“半透明的双层结构”与荒诞派戏剧接受困境的突破——以香港话剧《孤男毒女》为中心  

“Semi-Transparent Double Structure ” and the Way Out of the Predicament in the Reception of Absurd Theatre: A Study of the Hong Kong Play Alone

作　　者：吕珍珍[1] 

机构地区：[1]广州大学文学思想研究中心

出　　处：《戏剧艺术》2018年第1期14-22,共9页Theatre Arts

基　　金：广州大学2016年度教育教学研究立项项目"汉语言文学专业戏剧类课程的课外实践教学研究"(项目编号:JY2016049)的阶段性成果

摘　　要：荒诞派戏剧在世界范围内具有广泛影响,中国剧坛亦不乏荒诞派戏剧的创作。但由于其形式和内容的反传统性,普通观众对荒诞派戏剧的理解和接受存在诸多障碍,"半透明的双层结构"则提供了一个突破这种困境的思路。香港话剧《孤男毒女》可视为一个成功的例证,它将深刻的内涵与审美自足的外层结构相统一,满足了不同层次观众的欣赏需求。"半透明的双层结构"也适用于其他类型的实验戏剧,并有助于培养戏剧观众,促进"实验戏剧"与传统的融合。Absurd Theatre has had a worldwide influence on the dramatic arts, including in China. However, due to its unconventional form and content, Absurd Theatre can appear inaccessible to common audiences. ＂Semi-transparent double structure＂ in Absurd Theatre suggests a way out of this predicament. The Hong Kong play Alone provides a good example, as it meets multi-layered aesthetic needs with its unity of deeper meaning and aesthetically self-sufficient form. ＂Semi-transparent double structure＂ can be applied to other types of experimental theatre as well. It helps prepare the audience for the unfamiliar form and content, stimulating the merging of ＂experimental theatre＂ and tradition.

关 键 词：半透明的双层结构 荒诞派戏剧 接受 孤男毒女 实验戏剧 

分 类 号：J80[艺术—戏剧戏曲]