叶芝的仿能乐舞剧《鹰之井畔》

Yeats's Pseudo-Noh Play At the Hawk's Well

能乐对叶芝的陶染早为学界关注,但叶芝的仿能乐实验舞剧《鹰之井畔》却未见有人从文化学的视角加以解读。引导叶芝认知能乐的“文化摆渡人”包括费诺罗萨、庞德和伊藤。前者提供了英译能乐样板,后者为日本舞剧圈内人,协助叶芝把《鹰》剧搬上了舞台。根据希利斯·米勒的文化学理念,在东西交流中与“本地行家”互动远比读文本有效。伊藤的独舞在能舞中掺入了日本歌舞伎和克罗士艺术舞的成分。叶芝从中找到他挣脱西方传统,改造爱尔兰戏剧的“第一个创新模式”。《鹰之井畔》仿能乐虽不到家,但因具简约主义和反现实主义等特征仍不愧为叶芝向现代主义过渡的标志性作品。

Yeats pseudo-Noh play At the Hawk's Well never seems to have been approached from the perspective of cultural studies.Fenollosa-Pound and Itōeach played a role in guiding Yeats to the Noh.Whereas the former provided sample Noh texts,the latter participated in staging the pseudo-Noh play,serving as an interlocutor from the Japanese theatre culture.To Hillis Miller,the interlocutor from the target culture is a more authentic source of cross-cultural influence than the text.This paper is to reveal Itōs dance to be an amalgamation of the Noh,the Kabuki,and Jaques-Dalcroze eurhythmics.In it,Yeats discovered his first model that would enable him to break from tradition by minimalizing scenery and creating antirealist characters.At the Hawk's Well with key modernist qualities of minimalism and antirealism marked Yeats's transition to modernism.