当代欧美文献剧的三种艺术探索  

Artistic Exploration of Contemporary Euro-AmericanDocumentary Dramas

作　　者：黎林[1,2] 戴小春 LI Lin;DAI Xiao-chun

机构地区：[1]华侨大学外国语学院,福建泉州362021 [2]南京大学

出　　处：《华侨大学学报（哲学社会科学版）》2022年第5期152-160,共9页Journal of Huaqiao University(Philosophy & Social Sciences)

基　　金：国家社科基金艺术学项目一般项目“当代美国文献剧研究及中国本土借鉴探讨”(20172ZA022)。

摘　　要：作为欧美戏剧舞台上的革新剧派,文献剧从20世纪80年代至21世纪初,历经美国的艾米丽·曼、安娜·德维尔·史密斯、德国的克罗辛格等人之手,在艺术手法和舞台表演上积极创新,从而在戏剧舞台上焕发出自己独特的光彩。最主要的艺术探索:其一是见于艾米丽·曼代表的对独白组合的多声部对话和超文本对话性的凸显;其二见于建立声音档案的安娜·德维尔·史密斯创导的单人文献剧的崛起;其三是德国新浪潮文献剧代表的多媒介的舞台呈现。As an innovative drama school on the European and American stage,documentary drama,from the 1980s to the early 21st century,in the artistic technique and stage performance,has experienced active innovation in artistic techniques and stage performances by Emily Mann,Anna Deavere Smith in the United States and Kroesinger in Germany,thus radiating its unique brilliance on the stage.The most important artistic exploration is first seen in Emily Mann’s multi voice dialogue and hypertext dialogism,second seen in the rise of solo woman performance created by Anna Deavere Smith,who established sound archives,and third seen in the multi media stage presentation represented by the new wave documentary drama of German.

关 键 词：现代文献剧 对话性 单人文献剧 新浪潮文献剧 

分 类 号：I106.3[文学—世界文学]