脚色理论视角下马森的独幕剧研究  

A Study of Sen Ma's One-Act Plays from the Perspective of Role Theory

作　　者：梁燕丽[1] Liang Yanli

机构地区：[1]复旦大学中文系

出　　处：《戏剧(中央戏剧学院学报)》2025年第1期130-148,共19页Drama:The Journal of the Central Academy of Drama

基　　金：国家社会科学基金一般项目“台湾话剧史(1895-至今)”(项目编号:15BZW172)的阶段性成果。

摘　　要：马森的独幕剧《一碗凉粥》《弱者》《进城》在脚色浓缩中表现传统与现代的二元对立给家庭和社会带来的矛盾和困境;《朝圣者》《在大蟒的肚里》在脚色反射中透视精神与物质,照察理想与现实,在二元对比中层层剥开人群与人性的底层逻辑。《花与剑》《脚色》综合运用脚色浓缩、脚色简约、脚色错乱,以亲子关系为基点,彰显现代人弑父与寻父,流散与回归的二律并存,以及我是谁的觉醒与困惑。Sen Ma's one-act plays A Bowl of Cold Porridge, The Weak and Enter the City explore the contradictions and dilemmas that tradition and modernity pose to the family and society through role concentration. The Palmer and In the Python's Belly delve into the duality of spirit and material, ideal and reality, using role reflection to peel back the layers of crowd psychology and human nature. Flower and Sword and The Role employ the role concentration, role simplicity and role disorder, centered around the parent-child relationship. They highlight the coexistence of modern people's dual urges: to both reject and seek paternal figures, to wander and return, and to awaken and be confused about their own identities.

关 键 词：马森 脚色理论 独幕剧 《花与剑》等 

分 类 号：J81[艺术—戏剧戏曲]