摘要
萨拉·恩在《菲德拉的爱》(1996)中颠覆传统的戏剧模式,体现了阿尔托残酷戏剧理论的许多主张。本文将从以下几个方面探究《菲德拉的爱》与阿尔托残酷戏剧理论的共通性,即两者均强调通过戏剧展现绝对真实的“全面的人”、主张戏剧应打破对前人经典文本的崇拜并给予观众充分的感官刺激、倡导向戏剧中语言的地位发起挑战。
Destabilizing the conventional modes of theatre,Sarah Kane’s Phaedra’s Love incarnates Antonin Artaud’s theory of Theater of Cruelty.This paper endeavors to explore the affinity between their dramaturgical theory by expounding how both Artaud’s Theater of Cruelty and Kane’s Phaedra’s Love place emphasis on the representing“l’homme total”in drama,on shattering the idolatry of previous masterpieces,on the importance of sensory stimulation,and on challenging the role of language in theatre.
作者
于雪
Yu Xue(College of Foreign Languages and Literature of Fudan University,Shanghai 200433,China)
出处
《外国语文研究》
2019年第6期43-50,共8页
Foreign Language and Literature Research
