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二战结束后的几十年内,在几代剧作家、导演、演员、剧评家的共同努力下,德国戏剧无论是在戏剧流派、戏剧理论、表演理念和舞台设置上都取得了长足的发展。其中,寓意剧作为一种古老的戏剧形式,在战后百废待兴的德国戏剧舞台重获新生,并对欧洲乃至世界戏剧的发展产生了重要影响。笔者从众多德文原著与中文译著中收集、整理了有关1945年后德国剧坛状况的资料,结合寓意剧的代表作家与前瞻性作品,进一步探讨寓意剧的特点。文中还涉及一部分1945年后瑞士、奥地利的戏剧家和作品。文中涉及的作家和作品名称大都根据范大灿译的《联邦德国文学史》和余匡复的《德国文学简史》进行翻译,由于资料有限,有些作品未能找到已有定论的译名,因此由笔者暂译。
In the decades after World War II, with the joint efforts of generations of dramatists, directors, actors and critics, the German drama has made great strides both in the genre of theater, the theory of drama, the concept of acting, and the stage settings. As an ancient form of drama, the drama of allegory plays an important role in the development of drama in Europe and the world after the war. The author collects and organizes information on the status of the German theater scene after 1945 from many original German and Chinese translations and further explores the characteristics of the drama by combining the representative writers and forward-looking works of the drama. The article also covers part of the dramas and works of Switzerland, Austria after 1945. Most of the writers and works involved in this article are translated according to Fan Daycan’s “History of Federal German Literature” and Yu Kuangfu’s “A Brief History of German Literature”. Due to limited information, some works have failed to find the translation of the existing conclusion. Therefore, .