摘要
剧场中舞台与现实的关系、演员与观众的关系,是剧作家热衷于探讨的问题。许多剧作家更将自己的思考融入实践中,创作了关于戏剧的戏剧,于是"戏中戏"出现了。如果说外面一层是外戏,里面那层是内戏,那么,内戏与外戏如何呈现?两者如何缝合?内戏又会对外戏造成何种影响?我试以莎士比亚的《哈姆雷特》和皮兰德娄的《亨利四世》为例,探讨这些问题。
The relationship of the stage and the reality, the actor and the audience in the theatre is a popular subject talked by the dramatists. Lots of dramatists applied their thoughts in practice. In this way, there appears the play - within - a - play. Let named the outer layer as outer - play and the internal layer as the inner - play, then in what way would the two plays present to us？ Is there a rift between the two？ How to close the rift？ Would the outer - play influenced by the inner - play？ I try to discuss these questions exemplified with Shakespeare＇s Hamlet and Pirandello＇s Henry.
出处
《枣庄学院学报》
2014年第3期41-46,共6页
Journal of Zaozhuang University
关键词
戏中戏
叙述方式
反作用
play - within - a - play
narrative form
counteractive effect
作者简介
[作者简介]陈爽（1990-），女，广东汕头人，中国传媒大学2013级比较文学与世界文学研究生。
