本文選題：布萊希特　切入點(diǎn)：中國戲曲　出處：《安徽大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：布萊希特是德國一位進(jìn)步的戲劇家,布萊希特的主張是觀眾需要帶著理性看戲,觀眾與演員之間需要“間離”,演員和角色之間也需要“間離”,“非亞里士多德的戲劇”提倡需要觀眾去認(rèn)識世界、帶著理性的態(tài)度去評價(jià)世界。戲劇不應(yīng)該再像“戲劇性戲劇”那樣,為了模仿一個(gè)完整的行動和在舞臺上營造一個(gè)身臨其境的外在環(huán)境為指歸。戲劇應(yīng)該引導(dǎo)著觀眾們走出正在發(fā)生的“真實(shí)事件”,引發(fā)觀眾思考戲劇背后的那些人、那些事。 本文重點(diǎn)分析布萊希特如何辯證的去借鑒中國傳統(tǒng)戲曲,同時(shí)剖析兩種戲劇觀的碰撞給布萊希特帶來創(chuàng)作上的靈感。期望通過分析,對我國戲曲發(fā)展和布萊希特戲劇有進(jìn)一步的理解起到一定推動作用。 緒論主要介紹本次論文選題的緣起、研究的目的和現(xiàn)階段國內(nèi)外研究狀況的評述。 第一章主要論析布萊希特對傳統(tǒng)戲劇模式的認(rèn)識,以及中國戲曲結(jié)構(gòu)方法,尤其是戲曲的敘事成分對自身的啟示。 第二章主要分析“第四堵墻”的由來以及倡導(dǎo)者易卜生、斯坦尼的戲劇觀。再對布萊希特對“第四堵墻”所存在問題的分析進(jìn)行審視。并將其“間離法”與中國戲曲演劇方式進(jìn)行比較以及布萊希特演劇方法的困境。 第三部分從寫實(shí)布景不適應(yīng)審美和布萊希特的舞臺設(shè)計(jì)出發(fā),論述中國戲曲虛擬性及其背后的美學(xué)觀。戲曲舞臺公開承認(rèn)這就是一個(gè)表演的場所,我們是在劇場里觀劇,所以戲曲是“有規(guī)則自由行動”的藝術(shù)。 結(jié)語對全文觀點(diǎn)進(jìn)行總結(jié),對本文研究的不足進(jìn)行了說明。
[Abstract]:Brecht, a progressive German dramatist, argued that the audience needed to see the play with reason. There is a need for "separation" between the audience and actors, between actors and characters, and between "non-Aristotelian dramas", which advocates the need for the audience to understand the world. Judge the world with a rational attitude. Drama should no longer be like dramatic drama. In order to imitate a complete action and create an external environment on the stage, drama should lead the audience out of the "real events" that are taking place, and arouse the audience to think about the people behind the drama and those things. This paper focuses on how Brecht dialectically draws lessons from Chinese traditional opera, and at the same time, analyzes how the collision of two kinds of dramatic views brings inspiration to Brecht's creation. Play a certain role in promoting the development of Chinese opera and the further understanding of Brecht drama. Introduction mainly introduces the origin of the topic, the purpose of the study and the current domestic and foreign research situation. The first chapter mainly discusses Brecht's understanding of the traditional drama model, and the structure of Chinese opera, especially the narrative elements of the opera to their own enlightenment. The second chapter mainly analyzes the origin of "4th Wall" and the advocate Ibsen. The author examines Brecht's analysis of the problems existing in "4th Wall" and compares it with the Chinese opera style and the dilemma of Brecht's acting method. The third part discusses the fictitious nature of Chinese opera and its aesthetic outlook from the point of view that realistic scenery is not suitable for aesthetics and Bleecht's stage design. The opera stage openly admits that this is a place for performance, and we are watching drama in a theater. So opera is the art of acting with rules. The conclusion summarizes the point of view and explains the deficiency of this paper.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J812

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