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记忆是贝克特戏剧的重要主题之一。本文通过对其早期四部剧作《等待戈多》、《终局》、《克拉普的最后一盘录音带》和《快乐的日子》里的记忆呈现进行考察,指出贝克特不仅在文本上对记忆的可靠性进行了根本性颠覆,而且在舞台叙事、表演方面借助元戏剧等手法和在舞台空间中对现代科技的运用与反思实现了记忆在实际操作层面上的创新,体现了从现代主义向后现代主义“记忆”的过渡。
Memory is one of Beckett’s major themes of drama. This article examines the memory presentations of his early four plays “Waiting for Godot,” “Finals,” “The Last Tape of Krapp,” and “Happy Days,” pointing out that Beckett is not only a writer of textual memories Reliability has been fundamentally subversive, but also in the stage of narrative, performance with the help of meta-drama and other techniques and the use of modern science and technology in the stage space and reflection on the actual implementation of the memory level of innovation, reflects the backwardness from modernism Modernism “memory ” transition.