Art as Utopia: Parsifal and the East German Left
Art as Utopia: Parsifal and the East German Left
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作为乌托邦的艺术：帕西法尔和东德左派
DOI：
10.1093/oq/kbu021
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发表时间：
2014
期刊：
影响因子：
--
通讯作者：
Kelly E
中科院分区：
文献类型：
--
作者：
Kelly E
德意志民主共和国（GDR）早期对艺术的接受受到两个重要因素的支配。第一个前提是，国家社会主义的条件将不可避免地屈服于共产主义乌托邦。第二，艺术将通过照亮已经存在于民主德国和日耳曼文化遗产中的乌托邦发展的种子来促进这种演变。这些公理在卢卡奇的反思理论中融合在一起，成为苏联社会主义现实主义的基础，并在第二次世界大战后被引入东德国。卢卡奇宣称，艺术应该描绘“生活的微妙之处，超越普通经验的丰富之处”，通过这种描绘，艺术可以“引入一种新的事物秩序，取代或修改旧的抽象概念”。1歌剧被认为是一种理想的艺术形式。尽管其他马克思主义者对其精英主义内涵和逃避现实的倾向表示担忧，但社会主义现实主义的2名追随者确信其对东德社会的价值。1953年，瓦尔特·西格蒙-舒尔茨（Walther Siegmund-Schultze）宣称，歌剧由于其多面性，在历史上“似乎为生动反映所有现实提供了最佳条件”。[3]这种将歌剧视为一种现实主义艺术形式的观点，在沃尔特·费尔森斯坦（Walter Felsenstein）在东柏林的科米舍歌剧院（Komische Oper）倡导的戏剧现实主义中得到了支持。[4]和卢卡奇一样，费尔森斯坦相信艺术可以揭示日常生活中无法触及的社会真相。他认为，戏剧有能力唤醒与现代社会所抹杀的元素的联系：当现代人“在戏剧中经历元素的再创造时，他再次发现了自己的元素。”[5]在这种情况下，费尔森斯坦对现实主义的建构与模仿几乎没有关系。他感兴趣的不是在舞台上再现社会的表面现象，而是穿透其表面，反映更深层次的真理。就歌剧而言，这涉及到观众沉浸在一个统一的和可信的戏剧体验中，目的是向他们揭示作品的内在意义。正如Götz Friedrich和Joachim Herz所解释的那样，Felsenstein的音乐剧院需要“以音乐和场景实现情节，目的是将作品的
The reception of art in the early years of the German Democratic Republic (GDR) was governed by two significant factors. The first was the premise that the conditions of state socialism would inevitably yield to a communist utopia. The second was that art would facilitate this evolution by illuminating the seeds for utopian development that already existed both in the GDR and in t* he Germanic cultural heritage more generally. These axioms came together in Georg (György) Lukács’s theory of reflection, which underpinned the Soviet socialist realism that was introduced to East Germany in the wake of World War II. Art, Lukács proclaimed, should provide a depiction “of the subtlety of life, of a richness beyond ordinary experience,” through which it can “introduce a new order of things which displaces or modifies the old abstractions.” 1Opera was held to be an ideal art form in this context. Despite concerns in other Marxist quarters about its elitist connotations and escapist tendencies, 2 adherents of socialist realism were convinced of its value for East German society. Characteristic was Walther Siegmund-Schultze’s declaration in 1953 that opera, because of its multifaceted nature, had historically “seemed to offer the best conditions for a vivid reflection of all reality.” 3 This perception of opera as a realistic art form found support in the theatrical realism that was championed by Walter Felsenstein at the Komische Oper in East Berlin. 4 Like Lukács, Felsenstein was convinced that art could reveal truths about society that were not accessible through everyday life. Theater, he argued, has the capacity to awaken the connection with the elemental that modern society has obliterated: when modern man “experiences the re-creation of the elemental in the theater, he rediscovers once again the elemental in himself.” 5 Felsenstein’s construct of realism in this context had little to do with mimesis. He was interested not in reproducing the superficial appearances of society onstage but rather in penetrating its surface to reflect deeper truths. In terms of opera, this involved the immersion of the audience in a unified and credible theatrical experience, with the aim of revealing to them a work’s inner meaning. As Götz Friedrich and Joachim Herz explained, Felsenstein’s Musiktheater entailed “the musical and scenic realization of a plot with the goal of translating a work’s
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DOI：
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发表时间：
1950
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1985
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DOI：
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发表时间：
2007
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