摘要
布莱希特陌生化理论除了包含戏剧本身的层面之外 ,还有其政治的层面。布莱希特的巨大影响正是来自于该理论鲜明的激进政治色彩。本文认为 ,布莱希特陌生化理论建立在阶级功利主义艺术观之上。他将共鸣戏剧看成是资产阶级戏剧 ,而将陌生化戏剧看成是无产阶级戏剧。其焦点是将共鸣与永恒化、将陌生化与历史化联系起来 ,从而将陌生化戏剧的开放性、可修改性看成是它具有社会批判功能的表现。因此 ,布莱希特的戏剧观最终属于西方马克思主义对“第二自然”意识形态的批判 ,乃是对现代艺术的一种非常具有典型性的政治辩护。
Brecht's theory of alienation effect consists not only in its theatrics but also in its politics. The great impact of Brecht's theory of alienation comes precisely from the political radicalism of his theory. This paper seeks to demonstrate that Brecht's theory of theatre is founded on the idea of a class-conscious utilitarian art, which regards theatre of empathy as rooted in bourgeois values and theatre of alienation as fundamentally a theatre for proletarian causes. His underpinning thesis is to identify empathy with timelessness and alienation with historicity. Brecht idea of theatre can thus be seen as belonging to the same category as the ideological critique of “Second Nature”, as is espoused by Western Marxism. As such, it provides a typical political justification of modernist art.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2003年第2期55-64,共10页
Drama:The Journal of the Central Academy of Drama
