“散漫而老练的剧场专家”——本雅明广播讲稿中的异域叙事与剧场批判  

作　　者：王凡柯 

机构地区：[1]华东师范大学

出　　处：《复旦外国语言文学论丛》2024年第1期46-52,共7页Fudan Forum on Foreign Languages and Literature

基　　金：国家社科基金青年项目“瓦尔特·本雅明早期思想研究(1914—1924)”(编号:22CWW002);国家社科基金重大项目“阿多诺文艺美学著作翻译、笺注与研究”(编号:21&ZD069)的阶段性成果。

摘　　要：在1927—1933年期间,本雅明往返于法兰克福与柏林,在无线电广播新媒介领域中创作并播出了近90期广播节目。在本雅明诸多广播创作(例如广播故事、儿童广播剧、教育广播剧听觉模型等)中,《广东剧场火灾》作为独特的异域叙事和“意在言外”的媒介反思显得尤为瞩目。该广播故事以1884年发生在中国广东某剧场的火灾新闻作为叙事背景,本雅明却把阐释的重心聚焦在了被其称为“散漫而老练的剧场专家”的“中国观众”身上。对此,本文将首先分析本雅明语境下的“中国观众”诸特征,并借助同时期对本雅明颇有影响的布莱希特剧场批评以及本雅明自身的媒介反思作为理论视野,进而探讨“中国观众”在这里并非流俗的东方凝视与猎奇想象,而是作为“畏缩而虔诚”(布莱希特语)的西方传统剧场观众的反面对照,以表达本雅明对诸如无线电广播这样的大众媒介所潜在的新型“迷醉”陷阱的警惕与批判。From 1927 to 1933,Walter Benjamin wrote and delivered eighty to ninety broadcasts over the new medium of German radio,working between Frankfurt and Berlin.Among these broadcasts(e.g.,radio stories,radio plays,children's radio dramas and listening models for educational plays),the topic of catastrophic event The Fire in a Canton Theater stands out as a uniquely exotic narrative and a distinctive reflection on mass media.Based on the news of a fire in a theater in Guangdong,China in 1884,Benjamin focuses his interpretation on the Chinese audience and described them as“casual and sophisticated theater experts”.In this regard,this paper will first analyze the characteristics of the Chinese audience in Benjamin's broadcasting context,and then uncovers the hidden connection between Benjamin's media reflection and Brecht's theater criticism as the theoretical horizon.This paper argues that the“Chinese audience”here is not just an exotic imagination or gazing from the perspective of Western centralism,but a counterpoint to the“loyal and timid”Western traditional theater audience lacking critical ability in Brecht's words.This essay also explores answers to the questions,such as how Benjamin's criticism explores the potential of a new kind of“intoxication”in mass media and how he raises the vigilance against this new type of intoxication.

关 键 词：瓦尔特·本雅明 广播稿 异域叙事 大众媒介 

分 类 号：I516.06[文学—其他各国文学] G223[文化科学]