反叙事性:论贝克特戏剧的形式问题  

Anti-narrative——On the Form of Beckett’s Theatr

作　　者：陈奇佳[1] 何珏菡 Chen Qijia;He Juehan

机构地区：[1]中国人民大学文学院 [2]中国人民大学

出　　处：《戏剧（中央戏剧学院学报）》2020年第3期96-110,共15页Drama:The Journal of the Central Academy of Drama

摘　　要：以质疑笛卡尔式理性主体为基础,贝克特主张运用反叙事的方式,在西方戏剧传统别开自由创造的艺术进路。首先,他对传统戏剧叙事中主体的地位作了较彻底的颠覆,其戏剧中的主体依靠惯性而非理性存在,主体与主体间的关系也更为疏离异化。另外,他也激烈地反对传统叙事中语言的统治地位,贝克特广泛使用不同的音效,如重复、噪音、沉默等,拓展了戏剧表现的界限。不仅如此,贝克特还通过对时空元素的调度来展布反叙事的多元可能性。贝克特的反叙事性创意实践对当代艺术产生了深刻影响。Based on the questioning of the Cartesian rational subject,Beckett advocates the use of anti-narrative methods to open up the freely created artistic approach in the Western theatre tradition.First of all,he made a more thorough subversion of the status of the subject in the traditional drama narrative.The subject in his drama relies on inertia rather than rational existence,and the relationship between subject and subject is more alienated from alienation.In addition,he is also fiercely opposed to the dominant position of language in traditional narrative.Beckett widely uses different sound effects,such as repetition,noise,silence,etc.,to expand the boundaries of drama performance.Not only that,but Beckett also spreads the multiple possibilities of anti-narrative through the scheduling of time and space elements.Beckett’s antinarrative creative practice has had a profound impact on contemporary art.

关 键 词：反叙事性 笛卡尔式主体 声音 时空 

分 类 号：J83[艺术—戏剧戏曲]