中国当代话剧的文学性问题:从“泛文学化”到“去文学化”  

The Literariness of Chinese Contemporary Dramas:From "Pan-Literariness" to "Literariness Absence"

作　　者：周珉佳[1] 张福贵[1] 

机构地区：[1]吉林大学文学院,吉林长春130012

出　　处：《华中师范大学学报（人文社会科学版）》2014年第4期94-99,共6页Journal of Central China Normal University:Humanities and Social Sciences

基　　金：国家社会科学基金项目"网络影视评论的功能与态势研究"(11BZW125)

摘　　要：从中国当代话剧的发展趋势来看,创作者对话剧剧场性的发展远超过了对其文学性的关注。伴随后现代文艺理论思潮的影响,戏剧的"文学性"概念内涵和作品的文学化程度也发生了变化。因此,要用发展的眼光审视戏剧和戏剧文学。现代意义上的优质话剧无论是文学文本,还是非文学文本,都具有极重要的艺术价值,它是将零散的、以往不加注意的、难以纳入主流的片段用形象的舞台语汇表现出来,使个体的丰富经验、内心的动态变化以及边缘人物的隐秘找到相应的演绎手段。所以,要正确看待话剧从"文学性"发展至"泛文学化"以及"去文学化"的趋向。According to the developing trend of Chinese modern dramas, creators pay much more attention to the drama＇s theatricality than its literariness. There is no denying that, with the influence of post modern literary theories, both the concept connotation and the degree of dramas＇ ＂literariness＂ have changed. In the modern sense of high-quality dramas, not only the literary texts but also nonliterary texts have extremely important artistic value. They take advantage of vivid stage vocabulary to display those fragments which are scattered, used to be ignored and difficult to be taken into the mainstream. And they find corresponding deductive methods to perform rich individual experience, dynamic changes of one＇s heart and secrets of the marginalized characters. Therefore, this paper thinks that, the developing trend of dramas should be treated correctly, which is from ＂intact literariness＂ to ＂pan-literariness＂, then to ＂literariness absence＂.

关 键 词：当代话剧 文学性 剧场性 泛文学化 去文学化 

分 类 号：J824[艺术—戏剧戏曲] I207.34[文学—中国文学]