摘要
在后戏剧剧场中,文本丧失了中心地位,与其他剧场部门平起平坐。那么文本何去又何为呢?如果说"荒诞派"的语言尝试预兆了文本的穷途末路,宣告了现代性的终结,互文性则使文本回光返照,开辟了文本的新土壤。同样是《哈姆雷特》的超文,斯托帕的《罗森克兰茨和吉尔德斯特恩已死》和海纳·米勒的《哈姆雷特机器》体现了两种不同的文本策略:一为戏仿,一为组合。两者与《哈姆雷特》互相指涉而构筑了文本的重影:一个话语的万花筒,一个文本交相指涉的网络系统。文本因而逐步敞开,形成一种源远流长的文本谱系,一出缩微的戏剧史,一个文本回环往复的空间。
In post-dramatic theatre,dramatic text plays an equal role as other elements after having lost its central position of the stage.Then where would the text go and what was it going to do?If the language trial of the Theatre of the Absurd has foretold the dead end of the text and declared the end of modernism,intertextuality has actually brought the text back from death and furnished it with new soil.Both being hypertexts of Hamlet,Stoppard's Rosengrantz and Guildenstern Are Dead and Heiner Müller's Die Hamletmachine have nevertheless adopted different textual strategies:one is Parody and the other Collage.The inter-reference has built the text an image of double nature:kaleidoscope of discourse and a web of intertextualities;then the text has opened up gradually and formed into a long standing textual pedigree,a miniature of drama history and an evolving and revolving space of text.
出处
《外国文学》
CSSCI
北大核心
2014年第3期79-86,158,共8页
Foreign Literature
