小说里的戏剧:科尔代斯戏剧叙事性研究
|
摘要
法国当代作家科尔代斯的戏剧作品在戏剧与叙事融合的探索中独树一帜,呈现出叙事性因素逐渐入侵并最终包裹戏剧的现象:在他早期的戏剧中存在一个超越于其他人物之上的人物作为观察者,人物关系呈现主客分离的局面;在后来的剧作中,他引入了叙述者,这个叙述者先是只引用人物话语,没有自己的个性化语言,后来逐渐发出了自己的声音,如同小说叙述者一样讲述人物经历和事件的来龙去脉。通过戏剧与叙事结合,科尔代斯没有像布莱希特那样实现观众与剧情的间离,而是强化了虚构世界的逼真性,甚至打破了戏剧的自足性,把戏剧包裹在另一个更加开阔的虚构世界中,也即一部小说中。
The contemporary French writer Koltès is unique in the exploration of the combination of drama and narration,with narrative elements gradually permeating drama and finally wrapping drama. In his early plays,there is a super-character who is an observer of the other characters,and the relationship of characters presents the separation of subject and object. In his later plays,he introduced a narrator,who first only quoted other characters' words without his own personalized words,and then gradually made his own voice,telling the story of the characters' experiences and events like the narrator in the novel. Through the combination of drama and narration,Koltès doesn't create any distancing effect like Brecht dose in his epic theatre. Instead,Koltès strengthens the vraisemblance of the fictional world,or even breaks the autonomy of the drama by wrapping it in a more open fictional world,namely,in a novel.
The contemporary French writer Koltès is unique in the exploration of the combination of drama and narration,with narrative elements gradually permeating drama and finally wrapping drama. In his early plays,there is a super-character who is an observer of the other characters,and the relationship of characters presents the separation of subject and object. In his later plays,he introduced a narrator,who first only quoted other characters' words without his own personalized words,and then gradually made his own voice,telling the story of the characters' experiences and events like the narrator in the novel. Through the combination of drama and narration,Koltès doesn't create any distancing effect like Brecht dose in his epic theatre. Instead,Koltès strengthens the vraisemblance of the fictional world,or even breaks the autonomy of the drama by wrapping it in a more open fictional world,namely,in a novel.
引文
[1]斯丛狄.现代戏剧理论(1880—1950)[M].王建,译.北京:北京大学出版社,2006.
[2]普菲斯特.戏剧理论与戏剧分析[M].周靖波,李安定,译.北京:北京广播学院出版社,2004.
[3]BERNARD F. Avant-propos[M]//Marie-Claude Hubert et Florence Bernard. Relire Koltès. Aix-en-Provence:Presses Universitaires de Provence,2013:10.
[4]KOLTS B M. Les Amertumes[M]. Paris:Les Editions de Minuit,1998.
[5]布莱希特.布莱希特论戏剧[M].丁扬忠,李健鸣,译.北京:中国戏剧出版社,1990:148.
[6]高尔基.童年[M].刘辽逸,译.北京:人民文学出版社,1956:15.
[7]Bernard-Marie Koltès. Quai Ouest[M]. Paris:Les Editions de Minuit,1985/2011.
[8]亚里士多德.诗学[M].陈中梅,译.北京:商务印书馆,1996.
[9]黑格尔.美学:第三卷下[M].朱光潜,译.北京:商务印书馆,1981:266.
[10]ERFANI A. Le Souffle de Koltès:les Inventions de l’autre,Dans La Nuit Juste Avant les ForêTs[M]//BUTEL Y,BIDENT C,TRIAU C. Koltès Maintenant et Autres Métamorphoses. Berne:Peter Lang,2010:145-159.
[11]BENHAMOU A F. Entre Humour et Gravité:Entretien Avec Claude Stratz[J]. Alternatives thétrales,1990(6):17-23.
[12]KOLTS B M. Combat de Nègre et de Chiens,Suivi de Carnets de Combat de Nègre et de Chiens[M]. Paris:Lesditions de Minuit,1989.
[13]KOLTS B M. Le Retour au Désert,Suivi de Cent ans d’histoire de la Famille Serpenoise[M]. Paris:Les Editions de Minuit,1988/2006:91-95.
[14]KOLTS B M. Lettres[M]. Paris:Les Editions de Minuit,2009:333.
[15]PETITJEAN A. Monologue Adresséet Dialogie:l’exemple de La Nuit Juste Avant els Forêts de B-M. Koltès[M]//FIX F,TOUDOIRE-SURLAPIERRE F. Le Monologue au Thétre(1950—2000). La parole Solitaire. Dijon:Presses de l’Universitéde Dijon,2006:98-118.
[16]SARRAZAC J P. ThéTres du Moi,Thétres du Monde[M]. Rouen:Médianes,1995:46-47.
[17]KOLTS B M. Une Part de Ma Vie:Entretiens(1983—1989)[M]. Paris:Les Editions de Minuit,1999.
[18]DIDEROT D. Oeuvres,tome 4:EsthéTique[M]. Paris:Robert Laffont,1996:512.
[19]巴赫金.巴赫金全集:第三卷[M].白春仁,晓河,译.石家庄:河北教育出版社,1998.
(1)阿贝尔(Lionel Abel)等学者将那些具有自我意识、检视自身的剧作称为“元戏剧”。“元戏剧”其实就是发生了叙述分层的戏剧。“叙事的自我”“中间交际系统”“元戏剧”是斯丛狄、普菲斯特和阿贝尔三位学者针对同一个问题从不同角度的阐述。
[2]普菲斯特.戏剧理论与戏剧分析[M].周靖波,李安定,译.北京:北京广播学院出版社,2004.
[3]BERNARD F. Avant-propos[M]//Marie-Claude Hubert et Florence Bernard. Relire Koltès. Aix-en-Provence:Presses Universitaires de Provence,2013:10.
[4]KOLTS B M. Les Amertumes[M]. Paris:Les Editions de Minuit,1998.
[5]布莱希特.布莱希特论戏剧[M].丁扬忠,李健鸣,译.北京:中国戏剧出版社,1990:148.
[6]高尔基.童年[M].刘辽逸,译.北京:人民文学出版社,1956:15.
[7]Bernard-Marie Koltès. Quai Ouest[M]. Paris:Les Editions de Minuit,1985/2011.
[8]亚里士多德.诗学[M].陈中梅,译.北京:商务印书馆,1996.
[9]黑格尔.美学:第三卷下[M].朱光潜,译.北京:商务印书馆,1981:266.
[10]ERFANI A. Le Souffle de Koltès:les Inventions de l’autre,Dans La Nuit Juste Avant les ForêTs[M]//BUTEL Y,BIDENT C,TRIAU C. Koltès Maintenant et Autres Métamorphoses. Berne:Peter Lang,2010:145-159.
[11]BENHAMOU A F. Entre Humour et Gravité:Entretien Avec Claude Stratz[J]. Alternatives thétrales,1990(6):17-23.
[12]KOLTS B M. Combat de Nègre et de Chiens,Suivi de Carnets de Combat de Nègre et de Chiens[M]. Paris:Lesditions de Minuit,1989.
[13]KOLTS B M. Le Retour au Désert,Suivi de Cent ans d’histoire de la Famille Serpenoise[M]. Paris:Les Editions de Minuit,1988/2006:91-95.
[14]KOLTS B M. Lettres[M]. Paris:Les Editions de Minuit,2009:333.
[15]PETITJEAN A. Monologue Adresséet Dialogie:l’exemple de La Nuit Juste Avant els Forêts de B-M. Koltès[M]//FIX F,TOUDOIRE-SURLAPIERRE F. Le Monologue au Thétre(1950—2000). La parole Solitaire. Dijon:Presses de l’Universitéde Dijon,2006:98-118.
[16]SARRAZAC J P. ThéTres du Moi,Thétres du Monde[M]. Rouen:Médianes,1995:46-47.
[17]KOLTS B M. Une Part de Ma Vie:Entretiens(1983—1989)[M]. Paris:Les Editions de Minuit,1999.
[18]DIDEROT D. Oeuvres,tome 4:EsthéTique[M]. Paris:Robert Laffont,1996:512.
[19]巴赫金.巴赫金全集:第三卷[M].白春仁,晓河,译.石家庄:河北教育出版社,1998.
(1)阿贝尔(Lionel Abel)等学者将那些具有自我意识、检视自身的剧作称为“元戏剧”。“元戏剧”其实就是发生了叙述分层的戏剧。“叙事的自我”“中间交际系统”“元戏剧”是斯丛狄、普菲斯特和阿贝尔三位学者针对同一个问题从不同角度的阐述。