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本文旨在以《哈姆雷特》为镜,通过该剧的具有象征性的改编版来反观东/中欧戏剧潮流的发展。这一研究可以简·柯特所著《莎士比亚,我们的同代人》为出发点,另一重要的起点则是柯特与莎士比亚所共有的坚定信念,即不是戏剧反映生活,重要的是“这个世界就是一出戏”。莎士比亚的主要作品都被看做连接我们所生活的可感世界与不可感知世界的通道,柯特强调他找到了进入这条通道的秘密入口或者密码。这也就是:准确指出环境强加在哈姆雷特身上的角色与他自身间的边界。这条边界的本质,尤其是它的宽度能折射出不同时代对《哈姆雷特》的解读的发展。边界越宽,对该剧的解读也越现代化。在那已深入此地区基因之中的政治性和那玄理之间的往复跳跃,是这一发展趋势的重要标志,它被紧紧追随。尼克鲁修斯、考索诺瓦斯和斯皮纳三位东欧导演所指导的《哈姆雷特》则清晰勾勒出了二者在所谓“灵魂政治”的剧场中的交融。
The purpose of this essay is to use “Hamlet” as a mirror, and through the symbolic adaptation of the play, we can see the development of the theater trend in East and Central Europe. This study can be based on Jane Cutter’s book “Shakespeare, our own generation” as the starting point. Another important starting point is the firm belief shared by Curt and Shakespeare that drama is not about life, but “ This world is a play ”. Shakespeare’s major works are seen as a pathway to the world of sensible and unintelligible worlds in which we live, and Curt emphasizes that he has found the secret entrance or password to enter the channel. This is exactly what the environment imposes on Hamlet’s character and his own boundaries. The essence of this border, especially its width, reflects the development of interpretation of “Hamlet” in different periods. The wider the border, the more modern the interpretation of the play. The reciprocating jump between politics and that mystique within genes that have penetrated the region is an important hallmark of this trend and is closely followed. Hamlet, directed by three Eastern European directors, including Nick Roths, Cauzonowas and Spinale, clearly outlines the blending of the two in a theater called the Soul Politics.