InternationalComparativeLiteratureVol.6NO.1（2023）：111-133DOI：10.19857/j.cnki.ICL.20236106Copyright©ShanghaiNormalUniversityWhiteGuiltandEpicTheatreElementsinFugard’sTheTrainDriver*阿索尔·富加德《火车司机》中的白人罪感与史诗剧元素木羽北京外国语大学MUYuBeijingForeignStudiesUniversitym_maureen@163.comAbstract：AtholFugardisawell-knowncontemporaryliberalistplaywrightinSouthAfrica.Hisone-actplay，TheTrainDriver，isastoryabouttheguiltofawhitetraindriverwhoaccidentallyhitablackwomanwhowascommittingsuicideandhisjourneyofsearchingthewoman’stombatagraveyardinthechargeofablackgravedigger.TheTrainDriverisFugard’smostimportantpieceinthepost-apartheidera.Itpresentsliberalwhites’senseofguilt，whichistheethicalconditionthatwhitescannotescapetheirconscienceinfaceofthesocialinjusticesofapartheid，andcontinuestheartisticexpressionofreachingreconciliationwithrealitythroughmoralrepentance.ItalsotakestheformofBertoltBrecht’s“EpicTheatre”torevealthehistoricalpredicamentinNewSouthAfricaaftertheendofapartheidandthenexamineswhiteguiltintheneoliberalcontext.Thisarticlefocusesonformanalysis，whichisthe“EpicTheatre”elementsinTheTrainDriver.IttriestoexplainthechangeinFugard’sperceptionofwhiteguiltinthepost-apartheideraandwhyhechoosestotaketheformofanepictheatretopresentit.ThearticleshowshowthemonologueinTheTrainDriverpresentswhiteguilt，andthenanalyzesthesettingofthedialogue，theprologueandepilogueandthealienationeffecttheycreatetopreventtheaudiencefromidentifyingwiththewhitemanandhisguilt.Then，itfurtherindicatestheneoliberalissuesinvolvedinstagedesigns，suchasthebackgroundofthecemetery，thedilapidateddwellingoftheblackgravedigger，andthesoundeffects，todemonstratethatthealienationeffectofthetheatricalformcanarousetheaudiencetothinkrationallythatthedeathofablackwomanisnotthefaultofthewhitedriver，buttheresultofthecomplexneoliberalreality.Inthiscase，thewhitetraindriverstillblindlybearstheguilt，ratherthan*SubmittedDate：Jan.1，2023；AcceptedDate：Mar.14，2023.2023年第6卷第1期...
