发现中国: 启蒙时期欧洲戏剧的新视野

摘要/Abstract

摘要： 自1667年首部展现明清鼎革史的悲剧《崇祯或大明王朝的崩塌》问世以降,欧洲启蒙戏剧家对中国题材的兴趣愈益浓厚。与日俱增的中国信息推波助澜,催生出“鞑靼征服中国”“中国孤儿”“中国公主”等影响深广、传承至今的戏剧母题,“戏剧中国”由此成为启蒙时代欧洲盛行的“中国风”艺术的有机组成部分。如若细读相关戏剧文本,可以发现中国母题及由此生成的中国形象其实是启蒙戏剧家自我确证和自我反照的镜像,从物质、制度和思想等不同层面折射欧洲审美趣味的变迁、政治体制的痼疾和海外殖民的野心,同时展现出他们的理想国愿景,进而试图从孔子之道中寻求思想外援。这些作品里的中国母题尽管表现方式不同,接受效果各异,但似涓滴汇入启蒙时期“中国大叙事”的洪流,映带贯通,泽被西方戏剧文学至今。

关键词: 欧洲戏剧, 中国母题, 启蒙时期, 新视野

Abstract: Since the appearance of the tragedy of dynastic change Zungchin, of Ondergarg Der Sineesche Heerschappye in 1667, European Enlightenment dramatists have been keen on Chinese themes. Ever-growing information concerning China greatly accelerates the composing of the influential and long-inherited drama motifs, such as “Tatar conquering China”, “the orphan of China” and “the princess of China,” etc., claiming “China-themed drama” the inherent part of Enlightenment “Chinoiserie” art. With close reading of the related scripts, the author finds that Chinese motifs and the image of China related to it are actually the mirror of European dramatists’ self-confirmation and self-reflection, displaying not only the changes of European aesthetic tastes, chronic illness of political system as well as the ambitious overseas colonization in the aspects of material, regulations, ideas and so on, but also their Utopia vision, which inspired them to search the foreign aids from the doctrine of Confucius. Although the presentation and reception of these Chinese motifs vary in different works, they unanimously flow into the river of “Chinese Narratives” in the Enlightenment period, bringing fresh blood to the Western dramas till today.

Key words: European dramas, Chinese motifs, Enlightenment, new horizon

施晔. 发现中国: 启蒙时期欧洲戏剧的新视野[J]. 中国比较文学, 2022, 0(4): 73-88.

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