残酷戏剧、非再现与“无器官的身体”--解读彼得·布鲁克的电影《马拉／萨德》  

Theatre of Cruelty, Non-Representation, and “Body without Organs”——On Peter Brook's Film Marat/Sade

作　　者：李婷文[1] 

机构地区：[1]厦门大学2014级文艺学

出　　处：《戏剧（中央戏剧学院学报）》2018年第3期90-104,共15页Drama:The Journal of the Central Academy of Drama

摘　　要：彼得·布鲁克的戏剧《马拉/萨德》是阿尔托式残酷戏剧的代表,但以往研究者在该剧复杂的戏剧元素和风格所属问题上争论不断,并且主要以戏剧而不是电影《马拉/萨德》,以"内容"而不是媒介为研究对象。本文致力于厘清该作品杂糅的戏剧元素和风格所属问题,论证该影片为何是挖掘和分析残酷戏剧、新感性,以及新伦理的理想范本之一;从影片的叙事手段、场面调度、镜头摄制以及场景安排等层面切入,探讨残酷剧论的倡导者和批评者如何在布鲁克的电影技术中协商一致,以充分展现这种新感性如何通过改变观者的感知和认知方式,实现其另类审美主义的诉求,提出一种新伦理的可能性。The complex elements of drama and style categorization of Peter Brook＇s Film Marat/Sade, a typical work of Artaudian theatre of cruelty, have remained controversial, with the tendency of studying on the theatre and the content rather than the film and the medium. This paper looks into the mixed elements of drama and the style categorization of Peter Brook＇s Film Marat/Sade and explains why the film, rather than the theatre or Artaud＇s own works, is an ideal research object of theatre of cruelty, new sensibility and new ethics. Based on further analysis of the narrative method, mise-en-scene, filming and setting of this film, this paper shows the negotiation between advocates and critics of theatre of cruelty so as to reveal how the new sensitivity, through altering the perception and cognition of the audience, represents a new aesthetic appeal and the possibility of new ethics.

关 键 词：阿尔托 残酷戏剧 德里达 德勒兹 《马拉/萨德》 布鲁克 

分 类 号：J83[艺术—戏剧戏曲]