摘要
非洲元戏剧的出现与西方元戏剧概念的提出遥相呼应。在汲取了西方元戏剧技巧的基础上,非洲当代戏剧家从社会批判的角度出发,结合本民族的文化特色对戏剧的自我指称、戏剧与文化的复合、虚构与真实的关系等方面进行了思考和实践。为了实现戏剧的社会变革功能,非洲元戏剧比西方元戏剧更重视剧场的娱乐性。因此,从整体结构和时代氛围来看,非洲元戏剧并非一味地因袭西方元戏剧,而是在内容和表现手法上展现了其自身的多样性和独特性。
The emergence of African metatheatre echoes the conception of western metatheatre. Having absorbed the skills of the western metatheatre, contemporary African dramatists carry on their contemplation and practice by combining African culture with dramatic self-reference, drama-culture composition and fabrication-authenticity relationship from the perspective of social criticism. In order to realize the dramatic function of social reform, African metatheatre lays more stress on the entertainment of theatre. Seen from its overall structure and the atmosphere of the time, African metatheatre is not merely imitating its western kin, but displays its diversity and uniqueness in both content and performance.
出处
《戏剧艺术》
CSSCI
北大核心
2015年第5期76-83,共8页
Theatre Arts
基金
教育部人文社会科学研究规划项目"当代美国黑人女性戏剧家的艺术创作与身份认同研究"(项目编号:14YJA752004)阶段性研究成果
关键词
非洲元戏剧
自我指称
剧场狂欢
社会评判
African metatheatre
self-reference
theatre revelry
social criticism
