萨特戏剧《禁闭》主题重释——从密室布景谈起  

Reinterpretation of the Themes of Sartre’s Huis Clos——From the View of the Stage Set

作　　者：张颖[1] ZHANG Ying(Chinese Academy of Arts,Literature and Art Research,Beijing 100029,China)

机构地区：[1]中国艺术研究院《文艺研究》编辑部

出　　处：《浙江工商大学学报》2020年第1期25-34,共10页Journal of Zhejiang Gongshang University

基　　金：国家社会科学基金后期资助项目“十七至十九世纪法国美学主潮”(18ZFZX047)

摘　　要：萨特为独幕剧《禁闭》(Huis clos)设置了三大主题:自我与他人的关系;自我禁闭;自由。或许由于“他人即地狱”这句台词的震惊效果,在以往的研究和接受中,“他人”主题较受关注。另外两个主题则常被忽略,或被讨论得不够充分。文章认为,布景元素包括电铃、房门、温度、镜子、牙刷乃至听差角色等等。它们彼此呼应,有机地构成了一整套主题隐喻系统,作为主体的处境为剧中人物提供展现“自欺”的舞台。从这些布景元素入手,重新阐释这三个主题的哲学内涵及在该剧中的表现手法,有助于对一些有争议的问题作出澄清。Sartre sets three themes for the one-act play Huis Clos:the relationship between self and others;self-confinement;freedom.Perhaps because of the shocking effect of the line“Hell is other people”,the theme of“others”has received more attention in previous research.The other two themes are somewhat ignored or inadequately explored.It is concluded that the stage-set elements,including electric bells,doors,temperature,mirrors,toothbrushes,and even the Gar on,are meaningful.They echo each other and form a set of thematic metaphor system organically.As the subject s situation elements,they provide a stage for the characters in the play to show their self-deception.Reinterpreting the philosophical connotations of these three themes and their expressions in the play will help clarify some controversial issues.

关 键 词：《禁闭》 他人即地狱 自由 处境 存在主义 

分 类 号：I106[文学—世界文学]