话语实验与乌托邦想象：白银时代未来主义剧作的先锋性

外国文学研究 ›› 2020, Vol. 42 ›› Issue (6): 95-108.

话语实验与乌托邦想象：白银时代未来主义剧作的先锋性

王树福

出版日期:2020-12-25 发布日期:2021-02-05
作者简介:王树福,华中师范大学文学院教授,黑龙江大学俄罗斯语言文学与文化研究中心、湖北文学理论与批评研究中心、国际文学伦理学批评研究中心研究员,主要从事俄罗斯文学、戏剧艺术和文学伦理学批评研究。
基金资助:
国家社科基金一般项目“白银时代俄罗斯戏剧转型研究（1890—1920）”（17BWW042）; 教育部哲学社会科学研究重大课题攻关项目“多卷本《俄国戏剧史》编纂与重要资料翻译研究”（19JZD030）

Discourse Experiment and Utopian Imagination: The Avant-Garde of Futurist Theater in the Silver Age

Wang Shufu

Online:2020-12-25 Published:2021-02-05
About author:Wang Shufu is a professor at the School of Chinese Language and Literature, Central China Normal University (Wuhan 430069, China) and a part-time researcher at the Research Center for Russian Language, Literature and Culture, Heilongjiang University (Harbin 150080, China). He is also a research fellow at the Hubei Research Center for Literary Theory and Criticism and the International Research Center for Ethical Literary Criticism. His major research interests include Russian literature, Russian theater, and Ethical Literary Criticism.Email: ccnuwangshufu@126.com
Supported by:
“Study on Transformation of Russian Theater in the Silver Age”(17BWW042) sponsored by National Social Science Fund of China;“Study on the Compilation of A History of Russian Theater and Translation of Important Materials”(19JZD030) sponsored by the Key Project of Philosophy and Social Science Research of the Ministry of Education

摘要/Abstract

内容摘要： 在自由多元的俄罗斯白银时代（1890—; 1920）,未来主义戏剧创作主要以马雅可夫斯基和赫列勃尼科夫等人的剧作为代表,具有比较明显的先锋性特征,呈现出鲜明的话语实验与浓郁的乌托邦想象。在语言修辞的实验革新上,未来主义剧作通过语言陌生化和隐喻现实化,呈现出传统语言组织和话语结构的颠覆重组。在主题情节的逆写变异上,未来主义剧作对象征主义戏剧进行主题逆写,对经典戏剧文本进行内在改写,对传统文学主题进行变异仿写。在未来世界的想象书写上,未来主义剧作以个性凸显和价值觉醒为基础,充满个人主义激情和工业主义想象,带有比较明显的乌托邦色彩和神秘主义倾向,承载了剧作家的未来主义世界观和美学观。大致说来,未来主义戏剧强调通过话语实验塑造世界,对未来展开乌托邦想象,是未来主义理念、尼采哲学思想和时代革命话语等多重因素综合作用与总体影响的结果,其本质是对现实主义和象征主义戏剧的诗学反拨,对革命精神和革命理想的艺术实践。由此,未来主义戏剧以先锋语言手法、浪漫修辞风格和激进主题思想,为20世纪俄罗斯先锋戏剧和苏联早期喜剧奠定了基础。

关键词: 白银时代, 未来主义戏剧, 话语实验, 乌托邦想象, 马雅可夫斯基, 赫列勃尼科夫

Abstract: During the Russian Silver Age of freedom, pluralism, Futurist Theater, which was mainly represented by the plays of V. V. Mayakovsky, Velemir Khlebnikov, had some obvious avant-garde characteristics, demonstrated a distinctive discourse experiment, a strong utopian imagination. In its experimental innovation of language, rhetoric, Futurist Theater subverted, reorganized the traditional language organization, discourse structure through the defamiliarization of language, the actualization of metaphor. In its adaptation of theme, plot, Futurist Theater reversed the theme of Symbolist Theater, adapted the inner core of the classic drama texts, imitated, with some variations, the theme of traditional literature. Its imaginary writing about the future world, Futurist Theater based its writing on the salience of personality, awareness of values, fully embracing the enthusiasm of individuality, the imagination of industrialism, demonstrating a relatively conspicuous touch of utopia, a tendency of mysticism, representing the playwright’s futuristic concept of the world, aesthetics. Generally speaking, that Futurist Theater stressed the need to construct the world through discourse experiment, release the utopian imagination of the future is the result of the comprehensive effect, overall influence from many factors, such as the idea of Futurism, Nietzsche’s philosophy, the revolutionary discourse of the times. In essence, it is a poetic counteraction against the drama of Realism, Symbolism, an artistic practice of the revolutionary spirit, revolutionary ideal. As a result, Futurist Theater laid down the foundation for the Russian avant-garde drama, the early Soviet comedy in the20th century with its avant-garde language, romantic style of rhetoric, radical themes

Key words: Silver Age, Futurist Theater, discourse experiment, utopian imagination, V. V. Mayakovsky, Velimir Khlebnikov

王树福. 话语实验与乌托邦想象：白银时代未来主义剧作的先锋性[J]. 外国文学研究, 2020, 42(6): 95-108.

Wang Shufu. Discourse Experiment and Utopian Imagination: The Avant-Garde of Futurist Theater in the Silver Age[J]. Foreign Literature Studies, 2020, 42(6): 95-108.

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