戏剧本体论承诺的限度——读谭霈生《戏剧本体论纲》断想

Parameters of Tan Pei Sheng's Dramatic Theory

形式即本体。形式本体是一个非物质形态、非元素成分的“无”(“道”)。然则无中而生有 ,一本而万殊 ,正是万殊使“无”(“道”)得以呈现。然而万殊不可归类 ,万殊只是显现“无”(“道”)之万种“个别文本”。“个别文本”具有不可进入、不可企及的独立性。作为真正艺术作品原创性、过程性的铁律 ,“无”凸显了艺术本体论、戏剧本体论承诺的限度 :可言说的只是“不易”的层面 ,而其“变易”的层面却不可言说。如若要“说” ,也要寻求“负”的言说。

The idea of Form can be seen as Nothingness devoid of substance and elements. However, Nothing is expressed in multifarious forms. The multitude of forms can not be classified, as they must be regarded as individual embodiments of Nothingness. An individual embodiment is an entity of itself and by itself. Nothingness marks the limit of ontological speculations on art. The subject of any discourse on art will have to be “the unchangeable” about art, while “the unchangeable” is not to be discussed.