本文選題：契訶夫 + 戲劇��； 參考：《長(zhǎng)江大學(xué)》2017年碩士論文

【摘要】：契訶夫是十九世紀(jì)末二十世紀(jì)初俄羅斯著名作家。他以幽默、諷刺的短篇小說(shuō)聞名于世,并與歐·亨利,莫泊桑并稱為“世界三大短篇小說(shuō)巨匠”。學(xué)界關(guān)于他的短篇小說(shuō)的研究熱度多年未減,但對(duì)于他的戲劇的研究熱度卻持續(xù)低迷。事實(shí)上,契訶夫一生創(chuàng)作戲劇17部,其中獨(dú)幕劇10部,多幕劇7部。他的戲劇不但成就卓越,還對(duì)現(xiàn)代戲劇影響深遠(yuǎn)。契訶夫的戲劇中,他創(chuàng)作中后期的五部戲劇最為成熟,它們是《伊凡諾夫》、《海鷗》、《萬(wàn)尼亞舅舅》、《三姊妹》、《櫻桃園》。這五部戲劇,藝術(shù)手法純熟,思想意識(shí)超前,學(xué)界對(duì)契訶夫的戲劇研究,主要集中在這五部戲劇上。迄今,學(xué)界對(duì)這些戲劇的研究,角度多元,成果顯著,但美中不足的是,各國(guó)學(xué)者大多是將這些戲劇作為一種綜合藝術(shù)來(lái)研究,即使圍繞其戲劇文本展開(kāi)研究,也多停留在藝術(shù)特色、創(chuàng)作理念、美學(xué)價(jià)值、現(xiàn)代性、文化比較等方面。鑒于戲劇文本是戲劇的基礎(chǔ),戲劇人物是戲劇的重要組成部分,所以要研究一部戲劇,必須從戲劇文本中的人物著手。國(guó)外關(guān)于這五部戲劇文本的人物研究,零散而重復(fù)。在20世紀(jì)初散見(jiàn)于同時(shí)代人的評(píng)價(jià),20世紀(jì)40年代的葉爾米洛夫《論契訶夫的戲劇創(chuàng)作》中有關(guān)于人物的詳細(xì)闡述。20世紀(jì)60年代契訶夫戲劇重新受到重視,學(xué)者們發(fā)現(xiàn)契訶夫戲劇中的戲劇沖突,是一種“人與環(huán)境”的沖突。到了90年代歐美學(xué)者一致認(rèn)為契訶夫開(kāi)了歐美現(xiàn)代戲劇的先河。國(guó)內(nèi)關(guān)于這些戲劇文本中的人物研究,大多摻雜在對(duì)他戲劇創(chuàng)作的研究中,例如戲劇沖突、停頓、象征、悲喜劇體裁爭(zhēng)論等研究,主要特點(diǎn)是觀點(diǎn)陳舊。綜上所述,契訶夫創(chuàng)作后期戲劇文本中的人物研究亟待補(bǔ)充。契訶夫創(chuàng)作后期的這五部戲劇,表現(xiàn)的是平淡如水的生活下,人們豐富的內(nèi)心世界。故研究契訶夫創(chuàng)作后期的戲劇文本人物,需要從心理出發(fā)�；趯W(xué)界對(duì)于這五部戲劇文本中的人物心理鮮少論及的現(xiàn)狀,筆者意欲由這個(gè)方面展開(kāi)討論,以此作為契訶夫戲劇研究的補(bǔ)充,進(jìn)而使讀者更好地理解契訶夫戲劇,乃至整個(gè)現(xiàn)代戲劇。筆者深入研讀戲劇文本后,將這些戲劇中的人物心理劃分成三種類型:苦悶類型、厭倦類型和守望類型�？鄲烆愋�,即人物在戲劇中,由于人與人之間的隔膜,不被理解又無(wú)法訴說(shuō),而形成的痛苦煩悶的心理類型。在這些戲劇中表現(xiàn)為:被苦悶所糾纏的心理,和對(duì)苦悶已經(jīng)麻木的心理。厭倦類型,即人物對(duì)生活失去興趣,而不愿繼續(xù)生活的心理類型。在戲劇中表現(xiàn)為:激情后厭倦的心理和平淡中厭倦的心理。守望類型,即人物整體生活態(tài)度樂(lè)觀,等待和盼望新生活的到來(lái),在這些戲劇中表現(xiàn)為,盲目類守望、行動(dòng)類守望和理想類守望。因?yàn)檫@些戲劇文本中的人物均出自契訶夫之手,所以筆者結(jié)合心理學(xué)、文藝學(xué)、社會(huì)學(xué)等學(xué)科知識(shí)綜合考量后,決定僅從契訶夫本人出發(fā),探究三類心理的成因。又因?yàn)槲膶W(xué)創(chuàng)作是作者的主觀感受和對(duì)客觀世界的體驗(yàn)相結(jié)合的結(jié)果,所以筆者闡釋了主客觀兩方面的心理成因:主觀上,契訶夫童年的灰色記憶影響了契訶夫的戲劇創(chuàng)作,契訶夫本身的憂郁氣質(zhì),造成了劇中人物苦悶和厭倦的心理類型。叔本華的哲學(xué)在關(guān)鍵時(shí)刻拯救了契訶夫,所以他的哲學(xué)理念,也在這些劇本中頻繁出現(xiàn)。此外,契訶夫在完成每部作品時(shí)所處的環(huán)境以及當(dāng)時(shí)的心態(tài),也對(duì)劇中人物的心理形成有所影響�？陀^上,契訶夫的創(chuàng)作后期,正處于俄國(guó)沙皇的殘暴專制統(tǒng)治之下,人們渴望自由,卻忌憚權(quán)威。俄國(guó)農(nóng)奴制雖然得到改革,但農(nóng)奴未得到真正的解放,反而受到更嚴(yán)苛的壓榨。政治環(huán)境和制度環(huán)境雙重不堪下,俄國(guó)底層人民只能在昏暗的社會(huì)中茍且存活。另外,俄羅斯的溫順、敏感、極端化、缺乏理性、和宗教信仰等民族性格,也促成了劇中人物不同的心理。這些戲劇中人物的心理敘寫(xiě)對(duì)戲劇和美學(xué)方面,都有重大的意義。在戲劇上,這些人物心理敘寫(xiě)突破了傳統(tǒng)的戲劇創(chuàng)作形式,發(fā)展了屠格涅夫創(chuàng)造的“抒情心理劇”,開(kāi)發(fā)出以人物心理為主要內(nèi)容的新型戲劇形式。呈現(xiàn)了“人與環(huán)境的沖突”的新型戲劇沖突,被稱為現(xiàn)代悲劇之源。搭建了“內(nèi)外雙重”的新型戲劇結(jié)構(gòu),外部是浮在表面的平淡無(wú)奇的日常生活,內(nèi)部是潛藏于平常生活之下的人物濃烈的內(nèi)心體驗(yàn)。在美學(xué)上,這些人物心理敘寫(xiě)踐行了真實(shí)的美學(xué)原則,真實(shí)揭露了人與人之間的矛盾,人與環(huán)境的矛盾,保守貴族地主階級(jí)和新興資產(chǎn)階級(jí)之間的矛盾;真實(shí)反映了同時(shí)代底層人民的孤獨(dú)意識(shí)、厭倦意識(shí)和荒誕意識(shí)。人物的心理中還蘊(yùn)含了無(wú)盡的哲學(xué)思考,其中有對(duì)人生而孤獨(dú)的思考,人生的不確定性的思考,生活的規(guī)律性的思考。筆者最后總結(jié)這些討論的重點(diǎn),梳理了人物心理的類型,人物心理的成因及人物心理敘寫(xiě)的意義。并發(fā)現(xiàn)契訶夫從人物心理出發(fā),刻畫(huà)了世紀(jì)之交的俄國(guó)的時(shí)代生活,并將這種生活上升到哲學(xué)的概括。從這些戲劇文本中折射出的哲理之光依然閃耀,對(duì)現(xiàn)代生活仍有指導(dǎo)意義。
[Abstract]:Chekhov is a famous Russian writer at the end of the nineteenth Century and early twentieth Century. He is famous for his humorous and ironic short stories, and with O Henry and Maupassant as "the three great short story master of the world". The study of his short stories has been heated for many years, but the heat of his drama is still in the doldrums. In fact, Chekhov wrote 17 dramas in his life, including 10 plays of one act and 7 episodic plays. His plays not only achieved great success, but also had a profound influence on modern drama. In Chekhov's plays, the most mature plays of the middle and later period of his creation are "Ivanov", "Seagull >", < uncle Vania >, < three sisters > > Cherry Orchard >. The five plays, art and art The study of Chekhov's drama is mainly concentrated in the five plays. So far, the academic circles have studied these dramas with a variety of angles and remarkable achievements. However, most scholars in the United States have studied these dramas as a comprehensive art, even around their dramatic texts. There are many aspects of artistic features, creative ideas, aesthetic values, modernity, and cultural comparison. In view of the dramatic text is the basis of the drama, the dramatic characters are an important part of the drama, so the study of a drama must begin with the characters in the dramatic text. The study of the characters of the five dramas in foreign countries is scattered and repeated. In the early twentieth Century, it was scattered in the evaluation of the contemporaries. In 1940s, Ye M Milov < on Chekhov's dramatic creation > in the detailed exposition of the characters of the characters in.20 century, Chekhov's drama was re valued. The scholars found that the dramatic conflict in Chekhov's drama was a conflict between "man and the environment". To 90s, Europe and the United States. Scholars agree that Chekhov has pioneered the modern drama in Europe and America. The study of characters in these theatrical texts is mostly doped in the study of his dramatic creation, such as drama conflict, pause, symbolism, and tragedies, and so on. The main feature is the old point of view. In a summary, the later drama text of Chekhov's creation. The five dramas in the later period of Chekhov's creation show the rich inner world of people. Therefore, it is necessary to study the characters of the dramatic text in the later period of Chekhov's creation. From this aspect, it is a supplement to Chekhov's drama research, which makes readers better understand Chekhov's drama and even the whole modern drama. After studying the drama text, the writer divides the characters' psychology into three types: the type of boredom, the type of weariness and the type of watch. In drama, the psychological types of pain and boredom formed by the separation between people and people, which are not understood and unable to speak, are manifested in these plays: the psychology of being entangled by anguish, and the mentality of being numb to depression. The type of boredom, that is, the character of the person who loses interest in life and does not want to continue to live. For: the psychological boredom of the weary of passion, the weariness of the weary mentality. The type of watch, the whole life attitude of the characters, the waiting and the hope of the arrival of a new life. In these plays are the blind watch, the action watch and the ideal kind. Because all the characters in these dramatic texts are from Chekhov's hand, so the author combines the heart. After a comprehensive examination of the knowledge of science, literature and art and sociology, the author decides to start from Chekhov himself and explore the causes of the three types of psychology. Because literary creation is the result of the author's subjective feeling and the experience of the objective world, the author explains the psychological causes of two aspects of subjective and objective aspects: subjective, Chekhov's childhood grey Memory affects Chekhov's dramatic creation, Chekhov's own melancholy, and the psychological type of the character of the characters in the play. Schopenhauer's philosophy saved Chekhov at the critical moment, so his philosophy, too, appeared frequently in these scripts. In addition, Chekhov was in the environment and when he finished each work. In the later period of his creation, Chekhov was under the tyrannical tyranny of the Russian Czar, and people were anxious for freedom, but they were afraid of authority. Although the serf system of Russia was reformed, the serfs were not truly released, but were squeezed more severely. Under the double environment, the people of the Russian bottom can only survive in the dark society. In addition, Russia's obedient, sensitive, extreme, irrational, religious and other ethnic characters have contributed to the different psychology of the characters in the drama. The characters' psychological narration in these plays is of great significance to drama and aesthetics. These characters break through the traditional forms of dramatic creation, develop the "Lyric psychological drama" created by Turgenev, develop a new drama form with the main content of the character psychology, and present a new dramatic conflict of "the conflict between human and the environment", which is called the source of modern tragedy. The structure of type drama, the exterior is the plain daily life that floats on the surface, and the interior is the strong inner experience of the characters hidden under the ordinary life. In aesthetics, these characters have practise the true aesthetic principles, reveal the contradictions between people, the contradictions between people and the environment, and keep the aristocratic landlord class and the emerging. The contradiction between the bourgeoisie reflects the sense of loneliness, boredom and absurdity of the people at the bottom of the same time. There are endless philosophical thinking in the psychology of the characters. Among them, there are lonely thinking about life, the uncertainty of life, and the regular thinking of life. Finally, the author summarizes the emphasis of these discussions. The type of the character psychology, the cause of the character psychology and the meaning of the characters' psychological narration, and it is found that Chekhov, starting from the character psychology, portrayed the life of the times of Russia at the turn of the century, and raised this life to the summary of philosophy. The light of philosophy reflected from these dramatic texts still shines and still has guidance to modern life. Significance.
【學(xué)位授予單位】：長(zhǎng)江大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I512.073

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