科尔代斯戏剧独白的跨体裁性

外国文学研究 ›› 2019, Vol. 41 ›› Issue (3): 108-116.

科尔代斯戏剧独白的跨体裁性

赵英晖

发布日期:2022-05-23
作者简介:赵英晖,南京大学外国语学院法语系博士生,复旦大学外文学院法语系讲师,主要研究戏剧理论和法国当代戏剧。

The Cross-Generic Nature of Koltès’s Monologues

Zhao Yinghui

Published:2022-05-23
About author:Zhao Yinghui is a PhD candidate at Nanjing University and an assistant professor at Fudan University (Shanghai 200433, China), specializing in dramatic theory and contemporary French theatre. Email: zhaoyinghui@fudan.edu.cn

摘要/Abstract

内容摘要： 独白历来被认为是戏剧中不那么“戏剧性”的因素,科尔代斯却对这种边缘的戏剧话语形式情有独钟,在剧作中大量使用独白,并创造性地发展了独白的戏剧性、叙事性、抒情性。戏剧的与非戏剧的文学体裁属性在科尔代斯的戏剧独白中交织、碰撞,改变了戏剧冲突的方式、戏剧展示的方式和戏剧人物的存在方式,戏剧因而成为了包容异质因素又不乏统一性的现代“行吟诗”,具有跨体裁的无限可能性的独白蕴含着戏剧突破自身旧有框架而实现自我解放的可能性。

关键词: 独白, 戏剧性, 叙事性, 抒情性

Abstract: Monologue has always been considered as a less dramatic element in drama. But Koltès has a keen interest in monologue and uses it heavily in his plays. Moreover, he is quite creative in maximizing its dramatic, narrational and lyric effect. The immersion and collisions between dramatic and non-dramatic attributes in Koltès’s monologues brought about a clear change in the representation of dramatic conflict, the development of plot, and the existence of dramatic characters, thus turning drama into a modern “rhapsody” that contains heterogeneous elements but still retain its uniformity. Thanks to its unlimited cross-generic possibilities, Koltès’s use of monologues shows that drama does have a great potential to break through its old conventions for a full self-liberation.

Key words: monologue, dramaticism, narrativism, lyricism

赵英晖. 科尔代斯戏剧独白的跨体裁性[J]. 外国文学研究, 2019, 41(3): 108-116.

Zhao Yinghui. The Cross-Generic Nature of Koltès’s Monologues[J]. Foreign Literature Studies, 2019, 41(3): 108-116.

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