物性批判视域下的中国现代世态喜剧  

Chinese Modern Comedy of Manners from the Critique of Materiality

作　　者：王雪芹[1] Wang Xueqin

机构地区：[1]南京晓庄学院新闻传播学院

出　　处：《戏剧（中央戏剧学院学报）》2023年第3期129-139,共11页Drama:The Journal of the Central Academy of Drama

基　　金：2020年度国家社科基金艺术学重大项目“中国话剧演剧学派研究”(项目编号:20ZD21)的阶段性成果。

摘　　要：受西方现代主义哲学影响,中国现代世态喜剧较早直面了人的物性自身,创作集中否定现代文明的物欲虚妄和功利取向,表明主体自由的诉求。本文从物性批判考察中国现代世态喜剧创作,把握其批判逻辑、物性面孔及其自我修正,辨析其戏剧现代化进程中的发展与错位。通过梳理发现,中国现代世态喜剧实现了三种物性批判,即哲学论辩、游戏脱冕和双重疾病隐喻,并由此勾勒了他们眼中现代中国的物性面孔,即实用主义的缺陷、机械摹仿的自欺和权力傀儡的荒诞,但这一批判根本上是一种理智深度的修正,其主体自由是自我检验的,仍处于现代启蒙的风景之中。Under the influence of western modernism philosophy,Chinese modern comedy of manners faced the physical nature of human in its early stage.The works intensively negated the vanity of material desire and utilitarian orientation,indicating the subject's demand of freedom.This article investigates the Chinese modern comedy of manners from a critique of materiality,discusses the critique logic,faces of physical property,and the self-revision,and distinguishes the development and dislocation in Chinese drama modernization.The modern comedy of manners realized three kinds of critique of materiality,including philosophy argumentation,game de-coronation and dual illness metaphor.The essence of such critique is the revised rational depth,in which the freedom of the subject is a self-examination in the scenery of the modern enlightenment.

关 键 词：世态喜剧 物性批判 理智修正 启蒙风景 

分 类 号：I207.3[文学—中国文学]