乔·奥顿《人赃俱获》的审丑艺术研究  

The Appreciation of Ugliness in Joe Orton’s Loot

作　　者：杨艳菲 刘明录[1] YANG Yanfei;LIU Minglu(College of Foreign Studies,Guangxi Normal University,Guilin 541006,China)

机构地区：[1]广西师范大学外国语学院,广西桂林541006

出　　处：《东莞理工学院学报》2022年第4期33-38,共6页Journal of Dongguan University of Technology

基　　金：2018年国家社科基金项目“冷战时期英国戏剧中的暴力书写和红色记忆研究”(18XWW006)的阶段性研究成果。

摘　　要：英国当代戏剧家乔·奥顿的作品尤爱以边缘人物形象作为戏剧主角,浓墨重彩地对社会阴暗之处展开描写,并形成了一种特殊的“奥顿式”文体风格。在代表作《人赃俱获》中,奥顿展现了自己创作“黑色闹剧”的天赋,剧中各种社会丑态如过山车似的接连袭来,给观众带来心灵震撼的同时不禁使人感慨奥顿高超的审丑艺术。奥顿利用这些丑陋的社会现象,展现了人性之丑的社会现实,同时也批判了当代人生活中的丑生百态,起到了警醒世人的作用。Joe Orton,the contemporary British dramatist,takes the marginal characters as the leading role of his plays.He describes the dark places of the society with great emphasis and forms a special“Ortonesque”style.In his masterpiece Loot,Orton shows his talent for creating“black farce”.All kinds of social ugliness in the play hit the audience like a roller coaster,which shock their hearts.At the same time,people can’t help but sigh about Orton’s superb art of ugliness appreciation.Using these ugly social phenomena,Orton shows the social reality of the ugliness of human nature,and criticizes all kinds of ugliness in contemporary people’s life,which plays a role in alerting the world.

关 键 词：乔·奥顿 《人赃俱获》 审丑艺术 

分 类 号：I106.3[文学—世界文学]