Naomi Iizuka’s Polaroid Stories (1997) combines a stage adaptation of selected tales from Ovid’s Metamorphoses with the stories of homeless young people. Iizuka’s use of these two sources in her play provides a new insight into Ovid’s treatment of the theme of sexual violence in the Metamorphoses as well as exposing the dangers faced by young people on city streets today. In particular, looking at the two texts exposes the link between sexual violence and linguistic violence in the silencing of victims and the refusal of victims to be silenced. Alongside exploring Iizuka’s reception of the sexual violence portrayed in the Metamorphoses, this article uses a feminist reception theory to analyse Iizuka’s own literary act of violence in her reception of Ovid. Does Iizuka simply present Ovid’s tales and their concern with sexual violence in a more modern setting, or does she violently dismember Ovid’s text to produce a play that criticizes his portrayal of victims of sexual violence in the Metamorphoses? In some ways the techniques Iizuka uses to give the characters in her play a strong voice against the violence they face are similar to those that can be identified in Ovid. However, Iizuka can be seen to use those techniques against the author she emulates in order to give a voice to characters he had silenced.

饭冢直美的《宝丽来故事》（1997）将奥维德《变形记》中精选故事的舞台改编与无家可归的年轻人的故事结合起来。饭冢在她的戏剧中对这两个来源的使用为奥维德在《变形记》中对性暴力主题的处理提供了新的见解，并揭露了当今城市街道上年轻人面临的危险。特别是，审视这两份文本，揭示了性暴力和语言暴力在使受害者保持沉默和受害者拒绝保持沉默之间的联系。除了探讨饭冢对《变形记》中性暴力的接受之外，本文还运用女性主义接受理论来分析饭冢在接受奥维德时所表现出的文学暴力行为。饭冢只是简单地在更现代的背景下呈现奥维德的故事及其对性暴力的关注，还是她暴力地肢解了奥维德的文本，以制作一部批评他在《变形记》中对性暴力受害者的描绘的戏剧？在某些方面，饭冢用来赋予剧中人物强烈的声音来反对他们所面临的暴力的技巧与奥维德中可以识别的技巧相似。然而，可以看到饭冢使用这些技巧来对抗她所效仿的作者，以便为他压制的角色发出声音。