论布莱希特“间离化”理论下的现代舞台艺术

发布时间：2018-06-23 00:37

本文选题：假定性 + 间离化　；参考：《山东师范大学》2010年硕士论文

【摘要】： 贝尔托特·布莱希特(BertoltBreeht,1898—1956)是二十世纪享誉世界剧坛的德国戏剧家和戏剧理论家。他一生有大量剧本、诗歌、小说和戏剧理论问世,是现代德国文学艺术的杰出代表之一。他的“间离化”理论影响了现代舞台艺术的发展,使现代舞台艺术呈现出多样化的表现形式。从而使布莱希特时期成为现代舞台艺术进程中的重大转折期,也为布莱希特之后戏剧的发展带来一定的影响。在布莱希特之前,传统戏剧“三一律”长期占据主导地位,其“演出的时间与剧中行动的时间必须完全一致……行动的地点必须固定不变”,其僵化、呆板、摹仿的形式,限制了空间的发展,阻碍了观众思考的理智。其后的戏剧革新运动要求发挥艺术“假定性”的本质,将艺术形象与它所反映的生活自然形态不相符的审美原则运用于舞台艺术中。之后,布莱希特从社会现象背后的动因出发,用形式化的舞台样式彻底发展了“假定性”,并形成了自己的“间离化”理论。其理论来自于什克洛夫斯基的“陌生化”理论。“把一个事件或一个人物性格陌生化,首先意味着简单地剥去这一事件或人物性格中理所当然的、众所周知的和显而易见的东西,从而制造出对它的惊愕和新奇感”。布莱希特从社会批判的角度认识生活,反映生活,主张戏剧以一种奇特的、陌生的、与观众有距离的面貌出现,即打破“三一律”,借助“陌生化效果”向人们暗示：任何东西都是可以改变的,能够改变的,而且改变的形式也是多样的。从而使观众由被动的接受转变为一种主动的、批判性的观察,通过戏剧呈现的可变的现实来改变社会,在戏剧领域重新肯定了现代人重铸文化的巨大自由。这种多样性取代整一性的戏剧主张,这种批判精神与自我否定,是布莱希特留给世界舞台最重要的财富。本文共分为四个部分。第一部分是对现代舞台艺术“假定性”现象的概述。通过对“假定性”现象及其特征：审美性、现代性、个性化和剧场性的的阐述,找到了其与布莱希特“间离化”理论的契合点,从而可以得出“假定性”现象的“间离化”存在。第二部分在集中论述了布莱希特“间离化”理论之后,可以看到现代舞台艺术在“间离化”视野下关于反格式的突破、形式感的张显、多样化的手段和互动性的空间这四方面的内在逻辑与结构。既然“间离化”理论对现代舞台艺术产生了一定影响,那它必然会指导现代舞台艺术的创作。第三部分通过内部的“语言间离”与外部的“逻辑间离”以及内在“理性的批判”与外在“丑的定位”来说明“间离化”理论对现代舞台艺术创作的意义。第四部分是布莱希特之后的戏剧表现,通过对迪伦马特、萨特、贝克特戏剧特点的表述来看他对布莱希特的发展与不同。最后,结语是想告诉艺术家,在现代舞台艺术的创作方法上,应该把握一个度。虽然创新性与陌生化理论在精神上具有相通性,但如果一味地创新追求前所未有的新奇,而由于失去艺术意义和具体内容,起不到认识和沟通的作用,就会使艺术的创作变得机械和教条,所追求的美感就会使观众难以接受而失去价值。
[Abstract]:Bertolt Brecht ( Bertoltmund ht , 1855 - 1956 ) is one of the most famous German dramatists and drama theorists in the 20th century . He has a large number of plays , poems , novels and drama theories . He has influenced the development of modern stage art , which has influenced the development of modern stage art , thus making the modern stage art a great turning period in the process of modern stage art and bringing about some influence on the development of the drama after Bryant .

Before Bryant , the traditional drama " three uniform " plays a leading role in the long - term , " the time of performance must be completely consistent with the time of action . " The place of action must be fixed " , its rigid , rigid , imitation form , restricts the development of the space , hinders the audience to think about the reason . After that , the drama revolution demands to play the essence of the artistic " false qualitative " , the artistic image and its reflected life natural form do not accord with the aesthetic principle applied in the stage art . After that , Bryant has developed the " hypothesis " thoroughly with the formal stage style , and formed its own " inter - alienation " theory .

The theory of " unfamiliarity " from Shackovski ' s theory is that " an event or a person ' s character is demystified . First , it means simply stripping off the events or characters that are of course , well - known and obvious , so as to create a sense of consternation and novelty . " By changing the society from the perspective of social criticism , it is also varied . This kind of diversity replaces the whole drama claim , and this critical spirit and self - denial are the most important wealth for the world stage .

This paper is divided into four parts . The first part is an overview of the phenomenon of " false qualitative " of modern stage art .
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J805

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