瓦格纳乐剧批评谱系的建构——从尼采到巴迪欧

The Construction of a Critical Genealogy of Wagner’s Musikdrama——From Nietzsche to Badiou

瓦格纳乐剧是西方思想家进行艺术批评的焦点之一。从艺术与真理的关系维度看,瓦格纳乐剧批评始于尼采,中经萨特、阿多诺、海德格尔,直至拉库-拉巴特、齐泽克和巴迪欧,呈现出四种批评范式,共同构建了瓦格纳乐剧的批评谱系。一是心理学批评,强调瓦格纳乐剧与真理无关,关注其心理宣泄、治疗功能与人物心理隐秘,以前期尼采的宣泄型批评、萨特的治愈型批评、齐泽克的符号学精神分析批评为代表。二为社会政治批评,以意识形态为首要标准,关注乐剧产生的真理效应,以后期尼采、阿多诺和拉库-拉巴特为代表。三是存在论批评,海德格尔是典型代表,他认为瓦格纳乐剧作为“总体艺术作品”并非真理的栖息之所,也无法成为让存在者整体敞开的诗意空间。最后是巴迪欧倡导的“非美学”批评,即生产式批评,它将瓦格纳乐剧从固有的批判桎梏和心理分析中解放出来,认为具有独立艺术品格的瓦格纳乐剧是真理的生产者,是艺术事件发生的场域,也是内在且独特的艺术真理的生产起点。

Wagner’s musikdrama is one of the focal points of art criticism by Western thinkers.From the perspective of the relationship between art and truth,the criticism of Wagner’s musikdrama begins with Nietzsche,passed through Sartre,Adorno,and Heidegger,and finally Lacoue-Labarthe,Zizek,and Badiou,presenting four critical paradigms,which together construct the critical genealogy of Wagner’s musikdrama.The first is psychological criticism,which emphasizes that the musikdrama has nothing to do with the truth,and pays attention to its psychological catharsis,therapeutic function,and psychological secrets of the characters,represented by Nietzsche’s cathartic criticism in his early period,Sartre’s heeding criticism,and Zizek’s semiotic psychoanalytic criticism.The second is socio-political criticism,with ideology as the primary criterion,focusing on the truth effect produced by the musikdrama,represented by the late Nietzsche,Adorno,and Lacoue-Labarthe.The third is existential criticism,Heidegger is a typical representative,he believes that Wagner’s musikdrama as a“total work of art”is not the dwelling of truth,and it can not become a poetic space that allows the beings whole to open up.Finally,Badiou advocates an“inaesthetic”criticism,namely productive criticism,which liberates Wagner’s musikdrama from the inherent critical shackles and psychoanalysis,and argues that Wagner’s musikdrama with its independent artistic characters to be a producer of truth,a field of artistic events,and the starting point of the production of immanent and singular artistic truths.