Abstract: Albees plays resonate with the pulse of the age he lives in, and write the circumstances of body caught up in the wave of technological determinism. In Whos Afraid of Virginia Woolf, the perfect male body massproduced by genetic technology reveals the discipline that life politics exerts on body. In The Man Who Had Three Arms, the media technology has reduced the body of the man who had three arms into a spectacle and commodity, which indicates the alienation of body in the realm of cultural production. And in The Goat, or Who Is Sylvia, the fullscale invasion of nature by technology in the postindustrial age has made Martins body insensible in the mechanized reality, and even a symbol of ethical taboo. Through presenting body reduced to a machine, a commodity and an insensible being, Albee discloses the oppression which the western life politics, the production logic of culture and ecological ethical order exert on life. As Martin has the epiphany that he is an animal, this consciousness negates the mechanized reality, and reflects the possibility that the body can regain its agency.

Key words: Albees plays; machine; commodity;insensiblibity; body writing

摘要： 阿尔比戏剧与时代脉搏共振，书写裹挟于技术决定论浪潮的身体境遇。在《谁害怕》中，经基因技术批量生产的完美男性身体揭示生命政治对身体实施的规训。在《三臂人》中，媒体技术迫使“三臂人”的畸形身体沦为奇观和商品，表明身体在文化生产领域的异化。在《山羊》中，后工业时代技术对自然的全面入侵使马丁的身体因现实的机械化而变得无感，甚至降格为伦理禁忌符号。通过呈现沦为机器、商品和无感存在的身体，阿尔比披露西方生命政治、文化生产逻辑和生态伦理秩序对生命的压迫。

关键词: 阿尔比戏剧；机器；商品；无感；身体书写