约恩·福瑟剧作中的音乐性  

Musicality in Jon Fosse’s Playwriting

作　　者：吴靖青[1] Wu Jingqing

机构地区：[1]上海戏剧学院期刊中心

出　　处：《戏剧（中央戏剧学院学报）》2022年第3期99-112,共14页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金艺术学重大项目“当代欧美戏剧研究”(项目编号:19ZD10)的阶段性成果;上海市地方高水平大学战略创新团队建设项目成果。

摘　　要：北欧当代剧作家约恩·福瑟因全面开掘剧作的音乐性而独树一帜。他将节奏化和变奏效果贯彻戏剧语式的始终;他注重戏剧音乐性的时空开掘,在凸显“戏剧复调”的矛盾性张力的同时,又全力打造“戏剧复调”的整体统一性;他注重音乐性对全剧的定调与“数理—艺术”作用,为“极境”注入细腻感与丰富性,达到了抽象与具体、“极简”与“丰富”的精妙平衡。As a contemporary Nordic playwright, Jon Fosse makes a great achievement in delving into musicality of drama and develops a school of his own. In the respect of dramatic language mode, he sticks to rhythm and variations. He also puts emphasis on time and space, foregrounding both the tension and integrality of the dramatic polyphony. He stresses musicality’s tone-setting and “mathematics & arts” effect in playwriting. His works boast delicacy and richness and keeps a subtle balance between abstract and concrete as well as simplicity and richness.

关 键 词：福瑟 剧作 音乐性 

分 类 号：J83[艺术—戏剧戏曲]