摘要
学界在探讨奥尼尔的剧作与曹禺之间的关系时,一般的研究方法尽管能使我们更为清楚地了解到"曹禺已经把握住了西方话剧的精髓",然而它却无法解答"西方话剧作品究竟如何影响了曹禺话剧意识的形成"。奥尼尔及其剧作是于20世纪20年代被介绍到中国的。由于大多数话剧活动者将社会功用性当做话剧艺术的本质特性,因此他们对奥尼尔的剧作持有漠视的态度。奥尼尔在其剧作中运用了较为先锋的表现手法,其所追求的悲剧审美效果即是"崇高"。在解读奥尼尔剧作的过程中,曹禺不但学习了欧美现代话剧的表现手法,更是从中悟解到了悲剧艺术的本质内涵。
When discussing the relationship between Eugene O' Neal's plays and Cao Yu, we can clearly understand that 'Cao Yu has captured the quintessence of Western drama' by adopting general methodologies, but these methodologies cannot provide answers to the question of 'how the Western drama influences the formation of his tragedy consciousness' . O'Neal and his plays were introduced into China in 1920s, however, since most drama activists regard social utility as the essential characteristic of drama, they tend to treat O'Neal's plays with indifference. In fact, with relatively pioneering techniques, O'Neal's plays are 'majestic' in his pursuit of tragic aesthetic effect. While learning the techniques of modern Western drama in O'Neal's plays, Cao Yu also realizes the essence of tragedy.
出处
《文化艺术研究》
2010年第1期127-133,共7页
Studies in Culture and Art
