映在《哈姆雷特》镜子里的政治与玄理——以《哈姆雷特》为基础的作品所反映出的东中欧的当代戏剧主流(英文)

IN THE MIRROR OF HAMLET:POLITICS AND METAPHYSICS A Major Trend of Contemporary Theatre in Eastern/Central Europe as Reflected in Cornerstone Productions of Hamlet

本文旨在以《哈姆雷特》为镜,通过该剧的具有象征性的改编版来反观东/中欧戏剧潮流的发展。这一研究可以简·柯特所著《莎士比亚,我们的同代人》为出发点,另一重要的起点则是柯特与莎士比亚所共有的坚定信念,即不是戏剧反映生活,重要的是"这个世界就是一出戏"。莎士比亚的主要作品都被看做连接我们所生活的可感世界与不可感知世界的通道,柯特强调他找到了进入这条通道的秘密入口或者密码。这也就是:准确指出环境强加在哈姆雷特身上的角色与他自身间的边界。这条边界的本质,尤其是它的宽度能折射出不同时代对《哈姆雷特》的解读的发展。边界越宽,对该剧的解读也越现代化。在那已深入此地区基因之中的政治性和那玄理之间的往复跳跃,是这一发展趋势的重要标志,它被紧紧追随。尼克鲁修斯、考索诺瓦斯和斯皮纳三位东欧导演所指导的《哈姆雷特》则清晰勾勒出了二者在所谓"灵魂政治"的剧场中的交融。

This article is an attempt to take a look at the developments of a trend in the theatre of Eastern/Central Europe via its ＂reflections＂ in the ＂mirror＂ of Hamlet, i.e. via emblematic productions of the play. The famous reading of Hamlet by Jan Kott, in his book Shakespeare Our Contemporary, is used as a spring-board. Another important departure-point for the survey is Kott＇s sharing with Shakespeare the firm belief that it＇s not only theatre that reflects life but also — and even more importantly! — ＂it is the world that is an image of the theatre.＂ Shakespeare＇s pivotal works are viewed as a tunnel between our world, i.e. of the visible, and the world beyond, i.e. of the invisible,and a special emphasis is placed on the possibility for Kott to have found one of the hidden entrances/codes to that tunnel. Namely： by pinpointing the availability of a margin between the part imposed by the Scenario/situation on Hamlet and his genuine self. The nature — and especially the width! — of this margin are used as a prism for outlining the development of Hamlet＇s renderings throughout the time. More or less： the wider the margin, the more modern the interpretation of the play. The dance between politics, something in the genes of theatre in the region, and metaphysics is closely followed in its capacity as an important mark for the development of the trend. The stages of their intertwining in a, so-to-speak, politics-of-the-soul theatre, are concretely outlined in the Hamlets of three major Eastern European directors： Nekrosius, Korsunovas and Spinar.