《死魂灵》的当代戏剧阐释——论萨杜尔剧作《乞乞科夫老兄》的史诗续写  

Contemporary Dramatic Interpretation of Dead Souls:On the Epic Continuation in Nina Sadur's Brother Chichikov

作　　者：胡颖 HU Ying

机构地区：[1]南京大学外国语学院,江苏南京210023

出　　处：《外语导刊》2025年第2期131-140,F0003,共11页Foreign Languages Bimonthly

基　　金：国家社会科学基金重大项目“尤里·洛特曼著作集汉译与研究”(21&ZD284);中国博士后科学基金面上资助项目“当代俄罗斯戏剧中的果戈理传统研究”(2024M751362)。

摘　　要：19世纪中叶,果戈理试图以长篇史诗《死魂灵》回答俄罗斯社会历史道路问题,但宏伟的创作蓝图中道而辍。20世纪末,苏联解体后的新俄罗斯面临洛特曼所言的二元模式下“旧事物全然彻底的毁灭和新事物末日般的诞生”,当代著名剧作家萨杜尔借两幕剧《乞乞科夫老兄》续写《死魂灵》并对其进行了再阐释。剧作在继承和依托《死魂灵》部分情节、母题和人物体系的同时进行独创性的戏仿与改编,更通过续写果戈理的未竟史诗,在波谲云诡的20至21世纪之交构拟出剧作家自身理念中的俄罗斯民族重生之路。In the mid-19th century,Gogol attempted to address the question of Russia's historical path through his poema Dead Souls,yet the ambitious project was left unfinished.At the end of the 20~(th)century,post-Soviet Russia faced what Yuri Lotman described as the dichotomy of"the complete and unconditional destruction of the prior and the apocalyptic birth of the new".Contemporary renowned playwright Nina Sadur continues and reinterprets Dead Souls with her two-act play Brother Chichikov.The play is an original parody and rewriting while inheriting and relying on part of the plot,motifs and character system of Dead Souls.By continuing Gogol's unfinished poema,Sadur constructs her own vision of the Russian national renaissance amidst the turbulent transition from the 20~(th)to the 21~(st)century.

关 键 词：萨杜尔 乞乞科夫老兄 果戈理 死魂灵 俄罗斯戏剧 

分 类 号：I512.073[文学—其他各国文学]