游戏:席勒穿越美学迷宫的构思及其悲剧设计

Game:Schiller’s Aesthetic Approach and Tragic Design

在席勒美学的发生论意义上,人只有在游戏中其眼里的世界才是美的,因为此时的人既不会落入感性的窠臼,也不会被理性牵着鼻子走。席勒试图通过两种秉性各异的思维力之间的相互撕扯去超越内在于认识论的二元对立屏障,即通过“灵魂与肉身”撕扯的力量去触发“游戏驱动力”,从而使得美的表象整体性地浮现在人的心灵之中。人在走过美的通道之后就会发现自己成为“真正的人”,即成为一种既高于感性也高于理性的认识主体。虽然席勒也认为这种主体也许只有神才配得上,但我们也可以将其视为一种以美的路径去发现身体主体的理论努力。悲剧主要就是落实席勒美学发生论的一种艺术类型,两股相互撕扯的意识力被具象化为舞台上正反两种势力的斗争。

In the sense of Schiller’s aesthetics,the world in the eyes of humans is only beautiful in games,because people at this time will neither fall into the trap of sensibility nor be led by reason.Schiller attempted to surpass the binary opposition barrier inherent in epistemology through the mutual tearing between two different thinking forces,that is,to trigger the“game driving force”through the tearing force of“soul and body”,so as to make the appearance of beauty emerge as a whole in the human mind.After walking through the path of beauty,people will find themselves becoming“real people”,becoming a cognitive subject that is both above emotion and above reason.Although Schiller also believed that this subject may only be worthy of God,we can also see it as a theoretical effort to discover bodily subjects through the path of beauty.Tragedy is mainly a type of art that implements Schiller’s theory of aesthetic development,where two conflicting consciousness forces are manifested as a struggle between positive and negative forces on stage.