摘要
赖声川的话剧《暗恋桃花源》自1986年问世以来,一直以其经久不衰的艺术魅力吸引着广大观众,在国内外的戏剧界都享有很高的声誉。作为布莱希特戏剧理论本土化的成功范例,《暗恋桃花源》通过对间离效果的反复应用,打破了传统戏剧的完整性幻象,让观众在时空交错、悲喜交融的戏剧结构中成为了能动的观察者,既参与了故事的解构,又完成了戏剧的重构。《暗恋桃花源》因此走向了一个新的艺术高度,带给观众一种全新的观戏感受。
Since the launch of Stan Lai＇s drama ＂The Peach Blossom Land＂ in 1986, its enduring artistic charm has kept attracting a large number of audiences, and enjoys a high reputation both at home and abroad. As a successful example of the localization of Breeht＇s drama theory, through the repeated application of Alienation Effect, ＂The Peach Blossom Land＂ breaks the integrity of traditional drama, making audience become active observers. In such a drama structure which blends time and space with various feelings, people not only take part in the deconstruction of the story, but also complete the reconstruction process together with the director. Therefore, this drama has reached a new artistic height, as well as brings a fresh feeling to audiences.
出处
《浙江工商职业技术学院学报》
2014年第2期42-46,共5页
Journal of Zhejiang Business Technology Institute
