贝克特戏剧的听觉叙事研究——以《克拉普的最后一盘录音带》为例  

An Acoustic Narrative Study of Samuel Beckett's Drama:A Case Study of Krapp's Last Tape

作　　者：张凡 刘秀玉 Zhang Fan;Liu Xiuyu

机构地区：[1]中国海洋大学外国语学院,山东青岛266100

出　　处：《中国外语研究》2024年第1期45-50,123,共7页Foreign Language Research in China

摘　　要：听觉叙事是贝克特进行戏剧创新的重要手段。通过人声、物声、沉默及音乐等听觉叙事形式,贝克特在其作品中创造了层层深入的听觉反应境界,给人以全新的感官体验。本文以《克拉普的最后一盘录音带》为例,研究贝克特如何巧妙利用多样化的听觉叙事形式及听觉反应境界展开叙事、塑造人物及呈现主题。贝克特的听觉叙事美学质疑传统语言表达方式,对读者/观众的感知进行再塑造,以还原被视觉中心主义扭曲的原初听觉体验。透过听觉叙事,贝克特深入探讨了个体的内在情感和思维。听觉叙事美学不仅赋予贝克特戏剧独特的价值,而且激发读者/观众对人生和人性的哲思,为戏剧的创新和研究提供了重要启示。Acoustic narrative serves as a pivotal vehicle for Samuel Beckett's theatrical innovation.Beckett skillfully creates multi-layered acoustic response realms in his works by employing voice narration by the characters,sound narration by the objects,moments of silence,and the use of music,which offers audiences a unique and immersive sensory experience.This paper employs Krapp's Last Tape as a case study to investigate how Beckett ingeniously utilizes diverse acoustic narrative forms and acoustic response realms to unfold narratives,shape characters,and convey themes.Beckett's acoustic narrative aesthetics challenge traditional linguistic expressions and reconfigure the perception of readers/audiences,aiming to restore the pristine acoustic experiences distorted by the dominance of visual-centric narratives.Through acoustic narrative,Beckett delves deeply into the inner emotions and thoughts of individuals.Beckett's acoustic narrative aesthetics not only bestow unique value upon his theatrical works but also stimulate profound philosophical contemplation among the readers/audiences regarding life and human nature,thereby offering insight into theatrical innovation and academic research.

关 键 词：贝克特戏剧 听觉叙事 《克拉普的最后一盘录音带》 戏剧创新 

分 类 号：I562.073[文学—其他各国文学]