《西哈诺·德·贝尔日拉克》的戏剧双结构

The Double Theatrical Structure of Cyrano de Bergerac

作家的"作者身份"在埃德蒙·罗斯丹的剧作《西哈诺·德·贝尔日拉克》中具有绝对权威,该剧因此在文学评论界出现读者众而评者少的特殊现象。在分析戏剧剧本两大要素(台词和舞台指示)为主的传统阅读方式之外,是否还存在着其他的阅读可能性,成为本文力图阐明的问题。通过剖析人物角色间的潜在关系以及该剧内在的隐性结构,本文发现剧作呈现出一种不同于传统戏剧单一性结构的特点,即一种"双结构性"。不论是人物角色间显性关系和隐性关系的双重设定,还是该剧内在的嵌套、平行或交替的结构特点,都在一定程度上证明了这种双结构性的存在。

Rostand,like those predecessors who respect the tradition,places the play under his authority as the author,and it is left with little maneuver to analyze and reconstruct the text.It is therefore regrettable that since its birth,the widely read play Cyrano de Bergerac has rarely been touched by critics.This paper tries to bring out the double structure in the play's dramatic text.This double structure will attest not only to the hidden relationship between characters,but also the alternated scenes,the framework of 'play within a play' and the double denouement of the play.It is hoped that this reading will break the shackles of traditional linear reading so as to enrich the interpretations of the play.