“气氛美学”视域下契诃夫戏剧的“情绪的潜流”  

A Study on Emotional Undercurrents in Chekhov's Plays from the Perspective of Aesthetics of Atmosphere

作　　者：彭涛[1] Peng Tao

机构地区：[1]中央戏剧学院

出　　处：《戏剧(中央戏剧学院学报)》2024年第6期95-107,共13页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金艺术学项目“契诃夫戏剧与中国话剧现代性追求”(项目编号:21BB030)的阶段性成果;2024年中央戏剧学院学术会议“契诃夫,我们的同时代人—纪念契诃夫逝世120周年中俄学术研讨会”成果。

摘　　要：契诃夫戏剧中“情绪的潜流”是通过内在情绪而非传统情节事件推动戏剧发展的动力模式。聂米罗维奇-丹钦科和斯坦尼斯拉夫斯基最早认识到契诃夫戏剧的这一特质,强调情绪在其剧作中的主导作用。本文用格诺特·波默的“气氛美学”理论分析了契诃夫戏剧中情绪与气氛的互动关系,在强调气氛的居间性、空间性与身体在场性后,进一步详细剖析《海鸥》《万尼亚舅舅》《三姐妹》和《樱桃园》等剧中情绪潜流的结构模式,指出契诃夫戏剧中情绪与气氛的共振效应;强调了音乐、声音在契诃夫戏剧情绪潜流中的重要作用,并以《樱桃园》中的“琴弦崩断的响声”为例,展示契诃夫如何通过声音建构实现情绪的转折与深化。最后,总结契诃夫戏剧中情绪潜流的美学创新及其对社会历史的镜像作用。This article delves into the aesthetic characteristics of the “undercurrent of emotions” in Chekhov's plays,highlighting the dynamic method of driving the development of the play through internal emotions rather than traditional plot events.Nemirovich-Danchenko and Stanislavsky were among the frst to recognize this characteristic of Chekhov's plays,emphasizing the leading role of emotions.Drawing on the theory of “aesthetics of atmosphere” by Gernot Boehm,the article analyzes the interactive relationship between emotions and atmosphere in Chekhov's plays,emphasizing the intermediary role of atmosphere,its spatiality and bodily presence.The article also analyzes in detail the structural patterns of emotional undercurrents in plays such as The Seagull,Uncle Vanya,Three Sisters and The Cherry Orchard,noting the resonance effect of emotions and atmosphere in Chekhov's plays.It emphasizes the important role of music and sound in the emotional undercurrents of Chekhov's plays.Taking the “sound of broken strings”in The Cherry Orchard as an example,it shows how Chekhov achieves emotional transitions and intensifcation through sound.In conclusion,the article encapsulates the aesthetic innovation of the emotional undercurrents in Chekhov's plays and their refective efect on social history.

关 键 词：契诃夫 情绪的潜流 气氛美学 

分 类 号：J81[艺术—戏剧戏曲]