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斯坦尼斯拉夫斯基、布莱希特、梅兰芳各以其自身的演剧风格形成了并行于世的三大演剧体系。既往的研究侧重对三大演剧体系的艺术特色和风格进行分析。本文则从符号学角度对三大演剧体系进行尝试性解读;从三大演剧体系的主要特征入手,结合符号的能指、所指关系,分析三大演剧体系舞台符号能指、所指离合的不同特征,并进而结合文化符号学的视角,分析三大演剧体系的交流融通。
Stanislavski, Brecht, and Mei Lanfang each formed three parallel theatrical systems in parallel with their own style of drama. Past studies have focused on the analysis of the artistic features and styles of the three major theater systems. This article attempts to interpret the three major theater systems from the perspective of semiotics. Starting with the main characteristics of the three major theater systems, combining the signified and signified relations, Refers to the different characteristics of the clutch, and then combined with cultural semiotics point of view, analysis of the three major drama system of communication and accommodation.