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六七十年代以来,西方戏剧理论的发展有两个鲜明特点。第一,理论界不再是只由一两个重要戏剧理论家,一两种重要理论流派一统天下。这在相当程度上是因为第二,新戏剧理论的出现,它的体系、论点和方法,越来越多地受到当代西方文论各流派的影响。当代西方文论领域的繁复,造成了当代戏剧理论的同样的繁复。虽然,戏剧作为一种文学样式,与其他文学样式相比,自有其特殊性,例如,其情节主要在对话中展开,其意义功能必须在同接受者的交流中才能得到实现等等。由此,戏剧以及戏剧理论成为各文艺理论“用武之地”的时间,往往比其他文学样式及相关理论要晚一些。然而,它受到的影响仍然相当深刻。在这些文论影响下的戏剧理论,又反过来丰富、发展了当代的文艺理论。由于当代西方文论各主要流派的出发点和研究方略各不相同,对戏剧理论的影响也不一样,这主要表现在研究领域的不同侧重以及同一领域内不同的切入角度等等。
Since the 1960s and 1970s, the development of western theater theory has two distinctive features. First, theorists no longer dominate the world with only one or two major theatrical theorists and one or two major theoretical schools of thought. This is due in large part to the emergence of the second and new theory of the theater, whose systems, arguments and methods are increasingly influenced by the schools of contemporary Western literary theory. The complexity of the field of contemporary western literary theory has created the same complexity of contemporary dramatic theory. Although drama as a literary style has its peculiarities in comparison with other literary styles, for example, its plot mainly unfolds in dialogue, and its meaning and function must be realized through communication with the receiver. As a result, drama and theater theory have become the “invading places” of various literary theories, which are often later than other literary styles and related theories. However, its impact is still quite profound. In the literary theory under the influence of these theatrical theory, in turn, enriched and developed contemporary literary theory. Since the starting schools and research strategies of the major schools of contemporary Western literary theory vary from one school to another, the impact on drama theory is also different. This is mainly reflected in the different focuses of research fields and the different angles of entry in the same field.