虚假流派的真实接受:“荒诞派戏剧”的中国之旅  

Real Reception of False School: “Absurd Theatre” in China

作　　者：程小牧[1] 

机构地区：[1]北京大学外国语学院世界文学研究所

出　　处：《戏剧（中央戏剧学院学报）》2017年第1期16-31,共16页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金项目"十一届三中全会以来外国文学研究三十年"(项目编号:09AWW001)法国文学类的阶段性成果

摘　　要：从史实角度来说,"荒诞派"戏剧流派并不存在。这一偶然的批评语汇,被塑造为实质性的文学史概念,而这一概念的使用又根本影响了"荒诞派"戏剧在世界范围内的接受。本文追溯了"荒诞派"这一概念的由来,指出以"荒诞派戏剧"的统称打包处理贝克特、尤奈斯库、阿达莫夫和让·热内这四位剧作家所造成的误区和问题,并以此为鉴,分别梳理这四位作者在中国的接受过程和研究现状,并指出未来的译介和研究亟待建设的方面。From the perspective of historical facts, the school of ＂Absurd Theatre＂ does not exist. This phrase casually used in criticism is falsely molded as a substantive concept in literary history. And the practice of it has a radical impact on the reception of the Absurd Theatre in the world. This article traces the origin of Absurd Theatre and points out its misunderstanding and problems, which lies in the four writers Beckett, Ionesco, Adamov and Jean Genet are called a joint name Absurd Theatre school. On this account, the article organizes respectively the process of reception and research status of the four writers in China and indicates the urgent improvement aspect of translation, introduction and research about them in the future.

关 键 词：荒诞派戏剧 接受 贝克特 尤奈斯库 阿达莫夫 让·热内 

分 类 号：J809.9[艺术—戏剧戏曲]