“传统”在“现代”中的沦丧——解读玛丽路易斯·弗莱瑟尔的《英戈尔施塔特的工兵》

Depravity of Tradition in Modernity——On “Pioneers in Ingolstadt” of Marieluise Flei?e

玛丽路易斯·弗莱瑟尔,是魏玛共和国时期著名的剧作家。在德语大众剧这一特殊剧种长达200多年的发展历史上,她是唯一可以与男性大众剧作家分庭抗礼的女性大众剧作家。1928年完成的《英戈尔施塔特的工兵》是弗莱瑟尔创作的英戈尔施塔特三部曲之一,具有叙事剧的典型特征,是弗莱瑟尔在贝尔托尔特·布莱希特的建议和鼓励下创作的。剧中表现了封闭的小城市在外力工兵们的作用下,男人和女人、市民和工兵、工兵内部以及市民内部的爱情及性、压力及权力的错综复杂的矛盾关系,进而揭示了魏玛共和国时期巴伐利亚地区"传统"是如何和"现代"碰撞、抗争,又如何被后者吞噬、泯灭的不可抗拒的事实。

In the history of more than 200 years of the German folk play, Marieluise Fleil3er, a famous playwright in the Weimar Republic, was the only female playwright who could rival the male playwrights. One of her trilogy, ＂Pioneers in Ingolstadt＂, which was completed in 1928, is a typical narrative drama, written under the guidance and support of Bertolt Brecht. The play depicts the conflicts of love, sex, pressure and power, between men and women, citizens and soldiers, and within the soldiers and citizens themselves in the closed small city since the arrival of a group of soldiers. It also reveals how ＂tradition＂ collided and struggled with ＂modernity＂ and was inevitably devoured and depraved by the latter in the Weimar Republic.