叙事、意象与替罪羊的献祭——克里斯蒂安·陆帕导演作品《狂人日记》的跨文化阐释  

Narrative, Images and the Sacrifice of Scapegoats:A Cross-cultural Interpretation of Krystian Lupa’s A Madman’s Diary

作　　者：胡志毅[1] HU Zhiyi

机构地区：[1]浙江大学传媒与国际文化学院

出　　处：《戏剧艺术》2022年第1期23-31,共9页Theatre Arts

摘　　要：克里斯蒂安·陆帕(Krystian Lupa)新近导演的根据鲁迅同名小说改编的《狂人日记》,继承了斯坦尼斯拉夫斯基的表演体系,并形成自己独特的风格。在《狂人日记》中,陆帕采用了《风筝》《阿Q正传》等表现被父权压迫的兄弟及忏悔和阿Q被虐杀的叙事方式,如重复和互文;在剧中找到了《故乡》中的意象,《野草》中的存在意识;通过替罪羊的献祭来显示了"灵魂的深",以及对人性的敏锐洞察和深刻揭示。该剧可以说是一种跨文化的戏剧实验,非常值得研究。A Madman’s Diary,a recent stage adaptation of Lu Xun’s novel of the same title directed by Krystian Lupa,inherits Stanislavsky’s performance system and has its own unique style. Lupa makes use of the narrative methods such as repetition and intertextuality that are also adopted in The Kite and The True Story of Ah Q to depict brothers oppressed by patriarchy,their confession,and the murder of Ah Q. Besides,the images in My Old Home and the consciousness of existence in The Weeds are found in the play as well. In addition,"the profoundness of the soul",the insightful understanding and revelation of human nature are shown through the sacrifice of scapegoats. The play is worthy of close study as a cross-cultural theatre experiment.

关 键 词：陆帕 鲁迅 狂人日记 跨文化阐释 

分 类 号：J80[艺术—戏剧戏曲]