《庄子》与中国荒诞剧

Zhuang Ze and Chinese Theater of Absurdity

《庄子》以其关注现实人生的荒诞体验而成为中国荒诞剧鼻祖, 它所倡导的荒诞精神与后来西方荒诞派戏剧不谋而合。文章通过对“庄周梦蝴蝶”、“浑沌凿七窍而死”等经典文学案例的剖析, 挖掘出《庄子》独辟蹊径的荒诞美学思想, 对人类荒诞生存境况的思考, 更证明了“荒诞”是全人类共同精神体验的产物。从《庄子》开始, 具有真正现代意义的荒诞概念得以建立, 荒诞美学得以形成, 并对后世文学特别是中国荒诞剧的生成与发展产生了巨大影响。

Zhuang Ze was the origin of Chinese Theater of Absurdity for it emphasized absurd reality and the extraordinary experiences of human beings. In the West,the spirits pursued and appraised by the Western Theater of Absurdity unexpectedly matched the absurd spirits originated from Zhuang Ze. By case studies on classical literature, such as “Zhuangzhous Dreaming of Butterflies” and “Hunduns Dying of Digging Seven Holes”, this paper discovers the unique way of aesthetic search of Zhuang Ze and its thinking of human absurd existence, proving that absurdity is the truth of common internal experiences of human kind. The concept of Absurdity that bears real modern significance has been made and aesthetics of absurdity has been formed since the outcome of Zhuang Ze. Furthermore, it exerts great influence on later literature, especially on the birth and the development of Chinese Theater of Absurdity.