从《女仆》看热奈早期戏剧的“行动”特征  

The Distinctions of“Action”in Genet’s Les Bonnes

作　　者：宫宝荣[1] 

机构地区：[1]上海戏剧学院

出　　处：《戏剧（中央戏剧学院学报）》2013年第3期28-35,共8页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金项目"近30年外国戏剧研究对中国戏剧的影响"的成果之一(项目编号10BB017)

摘　　要：行动是西方传统戏剧的重要支柱之一,古希腊到19世纪现实主义戏剧概不例外。然而19世纪末20世纪初以来,这一支柱不断遭到革新人士的诘难与破坏,至20世纪下半期随着形形色色的"后现代"戏剧的粉墨登场而倒塌。20世纪中叶的热奈戏剧恰好体现了两者之间的过渡,行动不再完整,性格不再鲜明,动作不再合理。本文试图以戏剧符号学的行动素模式和段落分析来揭示热奈早期戏剧的"行动"特征。Action is one of the important pillars of the Western theatre from the Ancient Greek to the realistic theatre of the 19th century. However, since the late 19th century, this principle has been questioned and breached by the innovators, and the second half of the 20th century saw its decline with the emergence of ＂post-modern＂ theatre. Jean Genet＇ s early theatrical works reflect this transition, in which action is no longer intact, characters no longer distinctive, and movements not rational any more. The article explores the distinctions of ＂action＂ in Genet＇ s theatre through sequence analysis.

关 键 词：行动素模式 段落分析 热奈前期戏剧 《女仆》 

分 类 号：I565.073[文学—其他各国文学]