摘要
戏剧与真实的关系是西方悲剧绕不开的命题,本文在西方悲剧传统中梳理出一支极富戏剧表演性特征的“非常态”人物征象:小丑、疯癫、假面。在对其在悲剧中的外在表现、内在功能和意义进行纵与横、分与合的多视角剖析的基础上,指出其实质是西方传统狂欢意识遭遇理性与秩序而导致的弱化与退缩,在悲剧理论中则表现为“崇高”与“怜悯”的统治性地位对狂欢意识的挤压与驱逐。
The relation between drama and reality is an indispensable motif of western tragedy. The paper sorts out a series of ＂abnormal＂ image symptoms featuring western tragedy tradition, i.e. fool, insaneness and mask. Based on analyses of vertical and horizontal, divided and joint perspectives on their performance, inner function and meaning in the tragedy, the paper points out that it is essentially weak and flinch western tradition of revelry confronting sense and order. And in tragedy theory, it appears as dominated ＂sublime＂ and ＂sympathy＂ pushing and expelling the revelry consciousness.
出处
《浙江艺术职业学院学报》
2005年第4期67-72,共6页
Journal of Zhejiang Vocational Academy of Art
关键词
非常态
征象
小丑
疯癫
假面
abnormal
symptom
fool
insaneness
mask
