再谈正剧——试论博马舍对狄德罗的承继与超越

The Conception of Drama:Beaumarchais's Heritance and Development of Diderot's Theory

作为西方戏剧理论话语体系里的重要概念,"正剧"在中国当代戏剧理论界向来是语义不清的模糊存在。作为严肃剧理论的创始者,狄德罗被视为正剧理论的开山鼻祖。甚至,严肃剧理论被等同于正剧理论本身。如果说狄德罗的严肃剧理论以其划时代的理想戏剧图景成就了一套崭新的戏剧理论原则,他的严肃剧创作实践却令人惋惜地宣告了失败。然而,理论与实践的强烈反差并没有使新剧种归于消逝,它被继承、发展、超越,衍化成了当代戏剧创作的普遍形态:正剧。实际上,在法国戏剧学界,谈狄德罗必谈博马舍。作为第三个剧种正剧的正式命名者,博马舍凭借开创性的戏剧理念与成功的戏剧实践,对正剧文体的确立及发展做出了关键性的理论贡献。

Drama is an important concept in the western theoretical discourse, but the meaning of ＂drama＂ in contemporary Chinese theories has become ambiguous. As the initiator of the ＂serious genre＂, Diderot was considered the pioneer of drama theory, and the ＂serious genre＂ was even regarded as the theory of drama itself. Though Diderot, as a brilliant theatrical theorist, set up the principles of new drama with his theories and prospect of the serious genre, he turned out to be an unsuccessful playwright. However, the contrast between Diderot＇s theory and playwriting did not lead to the downfall of the new ＂serious genre＂. It was inherited and developed, and has become the universal genre of contemporary theatre： drama. In the French academic discourse on drama, Diderot is actually associated with Beaumarchais. As the dramatist who officially named this genre ＂drama＂, Beaumarchais, with his creative ideas and an efficient practice, played a crucial part in the generic formation and development of drama.