论罗伯特·瓦尔泽童话剧《灰姑娘》和《白雪公主》的文本游戏

On the Textual Game of Fairy Tale Plays Cinderella and Snow White by Robert Walser

20世纪初,瑞士作家罗伯特·瓦尔泽将格林童话《灰姑娘》和《白雪公主》改写为同名童话剧。瓦尔泽颠覆式的改写旨在表现作家本人及现代人生存的困境,通过文学创作的游戏,瓦尔泽获得了一种新的体验,也认可了自己的"边缘"和"卑微"生存方式。文本游戏的目的还在于消解固定意义的生成,因为现实本身就处在流变中。游戏的内在驱动力促使瓦尔泽进行文学创作,而他也在文本游戏中呈现自我,在其中挣脱现实的藩篱,从而得以构建一种自由和美的境界。伽达默尔认为,解释美学具有游戏的特征,据此可将瓦尔泽的改写看作是对原文本的解释并与之互动。他将自己的生活经历和对现实的认识融入原文本之中,使解释变成再认识、再创造。格林童话触发他继续提问,他在游戏似的解释互动中不断超越原文本,在文学虚构中构建了一个世界图式。

In the early 20th century,Swiss writer Robert Walser(1878-1956)adapted mini-dramas(also dubbed fairy tale plays)of the same title from Grimm’s Fairy Tales Cinderella and Snow White.While his innovative adaptations,aimed at manifesting the existential predicaments of the writer himself and the modern individuals.Through the game of literary creation,he gains a fresh experience and recognizes his“marginal”and“humble”lifestyle.The textual game also aims to disrupt the generation of fixed meaning as the reality itself is in the flowing deformation process.The internal driving force of the textual game or of sensibility and form prompts him to create literature,where he,in turn,presents himself and gets rid of the barriers of the reality,thus setting up a heavenly abode of beauty and freedom.Walser rewrites his fairy tale plays in the same way as he plays a game,making them transcend real stages.Hans-Georg Gadamer holds that hermeneutic aesthetics possesses certain features of a game.Accordingly,Walser’s rewriting can be regarded as his interpretation of and interactions with the original text.By incorporating his life experiences and perception of the reality into the original text,he turns interpretation into re-recognition and re-creation.With a continuous emergence of questions triggered by Grimm’s Fairy Tales,Walser ceaselessly transcends the original text and lays out a world schema in literary creation.