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20世纪四方现代派戏剧在整个世界戏剧发展史上,无异于奇峰突起。与西方传统戏剧,甚至自然主义戏剧、现实主义戏剧不同,它不再是对传统戏剧继承基础上加以局部的改造,而是带着一种决然的道德义愤,坚决地站在传统戏剧,尤其是商业戏剧或大众戏剧的对立面,要求推翻以往戏剧种种程式重新回归戏剧的原初。在经过整个20世纪的象征主义、表现主义、布氏“史诗戏剧”、残酷戏剧、贫困戏剧以及荒诞戏剧等种种探索之后,现代派戏剧又如同其初生时突然崛起那样,轰然瓦解,归于沉寂。其整个发展历史显示出一种突兀感,发展面貌也纷纭复杂、路径多端。然而,在各个戏剧流派你方唱罢我登场的运动中,有没有一个稳定的内在艺术逻辑作为支撑和线索贯穿始终?现代派戏剧运动是不是如以往理论那样仅仅被归于19世纪末现代主义思想或现代主义哲学兴起后的衍生物?这一运动在20世纪末、21世纪初的终结是否也是这一逻辑的必然?这正是本文想要解决的主要问题。
In the history of theater development in the entire world, the 20th century Quartet modernist drama is no different from that of Qifeng. Unlike the traditional Western drama and even the naturalistic drama and the realistic drama, it no longer rebuilds the traditional drama on the basis of local reconstruction, but takes a resolute moral indignation and resolutely stands in the traditional theater. In particular, The opposite of commercial theater or popular theater calls for the overthrow of all the previous programs of theater to return to the origin of drama. After all the explorations of symbolism, expressionism, Brigitte’s “epic drama”, brutal drama, impoverished drama and absurd drama throughout the 20th century, the modernist drama, like its sudden rise at birth, collapsed into silence. The entire history of development shows a sense of incongruity, and the development face is also complicated and has many paths. However, is there a stable internal logic of art as a support and a clue throughout the campaigns in which each of your theatrical genres sing my debut? Is not the modernist theater movement merely ascribed to modernist thinking in the late 19th century Is the derivative of the rise of modernist philosophy? Is the end of the 20th century or early 21st century also a logical necessity? Is this the main issue that this paper wants to solve?