内囿的隐秘:《雷雨》的戏剧表达策略兼及序幕尾声问题

Discussions on Narrative Strategies of Thunderstorm as well as the Issues of Prelude and End

曹禺的《雷雨》在剧本创作上对中国现代戏剧走向成熟功莫大焉,研究者也不胜枚举,但鲜有人深究的是它在戏剧表达策略上所显示的独特性,认识这一点对辨析话剧创作的自身运动规律很有助益。《雷雨》通过隐秘的内囿面目反思个体生存,开启了"表达"隐秘双重话语的戏剧新形式,即以暗辩体对白、第三者视角及其自身毁灭显示隐秘的不可表达,透露出现代人"自我肯定"的生存困境。《雷雨》的序幕尾声问题与这一点紧密联系。实际上,解决隐秘如何表达的问题而非隐秘是什么的问题才是戏剧的关键,正由于此,《雷雨》才保留了对命运再提问的可能和对人类自身认知的怀疑。

Thunderstorm by Cao Yu has made a great contribution to Chinese modem drama. It has nu- merous researchers; however, few researchers have studied the uniqueness of expression strategies in Thunderstorm. This paper argues that this play reflects individual survival and creates the new forms to express the double discourse of the secret, by means of the hidden polemic dialogue,, a third party view and self-destruction. As the same time, it discloses the self-affirmation predicament about modem sur- vival. The issues of prelude and end is closely related with above view. In fact, the meaning of Thunder- storm lies in the key issue of how to express the seret instead of what the secret is. In any case Thunder-storm retains the possibility of questioning the fate and doubting the knowledge about human beings.