本文试图运用巴赫金的狂欢化理论对美国剧作家奥尼尔不同阶段的剧本进行读解,探索其中包含的狂欢世界感受,以及其体现的交替和变更的精神。奥尼尔剧中的人物富有典型的两极融合的狂欢化人物形象特点,每个人物就是正反同体性的矛盾统一体。奥尼尔剧中人物的对话不拘一格,充满讥笑、责骂、插科打诨等,用世俗化的平民语言消解了死板、严肃的官腔语言,显现了狂欢化广场语言的特质。奥尼尔通过具体感性的形式表现出来的狂欢化行为的背后,蕴含的是一种狂欢精神、一种想往平等和自由的理想,这种平等精神就是对人的价值的尊重和对人性的关怀。奥尼尔通过戏剧狂欢化色彩去探索人的精神世界,寻找一种能够激发人们精神世界的药方,让人们回归纯朴自然的状态。 This article attempts to use Bakhtin’s carnivalization theory to read the scripts of American playwright O’Neill at different stages and to explore the feelings of the carnival world contained in it and the spirit of alternation and change embodied in it. O’Neill’s characters are full of typical characteristics of carnivalized images of bipolar integration, and each character is a contradictory unity of positive and negative solidarity. O’Neill plays the character of the dialogue eclectic, full of ridicules, scolding, gag and so on, with the secular civilians language digestion of rigid, serious bureaucratic language, showing the characteristics of the language of carnival square. Behind the carnivorous behavior that O’Neill shows through specific sensual forms is a kind of carnival spirit, an ideal that wants to be equal and free. This spirit of equality means respecting human values ​​and caring for human nature. O’Neill through the carnival drama to explore the spiritual world of people, looking for a way to stimulate people’s spiritual world of prescriptions, so that people return to simple and natural state.