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在《美学》中,黑格尔指出,“在艺术所用的感性材料之中,语言才是惟一的适宜于展示精神的媒介,和木,石,颜色和声音之类其他感性材料不同”。观察黑格尔此处论述的语境,其论述对象是“戏剧体诗”。他称它是诗(语言艺术)乃至一般艺术的最高层,因此他的论断自然也是对戏剧艺术原则的一种概括。而随着理性在20世纪受到空前反思,语言在戏剧中的要害地位遭遇了危机。20世纪30年代,法国阿尔托在戏剧
In Aesthetics, Hegel points out that “among the perceptual materials used in art, language is the only media suitable for the show spirit, different from other perceptual materials such as wood, stone, color and sound.” Observe the context Hegel discusses here, and its object of discussion is “drama poem.” He described it as the highest level of poetry (language arts) and even general art, so his assertion is, of course, a generalization of the principles of drama art. With the unprecedented rethinking of rationality in the 20th century, the critical position of language in the drama has encountered a crisis. 1930s, France Aalto in theater