再谈正剧——试论博马舍对狄德罗的承继与超越

发布时间：2018-04-21 17:34

本文选题：正剧 + 博马舍　；参考：《戏剧艺术》2017年04期

【摘要】：作为西方戏剧理论话语体系里的重要概念,"正剧"在中国当代戏剧理论界向来是语义不清的模糊存在。作为严肃剧理论的创始者,狄德罗被视为正剧理论的开山鼻祖。甚至,严肃剧理论被等同于正剧理论本身。如果说狄德罗的严肃剧理论以其划时代的理想戏剧图景成就了一套崭新的戏剧理论原则,他的严肃剧创作实践却令人惋惜地宣告了失败。然而,理论与实践的强烈反差并没有使新剧种归于消逝,它被继承、发展、超越,衍化成了当代戏剧创作的普遍形态:正剧。实际上,在法国戏剧学界,谈狄德罗必谈博马舍。作为第三个剧种正剧的正式命名者,博马舍凭借开创性的戏剧理念与成功的戏剧实践,对正剧文体的确立及发展做出了关键性的理论贡献。
[Abstract]:As an important concept in the discourse system of western drama theory, "Zhengju" has always been a vague existence in Chinese contemporary drama theory. As the founder of the theory of serious drama, Diderot was regarded as the founder of the theory. Even, the theory of serious drama is equated with the theory of drama itself. If Diderot's theory of serious drama has achieved a new set of theatrical theory principles with his epoch-making ideal theatrical prospect, his practice of serious drama creation has sadly declared his failure. However, the strong contrast between theory and practice does not make the new drama disappear, it is inherited, developed, transcended, and evolved into the universal form of contemporary drama creation: the regular drama. In fact, in French theatrical circles, talking about Diderot must talk about Bohmatcher. As the official nomenclator of the third kind of play, Bohmatcher made a key theoretical contribution to the establishment and development of the style of the play with his groundbreaking drama idea and successful drama practice.
【作者单位】：厦门大学法语系;
【基金】：中央高校基本科研业务费专项资金(项目编号:20720171050)资助~~
【分类号】：I565.073

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