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布赖恩·弗里尔的剧本《意念治疗师》由三个人物的四段独白组成,讲述治疗师、妻子和经纪人在苏格兰、威尔士与爱尔兰的游历行医经历。说书式的结构框架下,贯穿萨满巫师行医、咒语念诵致幻等情节,令全剧笼罩在浓厚的仪式化表演氛围中。人物借助人类表演学意义上的“表演”追寻或重塑身份,期待实现“阈”的突破。他们争夺控制权的角力,形成了三份互相矛盾的叙述,这正是看似静态的戏剧冲突所在,也是人物隔阂的形象体现。三人各执一念,彼此无法交流,陷入丹麦哲学家祁克果所谓孤立狭小的现代人处境中。行医和生存所依赖的意念本就近乎荒谬,在理智和怀疑的拷问下更是逐渐被啮噬为虚无,使得游医之旅变为以生命为代价的深层游戏。无法自疗的意念治疗师是现代“个人信徒”的缩影,是祁克果式的悲剧英雄。
Bryan Freel’s The Mind Therapist, a four-part monologue of three characters, tells the journey of therapists, wives and brokers in Scotland, Wales and Ireland. Saying that under the framework of the book-style structure, shamanism through the shaman, mantra spell hallucinations and other episodes, so that the whole movie shrouded in a strong atmosphere of ritual performance. With the help of human performance theory, the characters seek or reshape identities and expect to realize the breakthrough of “threshold”. Their struggle for control of power formed three conflicting narratives. This is exactly what appears to be a static theater conflict, and also a reflection of the image of people’s estrangement. The three hold a read, can not communicate with each other, into the Danish philosopher Qi Keguo so-called isolated small modern situation. The idea of practicing medicine and living on the ground is absurdly absurd. Under the torture of reason and suspicion, it is gradually being turned into nothingness, making the tour of the touristic doctor a deep game at the expense of life. Inability to treat oneself as a therapist is a microcosm of modern “personal believers”, is a Qike fruit tragedy hero.