时挑战传统上将女性解放与（尤其是反男性）暴力以及女性具有非理性和不受控制的欲望倾向联系起来的情节。通过探索并扭转男性导演和女演员之间最初的刻板关系，该剧揭露了现代戏剧自身的平行议程，以加强传统的性别划分。