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论文名称: 萨缪尔·贝克特特剧中的时空型：《等待戈多》、《终局》与《快乐日子》
论文名称: The Time-Space Continuum in Beckett's Waiting for Godot, Endgame and Happy Days
关键词:
萨缪尔 贝克特 Samuel Beckett
戏剧空间 The Theatrical Space
心理空间 Conceptual Space
巴赫金 Bakhtin
时空型 Chronotope
时空连续 Time-Space Continuum
汉纳 丝考妮可芙 Hanna Scolnicov
[摘要]
本论文系以巴赫金（Mikhail Bakhtin）的时空型理论（The Time-Space Continuum）
来探讨萨缪尔.贝克特（Samuel Beckett）的三出戏剧：《等待戈多》（Waiting for
Godot）、《结局》（Endgame），以及《快乐天》（Happy Days）。在此三部作品中贝克
特呈现对时间和空间匠心独运的安排，并深刻显现他对现今人类生存问题的终极关怀。
导言概论萨缪尔.贝克特剧作与巴赫金时空型理论的关系: 探讨时间是如何藉由空
间现形、空间是如何更具体展示于时间的次序里、以及贝克特的哲学思想与时空架构密切
的关系。在贝克特剧作中的时空形式与巴赫金的「时空不可分割」主张相互呼应。除此之
外，此篇论文更辅以汉纳.丝考妮可芙（Hanna Scolnicov）的戏剧空间理论（
Theatre Space, Theatrical Space, and the Theatrical Space Without）作为章节安排
的主要架构。
第一章探讨舞台上的空间－－内在戏剧空间（The Theatrical Space Within）。首先
分析舞台上的各个道具，进而探究空间的领域，并讨论时间的发展次序。在舞台上，时间
是反复行进的、空间是一成不变的；贝克特如此这般暗示人类每日生活的一成不变。巴赫
汀的时空交互作用（the intersection between time and space）在此章中亦有深入的讨
论，藉此更强调了前述时空不可分割的循环性。
第二章研讨舞台外的空间－－外在戏剧空间（The Theatrical Space Without）。那
是观众的肉眼无法识别的领域。「外在戏剧空间」着重于角色提到的空间和时间－－过去
、未来。不可知的未来与破碎的记忆使得他们迷失在时空里；时间的不连续是「外在戏剧
空间」讨论的重点。
第三章说明角色的心理空间（Conceptual Space）。角色与外在环境的关系是疏离的
（Alienation），他们无法分辨自我所处的环境。角色与角色的关系（象征性意涵）事实
上是一体而不容分割的。贝克特认为人类既被弃于世上独自生存，人类理应相互需要与扶
持，相互依靠，以证明存在的价值。结论总结前述时空观点并延续日后对贝克特的研究方
向。
[摘要]
This thesis is a research on Samuel Beckett's plays Waiting for Godot,
Endgame and Happy Days--in the light of Mikhail Bakhtin's theory of Time-Space
Continuum. Beckett's concept of time and space is manifested in these three
dramatic works. These plays are crucial for comprehending Beckett's concerns
about human life of our age.
Introduce is devoted to explicating how Bakhtin's theory has helped to
analyze Beckettian time-space structure: how time becomes visible in space,
how space becomes more concrete in associating with temporal sequences and
what relationship exists between Beckettian philosophical ideas and time-space
structure. The forms of time and of the chronotope in Beckettian plays are
evocative to Bakhtin's insistence that time and space are inseparable. The
basic construction of this thesis is based on Hanna Scolnicov's division of
the theatrical space. She defines the visible space on the stage as the
theatrical space within and the invisible space/verbal space as the theatrical
space without.
Chapter One looks into the space on the stage－the theatrical space
within. Analyzing the meaning of every object present on the stage, I focus
on spatial dimension first and then their temporal sequences. On the stage,
the time is repetitive and the space is changeless. Beckett implies that this
is human beings' life in the earthly world. Applying Bakhtin's theory about
the intersection of time and space to Beckett's plays, I emphasize the
inseparability of time and space.
Chapter Two studies the theatrical space without which is invisible to
spectators' naked eyes. The theatrical space without focuses on the places
characters mentioned and the time they will be in the future or had been in
the past. The unknowable future and fragmented memory about the past make
them lost in the flux of time. The discontinuity of time is revealed in the
theatrical space without.
Chapter Three accounts for the discussion of conceptual space. The
relationship between characters and their surroundings is alienation. They
fail to recognize their situation. The relationship between characters and
characters, the distance in their concept, is inseparable. Beckett regards
humans as being thrown into the earthly existence independently. People are
interdependent and need companions. Humans need witnesses in order to make
sure of our own existence. The last part of my thesis, Conclusion, concludes
the foregoing investigation of time-space continuum.
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