[閒聊] anti-catharsis 反卡塔西斯結局
感謝flyhigh大分享的百度貼吧情報m(- -)m
http://tieba.baidu.com/p/2616048609?pn=1
諫山：「我希望自己的作品能讓人銘記於心。我一直覺得，如果結局採用『反卡塔西斯』
手法會是個很誘人的點子，不知道這樣是否能讓它更長存於人們的記憶中呢？」
消息來源：「GONG格鬥技 11月號」，諫山創和漫畫「伊甸園」、「全能格鬥士」的作者遠
藤浩輝進行的對談。
原文翻譯有經過我的潤飾改寫，想看原文翻譯請直接點網址
以下解釋『卡塔西斯』與『反卡塔西斯』
看到有人抱怨看不懂百度那帖文，所以請讓我試著換個方式解釋『反卡塔西斯』好了> <
如果解釋得不好，就...對不起了Q______________Q
以下是維基百科英文條目翻譯
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，來自於古希臘文，意指心靈的淨化或洗滌，是一種突然的情緒宣洩，或情感高
潮，觀眾會感到強烈的憐憫、悲痛、或歡笑，抑或是極端的情緒變化，最後讓觀眾獲得心
靈上的重生、重建，並再次得到生命力。
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.
卡塔西斯這個詞，是亞里斯多德用來描述音樂和悲劇對觀眾影響的哲學詞彙。由於亞里斯
多德並未給這個詞一個精確的定義，導致了幾世紀以來的各種討論、評論以及爭論，這些
爭辯的內容也對美學、心理學、戲劇以及美學倫理等領域的發展做出了貢獻。
(下略一段無關的內容)
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. (中間略一段無關的內容)
Socrates took the “purification of the soul” as the primary task of
philosophy.
在古希臘傳統中，卡塔西斯意指幫違反宗教戒律罪犯舉行的淨化儀式，因為他們認為唯有
透過淨化儀式，才能讓這些違反戒律的罪犯重返社會。
蘇格拉底則將「淨化靈魂」的重責大任置於哲學之上。
(各評論家對亞里斯多德Catharsis用法的討論，放在本文後面的地方，和布萊希特一起)
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.
反宣洩
在當代美學，反宣洩可以指觀眾在欣賞戲劇時的情緒疏離感，這種手法常見於喜劇、情節
劇、以及其他常見的戲劇形式。有時劇作家會故意反轉情緒宣洩的結構，以達到作品的美
學效果或用於政治宣傳。比方像布萊希特，他認為「情緒宣洩(卡塔西斯)只是用來迎合中
產階級觀眾幼稚品味的奶嘴」，因此他的戲劇作品總會有懸宕的的情緒，根據布萊希特的
理論，為了疏導這些未宣洩的情緒，觀眾會將這些能量轉化為現實中的政治行動。
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以下補個相關背景知識
貝爾托‧布萊希特(1898–1956)是德國戲劇巨匠，著名作品有「四川好女人」、「勇氣
媽媽」、「三便士歌劇」等，他最著名的是他的戲劇理論，「史詩劇場」(epic theatre)
、以及「間離效果」(Verfremdungseffekt)，在他的戲劇作品中，有時角色會在台上突然
出戲，對劇中人以及劇情品頭論足，讓觀眾觀戲時不會將情緒直接投射於劇中人物。布萊
希特是馬克思主義的信徒，因此他堅信能靠「間離效果」讓觀眾在觀劇時反思，進而採取
政治行動，促成無產階級革命。
補一下D爸精闢的推文 原文請見#1IK3Xvuy這篇
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D爸正解！太厲害了！不過就我的解讀Catharsis應該是指觀眾宣洩完情緒後，就會得到一
種滿足(而非空虛)，所以不會另尋情緒的宣洩管道。
然後再節錄維基百科對亞里斯多德Catharsis用法的幾段解釋，讓有興趣的人看看到底有
多少種解釋。
...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.
亞里斯多德可能是為了反駁柏拉圖的論點，才會撰文捍衛音樂和戲劇，並指音樂和戲劇對
觀眾有心靈淨化的作用，因為柏拉圖認為戲劇會讓人流於感性，導致不受理性支配，是對
社會安定的潛在威脅。不過亞里斯多德也可能是指戲劇的宗教作用，因為古希臘戲劇有宗
教意義(譯註：為了祭神，戲劇是給神看的，人只是順便)，亞里斯多德非常欣賞索福克里
斯所寫的「伊底帕斯王」，而索福克里斯本身是雅典一間神廟的祭司。
(譯註：我不確定Asclepian 是什麼神廟)
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. ... ...
其他評論家，如Else和Hardison認為Catharsis是戲劇中的情節張力，而不是指戲劇對觀
眾的情緒影響。因為亞里斯多德在《Poetics》中剩下的部分討論的都是戲劇形式及風格
，而不是文學對觀眾的影響。比方說悲劇的形式就是會引起恐懼及同情，最後將劇中的衝
突帶回合乎邏輯的結局。不過在亞里斯多德在《Politics》裡面提到Catharsis的段落中，
又指出音樂有情緒釋放的作用...
(譯注：《Poetics》是亞里斯多德的文學理論著作，有時翻作《詩論》)
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.
亞里斯多德認為品德以及人格建立於快樂和痛苦，藉由從事正確的活動得到快樂，從事錯
誤的活動而受到挫折，正確的人格就是建立在情緒的分寸上，人必須在適當的場合感到痛
苦、快樂、恐懼、或憤怒，(譯注：比方說看到路人受傷感到同情，但這同情不會逾越分際
，家人死亡感到悲傷，這份悲傷則要與家人的關係相對等)。Catharsis透過戲劇和音樂調
節和整合情緒，讓激情受理性與智慧的調節。評論家如Corneille, Racine, Lessing都認
為Catharsis有品德教育和教化大眾的功用。
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所以我們看到，悲劇的Catharsis其實有穩固統治階級統治的作用，所以亞里斯多德和柏拉
圖就是就「戲劇和音樂對統治階級有沒有益處」展開爭論，柏拉圖認為沒有，亞里斯多德
則認為有，所以主張保存，相反的，左派的布萊希特則無法認同統治階級的主張，認為要
透過反轉傳統戲劇的結構，才能達到反體制的效果，所以才提出了「間離效果」，不過我
之前聽過一個老師對布萊希特的想法表示「你加油！(o′。ω。`o)」(不可行unworkable)
總而言之，這句給直接end的你：
諫山可能會採取開放式結局(o′。ω。`o)
就不會是那種傳統的悲劇結局(比方說Antigone，人幾乎都死光了(o′。ω。`o))，或是
大團圓結局(從一開始就沒有這個跡象嘛(￣▽￣＃)﹏﹏)，可能會留給讀者很多想像空間
，但情緒就會很懸宕，以上是戲劇外行人的淺見，希望可以拋磚引玉引出真正的高手來指
點一下。
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