论文部分内容阅读
话剧在我国自“五四”时期始有人进行创作,但是一直到1934年曹禺《雷雨》的出现作为一种艺术形式才臻于成熟。《雷雨》所取得的成就是多方面的,几十年来对《雷雨》的研究也是极其充分的,如关于命运观念,关于人物形象,关于戏剧冲突的主要线索,关于剧作诗化的语言以及剧作的民族化等等。但是同一现象如果用另外一种理论眼光去重新观照,也许会有一些有趣的新发现。我想探讨的是《雷雨》的话剧语言艺术。 还有一点必须先弄清楚。我在本文中的分析主要是针对中学课文《雷雨》(节选)进行的。因此。行文中间常常尽力立足选文,不过偶然也涉及到全文的种种复杂关系。 高尔基说过,“剧本要求每个剧中人物用自己的
Dramas have been created in China since the May 4th period, but it was not until 1934 that the appearance of Cao Yu’s Thunderstorm as an art form was mature. The achievements of “Thunderstorm” are manifold. The study of “Thunderstorm” for decades is also extremely adequate, such as the concept of fate, the image of the characters, the main clues of dramatic conflict, the language of the play’s poetry and The nationalization of the play and so on. But if the same phenomenon is revisited with another kind of theory, there may be some interesting new discoveries. I want to discuss the drama language art of Thunderstorm. Another point must be made clear. My analysis in this article is mainly directed at the middle school text “Thunderstorm” (excerpt). therefore. In the middle of writing, I often try my best to select the text, but accidentally involves all kinds of complex relationships. Gorky said, "The script requires everyone in the play to use his own