当代戏剧论争与阿尔托的中国接受  

Contemporary Drama Debate and Artaud's Acceptance in China

作　　者：康建兵[1] 

机构地区：[1]广州大学人文学院,广东广州510006

出　　处：《浙江师范大学学报（社会科学版）》2015年第2期110-115,共6页Journal of Zhejiang Normal University(Social Sciences)

摘　　要：当代戏剧的历史发展进程中发生过多场戏剧论争,反思从"戏剧观"争鸣到"三大戏剧体系"争论中阿尔托的中国遭遇,有助于廓清其在中国的接受和影响轨迹,并揭示出当代戏剧生态难以承载乃至漠视残酷戏剧的必然和悲哀。在某种意义上阿尔托是一杆标尺,中国对这位戏剧先知的接受程度有多深,一定程度上预示着中国戏剧的未来有多远。During the Chinese contemporary drama history, many drama debates occurred. Rethinking Artaud＇ s encounter in China from the debate of ＂concept of drama＂ to that of ＂three theatrical systems＂ will help to clarify its acceptance and influence in China as well as reveal the inevitability and grief that contemporary environment can hardly bear Artaud＇ s Gnostic drama, even ignore its existence. In a sense, Artaud is a landmark. How much we accept this prophet will decide how far Chinese drama would go.

关 键 词：戏剧论争 阿尔托 残酷戏剧 接受 影响 

分 类 号：J801[艺术—戏剧戏曲]