西方悲剧艺术的现代境遇问题探究  

A Study on the Modern Situation of Western Tragic Art

作　　者：叶夏弦 Ye Xiaxian

机构地区：[1]中央戏剧学院戏剧文学系

出　　处：《戏剧（中央戏剧学院学报）》2023年第1期41-51,共11页Drama:The Journal of the Central Academy of Drama

基　　金：中央高校基本科研业务费专项资金资助中央戏剧学院学生项目“西方悲剧艺术的现代境遇问题探究”(项目编号:YNXS2203)的成果。

摘　　要：乔治·斯坦纳在《悲剧之死》中推崇的“悲剧”实际上是“高悲剧”和“纯粹悲剧”,根植在“与人之天性不可分割的不自量力或自我伤害的宿命”[1](P2)之中的。在他看来,理想的悲剧形式在17世纪之后就此衰亡。雷蒙·威廉斯对乔治·斯坦纳的反驳是:“不仅仅在其直接的语境中,还要在其历史延续中考察这些作品和思想,并把它们同其他作品和思想以及各种实际经验联系起来看”[2](P7)。无论西方悲剧衰亡与否,其问题核心指向的是西方现代文明的现存危机,最终折射出来的是人在宗教坍塌、文明失落的困境中如何生存的问题。本文旨在从“困境—超越”的范式下对现代悲剧作出一定程度的探讨,企图把握现代悲剧精神之所在,借以回应现代悲剧部分问题。The “tragedy” promoted by George Steiner in Death of Tragedy is actually “high tragedy” and “pure tragedy”, deeply rooted in “the fate of over-powering or self-harm that is inseparable from human nature”. In his view, the ideal form of tragedy had withered since the 17th century. Raymond Williams’ rebuttal to George Steiner focuses on “examining these works and ideas, not just in their immediate context, but in their historical continuation, and compare them with other works and ideas and with various practical experiences”. Regardless of whether the Western tragedy declines or not, the core of the problem points to the existing crisis of Western modern civilization, and ultimately reflects the problem of how people can survive in the predicament of the collapse of religion and civilization. The purpose of this paper is to explore modern tragedy from the perspective of “dilemma and transcendence”, trying to grasp the spirit of modern tragedy so as to respond to some problems of modern tragedy.

关 键 词：悲剧 现代性 

分 类 号：J82[艺术—戏剧戏曲]