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曹禺的戏剧创作从一开始就力图体现出与一般剧本迥然不同的展开方式和叙述方式,这种展开方式和叙述方式与其说是戏剧的不如说是小说的。曹禺是用小说叙述的方式来建构其独特的戏剧体格,戏剧之“体”与表现之“式”的错落参差,是曹禺戏剧的艺术特色和风格个性的一个重要方面,也是他的剧作长久地保持现代性魅力的奥秘之所在。曹禺耽溺于刻画错综复杂的人物关系,揭示复式的主题,自身主体意识在人物刻画中时显突破欲望,剧情交待常用第三人称策略。这种小说方式的展开使得曹禺戏剧走上了符合现代艺术规律的路径,同时也是他在新中国历史条件下总是进入不了状态的深刻原因
From the outset, Cao Yu’s drama creation endeavored to embody a very different way of deploying and narrating than that of a general script. This way of deploying and narrating is not so much a drama as it is a novel. Cao Yu is the way of narrating novel to construct his unique drama style. The “style” of the “body” and performance of Cao Yu is an important aspect of the artistic characteristics and style and individuality of Cao Yu’s drama. The mystery of maintaining the charm of modernity lies. Cao Yu indulges in depicting the intricacies of the relationship between the characters to reveal the theme of the compound, his own subjective consciousness in the portrayal of characters was significantly destructive, the plot confesses commonly used third-person tactics. The opening of this novel makes Cao Yu’s drama embark on a path that conforms to the laws of modern art and is also the profound reason why he always can not enter the state under the conditions of New China’s history