【摘要】 马克·里希尔分析论证指出，在胡塞尔那里，想象是对没有物理载体的图像客体的一种“感知表象”,是感知表象式的拟象。而幻象和想象的区分虽不是严格确定，但还是有区别的。想象仍然有其当下不在场的图像主体，而幻象则没有当下不在场的图像主体。幻象显现具有四大特征：一是多变性或变形性；二是在所谓连续的时间过程中非连续性的闪现；三是在同一个假定的时间连续体中具有间歇性；四是他们的显现是不存在的虚无。但是，幻象需要在想象行为中显现，尽管幻象没有与之相对应的、被其所代现的现实存在的图像主体。在戏剧表演中，戏剧人物是无法直观、并不存在的“感知”幻象，演员只能具身化这种不可形象化的戏剧人物。演员只有在具身化这一并不存在的感知幻象过程中进行移情，他才是好演员。更多还原

【Abstract】 Marc Richir’s analysis and argument indicated that Husserl held imagination as a kind of “perceptual representation” of image objects without physical carrier, and imagination was a simulacrum of perceptual representation. The distinction between phantom and imagination is not very strictly defined, but a difference does exist. That is, imagination still has its image subjects that are absent, while phantom has no image subjects that are absent. Phantasmal manifestations have four characteristics as follows. First, it is variability or deformability; second, it is the non-continuous flashes in the so-called continuous time processes; third, it is the intermittent in the same assumed time continuum; fourth, their appearance is nothingness that does not exist. However, the phantom needs to be manifested in the act of imagining, though the phantom has no corresponding image subject of the reality that it represents. In theatrical performances, the dramatic characters are “perceptual” phantom that cannot be perceived directly as they do not exist, and the actors have only incarnations of the intangible theatrical characters. Only when an actor can exercise empathy in the incarnation as a perceptual phantom that does not exist, can he be a good actor.更多还原