摘要
T.S.艾略特创作中的多声部现象应得到关注。《大教堂里的谋杀案》是T.S.艾略特的戏剧代表作,它交织着多元声音的合奏与对话,展现出巴赫金意义上的"复调"特色。剧本刻画了大主教贝克特内心"神性自我"与"权欲自我"的争锋;还利用骑士视角来制衡贝克特的虔诚言说;并邀请观众对剧作展开自由阐释。这就在贝克特的不同自我之间、骑士与贝克特之间、观众与观众、观众与作品之间建构了多重复调关系,这是艾略特其他四部剧作所无法比拟的。本文认为,这部剧作之所以体现了鲜明的复调特色,是因为它自觉承续了艾略特哲思中的"相对性"关怀。
As a representative theatrical work by T. S. Eliot, Murder in the Cathedral deserves more attention due to its multi-voice chorus and dialogue that display the nature of polyphonics in Bakhtin＇s sense. By depicting the confrontation of the ＂divine ego＂ and the ＂desire ego＂ inside Archbishop Becket, nullifying his piety from the perspetive of the Knight, and inviting the audience into free interpretation of the play, Eliot succeeded in constructing multilayer relations between Becket＇s different egos, Becket and the Knight, the audience and the production, and among the audience. The author believes that such distinctive nature of polyphonies is deeply rooted in Eliot＇s philosophical concern with ＂relativity＂.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2009年第2期114-123,共10页
Drama:The Journal of the Central Academy of Drama
基金
2008年上海市教委科研创新项目:"论哈代
叶芝
艾略特创作中的‘有限性’主题"
项目编号:08YS130
