Arrival scenes. Henrik Ibsen's John Gabriel Borkman and the tradition of modern European drama.
Arrival scenes. Henrik Ibsen's John Gabriel Borkman and the tradition of modern European drama.
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亨利克·易卜生的约翰·加布里埃尔·博克曼的到来场景和现代欧洲戏剧的传统
DOI：
10.1080/15021860600759385
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发表时间：
2006
期刊：
影响因子：
--
通讯作者：
Annegret Heitmann
中科院分区：
文献类型：
--
作者：
Annegret Heitmann
亨利克·易卜生作为现代欧洲戏剧的决定性先驱之一的地位是无可争议的。这一荣誉完全符合他所表达的“移动一些边界标记”的意图，1引起挑衅，带来创新。他的角色也致力于新事物，他的戏剧“做出了强有力的、永无休止的努力，将当下从传统和重复的暴政中解放出来，以改变现状”。存在就是成为！易卜生选择了未来、新的、变化的、越轨的行动”。 2 因此，他乍一看似乎是哥本哈根宣布的现代突破的一部分，在乔治·布兰德斯看来，这一突破要求对日常现实及其问题做出承诺，并且首先涉及理性主义和乐观的自我远离理想主义的和解准备。然而，回想起来，从欧洲的角度来看，现代范式涉及语言怀疑论和后自然主义文化批判，这种批判被危机感和疏离感所主导。摆脱传统狭隘界限的斗争的缺点是一种碎片感、无根性和偶然性的体验，所有这些都在易卜生的戏剧中得到了表达。到达与新在这里处理创新的矛盾心理的一个方法是看看如何强调开始。开始的时刻不仅是新事物开始的时刻，也是暴露其固有问题的时机——开始的行为可以揭示障碍、不确定性或冲突。事实证明，开始从来都不是一帆风顺的，他们的例子充满了各种各样的矛盾心理，无论是
Henrik Ibsen’s status as one of the decisive pioneers of modern European drama is uncontested. This accolade is wholly in keeping with his expressed intention of ‘‘shifting a few boundary marks’’, 1 of causing provocation, and bringing about innovation. His characters too are dedicated to the new, his plays mount ‘‘a strong and unending effort to free the present moment from the tyranny of tradition and repetition in order to change what is to what shall be. To be is to become! Ibsen opts for the future, the new, the change, the transgressive action’’. 2 As such he seemed at first blush to be part of the Modern Breakthrough proclaimed in Copenhagen, which, in Georg Brandes’ view, enjoined a commitment to everyday reality and its problems, and involved above all a rationalistic and optimistic self-distancing from Idealism’s readiness for reconciliation. In retrospect however, and in a European perspective, the paradigm of the modern involved a linguistic scepticism and a post-naturalistic critique of culture, that was dominated by a sense of crisis and of alienation. The downside of the struggle to escape from the narrow confines of tradition was a sense of fragmentation, rootlessness and the experience of contingency, all of which are expressed by Ibsen’s dramas.Arrival and the new One means of coming to grips with the ambivalence of innovation here is to look at how beginnings are accentuated. The moment of beginning is not merely the point at which something new starts, it is also the occasion for exposing its inherent problems–the act of beginning can reveal hindrances, under-determinations, or conflicts. It turns out that beginnings are never easy and straightforward, their instance is characterized by all sorts of ambivalence, whether
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