英文摘要 |
Boris Akunin’s play The Seagull, subtitled “A Comedy in Two Acts”, was published in literary journal Novyj Mir in 2000. Taking the plot from part of Chekhov’s last act, Akunin turns the tragedy of suicide into a locked-room mystery by inserting an abundance of stage directions. Thus, eight takes of irrelevant investigation are formed. The writer exploits the tactics of postmodernism: deconstruction, intertextuality, hypertext, etc. In Chekhov’s text he embeds the stage directions indicating the roles’ temperament and movement to alter the connotation of context. Besides, by distorting the characters’ personality and their relationships, he gives each of them the reasons to kill the young writer. The roles in new The Seagull share the same problems with people living in the modern society. At first glance, it looks like a ridiculous soap opera. However, eight different takes of Akunin’s play not only ridicule the clichés of interpreting the classic play, but also reflect the absurdity of the chaotic society, where the material and consumer culture prevails and the morality disintegrates. Most important of all, it reminds people in the modern world to be cultivated. |