窥破《终局》:论阿多诺的现代主义戏剧观  

Looking Through Endgame: On Adorno's Conceptions of Modernist Theatre

作　　者：路程[1] 

机构地区：[1]复旦大学中文系

出　　处：《文艺理论研究》2014年第2期209-216,共8页Theoretical Studies in Literature and Art

摘　　要：阿多诺在其美学理论体系中,将贝克特的荒诞派戏剧作为具有典范意义的现代主义艺术作品。在《文学笔记》中,阿多诺以二战之后欧洲出现的历史和心理危机为背景,从作品形式和哲学意义两方面解读了贝克特的独幕剧《终局》。首先,《终局》中角色的无意义生存,让阿多诺勾勒出理性时代主体性的衰落历史。其次,阿多诺从《终局》中看到了反存在主义哲学的文学因素,重新阐释了主体和情境的关系,赋予贝克特式的"荒诞"以新的理论内涵。再次,阿多诺认为《终局》戏仿了传统戏剧,这是对理性同一性的背离,也是自律艺术的特征。对贝克特的阐释体现出阿多诺的现代主义戏剧观念:在主体性衰落的战后时代,戏剧人物呈现出支离破碎的形象,情节和语言具有荒诞、偶然的特征。以贝克特为代表的现代主义戏剧没有主动介入现实的意图,但它正是通过自律的形式,实现对于现实的否定性回应,从而保持了批判性力量,以严肃,乃至殉道的态度对人生和社会进行救赎。Beckett＇ s theatre of absurd was regarded by Adorno as the most quintessential modernist artworks. In Notes to Litera ture, Adorno interpreted Beckett＇ s Endgame against the background of the post - WWII historical and psychological crisis. First ly, the meaningless living of the characters in Endgame leads to Adorno＇ s delineation of a declining subject in a rational age. Secondly, Adorno found in Endgame some anti - existentialist literary elements, which prompted him to re - interpret the rela tions between subject and situation and endow Beckettian absurdity with novel theoretical significance. Thirdly, Adorno consid ered Endgame as a parody of traditional drama, which was, for Adorno, a deviation from the rational identity and also the very characteristic of autonomous art. Adorno＇ s interpretation of Beckett reflects his conceptions of modernist theatre： in the post - war era with the decadence of subjectivity, dramatic figures are characterized through fragmentary images, and the plot and lan guage appear to be contingent and absurd. Modernist theatre, such as Beckett＇ s works, may not have the intention to intervene the social reality, but it responds negatively to the reality through its autonomous form. Therefore, the modernist theatre could maintain a critical force and redeem life and society in a serious and even a martyrly way.

关 键 词：贝克特 《终局》 主体性 荒诞 自律艺术 

分 类 号：I106.3[文学—世界文学]