互文视角下《游戏》文本的“开放性”阐释

nterpreting the “Openness” of Games from the Perspective of Intertextuality

匈牙利当代作曲家吉尔吉﹒库塔克(Gy9rgy Kurtág)的钢琴曲集《游戏》作为带有自传性质的格言化日记体文本,有着与传统截然不同的演绎范式——将曲集中碎片化的小曲与不同时代、不同作曲家、不同风格的钢琴作品重新排列组合、拼接而成一个整体进行演绎的"后《游戏》范式"。而互文性作为《游戏》曲集最凸显的性征,赋予了《游戏》文本以"开放"的状态进行演绎的可行性。这种具有强烈"开放性"指征的演绎方式使每一张以《游戏》为"源文本"的CD都形成了一个独特的互文性系统,作曲家的创作、演奏家的演绎、听众的聆听三者之间形成独特的互文关系。《游戏》的演绎不再是一个"封闭的、同质的、单一的整体",经由不同的演绎个体,纵横交错的文本网系、不断延伸的非线性结构,如马赛克般形成了"众声喧哗"的能指狂欢。

As an autobiographical and aphoristic diary style text,the piano album Játékok from Hungarian contemporary composer Gy9rgy Kurtág is composed in the different way compared with other traditional works.After these fragmented pieces of music in the album are rearranged and combined with other piano works from different time,different composers and different styles,the album becomes a whole new way of expression–the"post Game pattern".This mode,with strong"openness",makes all the CDs with Gy9rgy Kurtág as their"source text"form a unique intertextual system.The composition,the performance and the audience's form a unique intertextuality.