《欲望号街车》中的象征主义研究

发布时间：2018-07-08 12:49

  本文选题：象征主义 + 舞台效果　； 参考：《辽宁大学》2013年硕士论文

【摘要】：田纳西·威廉斯是美国20世纪最伟大的戏剧家之一。凭借1947年出版的《欲望号街车》，他为自己赢得了在文坛上的地位。作为美国二战后冉冉升起的一颗新星，他自成名以来就一直受到世界各国学者的关注。《欲望号街车》于1951年在纽约上演后获得巨大的成功，曾获得普利策奖、戏剧评论奖和唐纳森奖，也因此被认为是威廉斯最好的一部作品。 《欲望号街车》讲述了20世纪上半叶美国新奥尔良一个普通家庭的故事——中年女教师布兰奇走向毁灭的最后旅程。威廉斯在这部作品中展现了他独特的世界观和戏剧魅力。迄今为止，国内外学者们对该剧的研究主要从女性主义、伦理学分析、精神分析等角度展开，而在舞台技巧方面的对人物的性格研究较少，因此本篇论文以威廉斯的这部代表作为研究对象，以象征主义为研究基础，对作品中的题目、主要人物、故事情节等进行象征主义解读，剖析威廉斯从剧本到舞台的创作过程，探究《欲望号街车》中的象征主义手法对深化剧本的主题的重要意义。 本文由导论、正文和结论三部分组成。主要内容如下： 第一部分是导论。导论部分简要介绍了田纳西·威廉斯的生活经历和他的文学成就，从家庭和时代背景两个方面简要探讨了他的成长历程，并指明其作品体现的自传性特征。同时阐述了《欲望号街车》的写作背景和具体内容，揭示了影响其创作的诸多因素。此外，重点介绍了《欲望号街车》的研究背景和意义以及前人的研究成果，指出尚未解决的问题，进而引出论文的研究目的与内容。 第二部分是正文，由三部分组成： 第一章首先阐述了论文的理论基础——象征主义，它是现代主义的重要特征之一，其产生对戏剧作品的发展有很深的影响力。其次介绍了剧本中的多种象征物以及舞台上的表现手法，这不仅给传统的现实主义戏剧增添了活力，生动展现了人物形象，更是威廉斯造型戏剧的制胜法宝。舞台上的灯光音响等艺术手法的运用不但表现了人物心理，而且在烘托情感氛围上功不可没，同时也在读者的脑海中打造了一个无形的舞台。最后通过对视觉和听觉的先期经验加工，用简洁而精炼的象征性语言把读者带入美妙的戏剧世界。 第二章深入介绍了《欲望号街车》中人物之间冲突的象征意义。此剧中的冲突分为两种：一种是布兰奇和她的前夫——艾伦之间的隐性冲突；另一种是布兰奇和她的妹夫——斯坦利之间的显性冲突。首先介绍了威廉斯的南方情结和南方绅士的演变过程，表达了他对南方的热爱、同情和失望的复杂感情。同时阐述了以艾伦为代表的同性恋群体和以布兰奇为代表的反同性恋群体之间的对立和矛盾，对艾伦这一隐形人角色的刻画也不同程度地折射出威廉斯自己的人生经历，以及同性恋形象的文化内涵和社会意义。此外，集中分析了以布兰奇为代表的浪漫主义者和以斯坦利为代表的现实主义者之间的对立和冲突，阐述所产生的象征意义和主题——布兰奇和斯坦利之间的矛盾代表了旧南方传统文化和北方工业之间的冲突。布兰奇作为一名浪漫主义者，她具有诗人气质的诗意性格；而威廉斯力图把斯坦利描绘成时代和现实社会的代言人，深刻的揭露出他的现实主义性格对浪漫主义者的毁灭性打击。 第三章重点阐述了幻觉在《欲望号街车》中所具有的象征意义。在这部戏剧中，威廉斯向我们描绘了一个错觉的世界，剧中三个主要的角色——布兰奇、斯坦利和斯黛拉都深陷错觉不能自拔。由于所处的生活环境和性格的不同，他们在追求爱情和自由的过程中表现出截然不同的生活态度。当现实和期望无法调和,深陷错觉成为他们寻求出路的唯一生存方式,这也正反映了现代人在面对现实时无奈和绝望的心理。尽管如此，他们仍然珍惜生命，并没有丧失生活的勇气和希望。作为女性逃避者,布兰奇是性格的悲剧；而在更深刻的意义上，，她又是社会巨变的牺牲品。通过这一形象，威廉斯也寄予了自己内心的苦痛。 最后一部分是结论，对本论文的观点作简要的归纳和总结。剧本和舞台上象征主义手法的运用，不仅使威廉斯成功地完成人物性格的塑造和人物命运的渲染，而且展现了他在整部戏剧中所流露出的哀婉情怀，同时也对现代人尤其是当今的女性产生深刻的影响和启发。通过对《欲望号街车》的解读和对两种文化的性质和特点的分析，表明布兰奇是南方传统文化坚定的守卫者。事实上，这种坚守是向自己的文化敌人斯坦利宣战。另一方面她也希望在这个新的世界里找到真爱从而得到庇护，但她的这些努力均以惨痛的失败而告终。由于布兰奇在残酷的现实世界面前不堪一击，因此她不得不在虚幻中寻求精神上的安慰，而最终成为文化冲突的受害者。同时威廉斯的作品也极大地影响了下一代同性恋剧作家，鼓励他们从密室中走出来，把更多的同性恋形象搬上戏剧舞台，公开地表现作为社会中一个普通群体的同性恋者的真实生活。
[Abstract]:Tennessee Williams was one of the greatest American dramatists in the twentieth Century. With his 1947 "streetcar", he won his position in the literary world. As a rising star in the United States after World War II, he has been attracting the attention of scholars from all over the world since he became famous. The streetcar of the desire number was in New York in 1951. After the great success, he won the Pulitzer prize, the drama critics' award and the Donaldson prize, and is therefore considered to be Williams's best work.
"Streetcar" tells the story of a common family in New Orleans in the first half of the twentieth Century - the last journey of Blanche, a middle-aged woman teacher, to his destruction. Williams shows his unique world view and dramatic charm in this work. So far, scholars at home and abroad have studied the play mainly from feminism and ethics. In analysis, psychoanalysis and other angles, there are few studies on characters in stage skills. Therefore, this thesis takes this representative of Williams as the research object, based on symbolism, and analyzes the title, main characters and plot of the works, and analyzes Williams from the script to the stage. The process of creation explores the symbolism in the streetcar named desire to deepen the theme of the script.
This paper consists of three parts: introduction, main body and conclusion.
The first part is an introduction. The introduction briefly introduces the life experience of Tennessee Williams and his literary achievements, briefly discusses his growth process from two aspects of family and the background of the times, and points out the autobiographical features of his works. At the same time, it expounds the writing background and specific content of the "streetcar", and reveals the influence of his writings. In addition, it introduces the research background and significance of the streetcar of desire and the achievements of previous research, points out the problems that have not been solved, and then leads to the purpose and content of the research.
The second part is the text, which consists of three parts:
The first chapter first expounds the theoretical basis of the thesis, symbolism, which is one of the important features of modernism. Its production has a profound influence on the development of the dramatic works. Secondly, it introduces the various symbols in the script and the expressive techniques on the stage, which not only adds vitality to the realistic and realistic drama, but also vividly displays it. The image of the characters is the magic weapon of Williams's styling drama. The use of the artistic techniques, such as the light and sound on the stage, not only shows the characters' psychology, but also creates an invisible stage in the mind of the reader. At the same time, through the processing of the visual and hearing experience, and the use of Jane. Clean and refined symbolic language brings readers into the wonderful world of drama.
The second chapter introduces the symbolic meaning of the conflict between the characters in the streetcar of desire, which is divided into two types: one is the recessive conflict between Blanche and her ex husband Alan, and the other is the dominant conflict between Blanche and her brother-in-law Stanley. First, it introduces Williams's southern complex and south. The evolution of the square gentleman expresses his complex feelings of love, sympathy and disappointment in the south. At the same time, it expounds the opposition and contradiction between the gay group represented by Alan and the anti homosexual group represented by Blanche. The portrayal of Alan's stealth role also reflects Williams's own life in varying degrees. The cultural connotation and social significance of the image of homosexuality, and the analysis of the antagonism and conflict between the Romantics represented by Blanche and the realists represented by Stanley, and the symbolic meaning and theme produced by Blanche and Stanley represent the traditional culture of the old South. The conflict between the northern industry and the northern industry. As a romantic, Blanche has a poetic character of poet temperament; while Williams tries to depict Stanley as the spokesman of the times and the real society, he profoundly reveals the devastating impact of his realism on the Romantics.
The third chapter focuses on the symbolic meaning of hallucination in the streetcar of the desire. In this drama, Williams depicts an illusion of the world. The three main characters in the play, Blanche, Stanley and Stella, are incapable of delusions. In the process of love and freedom, there is a very different attitude of life. When reality and expectation cannot be reconciled, the illusion becomes the only way of living for them to seek a way out, which is also a reflection of the helpless and desperate psychology of modern people in the face of reality. As a woman escaper, Blanche is a tragedy of character; and in a more profound sense, she is the victim of a social change. Through this image, Williams also gives her own inner pain.
The last part is the conclusion, which makes a brief summary and summary of the views of this paper. The use of the symbolism in the script and the stage not only makes Williams successfully complete the characterization of the characters and the rendering of the fate of the characters, but also shows the mournful feelings which he showed in the whole drama, but also to the modern people, especially today. Women have profound influence and inspiration. Through the interpretation of the "streetcar" and the analysis of the nature and characteristics of the two cultures, it shows that Blanche is a firm defender of the traditional culture of the south. In fact, this perseverance is a declaration of war against his own cultural enemy, Stanley. On the other hand, she also hopes to find true in this new world. Love has been sheltered, but all of her efforts ended with tragic failure. Because of Blanche's brutality in the face of the cruel reality, she had to seek spiritual comfort and eventually become a victim of the cultural conflict, and Williams's works greatly influenced the next generation of homosexual playwrights. They encourage them to come out of the closet and move more of the homosexual image to the stage of the drama, openly showing the real life of the homosexuals of a common community in the society.
【学位授予单位】：辽宁大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I712.073

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