摘要
《鳄鱼》因其戏剧文体和莫言的小说家身份引起学界的广泛关注。争论的焦点表面围绕作品的文体属性展开,实则是在检验作为获诺贝尔文学奖的小说家莫言能否跨界创作出令人信服的戏剧作品。从剧本看,莫言借助隐喻构建舞台和心理空间,并结合小说技巧延长戏剧时间,有效平衡了剧中难以处理的时空关系,其处理方式近似老舍在《茶馆》中的做法,而迥异于曹禺的《雷雨》,表现出小说家与剧作家对“空间”和“时间”的不同感知和选择。
"Crocodile"has attracted wide attention from the academic community because of its dramatic style and Mo Yan's status as a novelist.The focus of the debate ostensibly revolves around the stylistic nature of the work,but in fact it is a test of whether Mo Yan,a novelist who won the Nobel Prize in Literature,can create convincing dramatic works across borders.From the perspective of the script,Mo Yan uses metaphors to construct the stage and psychological space,and combines novel techniques to extend the time of the play,effectively balancing the difficult time and space relationship in the play.The treatment is similar to Lao She's approach in Teahouse,but is very different from Cao Yu's Thunderstorm,showing the novelist's and playwright's different perceptions and choices of"space"and"time".
作者
丁贇
DING Yun(Liaocheng University,Liaocheng Shandong 252000,China)
作者简介
丁贇(2001-),女,山东省济宁人,聊城大学在读硕士研究生,主要研究方向:中国现当代文学。
