从小调调式到单子世界:贝克特剧场美学的表现主义倾向  

From the Minor Key to the Monadic World:Expressionism in Beckett's Theatre

作　　者：胡怡君 Hu Yijun(English Department,Shanghai University International Business and Economics,Shanghai,China)

机构地区：[1]上海对外经贸大学,上海201620

出　　处：《外国文学》2024年第4期35-47,共13页Foreign Literature

摘　　要：本文将贝克特1936年10月至1937年3月的德国之行视作其剧场美学思想形成和发展的关键,并指出德国表现主义画派对贝克特1950年以降的剧场创作有深远影响。贝克特通过对桥社艺术家的作品,尤其是木刻画的解读和接受确立了简约克制的“小调调式”创作风格;他的中晚期剧作变得高度内在化和抽象化,越来越走向青骑士派艺术家康定斯基所描绘的内在精神世界;最终,在达到抽象与具象的美学平衡后,贝克特的剧场呈现为他在汉堡分离派表现主义画家鲍尔默的作品中曾感受到的单子世界。This paper sees Beckett's trip to Germany from October 1936 to March 1937 as a critical contribution to the formation and development of his aesthetic thoughts in theatrical presentation,and argues that German Expressionism,in particular,exerts a profound influence on Beckett's theatrical creation since the 1950s.Beckett established a simple and restrained aesthetic defined by"the minor key"through the interpretation and recognition of the artworks by Die Bricke,especially their woodcuts.His middle and late dramatic works became highly internalized and abstract,revealing an art world of the spiritual as was described by Kandinsky,a leading artist of Der Blaue Reiter.In the end,after achieving an aesthetic balance between the abstract and the concrete,Beckett's Theatre emerged as the monadic world that he had perceived in the paintings of Karl Ballmer,an avant-garde Expressionist artist of the Hamburg Secession.

关 键 词：贝克特 分离主义 小调调式 内在鸣响 单子 

分 类 号：I562[文学—其他各国文学]