《复活日》中的身体空间:欲望的生成场域及艺术传达  

The Body Space in When We Dead Awaken:The Generative Field of Desire and Its Artistic Expression

作　　者：杜雪琴[1] Du Xueqin(College of Art&Communication,China Three Gorges University)

机构地区：[1]三峡大学文学与传媒学院

出　　处：《世界文学评论(高教版)》2024年第3期38-44,共7页The World Literature Criticism

基　　金：教育部人文社会科学研究规划基金项目“汉英世界‘易卜生学’建构及文献研究”(编号:20YJA751007);国家社科基金后期资助项目“易卜生戏剧空间美学问题研究”(编号:23FWWB023);湖北省人文社科重点研究基地影视文化与产业发展研究中心开放基金项目“跨文化视阈下易卜生戏剧的电影改编研究”(编号:2022YSKF11)的阶段性成果

摘　　要：易卜生在戏剧创作中多次运用象征艺术对身体空间进行阐释,于此身体既成为各类人物内在欲望的生成场域,又成为其情感乃至生命传达的艺术通道。最后一部戏剧《复活日》中的身体空间尤其值得关注,其独特意义在于对人物的欲望传达和深邃哲思的彰显。剧中鲁贝克和爱吕尼两个人的身体在亲近与远离、开放与封闭的博弈间充满张力,同时对于彼此而言具有重要意义,可以上升到与生命等价的高度。易卜生戏剧中众多人物身体空间的艺术呈现,预示着人的情感的孕育性和人的灵魂的隐匿性,其中也充满了剧作家对生命存在和艺术家本质的反思。Ibsen has repeatedly used symbolic art to interpret body space in his plays.Thus,the body has become not only a field for the generation of various characters’inner desires,but also an artistic channel for the expression of their emotions and even their lives.The body space in the last drama,Easter Sunday,is especially worth paying attention to,and its unique significance is manifested in the desire transmission and deep philosophical thinking to the characters.In the play,Rubek and Irene’s bodies are full of tension between intimacy and distance,opening and closing,and are both important to each other,rising to the level of life itself.The artistic presentation of the body space of many characters in Ibsen’s plays indicates the breeding of human emotion and the concealment of human soul,which is also full of the playwright’s reflection on the existence of life and the essence of the artist.

关 键 词：《复活日》 身体空间 欲望表达 存在的虚无 象征艺术 

分 类 号：I533.073[文学—其他各国文学]