【作者】 成慧芳；

【导师】 胡亚敏；

【作者基本信息】 华中师范大学 ， 比较文学与世界文学， 2002， 硕士

【摘要】 中国荒诞戏剧是在对西方荒诞戏剧的借鉴、模仿中产生和发展起来的，中西荒诞戏剧有着事实上的影响关系，通过比较，很容易看到二者之间的异同，明晰中国荒诞戏剧从吸纳、误读到新变的发展轨迹。 一、吸纳，这是中国当代戏剧面对日渐冷寂的舞台和剧场所做出的一次历史性选择。在对西方荒诞戏剧的搬演、模仿以及对西方荒诞戏剧理论的译介中，中国荒诞戏剧产生了。中西荒诞戏剧因为这种影响关系而在诸多方面呈现出趋同性：首先是“荒诞”概念下的“等待”主题，即“等待”、“虚空”、“无意义”这样的思想主题渗透到了中西荒诞戏剧的全部作品。其次，是非理性美学追求下的内向化品格，即淡化情节、冲突、性格，强化人物心灵的“当下”状态，以此反映出一种更深层次的真实，即“心灵的真实”。再者是“纯粹戏剧性”理论下的“反戏剧”表现形式，中西荒诞戏剧作家们都力求用荒诞的形式或舞台形象表现非理性的荒诞现实。西方荒诞剧在中国找到土壤并产生影响，有其历史和现实的原因与条件：文革及其给人们带来的“信仰危机”，改革开放初期西方哲学思潮的大量涌入，以及艺术家们求新求异的艺术旨趣，这一切便成为荒诞概念及其艺术精髓在中国得以移植的气候和土壤。 二、中国荒诞戏剧在向西方荒诞戏剧学习靠拢的同时，误读也必然地产生了。这种误读具体表现为三个方面的移位。首先，是哲学立意上的移位。中国荒诞剧虽重在表现“等待”、“无意义”的荒诞主题，但立意上却又常常于失望中透出些许曙光，表现出一定程度的积极干预和入世的态度，而非西方荒诞剧所具有的世界末日般的绝望。其次，是美学判断上的移位。在西方戏剧艺术家们看来，表现荒诞，其实就是表现“生活本质的真实”，但在中国，许多人将“荒诞”与“荒谬”划等号，将荒诞理解为非现实、不真实，因此，常常呈现出荒诞的碎片，而忽视了生活的真实。再次，是审美形态的移位。荒诞的审美形态是“怪诞”、“陌生化”。西方荒诞剧的怪诞表现为反情节、反人物，尤其是反语言的非理性化原则。中国荒诞剧的怪诞则更倾向于细节的怪诞，而情节、—— 人物、特别是语言却相对保持完整，因而尚未完全走到反戏剧化的道路上。产 生以上各种误读的原因，当然也要归结于社会现实和民族文化的大背景。 三、中国荒诞剧由模仿、借鉴开始，但并没有完全脱离民族文化的引力， 而是从戏剧本体上发生了深度变异，将西方荒诞剧的伤感悲情逐一淡化，并最 终形成了带有中国特色的荒诞喜剧。中国荒诞喜剧形态主要有搬演型、解构型、 组装型和原创型四种。其审美特征则可归纳为：闹剧式混乱的舞台呈现；深刻 而隐晦的思想表达模式；反讽的美学构成；喜剧的终极效果。 中国荒诞戏剧，在所经过的20年不断吸纳、误读和寻求生存与发展的过 程中，带给中国剧坛的启示是很多的，至少有一点可以形成共识，这就是：固 守“国粹”与全盘西化都是没有前途的，只有接受新观念而又挖掘民族文化的 宝贵资源，创造中国式的而又可以与世界“对话”的真正的中国现代戏剧，才 是一条值得我们不断探索的戏剧之路。更多还原

【Abstract】 Absurd drama is a representation modality of modernism trend of thought, which is the perfect unification of the content and form and whose goal aims at representing the absurd sense. In content, its theme is laid on alienation, involving the state and predicament of human beings. In form, it is against the tradition and logos, and makes strange and surprising effect. The western absurd drama is well-known to us all, so there is no need to discuss it here. The Chinese absurd drama is referred to the drama inditing and performance practice of a group of unrealism writers and directors since the year 1982.The Chinese absurd drama came into being by imitating and using for reference the western absurd drama, namely, performing western absurd drama, imitating its theme and form, translating and introducing the theory works on it. Due to imitating and using for reference , the Chinese and western absurd dramas have some comparability. It is firstly represented in the themes, that is, "waiting", "meaningless". These themes penetrate the works of most Chinese and western absurd dramas. Secondly it emphasizes the dramatis personae’ feelings at the moment instead of scenarios, conflict or characters. Lastly it doesn’t use the form of dramas but absurd form to represent the absurd reality. While the Chinese absurd drama was learning from the western drama, misreading was unavoidable, which lies in both philosophy and aesthetics. In the eyes of the western drama artists, to represent absurdity is to represent in essence the reality of life. But in China, absurdity is considered to be unreality or untrue.20 years have passed before the Chinese absurd drama has its own form and result through absorbing, misreading and searching for development. In this course, we have learnt a lot. At least, it is agreed that neither keeping to the quintessence of our drama nor coping the western drama without criticism has prospects. Only byaccepting new conception, critically assimilating whatever is beneficial in absurd drama from western countries and making good use of our national precious cultural resources will the Chinese absurd drama develop constantly.更多还原