话剧《惊梦》的“喜剧性”论析

An Analysis of the“Comedy”of the Drama Jing Meng

话剧《惊梦》讲述了一个解放战争时期昆曲戏班和春社在乱世中求生存的悲剧故事,却以一种喜剧性形态呈现。不同于黑格尔在他的《精神现象学》等著作中以“实体性”和“主观性”来划分悲、喜剧,并将“喜剧性”问题置于“主观性与实体性相对立”的基础之上。话剧《惊梦》则是在主观性与实体性即良知与天道同构的基础上来讨论问题的,其所展示的喜剧性背后,不仅存在一个“悲剧的内核”,而且还表现出非常大的包容性和创造性。“惊梦”作为一种审美体验及其所表征的喜剧性形态,是在分裂和异化的社会状态下对具体而流动着的人类生活方式的表达,把人与自然、人与自我的关系扩展到对人与人、人与整个人类社会的人类学意义上的思考。

The drama Jing Meng tells a tragic story that a Kunqu opera troupe and Chunshe survived in a turbulent world during the Liberation War.Though it is a tragedy,the story is represented as a comedy.Hegel in his works such as Phenomenology of Mind distinguishes tragedy from comedy according to substantiality and subjectivity and argues that comedy is based on the opposition between subjectivity and substantiality.However,the drama Jing Meng discusses issues on the basis of isomorphism of subjectivity and substantiality,that is,conscience and the laws of natural.Behind the comedy it represents,there is a tragic core,which shows a great inclusiveness and creativity.As an aesthetic experience with the comedic form,Jing Meng reveals the specific and flowing way of human life in a divided and alienated society,expanding the relationship between man and nature,individual and self to the anthropological significance.