摘要
本文考察的是理论界和演剧界在应对布莱希特陌生化时,在这个概念上所遗留下来的种种中国化的痕迹。文章首先考察了理论研究者应对布莱希特陌生化表演方式时的种种态度,其基本看法是,布莱希特关于陌生化表演的论述是一种纸上谈兵。继而文章考察了理论研究者在共鸣/间离关系方面所表现出来的种种意见。最后,文章重点分析了《大胆妈妈和她的孩子们》、《四川好人》的误演情况,并将误演原因归之为我们与布莱希特之间存在着审美思维上的隔膜。
The paper examines the various traces left by Chinese theorists and theatrical artists when they respond to Brecht s concept of alienation.First,The paper discusses theorists attitudes towards Brecht s method of alienation,stating that Brecht s theory of alienation is a mere empty talk.Then it proceeds to analyze researchers views on the relationship between Resonce and Alienation.Finally,the article attributes the misunderstanding of Mother Courage and Her Children and Good Person of Setzuan on Chinese s...
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2008年第S1期88-100,共13页
Drama:The Journal of the Central Academy of Drama
关键词
布莱希特
陌生化
共鸣/间离关系
Brecht
alienation
relationship between Resonce and Alienation
