巴特、贝克特与戏剧:三段对话

IF 0.2 4区 文学 0 LITERATURE PARAGRAPH Pub Date : 2022-07-01 DOI:10.3366/para.2022.0395
A. Mcmullan
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引用次数: 0

摘要

尽管罗兰·巴特从未写过剧本,但从20世纪50年代到70年代末,“戏剧”或“场景”或“戏剧性”等相关术语在他的作品中反复出现。他写了许多关于戏剧的评论,但戏剧和表演也成为他后来作品中许多理论关注的组成部分。在同一时期,塞缪尔·贝克特的戏剧创作从他的第一部长篇戏剧《Eleutheria》发展到后来的“戏剧化作品”,如1973年首演的《Not I》。巴特在他的戏剧批评中确实对贝克特发表过几次评论,主要是关于《戈多》或先锋派戏剧,但他们之间几乎没有公开的交流。然而,本文通过将贝克特戏剧发展过程中不同时刻的精选戏剧与巴特戏剧创作中的不同时刻并置,创造了一系列“对话”:首先,对战后法国主流戏剧的反应和解构;第二,戏剧与历史的互动;第三,表演作为一种范式和场所,用于上演多个版本的自我。
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Barthes, Beckett and the Theatre: Three Dialogues
Although Roland Barthes never wrote a play, ‘theatre’ or related terms such as ‘scenario’ or ‘theatricality’ recur throughout his oeuvre from the 1950s to the late 1970s. He wrote many reviews of theatre, but theatre and performance also became integral to much of the theoretical concerns of his later work. During this same period, Samuel Beckett’s dramaturgy was evolving from his first full-length play, Eleutheria, to the later ‘dramaticules’ such as Not I, which premiered in 1973. Barthes did comment on Beckett a few times in his theatre criticism, mainly in relation to En attendant Godot or avant-garde theatre, but there is little overt interchange between them. However, this essay creates a series of ‘dialogues’ by juxtaposing selected plays from different moments in Beckett’s dramaturgical evolution with different moments in Barthes’s writings about theatre: firstly, the reaction against and deconstruction of post-war mainstream French theatre; secondly, theatre’s engagement with history; and thirdly, performance as a paradigm and site for staging multiple versions of the self.
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来源期刊
PARAGRAPH
PARAGRAPH LITERATURE-
CiteScore
0.30
自引率
0.00%
发文量
22
期刊介绍: Founded in 1983, Paragraph is a leading journal in modern critical theory. It publishes essays and review articles in English which explore critical theory in general and its application to literature, other arts and society. Regular special issues by guest editors highlight important themes and figures in modern critical theory.
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