契诃夫的戏剧是喜剧吗?——论契诃夫“复调戏剧”悲喜交融的美学特征  

Are Chekhov's Plays Comedies?—On the Aesthetic Characteristics of the Blend of Sorrow and Joy in Chekhov's“Polyphonic Drama”

作　　者：彭涛[1] PENG Tao

机构地区：[1]中央戏剧学院戏剧文学系

出　　处：《戏剧艺术》2024年第2期43-53,共11页Theatre Arts

基　　金：国家社科基金艺术学项目“契诃夫戏剧与中国话剧的现代性追求”(21BB03)阶段性成果。

摘　　要：尽管契诃夫本人曾声称《海鸥》《樱桃园》等剧作是喜剧,但学术界对此问题仍感困惑。契诃夫本人的相关表述有着复杂的文化语境和心理动机,只有在充分理解这一文化语境的前提下,才能准确把握契诃夫相关表述的准确含义。契诃夫的戏剧是一种新型的“复调戏剧”,悲喜交融的美学意蕴是其复调性的重要表征之一。在契诃夫戏剧中,情节的悲剧性走向与戏剧场面的喜剧性显现交融为一体,呈现出复杂的美学意蕴。一系列具有喜剧性特征的辅助人物,构成了契诃夫“复调戏剧”悲喜相融的美学特征的另一个方面。Although Chekhov himself once claimed that plays such as The Seagull and The Cherry Orchard were comedies,academic circles are still confused about this issue.Chekhov's own statements have complex cultural contexts and psychological motivations.Only with a full understanding of this cultural context can we accurately grasp the precise meaning of Chekhov's remarks.Chekhov's drama is characterized by a new type of“polyphonic drama”,where the blending of sorrow and joy serves as a significant manifestation of its polyphony.In his plays,the tragic undertones of the plot are interwoven with comedic elements in the dramatic scenes,resulting in complex aesthetic implications.Additionally,a series of auxiliary characters with comic characteristics contribute to the aesthetic richness of Chekhov's“polyphonic drama”,which seamlessly blends sorrow and joy.

关 键 词：契诃夫 喜剧 复调戏剧 

分 类 号：J80[艺术—戏剧戏曲]