摘要
荒诞派戏剧在世界范围内具有广泛影响,中国剧坛亦不乏荒诞派戏剧的创作。但由于其形式和内容的反传统性,普通观众对荒诞派戏剧的理解和接受存在诸多障碍,"半透明的双层结构"则提供了一个突破这种困境的思路。香港话剧《孤男毒女》可视为一个成功的例证,它将深刻的内涵与审美自足的外层结构相统一,满足了不同层次观众的欣赏需求。"半透明的双层结构"也适用于其他类型的实验戏剧,并有助于培养戏剧观众,促进"实验戏剧"与传统的融合。
Absurd Theatre has had a worldwide influence on the dramatic arts,including in China.However,due to its unconventional form and content,Absurd Theatre can appear inaccessible to common audiences."Semi-transparent double structure"in Absurd Theatre suggests a way out of this predicament.The Hong Kong play Alone provides a good example,as it meets multi-layered aesthetic needs with its unity of deeper meaning and aesthetically self-sufficient form."Semi-transparent double structure"can be applied to other types of experimental theatre as well.It helps prepare the audience for the unfamiliar form and content,stimulating the merging of"experimental theatre"and tradition.
引文
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(1)本文采用张仲年主编《中国实验戏剧》(世纪出版集团2009年版)的提法,将1980年代以来兴起的“先锋戏剧”“小剧场戏剧”“实验戏剧”等统称为“实验戏剧”,包括象征主义、表现主义、荒诞派等各种流派的现代派戏剧。
(2)香港话剧团原创作品,首演于2011年,后在日本、韩国、中国香港等地广受好评,并被译为日语在东京上演。2015年改版,新版导演刘守正,编剧邱廷辉。本文的讨论主要基于2016年6月17日该剧在广州大剧院的演出,文中所引用台词均出自本场演出。
(3)粤语俗语,指下流、猥琐的男人。
