“陌生化”的诱惑:《我如何学会驾驶》的叙事表演策略

发布时间：2018-01-05 03:31

  本文关键词：“陌生化”的诱惑:《我如何学会驾驶》的叙事表演策略　出处：《四川戏剧》2016年05期 　论文类型：期刊论文

  更多相关文章： 《我如何学会驾驶》 保拉·沃格尔 “陌生化” 叙事策略

【摘要】：《我如何学会驾驶》是美国当代女剧作家保拉·沃格尔的代表作。剧中,沃格尔采用了多种"陌生化"技巧,从而使作品表现出独特的艺术魅力。全剧通过史诗式与电影式相融合的多元叙事模式,将扭曲的不伦恋情、破碎的创伤记忆和深刻的性别政治曲折地表现出来,并用碎片化结构再现了创伤化的剧情。在舞台表演中,通过一个演员串演多个角色,角色走出剧情与观众交流以及哑剧表演等手段,使演员、角色、舞台事件及观众之间始终保持了动态距离。此外,贯穿始终的喜剧幽默对抗并超越了创伤悲剧,既是剧中女主人公的生存策略,也成为剧作家引诱观众进入其戏剧世界的重要手段。
[Abstract]:< > is how I learned to drive on behalf of the American contemporary female playwright Paula Vogel Vogel. The play, using a variety of "Defamiliarization", so that the works show a unique artistic charm. The multiple narrative mode through the integration of the epic and film style, the twisted, broken love, traumatic memory and gender politics profound tortuous manifested and fragmented structure of the representation of the trauma plot. In the stage show, by an actor to perform multiple roles, the role of the story out of communication with the audience and mime and other means, the actor role between stage events and the audience has always maintained a dynamic distance. In addition, throughout the comic confrontation and Transcendence of the trauma tragedy is the heroine's survival strategy, has become the important means to lure the audience into the theater playwrights in the world.

【作者单位】： 中国矿业大学外国语言文化学院;
【分类号】：I712.073
【正文快照】： 美国当代女剧作家保拉·沃格尔深受布莱希特“陌生化”理论的影响,从处女作《苔丝狄蒙娜:一个手绢的故事》开始,就采用非连续情节及电影剪辑手法,颠覆了《奥赛罗》中的男性叙事。在剧作《巴尔的摩圆舞曲》《连孩子七个》《狂热与悸动》中,她将“弥漫于文化中却被视为禁忌”1的，

本文编号：1381408