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《罗森格兰兹和吉尔登斯吞之死》是英国剧作家汤姆·斯托帕德的代表作之一,剧作家从莎剧《哈姆雷特》中选取了两名次要人物作为主角,用戏中串戏的写作手法,探讨了人的命运的荒诞性,富有浓重的哲理气息。传统意义上,学者都是将《罗森格兰兹和吉尔登斯吞之死》和《哈姆雷特》做互文性研究,但其中的精髓,即事物逻辑性的后面往往隐藏着荒诞性,体现了该剧和荒诞派戏剧的代表作《等待戈多》有着更加紧密而又深刻的联系。本文通过运用克里斯蒂娃的“互文性”理论来研究这两部剧作,前者是后者的典型改写式戏拟,旨在揭示荒诞派戏剧的共性和个性。
The death of Rosen Grant and Gilles Swaton is one of the representative works of the British playwright Tom Stoppad. The playwright selected two minor characters from Shakespeare ’Hamlet’ The writing technique of string opera explores the absurdity and rich philosophical atmosphere of human destiny. Traditionally, scholars have made intertextual studies of the death of Rosen Glanz and Gilles Swaton and Hamlet, but the essence behind the logic of things is often hidden absurdity and manifestation The drama and the Absurd Theater masterpiece “Waiting for Godot” has a more closely and deeply linked. This article studies the two dramas by using Christieva’s “Intertextuality” theory, the former being a typical rewriting of the latter to reveal the commonness and individuality of the absurd theater.