小说化的戏剧——论“费加罗三部曲”的现代性  

The Novelization of Drama—On Modernity of the Figaro Trilogy by Beaumarchais

作　　者：龙佳 史忠义[2] Long Jia;Shi Zhongyi(the College of Foreign Languages and Cultures, Xiamen University Xiamen 361005, China;the Institute of Foreign Literature in Chinese Academy of Social Sciences, Beijing 100732, China)

机构地区：[1]厦门大学外文学院 [2]中国社会科学院外国文学研究所

出　　处：《外国文学研究》2018年第2期142-150,共9页Foreign Literature Studies

基　　金：福建省社会科学规划项目"博马舍正剧观研究"(FJ2017B072);"中央高校基本科研业务费专项资金资助"项目(20720171050)~~

摘　　要：从剧作法的角度考察18世纪法国剧作家博马舍的"费加罗三部曲",意味着探究古典主义衰落之际戏剧文体的变革。在文体渊源和原则上与戏剧相悖的小说,通过舞台说明与戏剧画面两种叙事性手段侵入三部曲戏剧文本:舞台说明对细节的关注营造出纷繁具体的舞台景象,画面描述则进一步使舞台说明汇零为整,构成静态的戏剧画面,形成画面叙事与戏剧行动并存的文本态势。这一变革的实质为:戏剧文体在探寻自身有效性的过程中不断突破自我边界,走出古典主义,趋向现当代戏剧写作。"费加罗三部曲"由此展现出戏剧小说化的现代性本质。To examine the Spanish Trilogy by Beaumarchais, an 18 th century dramatist, in light of dramaturgy, means to study the reform of drama at the time of the French classicism crisis. The novel, whose gender origin and principle differ from those of the drama, penetrates the dramatic text of the Trilogy through two novelistic elements – the stage directions and the theatre tableau. In describing details, the stage directions create narrative environments that come within static dramatic tableaux in order to elaborate a new dramatic text in which the narrative tableau and the dramatic action would coexist. The essence of this reform of drama lies in that a dramatic genre, in search of its own legitimacy, goes beyond its limits and thus departs from classicism and aims at a modern and contemporary dramatic writing. That is how the modernity of Beaumarchais＇ Spanish Trilogy is achieved.

关 键 词：戏剧小说化 “费加罗三部曲” 舞台说明 戏剧画面 

分 类 号：I565.073[文学—其他各国文学]