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本文通过对徐渭名作《四声猿》的取名、主题、人物及结构等方面进行具体分析,认为该作品带有非常鲜明的荒诞色彩。并通过分析李渔的戏曲剧本《怜香伴》中的新奇结构和主题,进一步证明了“荒诞性”元素很早就已经存在于中国古典戏曲作品中。最后,笔者还简单介绍了一些西方荒诞派戏剧的主要特色,并与中国戏曲作品中的荒诞色彩做了主题、表现形式、人物塑造等几个方面的对比。本文试图从历来存在争议的作品中挖掘出新的审评角度和价值,丰富这一领域的研究现状,同时进一步肯定它们对于后世剧作者创作的启示意义和深远影响。
This article analyzes the name, theme, characters and structure of Xu Wei ’s famous masterpiece “Siyao ape”, and thinks it is very distinct and absurd. Through the analysis of the novel structure and theme of Li Yu’s drama script “Resentment”, it further proves that the element of “absurdity” already existed in Chinese classical operas. Finally, I briefly introduced some of the main features of the Western Absurd Drama, and made contrasts with the absurdity in the Chinese operatic works in such aspects as theme, form of expression and characterization. This article attempts to dig out the new angle and value of the review from the controversial works, enriching the research status in this field and further affirming their enlightenment and far-reaching influence on the writers of later generations.