悲劇的誕生The Birth Of Tragedy 第38期:觀衆的概念

An audience of spectators, such as we know it, was unknown to the Greeks.

我們知道，古希臘人是沒有觀衆這概念的。

Given the terraced structure of the Greek theater, rising in concentric arcs, each spectator could quite literally survey the entire cultural world about him and imagine himself, in the fullness of seeing, as a chorist.

希臘的劇場是一個同心弧形建築物，觀衆的座位層層高疊。使得人人確實能夠忽視其周圍整個文明世界，在大飽眼福之際，幻想自己是歌隊中的一員。

Thus we are enabled to view the chorus of primitive proto-tragedy as the projected image of Dionysian man.

那麼，照這一意義來說，我們不妨把原始悲劇最早階段的歌隊稱爲醉境中人的自我反映。

The clearest illustration of this phenomenon is the experience of the actor, who, if he is truly gifted, has before his eyes the vivid image of the role he is to play.

這一現象最明顯的例證莫如演員的體驗：一個演員，如果真是有才能，總能見到他所扮演的人物栩栩如生地幌動在眼前。

The satyr chorus is, above all, a vision of the Dionysian multitude, just as the world of the stage is a vision of that satyr chorus--a vision so powerful that it blurs the actors' sense of the "reality" of cultured spectators ranged row on row about him.

薩提兒歌隊主要是酒神祭羣衆所見的幻影，而舞臺境界則是薩提兒歌隊所見的幻影。這幻影的力量如此強大，足以使人眼花繚亂，看不見“現實”的印象和周圍座上有教養的人們。

The structure of the Greek theater reminds us of a lonely mountain valley: the architecture of the stage resembles a luminous cloud configuration which the Bacchae behold as they swarm down from the mountaintops; a marvelous frame in the center of which Dionysus manifests himself to them.

希臘劇場的形式令人想到一個寂寞的山谷，舞臺的建築有如燦爛的雲彩，酒神的頂禮者擠擁在山上，從高處俯視這景象，一個壯麗的圓場，酒神的形象就在它中間出現。