从体验到拟剧:创意写作中的戏剧意识  

From Experience to Dramaturgy:Dramatic Awareness in Creative Writing

作　　者：史玥琦 Shi Yueqi(Beijing Normal University)

机构地区：[1]北京师范大学文学院

出　　处：《写作》2024年第1期36-43,共8页Writing

摘　　要：小说和戏剧同属于文学四大体裁,都承担着叙事功能,可谓创意写作的“异卵”双胞胎,隔山望高,常有来回。以复旦大学创意写作的教与学为基点,以戏剧意识观照当前创意写作学科发展。从斯坦尼斯拉夫斯基的“体验”观到欧文·戈夫曼的“拟剧”说,创意写作教育从戏剧学应用理论中广泛汲取养分,为小说及散文实践提供更多路径和外延。尽管作品的落点仍在现当代文学的批评框架内,但作为文本生成的“潜意识”的戏剧似乎更需要一种前置性的关注及展望。Novels and dramas belong to the four major literary genres,bearing the narrative function,just like fraternal twins of creative writing.They are separated by mountains and often go back and forth.This article is based on the teaching and learning of creative writing at Fudan University,and examines the current development of creative writing disciplines with a sense of drama.From Stanislavsky’s experience view to Erving Goffman’s dramaturgy theory,creative writing education extensively draw nutrients from the applied theories of drama to provide more paths and extensions for the practice of novels and prose.Although the focus of the work is still within the critical framework of modern and contemporary literature,as the subconscious mind of text generation,drama theory seems to require more pre-emptive attention and outlook.

关 键 词：创意写作 叙事学 体验派 拟剧 复旦大学 

分 类 号：H315[语言文字—英语]