存在与意义:奥尼尔戏剧批判的基点、向度与认同  

Existence and Significance:Foundation,Dimensions and Identity of Eugene O'Neill's Plays'Critique

作　　者：李时学[1] Li Shixue

机构地区：[1]集美大学文法学院

出　　处：《戏剧与影视评论》2024年第3期38-48,共11页Review of Theatre and Film

基　　金：国家社科基金项目“美国左翼戏剧的多元批判向度与国家认同研究”(编号:19BWW065)的阶段性成果

摘　　要：奥尼尔在经历了一场精神危机和肉体死亡之后向死而生,用生命拥抱戏剧,并用戏剧赋予自己生命以意义。他把生存的矛盾与苦难全面地展现在戏剧中,形成了多元的批判向度,而向度的多元性均出于一元的基点,即生命存在的虚无与意义。他以精神(意志、灵魂)的绝对性对抗虚无,并力图穷尽戏剧艺术的一切可能性去试探存在的价值。批判的多元性赋予他的戏剧以宽度,直击生命存在的终极意义赋予他戏剧以深度和厚度。由此创造的伟大剧作为美国戏剧的未来打通了发展路径,规划了基本的主题、领域和方向。While recuperating from tuberculosis,Eugene O'Neill found his calling as a playwright and seized the chance for what he later called his"rebirth".He devoted his life to drama,which endowed his life with meaning in turn.He presented the contradictions and sufferings of survival comprehensively in drama,forming diverse dimensions of critique.All the dimensions were based on one foundation,that is,the nihility and meaning of existence.He confronted nihility with the absoluteness of spirit/will/soul and explored the value of existence by trying to exhaust all possibilities of the theatrical art.The diversity of critique makes his drama inclusive,and the enquiry into the ultimate meaning of existence makes it profound.The great plays created as a result set the pace for the American theater by establishing its basic themes,fields,and direction.

关 键 词：奥尼尔戏剧 批判基点 多元向度 认同 存在意义 

分 类 号：I712.073[文学—其他各国文学]