CAJ | 학술논문

萨缪尔·贝克特本是一位难以定位的作家,但是对其代表作《等待戈多》的评论,却出现惊人的一致性,尤其以＂荒诞派戏剧＂为甚,大有出于斯而又归于斯的阐释循环之势。这与作者初衷以及作品本来面貌相悖。若借用尼采以降,尤其是德里达的解构主义及其后的批评理论视之,此剧无论从作者本人创作意图,还是作品情节、语言和人物方面,呈现出的是深刻的概念危机,是＂重估一切价值＂后的残垣断壁,是摆脱传统、逻各斯、理性、规范、逻辑、文明等一切宏大叙述后的自由之境,所以可被视为概念层面上的＂后理论状况＂的隐喻。
살무이·패극특본시일위난이정위적작가,단시대기대표작《등대과다》적평론,각출현량인적일치성,우기이＂황탄파희극＂위심,대유출우사이우귀우사적천석순배지세。저여작자초충이급작품본래면모상패。약차용니채이강,우기시덕리체적해구주의급기후적비평이론시지,차극무론종작자본인창작의도,환시작품정절、어언화인물방면,정현출적시심각적개념위궤,시＂중고일절개치＂후적잔원단벽,시파탈전통、라각사、이성、규범、라집、문명등일절굉대서술후적자유지경,소이가피시위개념층면상적＂후이론상황＂적은유。
Samuel Beckett is an indefinable author,but his master piece,Waiting for Godot,receives surprisingly unanimous interpretations,especially with the notion of ＂The Theatre of the Absurd,＂ which always serves as the starting point as well as the goal of argument.This phenomenon runs quite counter to the intention of Beckett himself and the original features of the play.In terms of the author’s intention and the play’s plot,language and characters,the play actually presents a drastic ＂conceptual crisis＂ with the broken fragments after ＂estimating the whole values again＂ and the map of breaking away from such ＂Grand Narratives＂ as traditions,logos,reason,rules,logic,civilization,etc.It is a metaphor of a ＂Post-theory＂ condition on the dimension of conceptions.