愛德華·阿爾比托尼獎作品的元戲劇解讀
發(fā)布時間：2023-05-08 00:09
愛德華·阿爾比(1928-2016),三次獲得普利策獎得主,是20世紀最具影響力的美國劇作家之一。作為一位多產(chǎn)而富有成就的劇作家,阿爾比在劇本創(chuàng)作和戲劇導演方面都對美國現(xiàn)代戲劇做出了巨大的貢獻。他的托尼獎獲獎戲劇《誰怕弗吉尼亞·伍爾夫?》和《山羊或誰是西爾維婭?》被稱為其最挑釁、最大膽同時也最具爭議性的作品。阿爾比在這兩部戲劇中都運用了元戲劇手法,揭示了幻覺與現(xiàn)實之間的對立。元戲劇手法的運用能夠使一部戲劇呈現(xiàn)出多重層次,這種多層次性在元戲劇分析過程中具有重要意義。本文研究了阿爾比托尼獎獲獎戲劇中的元戲劇手法,旨在分析理查德·霍恩比的元戲劇手法在愛德華·阿爾比兩部戲劇中的運用。研究重點在劇中體現(xiàn)的元戲劇手法上,包括戲中戲、戲中儀典、角色的角色扮演。與之相對應,阿爾比在劇中使用的元戲劇手法是他對存在問題、社會問題和個人問題的質(zhì)問與回答。在此基礎(chǔ)上,進一步研究劇中的文學參照、生活參照和自我參照。本文的意義在于以下三個方面:首先,本文以解讀戲劇《誰害怕弗吉尼亞伍爾夫?》和《山羊或誰是西爾維婭?》中的元戲劇手法為著眼點,希望能為國內(nèi)愛德華·阿爾比的戲劇研究開拓新的思路,提供更多借鑒;其次,通過梳...
【文章頁數(shù)】：73 頁
【學位級別】：碩士
【文章目錄】：
ACKNOWLEDGMENTS
ABSTRACT
摘要
Chapter One INTRODUCTION
1.1 An Introduction to Edward Albee
1.2 An Introduction to the Two Plays
1.3 The Structure and Significance of the Thesis
Chapter Two LITERATURE REVIEW
2.1 Research Abroad
2.2 Research at Home
2.3 Theoretical Framework
2.3.1 The origin and development of metadrama
2.3.2 Five devices of metadrama by Richard Hornby
Chapter Three THE PLAY WITHIN THE PLAY ON EXISTENTIALCONCERNS
3.1 The Framed Type
3.1.1 A crazy lie in the inner play as primary
3.1.2 A late night visit in the outer play as secondary
3.2 The Inset Type
3.2.1 Problematic marriage in the outer play as primary
3.2.2 Absurd bestiality in the inner play as secondary
Chapter Four THE CEREMONY IN THE PLAY ON SOCIALCONCERNS
4.1 Dramatic Events Having Ceremonial Qualities
4.1.1 Vicious game in quasi-ritual ceremony
4.1.2 Sordid affair in offstage ceremony
4.2 Dramatic Events Having Ceremonial Functions
4.2.1 The killing of the son in the fulfilled ceremony
4.2.2 The killing of the goat in the unfulfilled ceremony
Chapter Five ROLE PLAYING WITHIN THE ROLE ONINDIVIDUAL CONCERNS
5.1 Voluntary Role Playing
5.1.1 George and Martha as parents
5.1.2 George and Martha as individuals
5.2 Involuntary Role Playing
5.2.1 Sylvia as an ideal lover
5.2.2 Sylvia as an innocent goat
Chapter Six METADRAMATIC REFERENCES
6.1 Literary Reference
6.1.1 Parody of scapegoat
6.1.2 Adaptation of Virginia Woolf
6.2 Real-life Reference
6.2.1 An illusory world onstage
6.2.2 Diverse perceptions backstage
6.3 Self-Reference
6.3.1 Utterances of roles
6.3.2 Collapse of roles
Chapter Seven CONCLUSION
WORKS CITED
本文編號：3811598
【文章頁數(shù)】：73 頁
【學位級別】：碩士
【文章目錄】：
ACKNOWLEDGMENTS
ABSTRACT
摘要
Chapter One INTRODUCTION
1.1 An Introduction to Edward Albee
1.2 An Introduction to the Two Plays
1.3 The Structure and Significance of the Thesis
Chapter Two LITERATURE REVIEW
2.1 Research Abroad
2.2 Research at Home
2.3 Theoretical Framework
2.3.1 The origin and development of metadrama
2.3.2 Five devices of metadrama by Richard Hornby
Chapter Three THE PLAY WITHIN THE PLAY ON EXISTENTIALCONCERNS
3.1 The Framed Type
3.1.1 A crazy lie in the inner play as primary
3.1.2 A late night visit in the outer play as secondary
3.2 The Inset Type
3.2.1 Problematic marriage in the outer play as primary
3.2.2 Absurd bestiality in the inner play as secondary
Chapter Four THE CEREMONY IN THE PLAY ON SOCIALCONCERNS
4.1 Dramatic Events Having Ceremonial Qualities
4.1.1 Vicious game in quasi-ritual ceremony
4.1.2 Sordid affair in offstage ceremony
4.2 Dramatic Events Having Ceremonial Functions
4.2.1 The killing of the son in the fulfilled ceremony
4.2.2 The killing of the goat in the unfulfilled ceremony
Chapter Five ROLE PLAYING WITHIN THE ROLE ONINDIVIDUAL CONCERNS
5.1 Voluntary Role Playing
5.1.1 George and Martha as parents
5.1.2 George and Martha as individuals
5.2 Involuntary Role Playing
5.2.1 Sylvia as an ideal lover
5.2.2 Sylvia as an innocent goat
Chapter Six METADRAMATIC REFERENCES
6.1 Literary Reference
6.1.1 Parody of scapegoat
6.1.2 Adaptation of Virginia Woolf
6.2 Real-life Reference
6.2.1 An illusory world onstage
6.2.2 Diverse perceptions backstage
6.3 Self-Reference
6.3.1 Utterances of roles
6.3.2 Collapse of roles
Chapter Seven CONCLUSION
WORKS CITED
本文編號：3811598
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