阿尔托残酷戏剧中的声音叙事及其美学向度  

Sound Narrative and Aesthetic Orientation in Artaud's Theater of Cruelty

作　　者：赖莹莹 LAI Yingying

机构地区：[1]广东外语外贸大学中国语言文化学院,广东广州510420

出　　处：《安徽职业技术学院学报》2023年第2期53-58,共6页Journal of Anhui Vocational & Technical College

基　　金：教育部人文社科项目“视觉修辞与《点石斋画报》的‘现代性’启蒙研究”(22YJC751018)。

摘　　要：在西方诗学和视觉中心主义传统之下,戏剧剧场被默认为视觉性创作,声音的主要作用是传达语义和思想,剧场听觉只是视觉的辅助和补充。20世纪初,法国戏剧家安托南·阿尔托提出的残酷戏剧恢复了声音的物理性质,使剧场声音首先作为本身而非传达语义的工具,激发声音在舞台空间中的表达潜力,唤起观众丰富的感知力和想象力,最终目的是让戏剧如古代仪式一般发挥独特的精神治疗作用。阿尔托残酷戏剧中的剧场声音美学主张具有复古主义倾向。Under the Western poetics and the tradition of visual centrism,the theater is default as visual creation in which the primary role of sound is to convey semantics and thoughts,with theatrical hearing as a support and complement to vision.In the early 20th century,the theater of cruelty proposed by the French dramatist Antonin Artaud restored the physical nature of sound,allowing sound to be applied first and foremost in itself rather than as a tool to convey semantics in the theater,stimulating the expressive potential of sound in the stage space,evoking the rich perception and imagination of the audience,to make the theater play a role of unique spiritual treatment like ancient rituals.Antonin Artaud's theater of cruelty has a tendency of primitivism in its aesthetic claim to the sound of the theater.

关 键 词：阿尔托 残酷戏剧 声音叙事 复古主义 

分 类 号：I106.3[文学—世界文学]