發(fā)布時間：2018-01-01 16:05

  本文關(guān)鍵詞：格洛托夫斯基在中國的影響及得失　出處：《山西師范大學》2015年碩士論文　論文類型：學位論文

  更多相關(guān)文章： 格洛托夫斯基 戲劇 中國

【摘要】：格洛托夫斯基是波蘭戲劇大師,在他的戲劇創(chuàng)作中,格氏創(chuàng)造了許多新式戲劇方式,并且倡導許多獨特的戲劇觀念,對中外戲劇家有很大的觸動。隨著中國對外開放程度的加大,格洛托夫斯基的戲劇觀念也逐漸被戲劇家介紹到中國。在中國從導演、編劇、演員到普通的學生,許多人都受到了格洛托夫斯基的影響。本文將運用比較文學影響研究的方法,研究格洛托夫斯基對中國各個藝術(shù)領(lǐng)域的影響。本論文主要分為四個部分,著重分析國內(nèi)各界受到格洛托夫斯基影響的導演、演員、話劇、編劇等等,研究格氏在中國的存在。引言部分主要介紹格洛托夫斯基本人及其戲劇理論,及其在中國的影響和研究意義。正文第一部分,分析格氏在中國的影響,主要從大陸和港臺著手,大陸以林兆華、牟森、馮遠征為例來闡明；港臺則分別從香港的鄧樹榮、臺灣的劉靜敏、鐘明德和芮斯來做研究。導演林兆華,主要從他的戲劇《絕對信號》中,尋找其所吸收的格氏新方法。比如林兆華戲劇中很重視演員與觀眾,同時他還提倡話劇的演出要用小劇場的形式,這些與格氏的戲劇觀念非常相似。牟森導演,則是國內(nèi)學習格氏理論比較瘋狂而執(zhí)著的一個,他將格氏的戲劇理論付諸實踐,在他的話劇中隨時都可以發(fā)現(xiàn)格氏的影子。此外是演員馮遠征,他是中國學習格氏比較早的一位,馮遠征在運用格氏的戲劇方法上比較理性、溫和；2013年到北電任教的馮遠征開始教授學生格氏表演方式,他希望演員在表演中要讓每一個動作都置于作品的總譜中。香港戲劇家有鄧樹榮導演,其吸收格氏戲劇理論,注重演員的訓練,鄧樹榮是中國學習格氏理論比較成功的一個,我們將從他的作品中去分析。最后分析臺灣戲劇,由于臺灣有劉靜敏和陳偉成,他們是格氏的嫡傳弟子,正面的接觸過格氏,所以他們對格氏的引進比大陸更加系統(tǒng)而全面,這個我們將從“優(yōu)人神鼓”來作分析和研究。因此在臺灣受二者的影響,格氏理論在臺灣的戲劇中有一定的延伸,這個在對臺灣歌手芮斯和學者鐘明德的作品研究中體現(xiàn)的比較徹底。第二部分,主要反思格氏戲劇在中國的得失。“得”主要從格氏戲劇理論帶給中國戲劇的新活力來分析,比如林兆華、高行健注重觀眾和劇場,通過恰當把握戲劇理論并結(jié)合中國實際,創(chuàng)作出令人滿意的作品。香港戲劇家鄧樹榮重視演員的身體訓練法,其作品更是享譽海外,臺灣戲劇家劉靜敏和陳偉成主要是沿襲格氏的“藝乘”,在臺灣也得到了一定的贊譽。而“失”主要從牟森戲劇的問題出發(fā),過于輕文本,而對戲劇劇本進行盲目的消解。此外他的戲劇偏向?qū)а葜行恼?這也讓他的戲劇失去了觀眾和市場。結(jié)語部分,對格氏在中國的影響及其影響的延伸做了思考和探討。
[Abstract]:Grotowski is a Polish drama master, in his drama creation, Griff created many new ways of drama, and advocated many unique concepts of drama. With the opening up of China to the outside world, Grotowski's concept of drama has gradually been introduced to China by dramatists. In China, from directors, writers, actors to ordinary students. Many people have been influenced by Grotowski. This paper will study the influence of Grotowski on every field of Chinese art by using the method of comparative literature influence. This thesis is divided into four parts. Focus on the analysis of the domestic community by Grotowski's influence of directors, actors, drama, screenwriters, and so on, to study the existence of Grotovsky in China. The introduction mainly introduces Grotowski himself and his drama theory. The first part of the text analyzes the influence of GE in China, mainly from the mainland and Hong Kong and Taiwan, the mainland with Lin Zhaohua, Mu Sen, Feng Yuanzheng as an example to illustrate; Hong Kong and Taiwan did research from Hong Kong's Deng Shurong, Taiwan's Liu Jingmin, Chung Mingde and Ruiz respectively. Director Lin Zhaohua, mainly from his play absolute signal. Look for new ways of absorbing Grimm. Lin Zhaohua, for example, attaches great importance to actors and audiences in his plays, and he also advocates the use of small theatres for the performance of drama, which is very similar to Grimm's concept of drama. It is a crazy and persistent one to study the theory of GE in China. He put his drama theory into practice, and he can find the shadow of GE at any time in his drama. In addition, actor Feng Yuanzheng. He was one of the early scholars in China, and Feng Yuanzheng was more rational and gentle in the use of GE's dramatic methods. In 2013, Feng Yuanzheng, a Hong Kong dramatist and director of the Hong Kong dramatist, began teaching his students how to perform. Deng Shurong is one of the most successful Chinese learners of Gerald's theory. We will analyze it from his works. Finally, we will analyze Taiwan drama. Because Taiwan has Liu Ching-min and Chen Weicheng, who are Gessie's first disciples and have had direct contact with Gehlet, their introduction of GE is more systematic and comprehensive than that of mainland China. We will analyze and study this from "superior human spirit drum". Therefore, in Taiwan, under the influence of both, the theory of Grignard has a certain extension in Taiwan's drama. This is reflected thoroughly in the study of the works of Taiwanese singer Ruiz and scholar Zhong Mingde. Part two. This paper mainly reflects on the gains and losses of GE's drama in China. "gain" is mainly analyzed from the new vitality brought by GE's drama theory to Chinese drama, such as Lin Zhaohua and Gao Xingjian, who pay attention to audience and theater. Hong Kong dramatist Tang Shu-wing attaches great importance to the physical training of actors and his works are well known overseas by properly mastering the theory of drama and combining with the reality of China. Taiwanese dramatists Liu Ching-min and Chen Weicheng mainly follow GE's "art ride", which has also won some praise in Taiwan. The "loss" is mainly based on the drama of Mu Sen, too light text. In addition, his drama is biased towards the director-centered theory, which also makes his drama lose the audience and the market. Conclusion. This paper discusses the influence of Grimm in China and its extension.
【學位授予單位】：山西師范大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：J805

【參考文獻】

相關(guān)期刊論文 前3條

1 梁燕麗;;尤金尼奧·巴爾巴的第三戲劇理想[J];國外文學;2009年04期

2 吳靖青;格洛托夫斯基的極度體驗精神與極端訓練手段[J];戲劇藝術(shù);2004年05期

3 理查德·謝克納;曹路生;;格洛托夫斯基和格洛托夫斯基人[J];戲劇藝術(shù);2009年05期

，

本文編號：1365201