欲望与权力的身体叙事:曹禺剧作的叙事动力问题研究  

The Body Narrative of Desire and Power:A Study of the Narrative Motivation of Cao Yu's Dramas

作　　者：卫亭绒 WEI Tingrong

机构地区：[1]山西师范大学文学院

出　　处：《戏剧艺术》2023年第4期65-72,116,共9页Theatre Arts

摘　　要：身体既是欲望的对象与主体,又是权力铭刻的表面,对于戏剧艺术来说,更是剧场上下的核心、戏剧性产生的动力。曹禺的“生命三部曲”突出地呈现出以身体为动力的叙事特征:《雷雨》在对周朴园这一权力身体的“隐藏”与“揭示”中推动叙事;《原野》的仇与爱是欲望对象错位纠缠的悲剧;陈白露则处于错综的社会权力控制之下,她的自杀是女性对自己身体所有权的最后争取。曹禺中后期的作品在叙事动力方面有了较大转变,个人化的身体叙事转而成为国家身体的宏大叙事,由此带来了作品风格的明显转向。The body is not only the object and subject of desire,but also the surface on which power is inscribed.For theatre art,it is the core of theatre and the power of dramatic productions.Cao Yu's dramas present the narrative feature of taking the body as motivating power:Thunderstorm promotes the narrative in the“hiding”and“revealing”of Zhou Puyuan's body of power;The Field is the tragedy of the dislocation and entanglement of the object of desire;Chen Bailu,the female protagonist of Sunrise,is under the control of complicated social power,and her suicide is the last struggle for women's ownership of their bodies.Cao Yu's works in the middle and later periods have changed greatly in terms of narrative power.The personalized body narrative has been transformed into the grand narrative of the national body,which has brought about an obvious change in the style of his works.

关 键 词：欲望 权力 身体叙事 曹禺剧作 

分 类 号：J80[艺术—戏剧戏曲]