戏剧结构论:李渔与黑格尔的异同

Drama Structure Theory:Similarities and Differences between Li Yu and Hegel

李渔与黑格尔都为戏剧结构提炼和设定了一个统驭全局的中心,但李渔所说"主脑"是从戏剧实践和作品现象提炼出来的范畴;黑格尔将"理念"作为戏剧结构的中心,则是从既定的哲学观念出发推导的结果。李渔与黑格尔都将动作情节的整一性视为戏剧结构完整性的关键,但黑格尔此外又提出了时间、地点的整一性;而李渔对于戏剧的时间、地点问题则表现出一种相对通达的态度。李渔与黑格尔都对戏剧的构成方式提出了一定的准则,李渔提倡"减头绪"和"密针线";黑格尔则对于戏剧的"广度"和"进展方式"给出了具体的规定。李渔与黑格尔对于戏剧各阶段的划分在中西方戏剧美学史上都各有成法可依,李渔所论更倾向于对戏剧结构之程式的保留和恪守;黑格尔则更倾向于对历来沿用的戏剧程式加以理性的改造和提纯。

As regards to drama structure,they propose a comprehensive principle;but concretely speaking,Li Yu＇s ＂ primary brain＂ is a category abstracted from his dramatic practice and creative works,and Hegel＇s ＂ idea＂ comes out from his existing philosophy.They both take the concordance of plotting as the key to structural integrity of the drama;besides this,Hegel puts forward the concordance of time and place,while Li Yu shows a relatively generous manner on problems of time and place.They both divide phases of dramatic history according to established theories in Chinese and western dramatic aesthetic insights;Li Yu tends to preserve the traditional drama structural patterns,while Hegel tends to innovate and purify the previous ones.