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以排戏或演戏作为戏中戏的戏剧情境,已被各类探索戏剧所尝试,现代戏剧观众对此也已不感陌生。然而依此建构起的戏剧叙事结构,却未必仅用“戏中戏”三个字就可以概括言尽。其实,在剧作者“诡计多端”的叙事策略作用之下,本体意义上的戏剧已然进入到自我解构与重建的重新诠释之中,虚构、叙事、戏剧等一度无须费解的概念,也因此变得含混宽泛起来。本文对比分析的两个戏剧案例,正是对以上问题的分辨和追究。
Drama or drama as a play in the drama situation has been tried to explore all kinds of drama, modern drama audience is no longer a stranger to this. However, the constructed narrative structure of drama can not be summed up simply by using the words “drama”. In fact, under the action of the narrative tactics of the dramatist “trickery ”, the drama in the ontological sense has already entered into the reinterpretation of self-deconstruction and reconstruction, and the once undoubtedly concept of fiction, narration, drama and so on Become mixed wide. The comparative analysis of two dramatic cases, it is the resolution of the above problems and investigated.