“抗拒”作为“姿态”——恩斯特·布洛赫论戏剧的功能  

Defiance as Gesture——Ernst Bloch on Function of Drama

作　　者：张晓萌[1] 

机构地区：[1]中国人民大学文学院,北京100872

出　　处：《烟台大学学报（哲学社会科学版）》2016年第4期43-50,共8页Journal of Yantai University(Philosophy and Social Science Edition)

基　　金：中国人民大学科学研究基金(中央高校基本科研业务费专项资金资助)项目"恩斯特.布洛赫文艺思想研究"(16XNH107)

摘　　要：通过引发怜悯与恐惧从而达到净化,亚里士多德在《诗学》中对悲剧的功效做了如是界定。布洛赫认为,真正重要的悲剧情绪不是恐惧与怜悯,而是抗拒和希望。恐惧与怜悯在情感与认知上的共鸣不能满足当代戏剧审美的需要,剧场可能且有必要通过观众对世界意志施以影响。这个观点与布莱希特的戏剧观存在承继关系:"抗拒"作为一种"姿态",是作为思考主体的人基于社会关系的可变性而有意识地判断并采取的行为态度,它不仅意味着剧本与演员在预先设定及表现上呈现出对抗性的态度与动作,同时亦展现出观众从被动沉浸在剧场所与到主动参与批判反思乃至实践的状态切换。"抗拒"实际上为观众接受悲剧的具体姿态提供了一种参考,同时为艺术通向革命建构了可能性。Based on the judgment made by Aristotle that tragedy＇s function lay in bringing about the pur- gation of emotions by means of pity and fear, Bloch argued that the most significant emotions arising from the tragedy should not be the two mentioned above, but defiance and hope. The effect of sympathy both on the emotion and cognition could not meet the aesthetic needs of the modern audience, and the theater could and should exert influence on the will of the world. The idea displays an inheritance relationship with Breeht~ drama view that defiance as a sort of gesture, is an intentional judgment and attitude of man- kind, the subject of thinking, that is on account of social relations. It not only means the confrontational attitudes and acts between scripts and performers in terms of pre-setting and performance, but also exhib- its a status switch of audiences from negative immersion in the theaters to positive participation in critical reflection even practice. It provides an alternative and specific approach of gesture for the audience ap- preciating the tragedy, and also creates the possibility between arts and revolutions.

关 键 词：恩斯特·布洛赫 戏剧 功能 亚里士多德 布莱希特 

分 类 号：I053[文学—文学理论]