布莱希特视野中的中国戏曲表演

发布时间：2018-03-16 09:15

本文选题：布莱希特　切入点：中国戏曲　出处：《安徽大学》2012年硕士论文　论文类型：学位论文

【摘要】：布莱希特是德国一位进步的戏剧家,布莱希特的主张是观众需要带着理性看戏,观众与演员之间需要“间离”,演员和角色之间也需要“间离”,“非亚里士多德的戏剧”提倡需要观众去认识世界、带着理性的态度去评价世界。戏剧不应该再像“戏剧性戏剧”那样,为了模仿一个完整的行动和在舞台上营造一个身临其境的外在环境为指归。戏剧应该引导着观众们走出正在发生的“真实事件”,引发观众思考戏剧背后的那些人、那些事。本文重点分析布莱希特如何辩证的去借鉴中国传统戏曲,同时剖析两种戏剧观的碰撞给布莱希特带来创作上的灵感。期望通过分析,对我国戏曲发展和布莱希特戏剧有进一步的理解起到一定推动作用。绪论主要介绍本次论文选题的缘起、研究的目的和现阶段国内外研究状况的评述。第一章主要论析布莱希特对传统戏剧模式的认识,以及中国戏曲结构方法,尤其是戏曲的叙事成分对自身的启示。第二章主要分析“第四堵墙”的由来以及倡导者易卜生、斯坦尼的戏剧观。再对布莱希特对“第四堵墙”所存在问题的分析进行审视。并将其“间离法”与中国戏曲演剧方式进行比较以及布莱希特演剧方法的困境。第三部分从写实布景不适应审美和布莱希特的舞台设计出发,论述中国戏曲虚拟性及其背后的美学观。戏曲舞台公开承认这就是一个表演的场所,我们是在剧场里观剧,所以戏曲是“有规则自由行动”的艺术。结语对全文观点进行总结,对本文研究的不足进行了说明。
[Abstract]:Brecht, a progressive German dramatist, argued that the audience needed to see the play with reason. There is a need for "separation" between the audience and actors, between actors and characters, and between "non-Aristotelian dramas", which advocates the need for the audience to understand the world. Judge the world with a rational attitude. Drama should no longer be like dramatic drama. In order to imitate a complete action and create an external environment on the stage, drama should lead the audience out of the "real events" that are taking place, and arouse the audience to think about the people behind the drama and those things. This paper focuses on how Brecht dialectically draws lessons from Chinese traditional opera, and at the same time, analyzes how the collision of two kinds of dramatic views brings inspiration to Brecht's creation. Play a certain role in promoting the development of Chinese opera and the further understanding of Brecht drama. Introduction mainly introduces the origin of the topic, the purpose of the study and the current domestic and foreign research situation. The first chapter mainly discusses Brecht's understanding of the traditional drama model, and the structure of Chinese opera, especially the narrative elements of the opera to their own enlightenment. The second chapter mainly analyzes the origin of "4th Wall" and the advocate Ibsen. The author examines Brecht's analysis of the problems existing in "4th Wall" and compares it with the Chinese opera style and the dilemma of Brecht's acting method. The third part discusses the fictitious nature of Chinese opera and its aesthetic outlook from the point of view that realistic scenery is not suitable for aesthetics and Bleecht's stage design. The opera stage openly admits that this is a place for performance, and we are watching drama in a theater. So opera is the art of acting with rules. The conclusion summarizes the point of view and explains the deficiency of this paper.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J812

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