戏剧本体与生命本能——魏明伦与布莱希特的《杜兰朵》之比

Drama Ontology and Life Instincts——A Comparison of Wei Minglun and Brecht's "Turandot"

杜兰朵既是东方意象也是世界意象,众多名家均尝试过自己的艺术阐释和再创造。布莱希特驾轻就熟地游走于东西方文化,魏明伦以民族文化特色回应世界文化。在这同名戏剧《杜兰朵》又相同意象的演绎中,布莱希特和魏明伦趟出迥然不同的艺术和思想的路子,凸现两者之间最本质的戏剧终极理念——魏明伦借《杜兰朵》回溯中国戏剧之源,而布莱希特则从戏剧文本探索人的最深层本能特征。

Turandot represents both oriental and world imago.Many prestigious artists have tried to interpret and recreate the imago.Brecht readily crosses the line between eastern and western cultures while Wei Minglun responds to the world cultures through the representation of the national culture.In the drama ＂Turandot＂,of the same title and similar interpretation of the imago,Brecht and Wei Minglun interpret the art in different ways,both highlighting the ultimate concepts about the essence of dramas-Wei uses ＂Turandot ＂ to trace the source of Chinese drama while Brech explores for the deepest instinctive personalities from the drama script.