话剧《我们的荆轲》审美形态路径分析  

The Aesthetic Form of Our Jingke

作　　者：陈彪[1] 

机构地区：[1]安徽水利水电职业技术学院基础部,安徽合肥231606

出　　处：《安徽农业大学学报（社会科学版）》2014年第6期84-86,共3页Journal of Anhui Agricultural University:SOC.SCI.

摘　　要：莫言的话剧作品《我们的荆轲》在审美形态上进行了积极而有意义的探索。作品以喜剧性作为贯穿全篇的主基调,采用骂詈、揶揄、讽刺、幽默、闹剧等喜剧形式,对政治、哲学、爱情、人性的丑恶等进行了探析和讽刺,契合了民族审美心理和当下观众的欣赏习惯;同时嵌入悲剧性元素,有效规避了喜剧作品极易流于轻佻浅薄的风险,不着痕迹地将意义和庄严这些喜剧或缺的范畴带给了观众,从而产生了一种丰富和独特的审美体验。将喜剧性和悲剧性这两种审美形态融于一身的创作实践,给我们当下的戏剧甚至其他文学作品的创作提供了路径上的有益借鉴。Mo Yan＇s drama Our Jingke is a positive and meaningful exploration from the perspective of aesthetics. The work takes comedy as the main tone and many forms are used, such as expletives, ridicule, satire, humor, and slapstick, to analyze and satire politics, philosophy, love, and the ugliness of human nature, which meet the needs of the national aesthetic psychology and contemporary audience appreciation habit. At the same time, the tragic elements are embedded, which effectively avoid the risk of frivolous shallowness for the most comedy works and bring significance and solemnnity that comedy do not have to the audience, thus producing a rich and unique aesthetic experience. The practice of fusing comedy and tragedy into one work provides a useful reference to contemporary drama writing and even other literary works.

关 键 词：《我们的荆轲》 审美形态 喜剧性 悲剧性 

分 类 号：I073[文学—文学理论]