论《啊!美好的日子》的戏剧形式  

On the Theatrical Form of Happy Days

作　　者：王丽娜[1] WANG Li-na(School of Literature,Langfang Normal University,Langfang Hebei 065000,China)

机构地区：[1]廊坊师范学院文学院,河北廊坊065000

出　　处：《廊坊师范学院学报（社会科学版）》2022年第4期30-37,共8页Journal of Langfang Normal University(Social Sciences Edition)

基　　金：河北省高等学校人文社会科学研究2021年一般项目“保罗·利科叙事概念辨正”(SY202142)阶段性成果。

摘　　要：贝克特的荒诞剧《啊!美好的日子》的戏剧形式特征并非有的研究者所说的“反叙事性”。实际上,贝克特反对的不是叙事本身,而是传统戏剧以因果关联来组织诸故事元素的既成惯例。可以说,《啊!美好的日子》是贝克特面对新的时间经验进行情节惯例创新的一部剧作,它在观演时间中构造了一个新的心理时间。传统戏剧的心理时间是整一的,跨越了较长的宇宙论时间,而贝克特在《啊!美好的日子》一剧中构筑的心理时间仅仅涵盖“当下”,并且该剧构筑的一个个心理时间相互之间是不连贯的。传统戏剧的心理时间图式像抛物线,而《啊!美好的日子》一剧的心理时间图式则像没有端点的向两端无限延伸的虚线。这种心理时间经验被“日常”这一时间模式所容纳,“日常”以其现在性和重演为混乱赋予了新形式,这正是《啊!美好的日子》一剧对情节惯例的创新所在。The characteristic of Samuel Beckett′s absurd play Happy Days is not anti-narrative as some scholars say.In fact Beck⁃ett is not opposed to the narrative itself,but the established convention of traditional theater to organize story elements in terms of causal connections.In a manner of speaking,Happy Days is a play in which Beckett innovates the plot paradigms in the face of new time experiences,and which has constructed a new psychological time in the viewing time.The psychological time constructed by traditional plays is concordant and cuts across a long lap of cosmological time,whereas the psychological time of Happy Days only covers the present and that the relationship among many spans of psychological time is incoherent.The scheme of the former is like a parabola,while the latter a dotted line that extends infinitely to both ends without an endpoint.This kind of time experience could be held in the everydayness as a special modern time schema.Everydayness,which gives the chaos a new form by presentness and reenactment,is the new paradigm what Beckett created in his Happy Days.

关 键 词：《啊!美好的日子》 贝克特 保罗·利科 叙事 心理时间图式 日常 

分 类 号：J834[艺术—戏剧戏曲]