| （摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 迪伦马特是第二次世界年夜战后享有世界荣誉的瑞士剧作家，被誉为“继布莱希特以后最主要的德语戏剧天赋”，他创作了一系列具有神怪作风的悲悲剧，德语毕业论文，以悲剧的情势来表示喜剧的主题，惊动1960年月的欧洲剧坛，促进了二战后德语戏剧的繁华。上个世纪80年月，迪伦马特的戏剧被引见到中国后，德语论文，对中国现代戏剧的成长发生了较年夜的作用。中国国度话剧院编剧过士行是深受迪伦马特作用确当代剧作家之一。本文将从神怪作为切入点，剖析迪伦马特在戏剧不雅与创作手段上两个层面上对过士行发生的作用。一方面，过士行从迪伦马特的戏剧中发明了悖论后自发用悖论的眼力去对待人生的窘境，提出用“寓言剧”来废除一种思想定式和观赏形式，发明一种新的存在；另外一方面过士行进修、自创了迪伦马特戏剧中的神怪表示手段，在他的戏剧里发明了一个诡谲多变的世界。过士行与迪伦马特身处器械方分歧的文明语境，因此他们的著作在内容与情势方面都有所分歧。因此，他们戏剧中的神怪手段也存有差异的地方。过士不只进修和自创迪伦马特戏剧中的神怪手段，还进一步拓展了神怪手段的详细手腕。 Abstract: Duerrenmatt is the second world wars after the world to enjoy the honor of Swiss dramatist, was known as "following the Brecht later the main German theatrical talent", he created the series with fantasy style of sad tragedy, tragic situation to represent a comedy theme, alerted the 1960s European theater, promoting the prosperous of German drama after World War II. In the last century 80 years, Matt Dylan's drama was introduced to China, the development of Chinese modern drama has a greater impact. China National Theatre playwright Guo Shixing is one of the popular Dylan Matt effect current generation playwright. This paper will from the genie as the breakthrough point, analysis of Duerrenmatt in drama indecent and creation means two levels of Shixing effect. On the one hand, Shixing from dylanmatt drama invented the paradox after spontaneous with a paradox of the eye to treat the life dilemma, put forward "allegory" to abolish a thinking formulary and ornamental forms, invent a new existence; Shi, study on the other hand, invented dylanmatt drama in the genie said means, in his drama invented a savvy world. Guo and Matt Dylan in the instrument side differences in the cultural context, so their works in the content and situation have different. Therefore, there are also similarities and differences in their play means genie place. Some scholars not only learning and drawing on Dylan Matt in the drama of supernatural means, but also further expand the genie with wrist means. 目录: 中文摘要 3-4 Abstract 4 引言 6-8 第一章 怪诞与西方戏剧 8-17 第一节 怪诞的概念 8-11 第二节 西方戏剧中的怪诞 11-17 第二章 迪伦马特戏剧中的怪诞 17-33 第一节 迪伦马特的戏剧观 17-21 第二节 迪伦马特戏剧中的怪诞手法 21-33 1. 情节的怪诞 22-25 2. 人物的怪诞 25-27 3. 场景的怪诞 27-28 4. 语言的怪诞 28-33 第三章 迪伦马特对过士行的作用 33-55 第一节 过士行的戏剧观 36-39 第二节 过士行戏剧中的怪诞手法 39-55 1. 情节的怪诞 39-44 2. 人物的怪诞 44-46 3. 场景的怪诞 46 4. 语言的怪诞 46-53 5. 多种手法的混用 53-55 结语 55-56 参考文献 56-60 攻读学位期间公开的论文 60-61 致谢 61 |
