解析《加算器》中的表現(xiàn)主義手法
發(fā)布時(shí)間：2021-11-23 23:34
埃爾默·賴斯（1892-1967）是二十世紀(jì)最多產(chǎn)、最具社會(huì)責(zé)任感的猶太裔美國(guó)劇作家之一,也是一位普利策獎(jiǎng)獲得者。他的五十多部戲劇以多種表現(xiàn)形式,揭露了各種社會(huì)問題和人文精神。其中,《加算器》（1922年）被普遍認(rèn)為是他的杰作,同時(shí)也是美國(guó)表現(xiàn)主義風(fēng)格的典型代表劇作。通過《加算器》這部劇作,埃爾默·賴斯揭露了主人公零先生被加算器取代后的異化處境,并對(duì)機(jī)械化社會(huì)中技術(shù)的非人性化影響提出了更深刻的批評(píng)。表現(xiàn)主義運(yùn)動(dòng)繁榮于20世紀(jì)20年代,但其對(duì)現(xiàn)代主義藝術(shù)和文學(xué)創(chuàng)作產(chǎn)生了深遠(yuǎn)的影響。表現(xiàn)主義拒絕對(duì)客觀現(xiàn)實(shí)的逼真再現(xiàn),推崇使用主觀性、抽象性、扭曲性和變形性,以傳達(dá)普遍的主題:反物質(zhì)主義、反戰(zhàn)、異化和死亡。受表現(xiàn)主義思潮的啟發(fā),埃爾默·賴斯運(yùn)用多種表現(xiàn)主義手法賦予其劇作創(chuàng)新性的審美內(nèi)涵和藝術(shù)表現(xiàn)力。他的《加算器》是一部戲劇技法與思想內(nèi)容完美融合的作品,無疑可以被贊譽(yù)為表現(xiàn)主義戲劇的最佳范例之一。本論文以表現(xiàn)主義為視角,細(xì)致地研究探討《加算器》這部劇作在人物形象、語言風(fēng)格、情節(jié)結(jié)構(gòu)、舞美設(shè)計(jì)所表現(xiàn)出的鮮明的表現(xiàn)主義手法。本論文主要從以下四個(gè)方面進(jìn)行分析:象征性的人物形象以及漫畫式的人物形象;語無...
【文章來源】：內(nèi)蒙古大學(xué)內(nèi)蒙古自治區(qū) 211工程院校
【文章頁數(shù)】：73 頁
【學(xué)位級(jí)別】：碩士
【文章目錄】：
ACKNOWLEDGEMENTS
ABSTRACT
摘要
Chapter One INTRODUCTION
1.1 An Introduction to Elmer Rice
1.2 An Introduction to The Adding Machine
1.3 The Significance and Structure of the Thesis
Chapter Two LITERATURE REVIEW
2.1 Research on The Adding Machine at Home and Abroad
2.2 Theoretical Foundation
2.2.1 The origin and development of Expressionism
2.2.2 The primary features of Expressionist drama
Chapter Three EXPRESSIONIST TECHNIQUES IN PORTRAYAL OFCHARACTERS
3.1 Characters with Symbolic Implications
3.1.1 Mr.Zero－a miserable anti-hero
3.1.2 Daisy－a sexually-repressed woman
3.1.3 Shrdlu－a self-condemned man
3.2 Characters with Caricatured Traits
3.2.1 Mr.and Mrs.One through Six－characters without identified traits
3.2.2 Boss,Policeman and Fixer－characters with social functions
3.2.3 Head－the personification of decapitation phobia
Chapter Four EXPRESSIONIST TECHNIQUES IN MANAGEMENT OFLANGUAGE
4.1 Incoherent and Prolonged Monologue
4.1.1 Repetition of numbers in monologue
4.1.2 Recurring topics in monologue
4.2 Staccato and Inane Dialogue
4.2.1 Staccato dialogue with rapidly shifting topics
4.2.2 Inane dialogue with identical sentence patterns
Chapter Five EXPRESSIONIST TECHNIQUES IN ARRANGEMENT OFPLOT
5.1 Episodic Plot
5.1.1 Episodic nature embodied in overall sequence of scene
5.1.2 Episodic nature reflected on fragmented narration of sexualrepression
5.2 Cyclical Plot
5.2.1 Cyclical presentation of Mr.Zero’s life pattern
5.2.2 Cyclical manifestation of Mr.Zero’s mental state
Chapter Six EXPRESSIONIST TECHNIQUES IN DESIGN FOR STAGESPECTACLE
6.1 Eccentric Stage Settings
6.1.1 Confined locales in the real world
6.1.2 Depressing locales in the afterlife
6.2 Exaggerated Stage Props
6.2.1 The large cage in the courtroom
6.2.2 The gigantic adding machine
6.3 Horrible Background Sounds
6.3.1 The discordant noises
6.3.2 The sharp clicking of an adding machine
Chapter Seven CONCLUSION
WORKS CITED
【參考文獻(xiàn)】：
期刊論文
[1]《加算器》中機(jī)器文明與人性的對(duì)立[J]. 馬禮霞. 芒種. 2014(02)
[2]《加算器》的表現(xiàn)主義特征[J]. 陳紅,楊洋. 安徽文學(xué)(下半月). 2012(01)
[3]解讀存在主義悲劇《加算器》[J]. 郝燕. 北京第二外國(guó)語學(xué)院學(xué)報(bào). 2007(10)
本文編號(hào)：3514838
【文章來源】：內(nèi)蒙古大學(xué)內(nèi)蒙古自治區(qū) 211工程院校
【文章頁數(shù)】：73 頁
【學(xué)位級(jí)別】：碩士
【文章目錄】：
ACKNOWLEDGEMENTS
ABSTRACT
摘要
Chapter One INTRODUCTION
1.1 An Introduction to Elmer Rice
1.2 An Introduction to The Adding Machine
1.3 The Significance and Structure of the Thesis
Chapter Two LITERATURE REVIEW
2.1 Research on The Adding Machine at Home and Abroad
2.2 Theoretical Foundation
2.2.1 The origin and development of Expressionism
2.2.2 The primary features of Expressionist drama
Chapter Three EXPRESSIONIST TECHNIQUES IN PORTRAYAL OFCHARACTERS
3.1 Characters with Symbolic Implications
3.1.1 Mr.Zero－a miserable anti-hero
3.1.2 Daisy－a sexually-repressed woman
3.1.3 Shrdlu－a self-condemned man
3.2 Characters with Caricatured Traits
3.2.1 Mr.and Mrs.One through Six－characters without identified traits
3.2.2 Boss,Policeman and Fixer－characters with social functions
3.2.3 Head－the personification of decapitation phobia
Chapter Four EXPRESSIONIST TECHNIQUES IN MANAGEMENT OFLANGUAGE
4.1 Incoherent and Prolonged Monologue
4.1.1 Repetition of numbers in monologue
4.1.2 Recurring topics in monologue
4.2 Staccato and Inane Dialogue
4.2.1 Staccato dialogue with rapidly shifting topics
4.2.2 Inane dialogue with identical sentence patterns
Chapter Five EXPRESSIONIST TECHNIQUES IN ARRANGEMENT OFPLOT
5.1 Episodic Plot
5.1.1 Episodic nature embodied in overall sequence of scene
5.1.2 Episodic nature reflected on fragmented narration of sexualrepression
5.2 Cyclical Plot
5.2.1 Cyclical presentation of Mr.Zero’s life pattern
5.2.2 Cyclical manifestation of Mr.Zero’s mental state
Chapter Six EXPRESSIONIST TECHNIQUES IN DESIGN FOR STAGESPECTACLE
6.1 Eccentric Stage Settings
6.1.1 Confined locales in the real world
6.1.2 Depressing locales in the afterlife
6.2 Exaggerated Stage Props
6.2.1 The large cage in the courtroom
6.2.2 The gigantic adding machine
6.3 Horrible Background Sounds
6.3.1 The discordant noises
6.3.2 The sharp clicking of an adding machine
Chapter Seven CONCLUSION
WORKS CITED
【參考文獻(xiàn)】：
期刊論文
[1]《加算器》中機(jī)器文明與人性的對(duì)立[J]. 馬禮霞. 芒種. 2014(02)
[2]《加算器》的表現(xiàn)主義特征[J]. 陳紅,楊洋. 安徽文學(xué)(下半月). 2012(01)
[3]解讀存在主義悲劇《加算器》[J]. 郝燕. 北京第二外國(guó)語學(xué)院學(xué)報(bào). 2007(10)
本文編號(hào)：3514838
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