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论文通过研究被誉为“奇卡诺戏剧之父”的美国当代少数族裔剧作家路易斯.瓦尔德兹不同创作时期的主要代表作品,分析各时期的戏剧形式技巧与主题内容的特色,从而探寻瓦尔德兹近半个世纪戏剧创作的发展轨迹。从《潘乔.比利亚的僵尸头》到《石化鹿》,瓦尔德兹的戏剧经历了不断拓宽视野,形式多元化和角色塑造逐渐内化的艺术转变。形式风格的创新与主题内容的扩展互为补充、相得益彰。他对奇卡诺文化身份的书写经由排斥到兼容,诉求固定、整体的文化身份到动态、多元化的文化身份。他将传统与现代、族裔与非族裔、戏剧与非戏剧的艺术形式巧妙地融为一体开创了一种独特的戏剧艺术风格,对奇卡诺戏剧乃至整个美国当代戏剧影响深远。
By analyzing the main representative works of Louise Valdez, the contemporary American minority opera playwright hailed as the “Father of Chicanox”, this thesis analyzes the characteristics of the dramatic form skills and thematic contents in each period, So as to explore the development path of Valdez’s dramatic creation in the past half century. From Pancho Villanor’s Zombie Head to Petrified Deer, Valdez’s drama has undergone an artistic transformation that broadens its horizons, diversifies its forms and gradually internalize its role. The formal style of innovation and the expansion of the subject content complement each other, complement each other. His writing of Chicano’s cultural identity has been through a dynamic and pluralistic cultural identity that excludes compatibility with a fixed, holistic cultural identity. His ingenious blend of traditional and modern, ethnic and non-ethnic, theater and non-theater art forms a unique style of dramatic art that has far-reaching implications for both Chicagan’s drama and even the entire American contemporary drama.