發(fā)布時(shí)間：2018-01-01 00:08

  本文關(guān)鍵詞：世界不應(yīng)該是那樣的——論《遠(yuǎn)方》的后戲劇劇場(chǎng)特征　出處：《外國(guó)文學(xué)研究》2016年02期 　論文類型：期刊論文

  更多相關(guān)文章： 后戲劇劇場(chǎng) 卡里爾·丘吉爾 《遠(yuǎn)方》

【摘要】：20世紀(jì)七十年代以來(lái),媒體工具的迅猛發(fā)展引發(fā)了多個(gè)話語(yǔ)發(fā)送者組成的劇場(chǎng)形式,雷曼稱其為"后戲劇劇場(chǎng)"。本文將當(dāng)代英國(guó)劇作家卡里爾·丘吉爾的戲劇《遠(yuǎn)方》置于后戲劇劇場(chǎng)視閾下,發(fā)掘作家和導(dǎo)演超越布萊希特?cái)⑹聞〉恼螒騽∧Ｊ?說(shuō)明他們通過(guò)無(wú)時(shí)段性、極簡(jiǎn)、感知?jiǎng)?chǎng)和類比報(bào)道等后戲劇符號(hào)瓦解了舞臺(tái)幻象,并在吸引直覺(jué)、本能和情感中引發(fā)集體記憶,使觀眾在這個(gè)無(wú)確指意義卻充滿力量、強(qiáng)度和當(dāng)下感的劇場(chǎng)里,從本能的、體驗(yàn)式的喚醒中看到并感受到資本主義社會(huì)觸手可及的丑陋以及自身的責(zé)任。
[Abstract]:Since 70s twentieth Century, the rapid development of media tools led to multiple words consisting of the sender theatre form, called "post Lehman theater". In this paper, the contemporary British playwright Khalil Churchill's drama < > in the distance after the theater from the perspective of the writer and director Bly Hitt, to explore beyond the narrative drama of political drama, they through no time, minimalist, perception and analogy reports after the drama theater symbol collapse stage illusion, and in attracting intuition, instinct and emotion caused by collective memory, so that the audience is not in this meaning is full of strength, strength and sense of the contemporary theatre, from natural, experiential and wake up to see feel at your fingertips and the ugly capitalist society's own responsibility.

【作者單位】： 蘇州大學(xué)外國(guó)語(yǔ)學(xué)院;
【分類號(hào)】：I561.073
【正文快照】： 20世紀(jì)之前的戲劇強(qiáng)調(diào)摹仿,即通過(guò)表演模擬現(xiàn)實(shí)世界,從布萊希特開(kāi)始,劇場(chǎng)藝術(shù)發(fā)生了本質(zhì)性的變化,演員與觀眾開(kāi)始了直接交流,他的戲劇被稱為“敘事劇”或“史詩(shī)劇”。然而,布萊希特仍然把劇本視為劇場(chǎng)創(chuàng)作的中心。直到上世紀(jì)七十年代,西方戲劇再次發(fā)生巨大變化,文本、作家及劇，

本文編號(hào)：1362058