“容纳混沌的形式”:贝克特剧场与抽象艺术的比较研究  

Accommodate the Chaotic:A Comparison between Beckett’s Theatre Art and the Abstract Art

作　　者：陈畅[1] Chen Chang

机构地区：[1]南京大学外国语学院英语系

出　　处：《中国比较文学》2020年第4期43-57,共15页Comparative Literature in China

基　　金：国家社科基金艺术学重大项目“当代欧美戏剧理论前沿问题研究”(项目编号:18ZD06)的阶段性成果。

摘　　要：本文以贝克特的剧场艺术同几何抽象艺术的异同问题出发,尝试挖掘贝克特剧场几何抽象形态的内涵、机制与其背后的思想依据。本文发现,贝克特与几何抽象艺术的根本分歧,与抽象艺术内部相异的两个机器美学分支息息相关。且更为重要的是,贝克特在自己独特的美学理念里,不仅兼收并蓄了这两支机器美学,更在此基础上完成了对它们的超越:即尝试以剧场形式容纳宇宙的混沌无边。This article starts with a comparison between Beckett’s theatre art and geometric abstract art,and delves into the configuration,mechanics and intellectual rationale of Beckett’s geometric abstract theatre.This article argues that the fundamental difference between Beckett and the geometric abstract art is aligned with divergent strands of machine aesthetics within the movement of abstract art.More significantly,Beckett’s unique aesthetics not only absorbs both strands of machine aesthetics,but also goes beyond them by attempting to accommodate the chaotic universe within the forms of theatre.

关 键 词：贝克特 抽象艺术 机器美学 跨媒介 

分 类 号：J05[艺术—艺术理论]