从尤耐斯库的三部作品看荒诞派戏剧的真实

The Reality in Absurd Theatre Based on Three Works of Ionesco

"现实"和"真实"是两个不同的概念,前者强调客观"存在性",后者注重"内在性质"。作为20世纪现代派文学重要组成部分的荒诞派戏剧突破了传统戏剧的艺术表现手法,以平庸的故事情节、分解的语言和破碎的人物取代传统戏剧中跌宕起伏的故事情节、突出尖锐的戏剧冲突和完整的人物形象。总而言之,是以一种荒诞的手法表现荒诞的世界。对于荒诞派戏剧是否能体现现实世界,以及它所体现的现实是否具有真实性,一直存在着争议。尤奈斯库是荒诞派戏剧的代表人物,其三部作品《秃头歌女》、《椅子》、《犀牛》在表现生活、表现人物方面的确能以一种反传统的方式折射出当时社会环境和人的内心世界,较好地诠释了荒诞派戏剧真实观及具体表达手法,强调通过人物的言语动作表达作者自身对世界的看法,并让读者慢慢体会,力图进而将作者心中的真实转化为读者的真实理解。

＂Reality＂ and ＂Authenticity＂ are two different notions： one emphasizes the existence, the other focuses on inher- ent essence. Absurd Theatre is an important component of modem literature in 20th century. It breaks the rules of traditional theatre, such as attractive scenario, obvious drama conflict and integrated figure of dramatis personae, and tries to present absurd reality with bourgeois history, separated language and half figure of dramatis personae. It exists always the dispute in its effect of reflecting the real world and in its authenticity of reality. Ionesco, as a representative of Absurd Theater, his three works La Cantatrice chauve , Les Chaises and Le Rhinoc^o describe social environment and inner world of people of the time in an anti - traditional way. They interpret the meanings and ways of ＂view of authenticity＂ from the absurd theatre itself, namely to transmit author＇s opinions of the world through action and paroles of dramatics personae in order to finally make readers comprehend the authenticity defined by the author himself.