以國族之名：愛麗思˙齊爾翠絲《荒野中的葡萄酒》中的黑人的愛

In the Name of the Nation: Black Love in Alice Childress’s Wine in the Wilderness

愛麗思．齊爾翠絲（Alice Childress 1916-1994）以寫實手法描繪非裔美國女性聞名，她也是第一位非裔美國女性劇作家獲得奧比獎(Obie Award)，因此她在美國戲劇史上有重要地位。《荒野中的葡萄酒》(Wine in the Wilderness, 1969)首演時正值黑人國族主義興盛的1960年代與1970年代初期，而本篇論文視此劇為齊爾翠絲對黑人國族主義的女性主義批判。國族是鎖鏈式壓迫制度的一環，與種族、階級與性別交互影響，約束非裔美國男性與女性來達到表面上的種族團結的目的。《荒野中的葡萄酒》聚焦於男女主角比爾．詹姆森(Bill Jameson)與湯米．菲爾絲(Tommy Fields)的戀情，並說明愛可以被文化與社會性地建構與操控，用以服務國族假定的利益。然而，此劇表達出只有當非裔美國人摒除性別迷思，愛才有可能實現並成為種族團結的鑰匙。

Famed for her realistic portrayal of African American women, Alice Childress (1916–1994), the first black woman to win an Obie Award, occupies a significant place in the history of American theater. As Wine in the Wilderness (1969) was first performed during the heyday of Black nationalism in the 1960s and early’70s, this paper considers the play as Childress’s feminist critique of Black nationalism. Nation, as a form of oppression, is closely intertwined with systems of oppression such as race, class, and gender, which mutually support one another to restrict both Black women and men, ostensibly to serve the purpose of racial solidarity. Wine in the Wilderness centers on the emerging romantic relationship between Bill Jameson and Tommy Fields and illustrates how love can be culturally and socially constructed and manipulated for the nation’s supposed benefit. The play shows, however, that when African Americans cast away gender myths, love can become possible and act as the true key to racial solidarity.