摘要
本文将在20世纪东西方跨文化戏剧的大语境下考察贝克特的美学理念与东方传统思想之间的关联。贝克特的剧场美学延续的是20世纪反自然主义的剧场传统,而这一传统与东方戏剧发生着沟通与共鸣。贝克特戏剧艺术致力于对"无"的呈现与探问,这引导他在佛教中寻觅相应的思想资源,并与以"无"为核心的道家思想发生共振。针对贝克特的跨文化研究不能只流于表面上的平行之处,而更要深入贝克特所处的戏剧语境,探析其创作美学的思想理据,挖掘艺术家意识层面以下埋藏的跨文化网络。
This article attempts to look into Beckett’s relation with and his place in the twentiethcentury theatre’s tradition of intercultural communication,and investigates the connection between Beckett’s aesthetic conception and Eastern thoughts.Beckett’s theatre aesthetics continues an antinaturalistic theatrical tradition of the twentieth century,which also communicates and resonates with Eastern theatres.This provides a necessary context for understanding the intercultural dimension in Beckett’s theatre.Furthermore,the key pursuit of Beckett’s artistic creation lies in the expression and enquiry of"Nothing",which leads him to find correlative intellectual resources in Buddhism and strikes a chord also with Daoism that takes"Nothing"as its foundation.Intercultural analysis on Beckett should not satisfy itself with parallels merely on the surface,but need go deep into the theatre context in which Beckett is situated,and explore the intellectual rationale of his aesthetic creations,so that an intercultural network buried under the artist’s consciousness could be excavated.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2020年第3期111-123,共13页
Drama:The Journal of the Central Academy of Drama
基金
国家社科基金艺术学重大项目“当代欧美戏剧理论前沿问题研究”(项目编号:18ZD06)的阶段性成果
南京大学优秀博士研究生创新能力提升计划A资助。
关键词
贝克特
木偶
佛教
道家
能剧
Samuel Beckett
marionette
Buddhism
Daoism
Noh theatre
