互文性:赖声川剧场的文本策略与机制  

Intertextuality:The Textual Policy and Organism of Lai Shengchuan's Theatre

作　　者：李时学[1] 

机构地区：[1]集美大学文学院,福建厦门361021

出　　处：《集美大学学报（哲学社会科学版）》2010年第1期16-21,共6页Journal of Jimei University：Philosophy and Social Sciences

基　　金：福建省社会科学规划项目(2008B075)

摘　　要：赖声川剧场最突出的特征,在创作手法上体现为"集体即兴创作",在剧场文本上表现为"剪辑拼贴"。从前人研究的终结处出发,以赖声川及其"表坊"最著名的剧作《暗恋桃花源》为例,引入西方后现代主义极具影响力的互文性文本理论,对赖声川剧场的文本建构策略及其赋予剧场以强大生命力的"神秘"机制进行具体的考察,企望通过文本细读与理论互证,得出一些对解读赖声川剧场魅力可能有实际帮助的见解。The striking characteristic of the works of Lai Shengchuan＇s theatre is the ＂Collective Improvisation＂ in creating and the style of ＂Patchwork＂ in textual composition. It is the authors＇ intention to read closely the text of the well - known ＂The Peach Blossom Land＂ with the aid of the postmodem theory of intertextuality, and thereby reveal the inner structure of The Theatre＇s texts and the ＂secret＂ organism of The Theatre＇s powerful artistic inventing.

关 键 词：互文性 赖声川 文本策略 剪辑拼贴 《暗恋桃花源》 

分 类 号：I053[文学—文学理论]