正向同构与反向悖立--白银时代俄国戏剧转型中的经济逻辑

Positive Isomorphism and Reverse Paradox:The Economic Logos in the Transformation of Russian Theatre in the Silver Age

1890—1920年代,受俄国总体经济态势的影响与市民职业经济状况的规约,白银时代俄国戏剧发生剧烈变化和明显转型,形成戏剧转型与经济态势之间既相互关联又彼此矛盾的交互特征。在剧院设施方面,白银时代剧团在艺术赞助者和文化庇护者的直接捐助下迅速创建崛起;在演员薪酬方面,白银时代戏剧演员薪酬收入高、社会地位高和工作环境好,吸引大批优秀从业者和后备艺术人才;在演出效益方面,白银时代戏剧以广大市民和知识阶层为主要受众,舞台演出效益与居民消费能力密切关联。三者与俄国经济态势息息相关,彼此呈现出正向效果与同构逻辑。然而,1918—1920年前后,以革命庆典活动和先锋广场戏剧为代表的戏剧演出活动,从戏剧经济学的商业效益和经济诉求中悄然逸出,更多吻合戏剧政治学的革命诉求和革新精神,与俄国经济运行之间主要呈现出比较明显的反向效果与矛盾特征。由此,这构成白银时代戏剧转型中既正向同构又反向悖立,既交互合成又层叠溢出的经济逻辑。究其根源,这既有工业化浪潮与城市化进程的快速加剧,又有市民娱乐与大众文化消费的发展需要,更有十月革命和时代话语的急剧更迭。本质而言,白银时代俄国戏剧转型中的经济逻辑内嵌于戏剧经济学、戏剧艺术学和戏剧政治学的对话融合之中,是彼时俄国城市化浪潮中市场经济规律、个人利益诉求与国家政策话语合谋作用的综合结果。

From 1890 to 1920,due to the impact from Russia's overall economic situation and the constraint from citizens'occupational development,the Russian theatre in the Silver Age went through significant changes and conspicuous transformations,thus generating some interactivities,characterized by both interconnections and mutual contradictions,between dramatic turn and economic conditions.With the direct contributions from art sponsors and cultural patrons,it did not take long for the Russian theater to build up the theater facilities and rise in performing business.As to the actors'salary,the theatre offered actors a high salary,a prestigious social status,and a good working environment to attract a large number of outstanding performers and extra artistic talents.To ensure its revenue from performance,the Silver Age theatre mainly targeted citizens and intellectuals as its primary audience and carefully monitored the close correlation between the profit from stage performance and the consumption ability of citizens.All three groups,which were closely tied to Russian economy,engaged themselves in interactivities with positive effects and isomorphic logic.Starting from 1918-1920,however,theatre performance,once represented by revolutionary celebration activities and avant-garde square theatre,quietly retreated from the commercial benefits and economic demands of drama economics.Instead,the theater catered more toward the revolutionary demands and innovative spirit of drama politics and apparently revealed some reverse effects and paradoxical characteristics in its involvement with the operation of Russian economy.Consequently,what occurred in the transformation of Russian theatre in the Silver Age was the inception of an economic logos that was positive,isomorphic,and paradoxical on the one hand and,on the other,negative,intermingling,and overlapping.To trace its origin,there are several worth-noting factors,such as the accelerating pace of industrialization and urbanization,the developmental needs of citizens'entertainment and mass cultural consumption,and more importantly the October Revolution and the change of the mainstream discourse.In essence,such an economic logos was embedded in the dialogue and integration of the economics,art,and politics associated with drama.It was also the culminating outcome of the collusion between the laws of market economy,the demands of individual interest,and the discourse of national policy amid the waves of urbanization.