Victory: The Play and Reviews - A Critical Edition

我与罗多比公司签订了一份合同，为巴兹尔·麦克唐纳·黑斯廷斯改编的约瑟夫·康拉德的《胜利》（1919年出版）制作一份评论版，并收集有关该剧的评论、新闻摄影和审查报告。这部改编自康拉德1915年小说的舞台剧非常成功，在伦敦环球剧院上演了80多场，演员兼制片人玛丽·洛尔（Marie Lohr）饰演莉娜。尽管这出戏大获成功，但人们对它的评价却令人着迷地褒贬不一，有的褒贬不一。在改编中，康拉德的《胜利》——一部复杂而模棱两可的小说——转向了情节剧的确定性：该剧呈现了一个黑白分明的世界，有好人也有坏人。在第一次世界大战后流行戏剧的背景下，这种情节剧并不令人惊讶。尽管作品有公式化的一面，但该剧仍然是晚期情节剧的典范，其人物塑造尤其有趣，尤其是对战后背景下“外国”人物的描绘，以及对“讨厌女人”的琼斯先生的舞台建构。琼斯的含蓄同性恋在舞台上丝毫没有减少，但却被臭名昭著的严格的英国舞台审查委员会——张伯伦勋爵办公室——忽视了，尽管他们担心这部戏在暴力方面“耸人听闻”和“可怕”，但他们对平民主义的刺激和胜利改编的内在“文学性”感到高兴，并批准了这部戏的演出，而没有进行任何删减。我将编辑的《胜利》改编的批判版将成为罗多比雄心勃勃的康拉德研究系列的第一批作品之一。除了复制这些原始文本，我还将提供一个扩展的介绍（以及详细的注释和脚注），这将提供一个上下文，历史和理论分析的戏剧，它的起源和接受。除了这次编辑和原创工作，我还将在戏剧工作室与本科生和研究生志愿者一起领导一些课外研讨会，在实际的工作室环境中探索这部戏剧。

I am under contract with Rodopi to produce a critical edition of Basil MacDonald Hasting's dramatisation of Joseph Conrad's Victory (produced 1919) along with the collected thatre reviews, photojournalism and censor reports of the play. The stage adaptation of Conrad's 1915 novel proved to be a highly successful production enjoying a run of over eighty performances at the Globe Theatre in London with actor-producer Marie Lohr as Lena. Despite the popular success of the play, the reviews of the production were fascinatingly mixed ranging from the laudatory to the systematically destructive. In the adaption, Conrad's Victory - a complex and ambiguous novel - is shifted towards the certainties of melodrama: the play presents a rigidly black and white universe with good and eveil characters. Such melodramatisation is unsurprising in the ocntext of post-Great War popular theatre. Despite the formulaic aspect to the work, the play remains a fine example of the genre of late melodrama and is especially intersting in its characterisation, in particular the depiction of 'foreign' characters in a post-war context and the stage construction of the 'woman-hating' Mr Jones. The implied homosexuality of Jones is not in the least diminished on the stage and yet was overlooked by the notoriously stringent British board of stage censorship - the Lord Chamberlain's office - which despite being concerned that the play was 'lurid' and 'dreadful' in its violence, delighted in the populistic thrills and intrinsic 'literariness' of the Victory adaptation and granted permission for the play to be performed without a single cut being made. The critical edition of the Victory adaptation that I will be editing will form one of the first titles to appear as part of Rodopi's ambitious Conrad Studies series. In addition to reproducing these original texts, I will also provide an extended introduction (as well as detailed annotations and footnotes) which will provide a contextual, historical and theoretical analysis of the play, its genesis and reception. As well as this editorial and original textual work, I will also lead some extracurricular workshops in the drama studio with undergraduate and postgraduate volunteers to explore the play in a practical studio context.