戏剧与真理的重生——巴迪欧的戏剧理论简论

发布时间：2019-03-21 19:40

【摘要】：当代法国哲学家阿兰·巴迪欧除了提出了著名的事件哲学之外,也有着丰富的戏剧理论,这些理论散落在他的《非美学手册》《戏剧颂》《戏剧狂想曲》等著作中。在巴迪欧看来,与满足于日常生活中的娱乐的"戏剧"不同,真正的戏剧需要在统治的话语秩序和权力结构中寻找一种例外,在例外的真实中让真理得以重生。因此,巴迪欧将戏剧置于舞蹈和电影之间,前者是身体的内在性,后者是影像的超越性,而戏剧在游荡不居的生命与结晶化的象征秩序之间找到自己的位置。而巴迪欧自己的戏剧作品,如《艾哈迈德四部曲》和《苏格拉底的第二次审判》都体现出巴迪欧自己的戏剧观念,前者利用一个"对边"角色让身体和话语的双重结构失效,而后者甚至消除了艾哈迈德这样一个主体形象,通过苏格拉底的重生,让真理可以在现代戏剧观众身上复苏。复苏的真理主体不再定居于某一个固定地点,而是游荡和远征,向着未知的领域进发,从而将真理之光重新带回到大地之上。
[Abstract]:Alain Badio, a contemporary French philosopher, has not only put forward the famous philosophy of events, but also has rich theories of drama, which are scattered in his works such as "Ode to Drama" (Ode to Drama), "Drama Rhapsody" and so on. In Badio's view, unlike "drama" satisfied with entertainment in daily life, real drama needs to find an exception in the ruling discourse order and power structure, and rebirth the truth in the exceptional truth. Thus, Badio places drama between dance, which is the inner nature of the body, and the latter, the transcendence of the image, and the drama finds its place between the wandering life and the crystallized symbolic order. Badio's own dramatic works, such as the Ahmed Quartet and the second trial of Socrates, all reflect Badio's own theatrical ideas, the former using a "contrarian" character to invalidate the dual structure of body and discourse. The latter even eliminated Ahmed's subjective image, allowing truth to be revived in modern theatrical audiences through Socrates' rebirth. The resurrected subject of truth is no longer settled in a fixed place, but loiters and expeditions, moving toward the unknown, bringing the light of truth back to the earth.
【作者单位】：南京大学哲学系;
【基金】：国家哲学社会科学研究基金一般项目“马克思主义视野下的生命政治学批判研究”(16BZX016) 国家社会科学研究基金重大项目“当前主要社会思潮新发展动态及其批判研究”(16ZDA101)的研究成果
【分类号】：J80

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