论19世纪末写实主义戏剧与情节剧的旁观者  

On The Spectator of the Realistic Drama and the Melodrama in the Late 19^(th) Century

作　　者：罗成雁[1] LUO Chengyan

机构地区：[1]云南行政学院文化与科技教研部,云南昆明650111

出　　处：《艺术探索》2018年第2期123-128,共6页Arts Exploration

摘　　要：19世纪末的写实主义戏剧与情节剧相互影响、相互作用。情节剧既是写实主义戏剧发展的基础,又是写实主义戏剧的批判对象。为了克服剧场的局限性,写实主义戏剧吸收了情节剧情节编制的手法。情节剧也在写实主义戏剧的影响下,将塑造旁观者的手法自然化。通过有机情节的编制、悬念的计算、单一情感的认同,写实主义和情节剧不约而同地编制了丧失介入能力、具有情节剧意识的旁观者。这种旁观者编制模式仍广泛存在于当代电影、电视等媒介中,影响着观众的观看和思考方式。At the end of 19th century, the realistic drama and the melodrama have effected and acted mutually. The realistic drama, developing based on the melodrama, also fiercely criticized the melodrama. In order to overcome the limitations of the theater, the realistic drama has taken up the method of making plot in the melodrama, while the method of making plot in the melodrama was naturalized by the realistic drama. By the making of plot structure, the calculating of suspense and the identification of single emotion, the spectator, who could not be involved in the action of drama, was structured by the real istic drama and the melodrama. This spectator oriented compilation model is still widely presented in contemporary movies, television and other media, affectina the audience＇s wav of watchina and thinkina.

关 键 词：写实主义戏剧 情节剧 情节 旁观者 

分 类 号：J90-05[艺术—电影电视艺术]