阿尔托与高行健的戏剧语言观比较研究  

A Comparative Study of View of Drama Language between Alto and Gao Xingjian

作　　者：李曈 LI Tong

机构地区：[1]云南艺术学院戏剧学院,云南昆明650500

出　　处：《民族艺林》2022年第2期49-56,共8页Journal of Ethnic Art

摘　　要：安托南·阿尔托,以残酷戏剧理论颠覆和构建西方戏剧史新形态的“精神导师”,他的残酷戏剧观构建起一种新的“整体戏剧”理念,并在此引导下,极大拓宽了戏剧语言艺术的概念。中国探索戏剧的先锋人物高行健,曾多次在文章中介绍并引进阿尔托,其实践创作和理论建设都深受阿尔托的影响,孙惠柱认为高行健是中国戏剧家中最接近阿尔托体系的一个代表。高行健与阿尔托两人在戏剧语言艺术概念层面的理论和实践扩展,实则是东西方两种不同文化语境下的理论探索和不同戏剧文化的冲撞、交织与融合。文章亦由此角度入手,论证考察阿尔托追求的“整体的戏剧”理想与高行健的“全能的戏剧”在戏剧语言观上的相互关系,发现两者的共性与异性。Antoine Aalto,the"spiritual mentor"who subverted and constructed the new form of western drama history with the theory of cruel drama,constructed a new concept of"whole drama"with his view of cruel drama,and greatly broadened the concept of drama language art under this guidance.Gao Xingjian,the pioneer of Exploring drama in China,has introduced Aalto in his articles for many times,and his practical creation and theoretical construction are deeply influenced by Aalto.Sun Huizhu believes that Gao Xingjian is the representative of Aalto system among Chinese dramatists.The theoretical and practical expansion of Gao Xingjian and Aalto on the conceptual level of dramatic language art is actually the theoretical exploration of the eastern and western cultural contexts and the collision,interweaving and integration of different dramatic cultures.From this point of view,this paper demonstrates and examines the relationship between Aalto's ideal of"holistic drama"and Gao Xingjian's"all-powerful drama"in the view of drama language,and finds the commonness and oppositeness of both.

关 键 词：阿尔托 高行健 戏剧语言 文化语境 

分 类 号：J80-02[艺术—戏剧戏曲]