回溯与展望——从主体性看布莱希特的剧场理论
Looking Back and Looking Ahead—Brecht’s Theater Theory from the Perspective of Sub-jectivity

贝托尔特·布莱希特创立的“非亚里士多德式戏剧”是对传统戏剧的反叛，集中体现为间离理论与陌生化效果。观众在间离中的冷静观看凸显了理性主体性，取代了被动静观下的共鸣状态，建构起剧场内的辩证法。追溯至古希腊时期，布莱希特的“打破共鸣”与柏拉图提出的“走出洞穴”有着思想上的同构性，意在唤醒理性主体，寻求生活的本真性。在当代语境中，法国著名哲学家阿兰·巴迪欧将柏拉图的“洞穴隐喻”创造性地转化为“影院隐喻”，指涉当下虚浮的大众文化与其形成的视觉假象。从影像复归现实，在“去蔽”中唤醒主体性，这对当下人们探寻生活本真具有一定的启发意义。
The “non-Aristotelian drama” founded by Bertolt Brecht is a rebellion against traditional drama, which is embodied in the alienation theory and defamiliarization effect. The audience’s calm view-ing in alienation highlights the rational subjectivity, replaces the resonance state of passive con-templation, and constructs the dialectics in the theater. Dating back to the ancient Greek period, Brecht’s “breaking resonance” has ideological isomorphism with Plato’s “coming out of the cave”, which is intended to awaken the rational subject and seek the authenticity of life. In the contempo-rary context, the famous French philosopher Alain Badiou creatively transformed Plato’s “cave metaphor” into a “theater metaphor” to refer to the current frivolous mass culture and the visual illusions it creates. Returning from images to reality and awakening subjectivity in “unconcealment” have certain enlightening significance for people today to explore the true nature of life.