作　　者： ;

机构地区： 广东外语外贸大学英语语言文化学院

出　　处： 《国外文学》 2019年第2期82-91,158,159共12页

摘　　要： 日本能剧并不只是给叶芝带来技术和美学层面的启发,而是在纵深向与其一直关注的民族政治和神秘哲学契合。能剧进一步印证和深化了叶芝将剧场作为仪式表演的理念。本文拟分析叶芝仪式剧场观念的缘起、发展与主要诉求,以《在鹰井畔》一剧为例考察叶芝如何借用能剧形式打造仪式表演的深层剧场,激发民族意识和情感。同时,本文也参考哲学与人类学方面对仪式表演的研究,分析叶芝的仪式剧场导致个体减损,产生非理性、极容易被附体的人格。 Yeats’s encounter with the Japanese Noh theatre led to the production of At the Hawk’s Well in 1916,in which he found solutions to the problems he struggled with as a modernist and a poet. Yeats’s poetic version of nationalism converged with his occultist philosophy,which found its expression in this Noh-inspired play. He held that a poetic theatre has to be a powerful ritual in which the concentration of images evokes a national consciousness. However,the possessed state evoked by this performance ritual is a double-edged sword. In At the Hawk’s Well,Cuchulain’s final act of heroism is not out of his own choice( agency),but the result of possession. The play thus draws our attention to the continuity of Yeats’ s representation of nationalism as hypnosis and possession.

关 键 词： 能剧 民族政治 神秘哲学 仪式剧场 文化催眠 仪式溢出 1916年复活节起义

分 类 号： [I206.2]

领　　域： []