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《戏剧的十三个符号系统》是从 T·考弗臧的《文学和斯白克达克勒》(《Littérature et specta-cle》)一书的第三部分“在符号的世界里”摘译的。在这部分里,作者以大量生动、有趣的戏剧例证,说明了符号的概念、能指、所指和意指作用以及戏剧符号的特性问题,并对戏剧演出所运用的主要的符号系统的形态、功能等进行了多层次的分类研究,对愿入此道者很有裨益。作者在讨论中所涉及的戏剧符号的系统特性问题,多层意指结构及意义生成与转换问题,戏剧符号的知觉和阐释问题,符号的“经济”问题等,则可视为戏剧符号学所应进一步开拓的一些重要领域。作者自己认为这部分的材料特别丰富,因此打算以此为基础再写一部关于戏剧艺术的符号学专著。“斯白克达克勒”是法语 Spectacle 的音译。这个词在法语、英语中都有“景象”、“场面”的意义,法语中还有“戏剧”、“演出”的意义。本书是在美学的意义上指那些诉诸观者视听、特别是诉诸视觉的(以戏剧和电影为代表的)运动着的时间和空间的表现形态。作者在书中主要是从美学的、主题的、符号学的三个方面,讨论了对“斯白克达克勒”艺术来说最重要的问题,即与文学的关系问题。由于作者锐敏的洞察力、缜密的论证以及他对问题的分类、整理,使得本书成为最具独创性的研究著作之一。而且,本书没有那种此类著述常犯的难解、晦涩的毛病,全书平易、易解,这更是难得的。正因此,它才经常为符号学的研究以及最近的戏剧美学研究的著作所引用,并荣获了“波兰科学院奖”。考弗臧的这部著作一九七五年用法语和波兰语在巴黎和华沙同时出版。本文是从渡边淳先生的日译本转译的,翻译过程中曾得到中央戏剧学院日本留学生小笠原周先生的指教,刘新月同志在法语方面提供了帮助。
The “The Thirteen Symbolic Systems of Drama” is translated from T · Kofu Zang’s “Littérature et specta-cle” in the third part “in the world of symbols” . In this section, the author illustrates the concept of symbols, the signifier, the meaning and the meanings of the symbols and the characteristics of drama symbols with a large number of vivid and interesting dramatic examples, and analyzes the forms of the major symbolic systems used in theatrical performances , Functions, etc. conducted a multi-level classification of research, is willing to enter the Taoist helpful. The author discusses the systematic characteristics of drama symbology involved in the discussion, the multi-level meaning refers to the structure and meaning generation and transformation, the perception and interpretation of drama symbols, the symbolic “economic” issues, etc., Some important areas should be further developed. The author considers this part of the material is particularly rich, so I intend to use it as a basis to write a semiotic works on the theatrical art. Spyker Dakkel is the transliteration of the French Spectacle. This word has the meaning of “scene” and “scene” both in French and English. There is also the meaning of “drama” and “performance” in French. This book, in aesthetical sense, refers to the manifestation of time and space in the movements of the spectators, especially those appealing to the visuals (represented by drama and cinema). In the book, the author mainly discusses the most important issue of Spykerkeler art from three aspects of aesthetics, theme and semiology, namely, the relationship with literature. Due to the author Rui Min’s insight, meticulous argument and his classification of the problem, finishing, making the book as one of the most original research. Moreover, the book does not often have the kind of obscenity, obscure problems, the book is easy, easy solution, it is even more rare. For this reason, it is often quoted for semiotic studies as well as recent works on theatrical aesthetics and won the “Prize of the Polish Academy of Sciences.” Kaufang Zang’s work was published simultaneously in French and Polish in Paris and Warsaw in 1975. This article is translated from the Japanese translation of Mr. Watanabe and was given advice from Mr. Zhou, a Japanese student at the Central Academy of Drama, in the translation process. Comrade Liu Xinyue provided assistance in French.