作为马克思主义动力学的核心的唯物主义戏剧

Materialist Theatre as the Heart of Marxist Dynamics

从后现代语境中的“文学对抗哲学”的观点来看,阿尔都塞对布莱希特史诗剧的批评既属于结构主义马克思主义戏剧批评,又体现了他终生思考的“什么是哲学”“什么是马克思列宁主义哲学”等理论问题内部存在的“文学性”。阿尔都塞在批评布莱希特史诗剧的过程中,将这种戏剧与马克思主义认识论联系起来:他关于布莱希特史诗剧的离心结构的分析,与他后来提出的“结构因果性”观点有直接关系;他对布莱希特史诗剧发挥移置作用的论述,成为他后来提出的“意识形态把个人唤问为主体”的观点的预兆;他通过分析史诗剧的去中心化的艺术表达,提出了“历史无主体”的观点。阿尔都塞充分把握了布莱希特史诗剧艺术的后形而上学特点,通过“双重的戏剧化”有效促进了他对马克思主义辩证唯物主义的理解,也使唯物主义戏剧成为马克思主义动力学的核心。

From the view of“Literature Against Philosophy”in the post-modern context,Althusser s criticisms of Brecht's“Epic Theatre”are not only regarded as theatre reviews of Structural Marxism,but also reflects the inherent“literariness”of theoretical issues such as“what is philosophy”and“what is Marxist-Leninist philosophy”that he meditates on throughout his life.In the process of studying Brecht's“Epic Theatre”,Althusser articulates it to Marxist epistemology:His analysis of the decentred structure of Brecht's“Epic Theatre”is directly related to his later viewpoint of“structural causality”;his discourse on the“displacement”of Brecht's“Epic Theatre”serves as a precursor to his later view that“ideology interpellates individuals as Subjects”;and he also proposes the view that“history is a process without a subject”by analyzing the decentralized artistic expression of Brecht's“Epic Theatre”.Althusser fully apprehends the post-metaphysical characteristics of Brecht's“Epic Theatre”,effectively promoting his understanding of Marxist dialectical materialism through“a double dramatization”,and also making materialist theatre of the heart of Marxist dynamics.