本文選題：現(xiàn)代大眾戲劇 + 霍爾瓦特�。� 參考：《戲劇(中央戲劇學(xué)院學(xué)報)》2013年06期

【摘要】：在魏瑪共和國時期,大眾戲劇獲得了復(fù)興和繁榮。楚克邁耶創(chuàng)作的大眾戲劇標(biāo)志著傳統(tǒng)大眾戲劇的復(fù)興,霍爾瓦特、弗萊瑟爾和布萊希特則開創(chuàng)了現(xiàn)代大眾戲劇的先河�；魻柾咛靥岢隽藢Υ蟊姂騽〉木唧w改革措施,弗萊瑟爾是整個大眾戲劇史上唯一的女大眾戲劇作家,布萊希特則將大眾戲劇納入政治斗爭的范疇。魏瑪共和國時期的現(xiàn)代大眾戲劇對20世紀(jì)60年代"新大眾戲劇"的影響深遠。本文全面介紹了三位大眾戲劇作家的作品、理論和創(chuàng)作手法,并對三者進行了分析和比較。
[Abstract]:During the Weimar Republic, popular drama was revived and flourished. Chukmeyer's popular drama symbolizes the revival of traditional popular drama, while Horvath, Fleiselle and Brecht pioneered modern popular drama. Horvath put forward concrete reform measures to popular drama. Fressel is the only woman mass drama writer in the whole history of popular drama, while Brecht brings mass drama into the category of political struggle. The modern popular drama of Weimar Republic had a profound influence on the New popular Drama in the 1960's. This paper introduces the works, theories and creative techniques of three popular drama writers, and analyzes and compares them.
【作者單位】： 北京第二外國語學(xué)院德語系;北京大學(xué)外國語學(xué)院;
【分類號】：I106.3
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本文編號：1914154