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曹禺剧作中的悲剧人物大致可分为两类:第一类是受压迫受剥削的劳动者及下层民众;第二类是统治阶级营垒中遭压抑、受毒化的人。通过这两类人物,曹禺既表现人的对于生命价值和起码生存权利的追求,更着重表现心灵的欲望和精神自由的追求。无论是“肉”的要求还是“灵”的追求,在黑暗现实的巨轮碾压下都遭到摧残和扼杀,被无情地毁灭了。“走向极端”的大悲大恸是曹禺对悲剧艺术的特定追求,他的悲剧往往着力表现具有深刻和普遍意义的大冲突和剧烈的矛盾。这种矛盾冲突具有极端尖锐、不可调和和折衷的性质,呈现出“雷雨”式暴烈激荡的特点。
The tragedies in Cao Yu’s plays can be divided into two categories: the first is the oppressed, exploited laborers and the lower classes; the second is the repressed and poisoned people in the ruling class camp. Through these two types of people, Cao Yu not only shows people’s pursuit of the value of life and the minimum right to life, but also focuses on the pursuit of spiritual desire and spiritual freedom. Both the request of “meat” and the pursuit of “spirit” were cruelly and strangled by the wheel of dark reality and were mercilessly destroyed. The “Great Extremism” with “going to the extreme” is Cao Yu’s specific pursuit of tragedy art. His tragedies are often focused on showing great conflicts and drastic contradictions with profound and universal significance. This contradictory conflict has extremely sharp, irreconcilable and eclectic nature, showing a “thunderstorm” type of violent turmoil.