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《过士行剧作论》
时间:2011-03-06 浏览次数:1651次 无忧论文网
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戏剧戏曲学
现当代话剧现当代话剧
    上世纪90年代以来,过士行可以说是中国当代剧坛中一个不同凡响的独特存在。他的作品引起了来自不同方面的批评,建于这些批评中存在观点的混乱乃至互相冲突的状况,一种比较全面的、客观的研究,显得十分必要。
    笔者认为,过士行的作品所体现的不同侧面都具有一种浓郁的民间性话语的特点。全文从以下四个方面论述这个问题。
    第一章,从过士行特殊的身世、经历入手,研究作家的民间化立场的形成,并探讨民间化立场和文本中的对象世界的关系。
    第二章,研究狂欢体戏剧诗学的特征并探讨其结构和功能与主题思想的关系。过士行的诗学,是一种粗俗的、调侃的、民间文学风格的表达形式,这是一种狂欢体戏剧,他具体包括狂欢体戏剧结构和生命仪式的功能这两个方面。
    第三章,对两个方面的问题进行阐述,一方面,探讨京油儿语言的特征和这种语言的不及意义性;另一方面,探讨了粗鄙美学与“天人合一”总体世界观的关系。
    第四章,对过士行笔下的对象世界进行分析,具体区分了表现语义的三个世界,即边缘的闲人世界、游乐、竞技的准江湖世界以及底层的排泄世界。
    过士行的戏剧诗学对“传统”形成了破坏,对传统戏剧观念提出了挑战。他在主题、诗学、语言、美学等方面的创新,不仅为创作提出新的思路,带来新的气象,也为戏剧的基础理论提出新的课题。
     [英文摘要]:        Guo shixing, the particular person in China current theatrical fields since 1990s, whose works give rise to many criticisms from different aspects. Due to the confusion and conflict among the criticisms, it is necessary to conduct a comparatively comprehensive and external research.
    In the author’s opinion, the different sides embodied in Guo shixing’s works all include the characteristics of folk language. This paper will discuss the topic from four aspects as followed.
    Chapter One, start with Guo shixing’s special origin and life experience, study the formation of his folk standpoint, and discuss the relationship between folk standpoint and object world in text.
    Chapter Two, study the characteristics of carnival drama and discuss the relationship between structure & function and central idea. Guo shixing’s poetics is an expression of a vulgar, joking and folk literature style, which is a kind of carnival drama and includes two aspects, i.e. carnival drama structure and life ceremony’s function.
    Chapter Three, discourse on two problems, one is to discuss the characteristics of Beijing words and its no meaning’s nature; the other is to discuss the relationship between vulgar aesthetics and the general world view of “union of nature and human”.
    Chapter Four, analyze the object world written by Guo shixing, and classify three specific worlds, i.e. idler world, pleasure & athletics world, and rock-bottom excretion world, all of which represent semantics.
    Guo shixing’s drama destroy the “tradition”, fling down a challenge to the conventional drama concept. His innovation in topic, poetics, language, aesthetics, etc. not only provides new reason for inditement, and brings new whether, but also proposes new task for drama’s fundamental theory.
        
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