摘要
奥索菲山对索因卡的戏剧艺术既有继承又有反叛。两位戏剧家在戏剧的社会功能、舞台与观众的关系等方面的观点有诸多相似之处。索因卡的戏剧表现手法和戏剧题材也对奥索菲山产生了直接影响。但是索因卡的精英主义和奥索菲山的大众立场之间的本质差异导致二者的戏剧理念又存在着明显的不同甚至对立:与索因卡以神话思维反映现实的间接性相比,奥索菲山的戏剧则强调对现实生活的直接干预;与索因卡依靠传统文化资源建构非洲本土戏剧精神的倾向相比,奥索菲山则是以一种辩证的革命态度来使用传统元素。归根结底,索因卡与奥索菲山二者在戏剧理念上的分野来源于尼日利亚两代作家文化使命的变化。面对不同的文化语境,两代作家的创作意识由寻回非洲自我转向了直面非洲现实问题。
Femi Osofisan is an rebellious inheritor of Wole Soyinka ’s dramatic art. Indeed, the two playwrights share many similarities, ranging from the social functionality of their drama, to their interpretation of stageaudience relationship. There is no doubt that Soyinka’s expression techniques and drama themes have a direct influence on Osofisan’s writing style. Nevertheless, there is a key difference in their ideology: Osofisan stands for public interest, which contradicts the elitism advocated by Soyinka. Although both playwrights reflect reality in their plays, Soyinka mainly uses mythological thinking to reflect reality indirectly, while Osofisan emphasizes direct intervention of real life. Compared with Soyinka’s tendency to construct African drama spirit relying on traditional culture, Osofisan uses traditional elements with a dialectical revolutionary attitude. In essence, the two generation of Nigerian playwrights have separate cultural missions under different historical contexts: Soyinka focuses on finding the self identity of African culture, while Osofisan chooses to face the real problems of the African world.
作者
高文惠
GAO Wen-hui(School of Literature and Journalism,Dezhou University,Dezhou Shandong 253023,China)
出处
《德州学院学报》
2021年第5期42-47,53,共7页
Journal of Dezhou University
基金
教育部人文社会科学研究项目“比较视域中的索因卡戏剧研究”(17YJA752003)。
关键词
奥索菲山
索因卡
继承与反叛
非洲自我
非洲现实
Femi Osofisan
Wole Soyinka
inheritance and rebellion
The African Self
African reality
