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作 者:王树福[1,2,3]
机构地区:[1]华中师范大学文学院 [2]黑龙江大学俄罗斯语言文学与文化研究中心 [3]湖北文学理论与批评研究中心
出 处:《俄罗斯文艺》2016年第3期59-68,共10页Russian Literature & Arts
基 金:国家社科基金青年项目"当代俄罗斯戏剧思潮研究"(10CWW008)的阶段性成果;教育部留学回国人员科研启动基金;黑龙江大学俄罗斯语言文学与文化研究中心自设项目的资助
摘 要:在当代中国话剧舞台上,当代俄罗斯著名剧作家万比洛夫得到多样化、本土化和实验性的改编与剧演,在剧目选择、导演理念、表演队伍、演出团体、受众群体、演出效果等方面别有特色,值得总结反思。整体说来,《长子》经历了从青年成长到人性挖掘的演剧转变,《外省轶事》经历了从道德批判到金钱人性的演剧嬗变,《打野鸭》经历了从俄国视角到中国立场的演剧转换,《去年夏天在丘里木斯克》经历了从环境冲突到内心矛盾的演剧转型。这既说明万比洛夫戏剧的永恒艺术魅力,也推动着万比洛夫戏剧的中国化进程和传播接受范围。万比洛夫在当代中国的舞台诠释,与当代中国的社会文化态势、中俄文化交流关系、文学总体态势以及时代主流话语等不同因素密切相关,大致经历了一个从遮蔽到发现到认同的发展历程。这与当代俄罗斯戏剧在中国的译介、接受和传播可谓遥相呼应。由此,万比洛夫在中国的舞台诠释和接受态势,成为诠释当代俄罗斯戏剧在华演出和当代中俄文学关系的一个生机勃勃的象征性符码。Abstract On the contemporary Chinese drama stage,Alexander Vampilov,as a famous contemporary Russian playwright,has been adapted in diversified, localized and experimental ways. The stage adaptation and performance have their unique features in terms of the repertoire selection, director idea, performing team, performing group, audience group and performance effect, which are worth summarizing and reflecting upon. In general, The Eldest Son experiences change from the youth growth to human nature ; Anecdotes from Other Province shows evolution from moral criticism to human criticism ; Duc~ Huntzng experiences transformation from Russian perspective to Chinese stance ; Last Summer lh Chuh'msh shows shift from environmental to intrapsyehic conflict. This performance not only shows artistic charm of Vampilov' s drama, but also promotes his acceptance in China. The stage interpretation of Vampilov in contemporary China is closely related to the trend of contemporary Chinese society and culture, the cultural relationship between China and Russia, the general literature situation, and the mainstream era discourse. It has experienced a development process from being unknown to being discovered and then to being acknowledged, which echoes the translation, acceptance and spread of contemporary Russian drama in China. Therefore, the stage interpretation and acceptance situation of Vampilov in China have become a symbol code of contemporary Russian dramatic performance in China and contemporary literary relationship between China and Russia.
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