从剧场性看曹禺戏剧文体的范式意义  

On Paradigmatic Style of Cao Yu's Plays from the Perspective of Theatricality

作　　者：刘家思[1] 

机构地区：[1]绍兴文理学院,绍兴312000

出　　处：《文化艺术研究》2012年第4期81-89,共9页Studies in Culture and Art

基　　金：作者主持完成的2006年度国家社会科学基金项目的鉴定结题成果<曹禺戏剧的剧场性研究>中(批准号06BZW048)的一章

摘　　要：曹禺创造了一种以舞台演出为最高目标的戏剧文学。他坚持文学性与剧场性并举,且始终将剧场性放在首位,使戏剧文本既具有文学的张力,又具有剧场的引力,既可读又可演,从而打造了中国现代话剧史上久演不衰的风景。曹禺这种既可读又可演的戏剧,以其雅俗兼备的审美定位、悲喜交织的审美形态、诗化戏剧的审美取向,显示了中国话剧民族化的文体特征,树立了中国话剧的发展范式。Cao Yu creats a kind of dramatic literature that sets the stage performance as its highest goal. He insists that literariness and theatricality should be developed simultaneously and the latter made a pri- ority; as a result, his dramatic texts have not only the literary tension but also theatrical attraction, which can be both read and performed and therefore keep unfailing in the history of Chinese drama. By catering to various tastes and telling bittersweet stories, his poetic plays show a nationalized characteristic of the Chinese drama and set up a paradigm for its development.

关 键 词：话剧研究 曹禺戏剧 文体特征 剧场性范式 

分 类 号：J801[艺术—戏剧戏曲]