毕希纳《沃伊采克》的多维批判意蕴及其剧场呈现  

Multidimensional Critical Implications and Theatrical Presentations of Büchner’s Woyzeck

作　　者：章文颖[1] ZHANG Wenying

机构地区：[1]上海戏剧学院导演系

出　　处：《戏剧艺术》2020年第2期88-99,共12页Theatre Arts

基　　金：教育部人文社科研究青年基金项目《谢林美学对现代西方美学和艺术的意义及影响研究》(项目批准号:18YJCZH256)阶段性成果;中国博士后科学基金面上一等项目《现代德语戏剧美学与创作实践中的批判精神研究》(资助编号:2017M620163);上海市高原学科(上海戏剧学院艺术学理论)建设经费资助。

摘　　要：批判精神是毕希纳剧作《沃伊采克》最具代表性的一个现代艺术表征,但剧本结构的开放性和语义的复杂性决定其批判意蕴向多个维度延伸。该剧的社会政治批判是最显在的一个意义层面,它批判了社会对底层无产者无情的压迫。其次是内涵更广泛的社会文化批判,包括对"文明"社会人伦价值的深切怀疑和对现代精神病症问题的揭示。最终作者把观众引向了对生命意义、个体存在境遇的哲学批判。从当代在中外上演的三个剧场案例,可见其批判意蕴在剧场实践中的具体呈现。Büchner’s critical spirit within Woyzeck is the most representative feature of it as a work of modern art,but the uncertainty of the text structure and the complexity of the semantics lead to multiple dimensions of its critical implications. Social and political criticism is the most obvious dimension of its significance,which shows the ruthless oppression of society on the underclass. A second dimension is a broader socio-cultural criticism,including doubts about the ethical value of a"civilized"society and the revelation of modern mental illness. The author finally leads the audience to a philosophical criticism on the significance of life and individual existence. With three theatre cases staged in contemporary China and Germany,this article also examines the specific presentations of its critical implications in theatre practice.

关 键 词：毕希纳 沃伊采克 批判精神 剧场呈现 

分 类 号：J80[艺术—戏剧戏曲]