意识形态幻象的批判与超越

【作者】 范煜辉；

【导师】 王志耕；

【作者基本信息】 南开大学 ， 比较文学与世界文学， 2009， 博士

【摘要】 本文的研究对象是二战后,即1945年到2008年的美国戏剧,论述范围包括美国的大众商业剧和替补戏剧。本文从意识形态的批判角度论述替补戏剧对美国主流幻象的批判与超越,文中把替补戏剧批判的意识形态幻象分为四种:理性主义、个人主义、民主自由和天赋使命幻象等。本文将把非百老汇的替补戏剧放置到美国整体的戏剧产业体系中进行考察,在与百老汇大众商业剧的互动关系中,解读其所具有的批判幻象功能。本文主要得出以下结论:外百老汇、外外百老汇和地区剧院里的替补戏剧交汇了安托南·阿尔托的残酷戏剧理论与布莱希特的史诗剧理论,创造性地融汇成用非理性或疯癫来批判和超越意识形态幻象。这种倾向性是自古希腊悲剧诞生以来就植根于严肃戏剧之中的文化基因,其具有颠覆权威、破除幻象的力量,故而一直受到官方理性文化的排挤和压制。美国的替补戏剧从尼采以降的现代西方戏剧理论的非理性浪潮中,继承和吸纳了这一被压抑的传统。替补戏剧反抗承载着意识形态幻象功能的百老汇大众商业剧。这些替补剧作大都在一些破旧的小剧院、废弃的地下室、酒吧、阁楼、教堂等非百老汇剧院里上演,这些地理位置具有巴赫金狂欢化的“广场性”意义。非百老汇剧院的替补戏剧一直致力于革新传统戏剧的陈规戒律,积极让观众参与戏剧的表演,使戏剧回归大众狂欢、本能展示的仪式传统。美国的替补戏剧表现一些外位于主流、一贯被主流判定为“疯癫”的沉默群体,提供给他们发出自己独立声音的平台,这些群体包括流浪者、同性恋、少数族裔、疯人等。这些群体一方面控诉官方文化对其压制,致使其沦为疯癫;另一方面,这些疯癫群体拥有禁锢于主流文化中的人所没有的“第二视力”,这种文化的外位处境给予他们审视文明困境的绝佳位置。美国的剧作家通过这些疯癫人物积极地批判官方的意识形态幻象,探索解决文明困境的另一种可能性,像50年代田纳西·威廉斯重建神秘世界的努力,60年代爱德华·阿尔比的毛泽东式的社会主义理想,70年代约翰·古厄尔呼吁回归美国固有传统,重建家庭的伦理价值,新世纪里托尼·库什纳提出的另种社会运作准则——母性原则等等。戏剧成为了剧作家表达自己思想观念的媒介,成为社会观念和社会变化的实验室,故而美国的替补戏剧是严肃而为人生的。本文认为在批判意识形态幻象的同时也需要警惕另种可能性,即他者的意志再次“意识形态化”,在走出了意识形态幻象之后再次滑回意识形态的怪圈。阿米利·巴拉克的革命戏剧正是没有处理好这种关系,从而导致了他实践的失败。美国的戏剧文化保持着旺盛的生命力,不仅仅是因为它有全球最先进的百老汇艺术,更重要的是它存在着反抗百老汇大众商业剧的剧作家群体,他们承担起了知识分子的职责,敢于挑战权威和陈规陋习,敢于发出自己独立的声音,并通过替补戏剧积极地参与社会关切问题的讨论,这种独立声音的存在也是美国不断实现自我超越的文化渊源。更多还原

【Abstract】 This dissertation focuses on the American mass commercial drama and alternative drama from 1945 to 2008 from the perspective of ideological critique and transcendence. The paper is, by putting the non-Broadway alterative drama in the complete system of the American theatre industry in which the interaction between the alternative drama and the Broadway’s commercial theater are obviously seen, to analyze four ideological illusions in the plays, namely the illusion of rationalism, of individualism, of democracy and freedom, and of the manifest destiny.The dissertation reaches the following conclusions:The plays of alternative drama in the Off-Broadway, Off-Off Broadway and regional theatre convergence of Antonin Artaud’s brutal theatre theory and Brecht’s epic drama theory creatively adopt the non-rational or madness to criticize and surpass the mainstream ideological illusions. This tendency was rooted in the ancient Greek tragedy and has formed its foundation in the serious drama ever since. At the same time the tendency has become the target of repression and exclusion by the authority for its power of both subverting the established ideas and breaking the ideological illusions. American alternative drama inherits and absorbs this suppressed tradition, carrying on what Nietzsche revealed as the modern irrational Western drama theory.Alternative drama fights against the Broadway mass commercial drama which carries the ideological illusion. Most of the alternative plays are played at the small old theatres, abandoned basements, bars, mezzanines, churches and other non-Broadway theater stages, whose location carries the meaning of what Bakhtin calls the Carnival "plaza". Non-Broadway’s alternative drama has always been committed to the change of the stereotypes of the traditional theatre, allowing the audience to actively participate in the drama performances, calling back the true nature of the play as a public revelry, or a ceremony for the instinct.Alternative theatre speaks for the silent group, and offers them a stage of voices. The group includes vagrants, homosexuals, minorities, and the mad. They are actually outside of the mainstream group who takes them as mad. Alternative theatre carries with them a second sight—the perception the mainstream culture lacks—out of their oppressed state which makes them see through the problems of the civilization. Through the figures in the play, the American dramatists form their critique of the official ideological illusion, exploring ways of the dilemma brought by the civilization. Tennessee Williams aimed to reconstruct the mysterious world in his plays in the 1950s; Edward Albee expressed his Mao-style socialist ideals in his plays in the 1960s; John Guare called for the return of the traditional American moral values of the family in the 1970s; and in the 21^st century Tony Kushner proposed a different social discipline—the maternal principle. Drama becomes the media for playwright to express their own ideas and the laboratory to test the social attitudes and social changes. Alternative theatre, therefore, can be taken as the serious drama for life.The dissertation also holds the idea that another danger should be guarded against, and that is the will of the other could be re-ideologized when the ideological illusion is put to criticism, forming the vicious cycle. Amiri Baraka’s theater practice shows his failure of coping with this problem.American theatrical culture has maintained a strong vitality, not only because it has the world’s most advanced art of the Broadway theater, but also because it has a large group of dramatists showing their resistance to the commercial Broadway theater. It is they who assume the duty of intellectuals, challenge the authority and stereotypes, and voice their ideas, so that they could always take the social problems into their consideration, maintaining their independent way of thinking and at the same time helping form the American way of self transcendence.更多还原