论曹禺戏剧序跋的“对话性”及其演变

Dialogicality and Its Evolution in the Preface and Postscript of CAO Yu’s Plays

序跋是作家与批评界间建立有效对话机制的重要载体,是思想与精神的交流,而非简单的自我陈述或事件性记录。序跋写作具有三重自我,即叙述自我、创作自我与批评自我。批评自我体现了作者的主体思想与理性意识,创作自我需重建交织着许多感性元素的创作情境,叙述自我则是对前两者的真实叙述。批评自我超越于创作自我(及作品)与既有评论之上展开理性批评,并由此形成序跋的"对话性"。根据"对话性"的有无与强弱,可将曹禺的序跋等自述文字分为四个阶段。序跋的"对话性"是曹禺创作思想的某种折射。主流戏剧批评对曹禺形成反作用,使其不断地调整对于创作的认识,序跋等自述文字的"对话性"也随之减弱。这也是曹禺创作主体意识渐陷困惑,乃至趋于贫困化的过程。曹禺戏剧序跋的对话性问题,已超出了曹禺戏剧本身,深刻地反映了在戏剧现代化过程中,戏剧界对于中国话剧如何学习西方戏剧,以及话剧的文体意识、剧本创作与舞台演出的关系等重大问题的认识。

Rather than a simple self-statement or record of event,the preface and postscript serve as an important medium of effective dialogue between writers and critics and exchange of ideas and spirits.The writing of preface and postscript has triple egos:narrative ego,creative ego and critical ego.The critical ego embodies the author’s subjectivity and rationality;the creative ego needs to reproduce the creative environment interwoven with many perceptual elements;and the narrative ego is the true narration of the first two.The critical ego transcends the creative ego(works themselves)and the existing comments to make rational criticism,and thus the dialogicality of the preface and postscript is formed.According to the existence or absence,and the intensity of the dialogicality,CAO Yu’s writing of preface and postscript can be divided into four stages.The dialogicality of the preface and postscript is a reflection of CAO Yu’s creative thought.The mainstream theatre criticism had a negative effect on him,making him constantly reflect on his understanding of creation,thus the dialogicality in the self-narrative of his preface and postscript is weakened.It is in this process that CAO Yu’s creative subjectivity gradually sank into confusion and was nearly exhausted.What happened to the dialogicality of his preface and postscript has gone beyond CAO Yu’s plays themselves.It profoundly reflects the understanding of Chinese Huaju playwrights and critics on how to learn from western plays in the process of drama modernization,as well as their understanding on the relationship among the awareness of Huaju style,play writing and stage performance.