再读《鸟人》:探索“荒诞”的民族形式和内核

Rereading Bird Man:Exploration of the National Form and Spiritual Core of "Absurd"

中国当代荒诞喜剧创作经历了从借鉴西方到寻找自身表达方式和内容的过程,在这一过程中二十世纪九十年代初期过士行创作的《鸟人》是一个独特的文本。《鸟人》虽继承了京味儿话剧的民族形式,更以怪诞人物的塑造和象征空间的建构打破了现实主义的框架成为一部现代寓言。剧作中互相解构的对话和翻转的戏剧结构,诗意而怪诞地呈现了交流的徒劳这一根本处境。《鸟人》戏剧性地演绎了“成心”和破除“成心”的过程,以庄子的道家思想揭示了这荒诞背后的深层缘由。该剧一方面直面了九十年代初跨入全球化时代所面临的文化碰撞、文化误读的当代命题,具有深刻的现实性。另一方面使“荒诞”真正有了具有民族性的精神内核。因此《鸟人》可以看作过士行探索“荒诞”的民族形式和内核的一个成功突破。

Chinese contemporary Absurd Comedy has gone through a process from following western patterns to finding its own way of expression and content. In this process,Guo Shixing’s Bird Man is a distinctive text in 1990s. Bird Man inherits the style of Beijingstyle drama. Furthermore,it creates a modern fable with the grotesque characters and symbolic space in the drama. The deconstructive dialogue and reversed drama structure revealed the futility of communication in a poetic and grotesque way. Bird Man shows the "predetermined mind" from Chuang-Tzu and ways of getting rid of "predetermined mind",as well as the the nature of "Absurd ". This work confronted the cultural collision and misreading in 1990s when China was entering the era of globalization. On the other hand,this drama finds a national spiritual core of "Absurd". Therefore,Bird Man can be regarded as a successful breakthrough of Guo Shi Xing’s exploration of the national form and spiritual core of "Absurd".