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本文主要考察从1897年爱尔兰文学剧团成立到1916年复活节起义前夕的爱尔兰戏剧运动的源起、诉求和发展。这场由英爱优势阶层和文化精英领导的戏剧运动一开始即出现矛盾,从“文学剧团宣言”要再现民族身份和教育人民的野心到《胡里痕的凯瑟琳》中对历史记忆和文化符号的含混态度,爱尔兰戏剧运动的领导者叶芝和格雷戈里夫人等一方面想要代表大众表达民族主义诉求,摆脱由英国强加的刻板印象;而另一方面又是文化精英主义诉求,要求艺术自觉,表现欧陆的现代主义,教育人民,提升他们的艺术品味。阿贝剧院集中体现了这种一开始就有的矛盾,对当时和其后的爱尔兰戏剧发展影响深远。
This article examines the origins, aspirations and developments of the Irish theater movement from the founding of the Irish Theater Company in 1897 to the eve of Easter Revolt in 1916. The contradiction emerged from the very beginning of the theater movement led by the superior class and cultural elite of Britain. From the manifesto of the literary troupe, "to reproduce the national identity and educate the people’s ambitions to the memory of the historical memory and Cultural attitudes ambivalent attitude, the Irish drama movement leader Yeats and Mrs. Gregory on the one hand want to express nationalistic demands on behalf of the public, get rid of the stereotype imposed by Britain; on the other hand is the cultural elitism demands, Requires artistic consciousness, the performance of continental modernism, education of people, enhance their artistic taste. Abey Theater focused on this contradiction from the beginning, which had a far-reaching impact on the development of the Irish theater at that time and later.