“美美与共”的荒诞新谈:以《伊丽莎白·巴姆》与《秃头歌女》为比较中心  

Comparative Reading of Elizaveta Bam and The Bald Soprano

作　　者：魏丹妮 Wei Dann1i

机构地区：[1]南京大学文学院

出　　处：《戏剧（中央戏剧学院学报）》2023年第6期130-140,共11页Drama:The Journal of the Central Academy of Drama

基　　金：国家留学基金委“国家建设高水平大学公派研究生项目”(项目编号:201906190044)的阶段性成果。

摘　　要：俄国剧作家丹尼尔·哈尔姆斯于20世纪20年代完成的先锋剧作《伊丽莎白·巴姆》在40余年后与尤奈斯库的《秃头歌女》产生强烈的美学共振,该文学现象不仅为“荒诞派戏剧”开辟新的阐释空间,亦推动对“荒诞”的认知边界。在二者的相互凝视中,被解放的语言以寓于自身的超越力量破除“荒诞”与“上帝”“理性”之间的二元对立,以“理性之外”的更高视角审视“荒诞”背后的生存危机。源自不同精神文化土壤的荒诞文本共同指向审美的敞开之域,无可限定的审美“空虚”充当弥合裂隙、承载差异的同一背景,现代主体对生存意义的想象返归源初的空白,不断重获新生。Elizaveta Bam written by Russian avant-garde playwright Daniil Kharms in the 1920s is found to be strikingly similar to lonesco's The Bald Soprano,which offers a new perspective not only on the term"Theatre of the Absurd"made by Martin Esslin but also on the concept of"absurd".Through comparative reading,liberated language breaks the structure of binary confrontation between"absurd"and"God"or"reason"with the power of negation and opens a higher reasonable perspective to examine the meaning crises of human existence.The two strategies,rooted in Christianity and the Greek Spirit respectively,jointly point to the"aesthetic void",where the imagination of"existential certainty"finds itself returning to the original blankness and beingconstantly reborn.

关 键 词：荒诞派戏剧 荒诞 审美 丹尼尔·哈尔姆斯 尤金·尤奈斯库 

分 类 号：J80[艺术—戏剧戏曲]