戏剧与真理的重生——巴迪欧的戏剧理论简论

Theatre and Resurrection of Truth:On Badiou's Theatre Theory

当代法国哲学家阿兰·巴迪欧除了提出了著名的事件哲学之外,也有着丰富的戏剧理论,这些理论散落在他的《非美学手册》《戏剧颂》《戏剧狂想曲》等著作中。在巴迪欧看来,与满足于日常生活中的娱乐的"戏剧"不同,真正的戏剧需要在统治的话语秩序和权力结构中寻找一种例外,在例外的真实中让真理得以重生。因此,巴迪欧将戏剧置于舞蹈和电影之间,前者是身体的内在性,后者是影像的超越性,而戏剧在游荡不居的生命与结晶化的象征秩序之间找到自己的位置。而巴迪欧自己的戏剧作品,如《艾哈迈德四部曲》和《苏格拉底的第二次审判》都体现出巴迪欧自己的戏剧观念,前者利用一个"对边"角色让身体和话语的双重结构失效,而后者甚至消除了艾哈迈德这样一个主体形象,通过苏格拉底的重生,让真理可以在现代戏剧观众身上复苏。复苏的真理主体不再定居于某一个固定地点,而是游荡和远征,向着未知的领域进发,从而将真理之光重新带回到大地之上。

For modern French philosopher Alain Badiou,apart from his famous philosophy of event,there are also many arguments on theatre in his works,such as Handbook of Inaesthestics,Elogy of Theatre,Rhasophy for the Theatre. From Badiou＇s viewpoint,the real Theatre,contrast to those ＂theatre＂ satisfied by everyday entertainment,needs to look for an exception outside the order of discourse and powers,in which Truth could resurrect from the real. Therefore,Badiou positions theatre between dance and cinema,the former is immanence of body,while the latter is transcendence of image. Theatre will locate itself between errant life and crystallized symbolic order. In Badiou＇s own theatre works,such as The Tetralogy of Ahmed,The Second Process of Socrates,such idea of theatre is clearly represented. In the former,through a ＂diagonal＂ figure,double structure of body and discourse is inoperated; while in the latter,through the resurrection of Socrates,the Truth can be incarnated in modern spectators in theatre. The incarnated subject will not reside in a fixed place,instead,it starts its journey of wandering and expedition towards an unknown kingdom,thus bringing a new enlightenment of truth back to the earth.