等待克拉普——试论戏剧《最后的磁带》对自我的追寻

Waiting for Krapp—On the Pursuit of Self in Krapp's Last Tape

主体的问题是现代社会大多数急迫问题的核心。自弗洛伊德以来,很多理论家都阐述了主体的分裂和虚构性。戏剧无疑是最适合表现这一主题的艺术形式。相比之下,爱尔兰剧作家赛缪尔.贝克特对这一主题的探索更加执著和持久。贝克特塑造的分裂的人物不仅对传统的戏剧审美观提出了挑战,而且以一种全新的角度来展现现实世界。在《最后的磁带》中,贝克特运用录音机,以39岁的这盘磁带作为一个交汇点,让29岁、39岁和69岁的克拉普通过录音机讲述自己,以克拉普的三段人生并置和相互参照,来探索自我的稳定性、真实性和进步性。

The question of the subject is at the heart of the most pressing concerns of modem societies. Since Freud, many theorists have fueled the project with their own insights and all, in one way or another, point to the splitting and the fictional nature of the subject. In theater, this theme has already been dramatized by many playwrights. This concurrent theme is manifest in Krapp＇s Last Tape. In this play, Irish playwright Samuel Beckett challenges traditional aesthetics by the splitting nature of the character. A converging point is contrived at which the three selves interact and exist in the tape player concurrently. Through this tape player, Krapp at the age of 29, 39 and 69 respectively tells his own life experiences. With his life experience as reference, the stability, authenticity and progressiveness of the character are investigated.