论阿尔托残酷戏剧理论的生命哲学及其美学思想——以斯特林堡《鬼魂奏鸣曲》为例  

A Thesis on the Life Philosophy and Aesthetic Ideology within Artaud's Theatre of Cruelty——Strindberg's Ghost Sonata as an Exemplar

作　　者：张瑛 Zhang Ying

机构地区：[1]上海戏剧学院

出　　处：《戏剧与影视评论》2024年第5期24-36,共13页Review of Theatre and Film

摘　　要：20世纪法国戏剧理论家阿尔托因创立了残酷戏剧理论而闻名于世。通过阐释“戏剧即瘟疫”“净化”与“整体戏剧”等核心概念,阿尔托向世人呼吁戏剧的独立艺术地位,并期冀以整体戏剧为媒介,试图在对生命残酷之必然性的物象化主题演绎中挣脱西方传统意识形态对个体身心的囚禁,继而在具有神圣秘仪色彩的剧场中感受身心自由的可能性并获得道我合一的启明。他的理论核心思想与斯特林堡的梦剧相呼应,其中,阿尔托对《鬼魂奏鸣曲》付诸的较多剧场实践使得该剧成了探讨残酷戏剧理论生命哲学的较佳入口。在该戏剧理论中,阿尔托对“天/人”关系的独到见解蕴含着丰富的美学思想,这种美学思想深刻呼应了诺斯替主义中“被拯救的拯救者”“绝对超越者”等概念。Artaud,the renowned 2oth-century French theatre theorist,is credited with establishing the theatre of cruelty.By elucidating key concepts such as ‘drama as plague',‘purification'and‘total theatre',Artaud appealed for drama as an independent art form,hoping to use total theater as a medium to break free from the Western traditional ideology's confinement of individual's body and mind in the thematic interpretation of the objectification of life's inevitable cruelty,and immersed oneself in the theatre colored with sacred religious rituals,thereby attaining the possibility of freedom in both body and soul while experiencing a divine enlightenment within oneself.The Key ideas of this theory resonate with Strindberg's dream plays;moreover,Artaud made significant efforts in applying his theatrical practice to Ghost Sonata,making it an ideal avenue for exploring the life philosophy in the theatre of cruelty.Within this theory,Artaud presented a unique perspective on the relationship between providence and self that encompasses rich aesthetic ideology,which profoundly echoes Gnostic concepts such as'the savior being saved'and‘the absolute transcender'.

关 键 词：阿尔托 “残酷戏剧” 斯特林堡 生命哲学 诺斯替主义 

分 类 号：I20[文学—中国文学]