“社会的喜剧性”——布莱希特喜剧观初探  

"The Socially Comic":A Preliminary Analysis on Brecht's Concept of Comedy

作　　者：薄一荻 Bo Yidi

机构地区：[1]南开大学外国语学院

出　　处：《戏剧（中央戏剧学院学报）》2024年第1期67-77,共11页Drama:The Journal of the Central Academy of Drama

摘　　要：布莱希特向来偏爱喜剧甚于悲剧,直到创作晚期提出了自己的喜剧观,在指导喜剧《潘第拉先生和他的男仆马狄》排演时提出从“永恒的喜剧性”转向“社会喜剧性”。布莱希特的喜剧观包含三重因素的交织:戏剧的娱乐性、作为哲学基础的马克思主义唯物史观以及布莱希特的现实主义文学观。它们在喜剧《图兰朵或洗白者大会》中得到集中呈现,在创作该剧期间布莱希特总结自己“几乎是一位喜剧作家”,因为在喜剧当中存在把握世界和改造世界的可能性。In his later life,Brecht placed a distinct value on comedy over tragedy,introducing his unique perspective during the rehearsal of the play Mr.Puntila and His Man Matti.He advocated for a shift from"the eternal comic"to"the socially comic".Brecht's concept of comedy intertwined three essential factors:the entertainment aspect of theater,the philosophical foundation of historical materialism according to Marx,and his perspective on realistic literature.These elements converged in the comedy Turandot or the Congress of the Whitewashers,during the creation of which Brecht self-identified as"almost a comedian".This identification stemmed from the belief in the comedic form's potential to grasp and transform the world according to his views.

关 键 词：布莱希特 娱乐 喜剧性 《图兰朵》 

分 类 号：J83[艺术—戏剧戏曲]