论近年来小说改编戏剧中的叙述元素  

On the Narrative Elements in Adaptations of Novels to Theater in Recent Years

作　　者：郭晨子[1] Guo Chenzi

机构地区：[1]上海戏剧学院

出　　处：《中国文艺评论》2024年第9期64-70,I0003,共8页China Literature and Art Criticism

摘　　要：近年来的中国戏剧舞台上,根据小说改编的戏剧作品频繁亮相,已经成为一种热点;而在改编中,叙述元素的凸显成为鲜明的特征,不仅进入了结构样式,甚至选择了改编的尺度,创造和决定了改编的空间。在西方戏剧中,动作说和叙述法是一组相互对立的概念,直至布莱希特叙述体戏剧体系的建立,被排斥的“叙述”获得了新的美学阐释和价值。本文以舞台剧《繁花》第二季、话剧《骆驼祥子》和话剧《大师和玛格丽特》为例,分析其中的叙述元素,同时指出改编中对叙述元素的运用,在丰富了剧场语汇的同时,亦存在叙述过度的风险。On the Chinese theater stage in recent years,the frequent appearance of dramatic works adapted from novels has become a kind of hot spot.In the adaptation,the prominence of narrative elements has become a distinctive feature,which not only enters into the structural style,but even chooses the scale of the adaptation,creating and determining the space of the adaptation.In Western theater,action theory and narration method are a set of opposing concepts,until the establishment of Brecht’s epic theater system,the excluded“narration”has gained a new aesthetic interpretation and value.This article takes the second season of the stage play Blossoms Shanghai,the play Rickshaw Boy and the play The Master and Marguerite as examples to analyze the narrative elements in them,and at the same time points out that the use of narrative elements in the adaptation enriches the vocabulary of the theatre,but also involves the risk of excessive narration.

关 键 词：改编 叙述体戏剧 片段化 歌队 立体结构 

分 类 号：I207.42[文学—中国文学] J805[艺术—戏剧戏曲]