感谢flyhigh大分享的百度贴吧情报m(- -)m http://tieba.baidu.com/p/2616048609?pn=1 谏山：「我希望自己的作品能让人铭记於心。我一直觉得，如果结局采用『反卡塔西斯』 手法会是个很诱人的点子，不知道这样是否能让它更长存於人们的记忆中呢？」 消息来源：「GONG格斗技 11月号」，谏山创和漫画「伊甸园」、「全能格斗士」的作者远 藤浩辉进行的对谈。 原文翻译有经过我的润饰改写，想看原文翻译请直接点网址 以下解释『卡塔西斯』与『反卡塔西斯』 看到有人抱怨看不懂百度那帖文，所以请让我试着换个方式解释『反卡塔西斯』好了> < 如果解释得不好，就...对不起了Q______________Q 以下是维基百科英文条目翻译 Catharsis (Latin), meaning "purification" or "cleansing" is a sudden emotional breakdown or climax that constitutes overwhelming feelings of great pity, sorrow, laughter, or any extreme change in emotion that results in renewal, restoration, and revitalization. 卡塔西斯，来自於古希腊文，意指心灵的净化或洗涤，是一种突然的情绪宣泄，或情感高 潮，观众会感到强烈的怜悯、悲痛、或欢笑，抑或是极端的情绪变化，最後让观众获得心 灵上的重生、重建，并再次得到生命力。 The term “catharsis” was used in a philosophical sense by Aristotle to describe the effect of music and tragic drama on an audience. Aristotle did not leave a clear definition of the term, resulting in centuries of discussion, commentary, and debate, which contributed to the development of theories such as aesthetics, psychology, drama, and artistic ethics. 卡塔西斯这个词，是亚里斯多德用来描述音乐和悲剧对观众影响的哲学词汇。由於亚里斯 多德并未给这个词一个精确的定义，导致了几世纪以来的各种讨论、评论以及争论，这些 争辩的内容也对美学、心理学、戏剧以及美学伦理等领域的发展做出了贡献。 (下略一段无关的内容) In ancient Greek tradition, catharsis referred to religious rituals performed to “purify” criminals and those who violated established religious codes in order for them to be allowed to return to a society. Similar practices are found in almost all cultural traditions. (中间略一段无关的内容) Socrates took the “purification of the soul” as the primary task of philosophy. 在古希腊传统中，卡塔西斯意指帮违反宗教戒律罪犯举行的净化仪式，因为他们认为唯有 透过净化仪式，才能让这些违反戒律的罪犯重返社会。 苏格拉底则将「净化灵魂」的重责大任置於哲学之上。 (各评论家对亚里斯多德Catharsis用法的讨论，放在本文後面的地方，和布莱希特一起) Anti-Catharsis In contemporary aesthetics, catharsis may also refer to any emptying of emotion experienced by an audience in relation to drama. This can be perceived in comedy, melodrama, and most other dramatic forms. There are sometimes deliberate attempts to subvert the structure of catharsis in theater in order to achieve a political or aesthetic purpose. For example, Bertold Brecht viewed catharsis as a “pap for the bourgeois theatre audience, ” and designed dramas which left significant emotions unresolved, as a way to force social action upon the audience. According to Brecht's theory, the absence of a cathartic resolving action would require the audience to take political action in the real world in order to fill the emotional gap they experience. 反宣泄 在当代美学，反宣泄可以指观众在欣赏戏剧时的情绪疏离感，这种手法常见於喜剧、情节 剧、以及其他常见的戏剧形式。有时剧作家会故意反转情绪宣泄的结构，以达到作品的美 学效果或用於政治宣传。比方像布莱希特，他认为「情绪宣泄(卡塔西斯)只是用来迎合中 产阶级观众幼稚品味的奶嘴」，因此他的戏剧作品总会有悬宕的的情绪，根据布莱希特的 理论，为了疏导这些未宣泄的情绪，观众会将这些能量转化为现实中的政治行动。 ----------------------------------------------------------------- 以下补个相关背景知识 贝尔托‧布莱希特(1898–1956)是德国戏剧巨匠，着名作品有「四川好女人」、「勇气 妈妈」、「三便士歌剧」等，他最着名的是他的戏剧理论，「史诗剧场」(epic theatre) 、以及「间离效果」(Verfremdungseffekt)，在他的戏剧作品中，有时角色会在台上突然 出戏，对剧中人以及剧情品头论足，让观众观戏时不会将情绪直接投射於剧中人物。布莱 希特是马克思主义的信徒，因此他坚信能靠「间离效果」让观众在观剧时反思，进而采取 政治行动，促成无产阶级革命。 补一下D爸精辟的推文 原文请见#1IK3Xvuy这篇 D爸正解！太厉害了！不过就我的解读Catharsis应该是指观众宣泄完情绪後，就会得到一 种满足(而非空虚)，所以不会另寻情绪的宣泄管道。 然後再节录维基百科对亚里斯多德Catharsis用法的几段解释，让有兴趣的人看看到底有 多少种解释。 ...Aristotle may have been defending music and the dramatic arts against Plato's charge that dramatic poets were a danger to society because they incited the passions and overshadowed reason. Aristotle may also have been referring to the religious role of drama; ancient Greeks performed dramas for religious purposes. Aristotle admired Sophocles' Oedipus Rex, and Sophocles was an Asclepian priest in Athens. 亚里斯多德可能是为了反驳柏拉图的论点，才会撰文扞卫音乐和戏剧，并指音乐和戏剧对 观众有心灵净化的作用，因为柏拉图认为戏剧会让人流於感性，导致不受理性支配，是对 社会安定的潜在威胁。不过亚里斯多德也可能是指戏剧的宗教作用，因为古希腊戏剧有宗 教意义(译注：为了祭神，戏剧是给神看的，人只是顺便)，亚里斯多德非常欣赏索福克里 斯所写的「伊底帕斯王」，而索福克里斯本身是雅典一间神庙的祭司。 (译注：我不确定Asclepian 是什麽神庙) Other commentators, such as Else and Hardison, suggest that “catharsis” refers to the resolution of dramatic tension within the plot of the drama, and not to the emotional effect of the drama on the audience. The rest of Poetics is a discussion of dramatic form and style, rather than the effect of poetry and literature on its readers. The structure of a tragedy is such that it arouses fear and pity, then resolves major conflicts and brings the plot to a logical conclusion. However, the passages referring to catharsis in Politics suggest that music offers some kind of emotional release. ... ... 其他评论家，如Else和Hardison认为Catharsis是戏剧中的情节张力，而不是指戏剧对观 众的情绪影响。因为亚里斯多德在《Poetics》中剩下的部分讨论的都是戏剧形式及风格 ，而不是文学对观众的影响。比方说悲剧的形式就是会引起恐惧及同情，最後将剧中的冲 突带回合乎逻辑的结局。不过在亚里斯多德在《Politics》里面提到Catharsis的段落中， 又指出音乐有情绪释放的作用... (译注：《Poetics》是亚里斯多德的文学理论着作，有时翻作《诗论》) Aristotle taught that virtue and character were connected with the pleasure and pain that resulted from successful or thwarted activities. An important aspect of character education was learning to experience pleasure and pain at appropriate times and to an appropriate extent, and to know in what circumstances fear and anger were suitable emotions. Catharsis brought about through drama and music was a means of producing a moderation and balance of the emotions, and of connecting the passions with reason and wisdom. Corneille, Racine, and Lessing advanced views that such an experience of catharsis had a moral value in educating the public. 亚里斯多德认为品德以及人格建立於快乐和痛苦，藉由从事正确的活动得到快乐，从事错 误的活动而受到挫折，正确的人格就是建立在情绪的分寸上，人必须在适当的场合感到痛 苦、快乐、恐惧、或愤怒，(译注：比方说看到路人受伤感到同情，但这同情不会逾越分际 ，家人死亡感到悲伤，这份悲伤则要与家人的关系相对等)。Catharsis透过戏剧和音乐调 节和整合情绪，让激情受理性与智慧的调节。评论家如Corneille, Racine, Lessing都认 为Catharsis有品德教育和教化大众的功用。 ---------------------------------------------------- 所以我们看到，悲剧的Catharsis其实有稳固统治阶级统治的作用，所以亚里斯多德和柏拉 图就是就「戏剧和音乐对统治阶级有没有益处」展开争论，柏拉图认为没有，亚里斯多德 则认为有，所以主张保存，相反的，左派的布莱希特则无法认同统治阶级的主张，认为要 透过反转传统戏剧的结构，才能达到反体制的效果，所以才提出了「间离效果」，不过我 之前听过一个老师对布莱希特的想法表示「你加油！(o′。ω。`o)」(不可行unworkable) 总而言之，这句给直接end的你： 谏山可能会采取开放式结局(o′。ω。`o) 就不会是那种传统的悲剧结局(比方说Antigone，人几乎都死光了(o′。ω。`o))，或是 大团圆结局(从一开始就没有这个迹象嘛(￣▽￣＃)﹏﹏)，可能会留给读者很多想像空间 ，但情绪就会很悬宕，以上是戏剧外行人的浅见，希望可以抛砖引玉引出真正的高手来指 点一下。 -- --

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