瓦莱尔·诺瓦里纳戏剧的“否定”书写  

The Negative Writing in Valère Novarina’s Theatre

作　　者：李佳颖[1] Li Jiaying(Fudan University,Shanghai,China 200433)

机构地区：[1]复旦大学外文学院法文系,200433

出　　处：《当代外国文学》2022年第1期97-105,共9页Contemporary Foreign Literature

基　　金：上海市浦江人才项目“中法当代文学中的语言实验与创新”(2020PJC007)的阶段性成果。

摘　　要：“否定”是当代法国戏剧家瓦莱尔·诺瓦里纳思想与创作的一个重要概念。他基于反人本主义思想的“语言的戏剧”以非理性语言为表现主体,一方面批判地否定了“人”在哲学意义上的优越性和在戏剧美学中的核心地位,通过对人造语言体系的“解构”颠覆了人和语言、和世界之间的权力关系;另一方面以基督教的“否定神学”所蕴含的超验而丰饶的“空无”为启发,通过以节奏这一语言内在秩序为主导的、看似自发的“重构”,试图恢复语言的物质性、神秘性与生命活力。从作者的“否定”书写到剧场上的“无人”戏剧,语言始终被赋予了创造者的角色,而作者、演员、观众在“降低”和“清空”自我的过程中成为受命于语言的器官,戏剧空间由此见证了理性人的“死亡”与非理性人的“新生”。Negation is a key concept in the thought and work of contemporary French playwright Valère Novarina.His drama of language,based on anti-humanist thought,takes irrational language as the main subject of expression.On one hand,Novarina critically denies the superiority of the human in the philosophical sense and its central position in the aesthetics of theatre,to the point of overturning,through his deconstruction of the artificial language system,the power relations between humanity and language,as well as the world.On the other hand,inspired by the negative theology of Christianity and its transcendent and fertile void,Novarina tries to restore the materiality,mystery and vitality of language through a reconstruction guided by language’s rhythmic inner order.From his negative writing to his non-human theatre,language has always been given the role of creator,while the author,actor and spectator become organs of language caught in the process of lowering and emptying themselves.The theatre thus witnesses the death of the rational human and the rebirth of the irrational human.

关 键 词：瓦莱尔·诺瓦里纳 否定书写 语言的戏剧 当代法国戏剧 

分 类 号：I565.073[文学—其他各国文学]