从“不可能”走向“可能”的脚步——洛尔卡剧作《观众》与《贝纳尔达·阿尔瓦之家》之比较

Garcia Lorca's El Público and La Casa de Bernarda Alba

作为西班牙"二七年代"的代表人物,费德里科.加西亚.洛尔卡不仅在诗歌创作方面取得了巨大的成就,他的戏剧创作也获得了评论界的广泛关注,其剧作被公认为20世纪西班牙戏剧的代表之作。对洛尔卡戏剧作品的评论不仅数量可观,所表述的观点也是众说纷纭,莫衷一是。但大多数评论者的注意力都集中在他晚期创作中最具代表性的农村三部曲上,却没有想到,他在成熟期所创作的这三部作品所取得的巨大成就,与其长达十多年的不断地探索和实验有着密不可分的联系。本文对其被称为"不可能戏剧"的代表作《观众》和其公众接受度极高的作品《贝纳尔达.阿尔瓦之家》进行比较分析,寻找洛尔卡戏剧创作所带有的一贯性特点。

As the voice of the Spanish literary group--the Generation of ＇ 27, Federico Garcia Lorca is not only an outstanding poet but also a successful playwright. His plays, considered to be the representative of the 20th century＇ s Spanish drama, have drawn universal and intense attention from the critics. However, most critics fail to notice the close relationship between the achievements of Lorea＇ s a trilogy of ＂ rural tragedies＂ and his avant-garde experiments and explorations. Thus the article directs its attention to a detailed study and analysis of Lorca＇ s works, comparing one of his ＂impossible＂ plays--El Prblico with his later ＂possible＂ works--La casa de Bernarda Alba in order to sum up the distinction of coherence in his play writing.