叶芝的戏剧与日本的能剧（英文）

发布时间：2018-04-11 13:23

本文选题：叶芝 + 能剧　；参考：《外国文学研究》2016年02期

【摘要】：叶芝对日本能剧有其独到的见解。在他看来,能剧不是对人类的模仿,而是对符号的模仿;剧中人物不是圆形的、可靠的,他们的识别力不会加深,他们不过是面具、是木头雕刻出来的装上了四肢的意符;能剧是借助于游走的石壁画实现对宗教的服侍,指向现实世界之外的真理。在能剧中,鲜有材料堪称故事,已然简约至极的动作常常伴随也借助于高潮性的舞蹈,因而戏剧动作旨在引向启示,因而能剧中的动作没有时间的纵深,只是认知的瞬间、变形的刹那,被艺术性地延长了。基于上述观点,本文以《骸骨之梦》、《艾玛的唯一妒忌》、《库胡林之死》等剧作为例,对叶芝的能剧进行了解读。
[Abstract]:Yeats has a unique view of Japanese drama.In his opinion, the play is not a imitation of human beings, but a imitation of symbols; the characters are not round and reliable, and their recognition will not deepen. They are merely masks, carved out of wood with signifiers of limbs;Neng drama is to serve religion with the help of wandering stone wall paintings, pointing to the truth outside the real world.In Neng drama, there is little material to be called a story, and the already minimalist movements are often accompanied by orgasmic dance, so the dramatic action is intended to lead to enlightenment, so that the action in the play has no time in depth, but only a moment of cognition.The moment of deformation was artistically prolonged.Based on the above views, this paper makes an interpretation of Yeats's Neng Opera by taking "Dream of Skeleton", "Emma's only jealousy" and "the death of Kuchoulin" as examples.
【作者单位】：韩国汉阳大学;
【基金】：韩国国家研究基金资助项目“叶芝:东方和西方”【项目批号:NRF-2014S1A2A2028665】汉阳大学资助课题【项目批号:HY-2013-N】的阶段性成果~~
【分类号】：I562.073

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