表现主义戏剧角色机制的变革  

The Reformation of the Character's Mechanism of Expressionism Drama

作　　者：罗成雁[1] LUO Cheng-yan(Ministry of Culture and Science and Technology,School of Administration in Yunnan,Kunming 650111,Yunnan)

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：《延安大学学报（社会科学版）》2018年第5期94-98,共5页Journal of Yan'an University (Social Sciences Edition)

基　　金：云南艺术科学规划办一般项目"云南文化创意产业可参观性的生产研究"(A2016YB010);云南省委党校系统课题"文化治理视域下中国文化产业新兴参与主体研究"(2017XT16)

摘　　要：表现主义戏剧致力于表现梦、自我意识的活动,并将自我意识的各个侧面和冲突视觉化,探寻自我的主观之路。其分裂的自我瓦解了同一性的角色,并打破了传统戏剧主角-配角的模式,深化了对戏剧角色的探寻。这不仅让戏剧角色获得了可变形的能力和可能性,并让角色处于争讼不休的状态中,而且也让角色所代表的符号位置、意识形态、社会问题成为可争议的和可变的。布莱希特史诗剧、教育剧角色扮演的理论和实践发展了表现主义戏剧角色机制的变革,建立了演员、观众、角色都处于争论状态的参与性观演关系,打破了现实主义戏剧和情节剧二分、旁观者的观演关系结构模式。Expressionism drama tries to express dream and consciousness, visualizes its operation mechanism, and exploits the subjective contradictory of ego. The divided self of the expressionism drama has broken the identity character and the protagonist mode of traditional drama. The expressionism drama＇ s character has become trans- formable and been in the controversy condition. And the symbol placements, ideologies and social problems, which form the character, have become debatable and changeable, too. The theory and practice of the Brecht＇ s epic theatre and educational play have developed the transfomlation of the expressionism drama＇ s reformation of the charac- ter, and established a kind of participative relationship in which actors, audiences and roles are all in dispute, to break out the spectator mode of the realism drama and melodrama.

关 键 词：表现主义 戏剧 角色机制 

分 类 号：I053[文学—文学理论]