卡瑞尔·丘吉尔戏剧的后现代语言策略  

Postmodern Drama Language Strategies of Caryl Churchill’s Plays

作　　者：王立宾[1] 刘亚芳[1] 张倩[1] WANG Libin;LIU Yafang;ZHANG Qian

机构地区：[1]河北工程技术学院,石家庄050000

出　　处：《浙江艺术职业学院学报》2024年第2期52-56,62,共6页Journal of Zhejiang Vocational Academy of Art

摘　　要：英国剧作家卡瑞尔·丘吉尔打破了传统戏剧严谨理性的语言范式和法度,赋予戏剧语言更为浓郁的后现代主义色彩。在《天之娇女》《疯狂的森林》等剧作中,丘吉尔通过既有词语碎片化处理去彰显语言开放性和非理性,为戏剧语言注入更大的情感意义和冲击力。以人物对白交叉重叠瓦解传统戏剧单一话语的权威性,为戏剧角色的多话语流和意识流呈现创造出新的舞台空间,为观众提供了更丰富的视角。通过歌曲、舞蹈、动作、表情等符号语言的引入,丘吉尔赋予了舞台剧更丰富的表现元素和新的美学张力,让戏剧更直指人心。British playwright Caryl Churchill broke the traditional rigorous and rational language paradigm and rules of drama,giving drama language a more rich post-modernist flavor.In plays such as Top Girls and Mad Forest,Churchill used fragmented words to highlight the openness and irrationality of language,injecting greater emotional meaning and impact into drama language.Cross-cutting and overlapping dialogue between characters disrupts the authority of traditional drama’s single discourse,creating a new stage space for the presentation of multiple discourse streams and stream of consciousness of drama characters,providing audiences with a richer perspective.Through the introduction of symbolic language such as songs,dances,movements and expressions,Churchill gave drama a richer expression element and new aesthetic tension,making the drama more direct to the heart.

关 键 词：卡瑞尔·丘吉尔 后现代 戏剧语言 碎片化 

分 类 号：G642[文化科学—高等教育学]