Mandelbaum George
Int J Psychoanal. 2011 Apr;92(2):411-25. doi: 10.1111/j.1745-8315.2011.00400.x. Epub 2011 Feb 17.
This paper argues that value in drama partly results from the nature of the resistance in a scene, resistance used in its common, everyday meaning. A playwright's ability to imagine and present such resistance rests on several factors, including his sublimation of the fantasies that underpin his work. Such sublimation is evident in Chekhov's continuing reworking in his plays of a fantasy that found its initial embodiment for him in one of the central scenes in Hamlet. The increasingly higher value of the scenes Chekhov wrote as he repeatedly reworked Shakespeare's scene resulted from his increasing sublimation of the initial fantasy and is reflected in the ever more complex nature of the resistance found in Chekhov's scenes, resistance that, in turn, created an ever more life-like, three-dimensional central character in the scenes.
本文认为，戏剧中的价值部分源于场景中阻力的性质，这里的阻力取其常见的日常含义。剧作家想象和呈现这种阻力的能力取决于几个因素，包括他对支撑其作品的幻想的升华。这种升华在契诃夫对其戏剧的不断改写中显而易见，这种幻想最初在他心中的体现来自于《哈姆雷特》中的一个核心场景。契诃夫在反复改写莎士比亚的场景时所创作的场景价值越来越高，这源于他对最初幻想的不断升华，也体现在契诃夫场景中所发现的阻力性质日益复杂，而这种阻力反过来又在场景中塑造了一个越来越逼真、立体的核心人物。
