在布莱希特的戏剧和中国文革样板戏里，这种“中世纪”因素却是大受重用
发布时间：2010-06-09 23:54
分类名称：默认分类
分类名称：默认分类
q wu 受到启蒙时代以来的二个世纪的资产阶级文化的洗礼，所以，回头去看中世纪，就像当初西方的修道士去看中世纪文化，不知拿它怎么办，因为，这种文化是与我们所正在追求的目标，是无关的。但共产主义艺术、革命艺术，在布莱希特的戏剧和中国文革样板戏里，这种“中世纪”因素却是大受重用：
One
can compare this state of affairs with certain contemporary attempts in the direction of a
revolutionary art. It is in fact about the production of a system of forms and a repertoire
of situations that would be at the same time up to the level of the intellectual demands of
Marxism, and destined for a large popular audience, including with didactic intentions.
We know that truly great works of art (Brecht, certain Chinese revolutionary operas,
great Latin American novels, etc.) resulted from this willed proximity between a shared
conviction (a political conviction) and the inscription within a historically constituted
artistic movement. In some ways, this attempt is closer to the medieval situation than to
the classical situation.
5. We can thus speak of an actuality of the Middle Ages. In the world of late capitalism,
we also have to propose a new interpretation of “classical” culture, and to situate
ourselves in regard to a collective imaginary (film, television, music, etc.). It is likely
that a new theoretical referent, a new stage of Marxism, is called upon to play the unifying
role assigned to different religious forms during the Middle Ages. From this point
of view, we are interested in getting to know the fundamental operations of the intellect
of the Middle Ages (conservation and displacement). At bottom, after some centuries of
high bourgeois culture, we are in a comparable situation to that of Western monks facing
the heritage of the ancients. For we ask ourselves the same question: what to make of all
of this, which is splendid and powerful, but in itself still foreign to the ends we pursue,
and which we can name “communist” in the generic sense of the term（巴迪厄《中世纪的当代意义》）.
One
can compare this state of affairs with certain contemporary attempts in the direction of a
revolutionary art. It is in fact about the production of a system of forms and a repertoire
of situations that would be at the same time up to the level of the intellectual demands of
Marxism, and destined for a large popular audience, including with didactic intentions.
We know that truly great works of art (Brecht, certain Chinese revolutionary operas,
great Latin American novels, etc.) resulted from this willed proximity between a shared
conviction (a political conviction) and the inscription within a historically constituted
artistic movement. In some ways, this attempt is closer to the medieval situation than to
the classical situation.
5. We can thus speak of an actuality of the Middle Ages. In the world of late capitalism,
we also have to propose a new interpretation of “classical” culture, and to situate
ourselves in regard to a collective imaginary (film, television, music, etc.). It is likely
that a new theoretical referent, a new stage of Marxism, is called upon to play the unifying
role assigned to different religious forms during the Middle Ages. From this point
of view, we are interested in getting to know the fundamental operations of the intellect
of the Middle Ages (conservation and displacement). At bottom, after some centuries of
high bourgeois culture, we are in a comparable situation to that of Western monks facing
the heritage of the ancients. For we ask ourselves the same question: what to make of all
of this, which is splendid and powerful, but in itself still foreign to the ends we pursue,
and which we can name “communist” in the generic sense of the term（巴迪厄《中世纪的当代意义》）.
