摘要
讨论布莱希特的戏剧遗产,必须联系现实才能显示出问题的复杂性。本文一方面通过对当下围绕布莱希特戏剧理论与实践种种争议的回应,阐释了布莱希特"历史化/陌生化"这对概念的内涵;另一方面就如何在中国当下继承和发展布莱希特的戏剧艺术,从"赞美性戏剧""批判性戏剧"以及"蒙太奇形式"的角度,提出了一些看法。本文认为:应该通过对抗性的建构,让剧场艺术处于一种历史的运动状态之中。在这个意义上,布莱希特的戏剧实践是一份值得去继承和发展的遗产。
To discuss the dramatic legacy of Brecht,it is necessary for us to connect with the reality in order to reveal the complexity of this issue.This essay,on the one hand,interprets the connotations of the concepts of"Historicization/Alienation"by responding to various contemporary controversies surrounding Brecht’s dramatic theories and practice;On the other hand,it proposes some ideas on how to inherit and develop Brecht’s dramatic art in nowadays China from the perspectives of"Drama for Praise","Drama for Criticism"and"the Form of Montage".This essay holds that theater art should be maintained in a state of historical movement through the construction of confrontationality.In this sense,Brecht’s dramatic practice is a heritage worth inheriting and developing.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2021年第3期82-94,共13页
Drama:The Journal of the Central Academy of Drama
关键词
布莱希特
戏剧遗产
马克思唯物史观
历史化
陌生化
赞美性戏剧
蒙太奇形式
Brecht
dramatic legacy
Marx’s historical materialism
historicization
Alienation
Drama for Praise
the form of Montage
