家庭表演与职场表演之间——以《玩偶之家》为例

Between Performances at Home and in Workplace:A Case Study of A Doll's House

社会表演中的家庭表演与职场表演始终是个难以打开的死结,无论是作品中的人物还是现实的人们都将或多或少需要面对。本文以易卜生的《玩偶之家》的男主人公海尔茂为探讨对象,探讨在家庭表演和职场表演之间海尔茂是怎么表现的。海尔茂在家庭表演中始终是个真诚的社会表演家,在职场上同样如此。然而在面对家庭表演和职场表演发生强烈冲突的时候,他毅然决然地选择职场表演至上,家庭表演必须让位于职场表演为原则。职场表演为先的理念表现的不仅是海尔茂社会表演的价值取向,更在于他设定了一个现实范本:人生事业的成功需要的是在家庭表演与职场表演之间做出恰当合理的选择,并去踏实地实施。

The problem of performances at home and in the workplace has always been tangled and it confronts, more or less, both characters in a play and people in real life. This article takes Helmer from A Doll＇s House as the object of research in order to discuss how Helmer performs at home and in office. Helmer is a sincere social performer both when he is performing at home and in office. Yet, when facing a fierce conflict between performance at home and in office, he firmly chooses the latter as the supreme, taking the principle that the former should give place to the latter. The idea that performance in office is supreme not only represents Hehner＇s values in social performance, but also lies in the real model he sets himself： the success of a career requires a proper choice between performance at home and that in the workplace, as well as some specific action to actualize the choice.