解讀“品特風(fēng)格”—哈羅德·品特戲劇特色研究
發(fā)布時間：2021-02-12 12:04
2005年諾貝爾文學(xué)獎得主英國劇作家哈羅德·品特（1930—）被公認(rèn)為20世紀(jì)下半葉英國最杰出的劇作家,已占據(jù)著現(xiàn)代經(jīng)典作家的地位。到目前,他共創(chuàng)作包括《房間》、《生日晚會》、《看管人》、《送行酒》等在內(nèi)的29部劇作,其作品風(fēng)格獨(dú)特、個性鮮明。諾貝爾文學(xué)獎頒獎詞稱其作品“揭示出隱藏在日常閑談之下的危機(jī),并強(qiáng)行打開了受壓抑的封閉房間”,來自其姓氏的形容詞“品特風(fēng)格”已列入《牛津字典》,用來形容其別具一格的戲劇特色。品特的大部分劇作都具有荒誕性的特點,但又與荒誕派戲劇不同,而是建立在現(xiàn)實主義的基礎(chǔ)上,從而實現(xiàn)了荒誕與現(xiàn)實的統(tǒng)一。通過將神秘感、威脅感與滑稽感的巧妙結(jié)合,品特的許多劇作既有恐嚇威脅之感,又有濃厚的喜劇特色,往往達(dá)到了淚中有笑、笑中有淚的效果,被評論界稱為“威脅喜劇”。品特的戲劇語言,主要運(yùn)用停頓與靜默、措詞的對稱、重疊、贅述、前后矛盾、不合邏輯、答非所問與胡言亂語等手段,使對白盡可能呈現(xiàn)自然的狀態(tài),就像是用錄音機(jī)錄下來的、人們每天都會說的日常用語。但語言已喪失了它本應(yīng)有的功能,相反成了人物交流的障礙。由于其作品具有的諸多特點,使品特成為一位難以界定的劇作家,有評論家認(rèn)為他屬于荒...
【文章來源】：北京交通大學(xué)北京市 211工程院校 教育部直屬院校
【文章頁數(shù)】：87 頁
【學(xué)位級別】：碩士
【文章目錄】：
Acknowledgements
摘要
Abstract
1 Introduction
1.1 Pinter's Plays and "Pinteresque"
1.2 Literature Review Abroad and in China
2 The Formation of "Pinteresque"
2.1 The Jewish Tailor Father and the Growth of Little Pinter
2.2 Pinter and His Predecessors
2.2.1 Samuel Beckett and Pinter
2.2.2 Franz Kafka, Pinter and Others
2.3 Son Beyond His Fathers
3 General Characteristics of "Pinteresque"
3.1 A Combination of Absurdity and Reality
3.1.1 Absurdity Features
3.1.1.1 Anti-hero
3.1.1.2 Anti-suspension
3.1.1.3 Anti-identification
3.1.2 Realistic Features
3.1.2.1 The Realistic Setting on Stage
3.1.2.2 The Existential Fears
3.1.2.3 Social and Political Concerns
3.1.3 Absurdity in Reality
3.1.3.1 The Absurdity of the Human Condition
3.1.3.2 The Alienation of the Human Relationship
3.2 The Comedy of Menace
3.2.1 Comedy
3.2.2 Menace
3.3 The Theatre of Language
3.3.1 Daily Language
3.3.2 Pause and Silence
3.3.3 Summary
4 "Pinteresque" on Different Phases
4.1 The Early Phase
4.1.1 The Room
4.1.2 The Birthday Party
4.2 The Middle Phase
4.3 The Late and Recent Phase
4.4 Summary
5 The Significance of "Pinteresque"
5.1 Significance of "Pinteresque" on Contemporary Literature
5.1.1 Pinter's Achievement—Form and Innovation
5.1.2 Pinter's Followers and Black Comedy
5.2 Social Significance of "Pinteresque"
6 Conclusion
References
作者簡歷
學(xué)位論文數(shù)據(jù)集
本文編號：3030838
【文章來源】：北京交通大學(xué)北京市 211工程院校 教育部直屬院校
【文章頁數(shù)】：87 頁
【學(xué)位級別】：碩士
【文章目錄】：
Acknowledgements
摘要
Abstract
1 Introduction
1.1 Pinter's Plays and "Pinteresque"
1.2 Literature Review Abroad and in China
2 The Formation of "Pinteresque"
2.1 The Jewish Tailor Father and the Growth of Little Pinter
2.2 Pinter and His Predecessors
2.2.1 Samuel Beckett and Pinter
2.2.2 Franz Kafka, Pinter and Others
2.3 Son Beyond His Fathers
3 General Characteristics of "Pinteresque"
3.1 A Combination of Absurdity and Reality
3.1.1 Absurdity Features
3.1.1.1 Anti-hero
3.1.1.2 Anti-suspension
3.1.1.3 Anti-identification
3.1.2 Realistic Features
3.1.2.1 The Realistic Setting on Stage
3.1.2.2 The Existential Fears
3.1.2.3 Social and Political Concerns
3.1.3 Absurdity in Reality
3.1.3.1 The Absurdity of the Human Condition
3.1.3.2 The Alienation of the Human Relationship
3.2 The Comedy of Menace
3.2.1 Comedy
3.2.2 Menace
3.3 The Theatre of Language
3.3.1 Daily Language
3.3.2 Pause and Silence
3.3.3 Summary
4 "Pinteresque" on Different Phases
4.1 The Early Phase
4.1.1 The Room
4.1.2 The Birthday Party
4.2 The Middle Phase
4.3 The Late and Recent Phase
4.4 Summary
5 The Significance of "Pinteresque"
5.1 Significance of "Pinteresque" on Contemporary Literature
5.1.1 Pinter's Achievement—Form and Innovation
5.1.2 Pinter's Followers and Black Comedy
5.2 Social Significance of "Pinteresque"
6 Conclusion
References
作者簡歷
學(xué)位論文數(shù)據(jù)集
本文編號：3030838
本文鏈接：http://sikaile.net/wenyilunwen/wxchuangz/3030838.html
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