莎士比亚戏剧幻觉的产生

发布时间：2018-11-16 07:21

【摘要】：对莎士比亚戏剧的批评存在着以剧本为中心的倾向,这一倾向将戏剧等同于剧本来研究,从而忽视了莎士比亚时代戏剧剧场的特性和观众的观看方式。然而,一方面,莎士比亚戏剧是为当时的伸出式舞台剧场而写作的,剧本无疑具有剧场性；另一方面,剧场作为观看的场所和观众戏剧幻觉体验的环境规训着人们的感知方式。因此,本文从莎士比亚时代独特的伸出式舞台剧场入手,考察莎士比亚戏剧观众戏剧幻觉的生成机制和感知方式。本文导论部分在梳理了历来莎评家对莎士比亚戏剧幻觉的定义和看法的基础上将戏剧幻觉定义为自愿持有的、既真又假的感觉幻觉,并摆正了莎士比亚戏剧剧本在剧场戏剧幻觉体验中的位置。本文正文分四个部分展开。第一章“莎士比亚时代的剧场及其观演关系”主要分析了莎士比亚时代伸出式舞台和三面环绕表演区的剧场结构以及这种剧场设置所限定的观演关系。第二章“莎士比亚剧场场面、场景的呈现方式与戏剧幻觉的产生”分析了剧场“空的空间”、语言布景、身体化场景等场面场景的呈现方式,这种呈现方式最大程度地诉诸于观众自身生成戏剧情境,自愿地体验戏剧幻觉。在舞台和观众席的双轴线交流模式下,观众以参与者的眼光观看戏剧。同时莎士比亚时代剧场公共生活独特的交流原则和情感表达方式、观众群体共享经验的特征、“阈限”状态无一不影响着戏剧幻觉的生成。本文第三章“莎士比亚戏剧剧场中的观众与戏剧幻觉的特征”着力分析莎士比亚剧场中观众的感知方式和戏剧幻觉的特征。第四章“莎士比亚戏剧剧本的剧场性与戏剧幻觉的产生和维持”探讨了在特定的剧场和观演关系制约下,莎士比亚的语言和叙事方式在戏剧幻觉产生和维持上的重要意义。诸如隐喻、双关等语言修辞手段通过调动观众的感知促使观众生成戏剧幻觉；而莎士比亚戏剧连续的、交替的场景化叙事维持着观众的戏剧幻觉。通过本文的探寻,我们发现,莎士比亚戏剧幻觉的生成机制在整个西方戏剧剧场的谱系中具有自身的独创性。区别于古希腊剧场的“魔变”,也有别于镜框式舞台剧场的二分和沉默的旁观,这种幻觉体验是身心统一的体验,而且这种幻觉生成方式最大程度激发了观众的想象力、参与感并开掘着他们的创造性。在这种体验中,最具能动性的观众积极参与到戏剧事件中,并不断地生成着、创造着、丰富着自我的体验。
[Abstract]:The criticism of Shakespeare's plays has the tendency of taking the play as the center, which regards the drama as the study of the play, thus neglecting the characteristics of the theatre in Shakespeare's time and the viewing way of the audience. However, on the one hand, Shakespeare's plays are written for the outstretched stage theater at that time, and the play is undoubtedly theatrical; on the other hand, the theater, as a place to watch and the environment of the audience's dramatic hallucination experience, governs the way people perceive it. Therefore, starting with the unique outstretched stage theater in Shakespeare's time, this paper examines the mechanism and perception of the dramatic hallucinations of Shakespeare's audience. In the introduction part of this paper, on the basis of combing the definitions and views of Shakespeare's dramatic hallucinations, the author defines dramatic hallucinations as voluntary, true and false sensory hallucinations. It also corrects Shakespeare's play in the theatrical hallucination experience. The text is divided into four parts. The first chapter, "Theater and its relationship in Shakespeare's time", mainly analyzes the theatrical structure of the outstretched stage and three sides around the performing area in Shakespeare's time and the limited relations between the theatres and the theatrical setting. The second chapter, "Shakespeare theatre scene, the way of scene presentation and the emergence of dramatic hallucination", analyzes the presentation of theatre scenes such as "empty space", "language setting", "body scene", etc. To the greatest extent, it appeals to the audience to create dramatic situations and voluntarily experience dramatic hallucinations. In the dual-axis mode of communication between the stage and the audience, the audience watches the play with the eyes of the participants. At the same time, the unique principles of communication and emotional expression in the public life of theatres in Shakespeare's time, the characteristics of experience shared by audience groups, and the state of "threshold" all affect the formation of dramatic hallucinations. In the third chapter, "the characteristics of audience and dramatic hallucination in Shakespeare's theatrical theatre", the author analyzes the perception of audience and the characteristics of dramatic hallucination in Shakespeare's theatre. Chapter four, "the theatricality of Shakespeare's plays and the creation and maintenance of dramatic hallucinations", explores the significance of Shakespeare's language and narrative mode in the production and maintenance of dramatic hallucinations under the constraints of the relationship between theatre and performance. Rhetorical devices such as metaphor and pun promote the audience to produce dramatic hallucinations by arousing the audience's perception while Shakespeare's successive alternate narrative of scenes maintains the audience's dramatic hallucinations. Through the exploration of this paper, we find that the mechanism of Shakespeare's dramatic hallucination has its own originality in the whole pedigree of western theatrical theater. Different from the "magic change" of the ancient Greek theater and the dichotomy and silence of the mirror-framed stage theater, this kind of hallucination experience is an experience of physical and mental unity, and the way in which this hallucination is generated has the greatest impact on the imagination of the audience. A sense of engagement and exploitation of their creativity. In this kind of experience, the most active audience takes an active part in drama events and constantly generates, creates and enriches their own experience.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I561.073

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