表演体系中“表现派”的内在精神——表现主义戏剧与表现派之间的相互对应  

The Spirit Core of the Expressional School in Performing System——the Correspondence of Expressionistic Drama and Expressional School

作　　者：丁姝杰[1] 

机构地区：[1]沈阳音乐学院演出音像管理中心,辽宁沈阳100004

出　　处：《佳木斯大学社会科学学报》2009年第1期59-60,共2页Journal of Social Science of Jiamusi University

摘　　要：19世纪末20世纪初,以法国演员哥格兰(1841-1909)的言行思维与舞台表现为标志,表演体系中的"表现派"宣告诞生,以其桀骜不驯的新面貌与传统的"体验派"分庭抗礼;与此同时,表现主义戏剧在毕希纳、魏德金、斯特林堡的作品中开始进行探索,随后的一二十年中,凯泽、托勒的一系列经典剧目相继诞生,表现主义戏剧正式确立。这种戏剧艺术风格和表演方式不约而同的确立,彰显着表现主义戏剧与表现派之间的相互对应。同时,也是20世纪初人类生存环境总体变更背景下戏剧面貌变更的必然要求。During the period of the end of the 19th century to the early 20th century, being marked with the French actor, Coquelin （1841 - 1909）＇s thinking of words ＆ deeds and the stage presentation, expressional School declared its birth and equaled with traditional performing experience defiantly. At the same time, some Expressionist playwrights, such as Buchner, Wedekind, and Strindberg, began to do some expressionistic exploration in their works. In the following two decades, a series of classical repertoire written by Kaiser and Towler were born one after another, and this is generally considered as the real establishment of so - called the Expressional School. The expressionistic drama is rather different both in art style and in the way of performing from other traditional schools during the whole history of drama, and shows the correspondence between the expressionism and the expressional school. Furthermore, the appearance of expressionistic drama is also the inevitable outcome in the background of social change of the early 20th century.

关 键 词：表现派 表现主义 相互对应 

分 类 号：I053[文学—文学理论]