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摘 要：“海鸥”是一部过渡性剧作.在此剧作中,契诃夫试图摒弃“情节剧”或“佳构剧”中老套的戏剧手法,创造一种新的“现实主义”剧场.然而,不仅他这种新的戏剧手法,包括这部剧作的主题都让观众、演员,甚至导演感到困惑.本文将分析剧作中新的戏剧手法的运用以及它是如何帮助传达作者的意图.
关 键 词 ：间接行动；象征；主题
作者简介：沈草,女（1983.12—）,广东外语外贸大学国际学院助教,文学硕士,研究方向为东西方戏剧.
[中图分类号]：I106.35 [文献标识码]：A
[文章编号]：1002—2139（2012）—18—00—02
The premiere of The Seagull at the Alexandrinsky Theatre in St Petersburg on 17 October 1896 was a disastrous failure. The audience had no clue what the playwright was trying to convey. They were very disappointed and confused when everything tends to be dramatic like suicide took place offstage, and roared with laughter in the last act when Nina, the protagonist began her monologue of a symbolic play, which should have been “the most dramatic and moving place in the play”[1]129. Two years later, the play was staged again under Stanislavski’s direction and it was a huge success. However, Chekhov was “appalled”[2] by the way Nina was depicted as a failure in this production and even claimed that “the Fourth Act was not from his play”[1]136.
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Interesting enough, both the failure and the success of those productions resulted from a misunderstanding of the playwright’s artistic intention and the theme of the play. In the play people can find many tragic elements such as unrequited lovers, undervalued artist, betrayal, a lot of suffering and even death. However Chekhov himself described it a edy. A critic once pointed out, “The very essence of a Chekhov play lies in its balance”[3]. To understand this “balance” between tragic and hopeful aspects, which is now recognized as Chekhovian, it’s key to understand the new dramaturgy that Chekhov was exploring in this play, the symbols that embody rich subtexts and how they work together to convey the author’s message.
Indirect Action
At the time when Chekhov was writing The Seagull, melodrama and well—made plays were the most popular forms of theatre, which contain lots of exciting on—stage events, but this play never meant to be one of those. It is a play, as Chekhov says in his letters, that is “contrary to all the rules of dramatic art”[4]80, being full of conversations and little actions. Everything that are potentially dramatic such as Nina being abandoned, the death of her child, Masha's choice to marry a man she doesn't love, Treplev's two suicide attempts, are not shown on stage but recounted by one of the characters. What Chekhov was attempting to achieve here is a work of indirect action, showing life as it is. "After all, in real life", as Chekhov explains, "people don't spend every minute shooting each other, hanging themselves and making confessions of love...They're more occupied with eating, drinking, flirting and talking stupidities which ought to be shown on the stage...People eat their dinner, just eat their dinner, and at the time their happiness is being established or their lives are being broken up."[5
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