论文部分内容阅读
在“后地狱时期”的梦幻剧创作中,特别以《鬼魂奏鸣曲》为范例,斯特林堡创造性地使用了一种可借自电影术语来命名的场面调度手法,即叠印。它实际上是现代性的危机在再现领域中的一个反映。随着全球化也是全球分裂进程的展开,世界的完整连续性被打破,时空的结构也失去了它在经典现实主义时期的那种整一性。斯特林堡的形式革命在于他将消失在中心透视之外的外部世界叠加在舞台再现的时空之上,从而创造了一种幽灵化的观看,使过去和现在同时进行、幻想与现实一并展开。从世界一历史的角度来看,斯特林堡所提供的现实及其重影,源自于西方现代文明自身的幻灭,即根源于它所创造的辉煌的现在正不断地被它充满剥削、掠夺的不光彩的过去所袭扰。那幽灵不只是不断地回返,他始终就在那里,在谋杀者身边,在同一块舞台上面。
In his post-hellish period drama, especially in The Ghost Sonata, Strindberg creatively used a scene scheduling technique that could be borrowed from cinema terms, namely overprint. It is actually a reflection of the crisis of modernity in the field of reproduction. As globalization is also the process of global schism, the complete continuity of the world is broken, and the structure of time and space has lost its unity in the classical realism. The form revolution of Strindberg is that he superimposes the external world disappearing beyond the central perspective on the space-time of the stage reproduction, thus creating a kind of ghostly viewing that makes the past and the present simultaneously, and the fantasy and the reality together Expand. From a historical point of view in the world, the reality offered by Strindberg and its ghosting stems from the disillusionment of the modern Western civilization itself, that is, rooted in the glorious moment it has created, constantly being exploited by it, Plundered by the shameful past. The ghost did not just come back constantly, he was always there, around the murderer, on the same stage.