瘟疫、治疗与审美主义的别途他径——桑塔格对阿尔托剧论的挖掘与误读  

“The Plague”,Curation and Alternative Aestheticism:Sontag's Insight and Misreading on Artaud's Theatre of Cruelty

作　　者：杨春时[1,2] 李婷文[1] YANG Chun-shi;LI Ting-wen(Department of Chinese Literature, Xiamen University, Xiamen 361005, Fujian;Sichuan Fine Arts Institute, Chongqing 401331, China)

机构地区：[1]厦门大学中文系,福建厦门361005 [2]四川美术学院设计艺术学院,重庆401331

出　　处：《厦门大学学报（哲学社会科学版）》2018年第3期120-129,共10页Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)

基　　金：国家留学基金委高水平大学公派研究生项目"残酷戏剧与红色六十年代美法文论;艺术创作的关系"(201606310145)

摘　　要：安托南·阿尔托的残酷戏剧贯穿于20世纪的戏剧实践和后现代主义哲学。苏珊·桑塔格作为较早和较有影响力的评论者,对20世纪60年代以来残酷戏剧热潮的兴起功不可没,同时也对之后的相关艺术与研究有一定的引导作用。但是,桑塔格对阿尔托的认识存在着比较明显的前后差异,这种差异聚焦于审美与道德的关系问题,和桑塔格在该问题上态度的变化密切相关。从这种变化和差异切入,返回阿尔托剧论和分析其中对审美与道德的论述,将不但能够检验桑塔格的阅读,而且可以从阿尔托对"瘟疫"这一概念的阐述,揭示出残酷剧论不同寻常的审美主义及其未被挖掘的艺术潜能。Antonin Artaud＇ s ＂Theatre of Cruelty＂ was a prophetic event in the 20th-century theatrical practice and post-modern philosophy, and Susan Sontag was among the earliest and most influential critics that contributed significantly to the thriving of Theatre of Cruelty since the 1960s. This means that Sontag＇ s views of Artaud inevitably had an impact on the related art experiments and studies thereafter. However, there seems to be an inconsistence between Sontag＇ s early and late readings on Artaud in the case of the relationship between the aesthetic and the moral, and one factor of this is Sontag＇s changing attitude towards this issue. To shed light on this inconsistence and change, we explore Sontag＇ s readings on Artaud through a close-reading on Artaud＇ s original texts and an analysis of his arguments about the aesthetic and the moral. Moreover, we examine the alternative aestheticism and the radical artistic potential of Theatre of Cruelty in Artaud＇ s revelation of ＂the Plague＂.

关 键 词：安托南·阿尔托 残酷戏剧 瘟疫 苏珊·桑塔格 审美主义 

分 类 号：J80[艺术—戏剧戏曲] B83-09[哲学宗教—美学]