哈尔姆斯荒诞戏剧的陌生化书写  

Defamiliarization Writing in Kharms's Theatre of the Absurd

作　　者：高羽 GAO Yu

机构地区：[1]首都师范大学外国语学院

出　　处：《戏剧艺术》2024年第2期54-65,共12页Theatre Arts

基　　金：国家社会科学基金重大招标项目“多卷本俄国文学通史”(17ZDA283)阶段性成果。

摘　　要：哈尔姆斯在20世纪初创作的死亡母题戏剧中展现了超前的荒诞意识,其死亡思考杂糅了对非理性现实和存在无意义的批判。哈尔姆斯在荒诞戏剧中诉诸陌生化手段革新了戏剧的主题表达、对话语言、审美风格,打破了传统戏剧形式与内容的窠臼。他借助变形人物、怪诞舞台形象、夸张音响效果和陌生化视角增强舞台的表现力。他以死亡荒诞性消解悲剧严肃性的形式隐藏人文关怀。哈尔姆斯擅用无意义语颠覆惯常逻辑认知,延长观众对戏剧荒诞性的感受过程。为催生观众的批判精神,他借助寓言化、元戏剧手法制造间离效果,开辟了俄罗斯荒诞戏剧的先河。Kharms demonstrated an advanced understanding of absurdity within death⁃themed theatre in the early 20th century.His contemplation of death encompassed a critique of irrational reality and the concept of existence as meaningless.Through the use of defamiliarization techniques in Theatre of the Absurd,Kharms innovated themes,dialogue language,and aesthetic style,breaking away from the conventional forms and contents of traditional theatre.By employing deformed characters,a grotesque stage,exaggerated sound effects,and a defamiliarized perspective,he heightened the stage's expressiveness.His humanistic concern was subtly expressed through the juxtaposition of the seriousness of tragedy with the absurdity of death.Kharms utilized“zaum”to challenge conventional logical cognition,expanding the audience's perception of theatrical absurdity.In an effort to stimulate the audience's critical thinking,he employed allegorical and meta⁃dramatic techniques to create an alienation effect,thus paving the way for the emergence of the Russian Theatre of the Absurd.

关 键 词：哈尔姆斯 荒诞戏剧 死亡 陌生化 间离效果 

分 类 号：J80[艺术—戏剧戏曲]