让·科克托的戏剧之诗与独白之声

The Voice and the Poetry of Theatre:Jean Cocteau’s La Voix humaine

20世纪法国作家让·科克托在戏剧上追求以“戏剧的诗意”取代“戏剧中的诗意”,用“凸显”和“剥离”的手法彰显诗意,以期完成追求真实与自由的使命。剧作《人声》是科克托创作的一部具有实验意义的独角戏,戏剧的主角由人物简化为单一的声音,借助电话这一道具,作品在虚与实的摇摆中完成了一场单调的合奏、一段复声的独白。这种兼具力量感与脆弱感的声音,既描绘了诗人朝向死亡与自由的奔赴之旅,也展现了个人面对苍茫历史的孤独自白。

The constant striving of Jean Cocteau,a 20th-century French writer,has been to substitute“poetry in theatre”for“poetry of theatre”.The poet,in perpetual quest for truth and freedom,appeals to“amplification”and“deprivation”in his poetic expression.With its only character reduced to a voice on the telephone,La Voix humaine(1930)is an experimental play that shows a“dialoguemonologue”or a“two-voice monologue”on the stage.This voice,which plays with both reality and illusion,is powerful and fragile at the same time:while recounting the poet’s fabulous journey to death and freedom,it discloses his own monologue in the face of the vicissitudes of history.