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布莱希特导演以对亚里士多德戏剧批判为起点,以“批判性模仿”为策略。其导演的终极目标不仅以追求一个新演员为唯一的任务,而且以追求一个新观众为最终目标。本文从导演与剧作家,导演与演员,导演与观众三方面,佐以魏格尔扮演大胆妈妈个案,详细探讨了布莱希特的导演理论。对布莱希特导演理论进行探讨,不仅能摆脱长期以来囿于其剧作与戏剧理论研究形成的困境,而且能为布莱希特与其它导演的对话提供一个平台。
Director Brecht started his critique of Aristotle’s drama as a strategy of “critical imitation.” The ultimate goal of the director is not only to pursue a new actor as the only task, but also to pursue a new audience as the ultimate goal. This article from director and dramatist, director and actor, director and audience, with Weigel playing a bold mother case, a detailed discussion of Brecht’s director theory. Exploring Brecht’s theory of directors not only can get rid of the predicament that his play and drama theory have formed for a long time, but also can provide a platform for Brecht’s dialogue with other directors.