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戏剧作品要在有限的剧场空间里揭示深刻丰富的社会人生世相,就须使剧场小舞台演绎为人生大舞台。因此,剧作家对“人”与“戏”关系的处理便显得尤为重要。曹禺早期戏剧能够依据角色性格发言行动,突出合乎角色情感逻辑的细节,展示角色间互为作用力的关系,这是剧作家依托“人”“戏”关系成功营造“剧场性”的关键。曹禺后期的剧作,在人物塑造以及剧情建构方面与前期相比则呈弱化之状,由此造成的审美萎缩,值得深思。
To reveal the deep and rich world of social life in a limited theater space, theatrical productions must make theatrical theater perform as a stage of life. Therefore, the dramatist’s treatment of the relationship between “people” and “opera” is particularly important. Cao Yu’s early plays can act according to the character of the character, highlight the details of the emotional logic of the character and show the interaction between the characters. This is the reason why the playwright has successfully created the relationship based on the “” “” "key. The drama of Cao Yu’s later period showed a weakened form compared with the previous period in the characterization and plot construction. The aesthetic shrinkage caused by this is worth pondering.