游戏在当代戏剧中的缺席与出场  

The Absence and Presence of Games in Contemporary Drama

作　　者：张琦[1] 

机构地区：[1]海南师范大学中文系,海南海口571158

出　　处：《海南师范大学学报（社会科学版）》2007年第4期99-103,共5页Journal of Hainan Normal University(Social Sciences)

摘　　要：泛政治化的语境导致了游戏的缺席,社会的松动和戏剧观的变化使之得以出场。高行健的游戏观注重其人性解放的功能。90年代以来游戏的含义因孟京辉等人的实践具有了另一重含义——戏剧的存在状态和演出过程本身成为关注对象,舞台变得更加自由。但是,也有越来越多的戏剧出于商业的考虑而虚假地游戏。While the general politicized context has led to the absence of games in drama, social flexibility and changes of drama notions have resulted in their presence. In his view on games, Gao Xingjian gives priority to the function of games in humanity emancipation whereas the connotation of games since the 1990s has acquired another significance thanks to the practice of Meng Jinghui, that is, focus has been shifted to the existential state and performance process of drama while the stage has become increasingly free. Nevertheless, more and more dramas have made false use of games for commercial aims.

关 键 词：游戏 戏剧 高行健 孟京辉 

分 类 号：I206.3[文学—中国文学]