跨媒介视域下《剧院风情》中朱莉娅的表演艺术  

Julia's Performance Art in Theater from a Cross-media Perspective

作　　者：郑雪霏 Zheng Xuefei(College of Foreign Languages,Chuzhou University,Chuzhou Anhui 239000)

机构地区：[1]滁州学院外国语学院,安徽滁州239000

出　　处：《沈阳师范大学学报（社会科学版）》2024年第4期76-81,共6页Journal of Shenyang Normal University(Social Science Edition)

基　　金：安徽省教育厅科学研究重点项目(2023AH051575)。

摘　　要：文学作品内部的跨媒介,指的是不同媒介的共存或者一种媒介对于另一种媒介的指涉和利用。《剧院风情》是毛姆唯一一部有关戏剧的小说,虽然体裁为小说,但其名称、主题、内容、主人公都与戏剧息息相关。因此,可以借助斯坦尼斯拉夫斯基和布莱希特的表演理论来分析该小说女主人公朱莉娅的表演艺术。朱莉娅外部的表演艺术体现在绝佳的角色适应能力和对肢体的控制力,内部的表演艺术体现在善于建立信念与真实感和善于调动情感记忆。后期的朱莉娅逐渐跳出角色,达到一种“陌生化”的艺术效果。总的来说,对表演艺术的细致描绘来源于毛姆长期的戏剧实践,也体现出毛姆对于演员是否有灵魂这一问题的深刻思考。As for literature,intermediality refers to the intermedial coexistence and intermedial reference.Theatre is Maugham's only novel that is related to drama.Although the genre is a novel,the name,theme,content,and protagonist of Theatre are closely related to drama.Based on Stanislavsky and Brecht's performance theory,this paper analyzes the performance art of the heroine Julia.Julia's external performance art is reflected in her excellent character adaptability and control over her body,while her internal performance art is reflected in her a bility to establish beliefs and realism,and her ability to mobilize emotional memory.Later Julia gradually jumped out of the role and controlled the role to achieve the artistic effect of“defamiliarization”,that is,the actor is both the actor himself or herself and the character in the play,which is in line with Brecht's“defamiliarization”.The detailed description of performance art comes from Maugham's long-term drama practice,and also reflects Maugham's thinking about whether actors have souls.

关 键 词：毛姆小说 《剧院风情》 表演艺术 跨媒介 

分 类 号：I106.4[文学—世界文学]