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恩格斯要求未来的戏剧应当达到“巨大的思想深度和意识到的历史内容,同莎士比亚的情节的生动性和丰富性,这三者完美的融合”。这段论述表明了情节的生动性和丰富性在整个戏剧创作中具有的重要作用。高尔基也曾经给情节下过这样的定义:情节,“即人物之间的联系、矛盾、同情、反感和一般的相互关系——各种不同性格、典型的成长和构成的历史。”可见,情节不是一个单纯的技巧问题,而是现实主义创作方法问题。情节与人物性格的密切关系,不仅在于它是性格冲突所产生的结果,而且更重要的它是深化性格冲突和塑造人物的手段。因此,可以
Engels demanded that the future drama should reach “a huge ideological depth and a conscious historical content that is perfectly integrated with the vividness and richness of Shakespearean plots.” This essay shows that the vividness and richness of the plot play an important role in the entire drama creation. Gorky once also defined the episode as follows: the episode, “that is, the connection, the contradiction, the sympathy, the disgust, and the general interrelationships between characters - the histories of different personalities, typical growth and composition.” It can be seen that plot It is not a purely technical question, but a question of the method of creation of realism. The close relationship between plot and character is not only because it is the result of personality conflict, but more importantly, it is a means of deepening personality conflicts and shaping people. So, yes