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布莱希特“间离”理论视角下我国古代戏曲的演述方式研究
Study on the Presentation of Ancient Chinese Opera from the Perspective of Brecht’s “Separation” Theory
  
DOI:
中文关键词:  “间离”理论;演述;剧场交流;演述时空
英文关键词:theory of "separation"; presentation; theater exchange; presentation of space-time
基金项目:四川戏剧 2017-03-02 10:00
作者单位
王丹丹 中山火炬职业技术学院 
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中文摘要:
      以布莱希特“间离”戏剧理论反观我国古代戏曲,可见剧中人念诵后世诗词、引用后世称谓等“错位”现象,及剧作家通过场上演述者身份的转变或娱乐观众,或借演述者之口进行评论干预,都是造成“间离”的重要方式。我国古代戏曲“间离”特征的形成有“文”与“艺”两方面的原因,“文”体现在剧作家逞才使能和“不平则鸣”的创作动机驱使,“艺”则体现在戏曲借鉴和吸收说唱艺术激发观众参与和审美的方式。
英文摘要:
      In the light of Brecht's theory of "separation" of drama, we can see the phenomenon of "dislocation" of people chanting later generations’ poems and quoting later generations’ titles.Other important ways to cause "separation" include changing presenters’ identities to entertain the audiences by the dramatists, or inserting comments made by the presenters. The reasons for the formation of characterized "separation" in ancient Chinese drama fell into two aspects, namely"Wen" and "Yi". "Wen" was driven by the creative motivation of the dramatist who desired to succeed but came across injustice which resulted in an outcry. "Yi" was embodied in rap art which was learned and absorbed to stimulate audiences’ participation and aesthetics .
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