演员已死？--布莱希特的批判接受理论

The Death of the Actor?——On Bertolt Brecht’s Critical Reception Theory

戏剧接受理论在剧场理论中未引起足够的重视,有必要特别注意布莱希特的批判接受理论。在布莱希特的戏剧理论中,观众被抬到了一个前所未有的位置。布莱希特的批判接受理论主要体现在两个方面:"反对共鸣"和"批判性参与"。在布莱希特的理论中,不但作者已经死亡,甚至连演员也已经死亡,我们看到的是高扬的受众主体性。布莱希特倡导受众的批判性参与,比接受美学的倡导者们要更早,在这个意义上,布莱希特无疑是批判接受理论的先驱性人物。

The reception theory of drama has not given enough attention to in drama theory. So Bertolt Brecht’s critical reception theory should be focused on. In his drama theory,the audience is put up to an unprecedented position. The main aspects of his critical reception theory are: 'opposing sympathy' and ' critical participation'. In his theory,the author and actors are dead. What we find is the subjectivity of audience. The essay argues that Brecht was quite earlier than other advocators of reception aesthetics in advocating the critical participation of audience. In such sense,he was a pioneer of critical reception theory.