图米纳斯幻想现实主义戏剧的非写实形态与方法论启示——以《叶甫盖尼·奥涅金》为例  

Non-realistic Form and Methodology of Fantastic Realism: On R. Tuminas’ Eugene Onegin

作　　者：姜训禄[1] JIANG Xunlu

机构地区：[1]中国石油大学(华东)俄语系

出　　处：《戏剧艺术》2019年第5期108-115,共8页Theatre Arts

基　　金：中央高校基本科研业务经费资助项目“俄罗斯现代派戏剧美学研究”(19CX04019B);山东省高校人文社科规划项目“俄罗斯现代派戏剧研究”(J18RB204);山东省社科规划研究项目(19CWZJ55)

摘　　要：关于现实主义戏剧,通常的审美范式是客观、真实地再现生活、塑造典型环境中的典型人物、关注生活真实和内心真实。其演剧形式美的一切衡量标准基于是否逼真,即在舞台上制造"生活幻觉"。里玛斯·图米纳斯的《叶甫盖尼·奥涅金》以新视角挖掘原作以外的世界,通过演员的"第三张脸"、导演的剧本幻想和观众的处境幻想为我们展现了现实主义的非写实形态。图米纳斯的幻想现实主义是写意的现实主义,立足戏剧在剧场层面的原始功能,将观众关注的焦点从剧本情节转移到戏剧氛围,其方法论启示体现在现实主义戏剧的另一条建构路径--氛围戏剧。The aesthetic approach to the study of the realistic theatre is mainly to reproduce life objectively, to present a typical character, and to focus on the inner and outer reality. The metrics of the form of acting are based on whether it is lifelike, that is, creating an "illusion of life" on the stage. R. Tuminas’s Eugene Onegin is to describe the world beyond the original play from a new perspective and show the non-realistic form of realistic theatre. Tuminas’s fantastic realism is a kind of freehand realism, based on the original function of theatre. Dramatic atmosphere should be regarded as the focus of attention in theatre. As the result, Tuminas’s methodology reveals another approach to realistic theatre, i. e., the atmosphere-based theatre.

关 键 词：里玛斯 图米纳斯 叶甫盖尼 奥涅金 现实主义戏剧 非写实 氛围戏剧 

分 类 号：J80[艺术—戏剧戏曲]