《窦娥冤》与《哈姆雷特》叙事美学之比较

A Comparison of Narrative Spirit between Snow in Summer and Hamlet

时空意识和叙事结构的差异深刻影响着戏剧的美学形态。《窦娥冤》时间意识的主观性、心理性、空间意识的虚涵性为戏剧揭示人物心灵体验服务,叙事结构上呈线状,完整自足;《哈姆雷特》时间意识上的客观性、物理性、空间意识的建筑性强化戏剧的真实感,并要求网状的叙事结构。“横云断山”的叙事技法是剧作家为引起观众审美激动的自觉艺术追求。苦情与怜悯、悲壮与崇高的情感体验是《窦娥冤》与《哈姆雷特》之“悲”不同内涵,透视出中西方戏剧对“善”与“真”不同的价值追求。

The differences of time and space consciousness and narrative structure have a profound influence on the aesthetic form of drama. The subjectivity and psychology of time consciousness and the imaginary connotation of space consciousness in Snow in Summer serve to reveal the characters' spiritual experience, and the narrative structure is linear and self -sufficient;the objectivity and physics of time consciousness in Hamlet and the architecture of space consciousness strengthen the reality of drama, and require the narrative structure of network. The narrative technique of "Heng Yun Duan Shan" is the common artistic pursuit of playwrights to arouse audience's aesthetic excitement. Pain and compassion, tragic and lofty emotional experience are different connotations of "sadness" in Snow in Summer and Hamlet, which reveal their different value pursuits of "kindness" and "truth".