论曹禺早期戏剧创作的诗性思维

A Study of Poetic Wisdom in Cao Yu's Early Plays

曹禺说他的剧作“是一首诗”。这里的“诗”不仅在于曹禺早期剧作所显现出来的浓厚的诗意氛围和抒情倾向,更重要的是曹禺是以“纷复的情趣”也即诗性的思维运思,而非以明确清晰的理念来营构戏剧世界。诗性思维是诉诸感官的感性体验和想象力而持续进行的一种非对象性的沉思或感悟。这种基于内知觉的诗性之思,本质上是海德格尔意义上的“存在之思”,它提示的是生命在场状态的诸多可能性而非某种确定的界说。曹禺独特的创作思维使他早期的作品具有超越时空的意涵,也因此,曹禺早期的作品较其后期的作品更具有艺术自为的特性。曹禺早期剧作的成功,对于我们反思当代戏剧创作的得失具有重要的启发意义。

Cao Yu described his early plays as poems.The significance of"poetry"here lies not only in the poetic atmosphere shown in Cao Yu's early plays,but more importantly,in the poetic thinking of the author.The poetic thinking is a kind of non-objective meditation or sentiment based on perceptual experience and imagination,similar to Heidegger's"thinking of being",which implies various possibilities of life,rather than a definition.By poetic thinking,Cao Yu constructed a self-sufficient artistic world,which also made his early works have significance of transcending time and space.The success of Cao Yu's early plays is of great enlightening significance for rethinking contemporarydrama creation.