The Heidi Chronicles: The Big Chill of Feminism

South Atlantic Review Pub Date : 1995-05-01 DOI:10.2307/3201302

J. Balák

引用次数: 3

Abstract

W HEN WENDYWASSERSTEIN'S PLAY, The Heidi Chronicles (1988), won the Pulitzer Prize, many feminist critics assaulted it, insisting that it is not really a feminist play because Heidi "sells out" in the end by adopting a baby. They argued that "this unmotivated conclusion compromised Heidi's antecedent values," and that the true cause of her depression was her "manlessness" (Kramer 3). In fact, when the play was being considered for film production in Hollywood, L.A. producers said, " ... we just have trouble with the main character, the second act and the ending" (Wasserstein 10). Wasserstein, however, retorts that Heidi adopts a baby because that choice is consistent with her character:

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海蒂编年史:女权主义的大寒

当温迪·沃瑟斯坦的戏剧《海蒂编年史》(The Heidi Chronicles, 1988)获得普利策奖时，许多女权主义评论家抨击它，坚持认为这不是一部真正的女权主义戏剧，因为海蒂最终“出卖”了自己，收养了一个婴儿。他们认为“这个毫无根据的结论损害了海蒂之前的价值观”，而她抑郁的真正原因是她的“男子气概”(Kramer 3)。事实上，当好莱坞考虑将这部剧拍成电影时，洛杉矶的制片人说:“……我们只是在主角、第二幕和结局上遇到了麻烦”(沃瑟斯坦10)。然而，沃瑟斯坦反驳说，海蒂收养一个婴儿是因为这个选择与她的性格一致:

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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South Atlantic Review

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