| 陆佳媛.论“后戏剧”视阈下的解构主义——以德语版《欲望号街车》为例[J].唐山学院学报,2021,34(2):55-62 |
| 论“后戏剧”视阈下的解构主义——以德语版《欲望号街车》为例 |
| On Deconstructionism from Post-Drama Perspective: with German Version of A Streetcar Named Desire as an Example |
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| DOI：10.16160/j.cnki.tsxyxb.2021.02.008 |
| 中文关键词: 欲望号街车 解构主义 后戏剧 |
| 英文关键词: A Streetcar Named Desire Deconstructionism Post-Drama |
| 基金项目:2019年江苏理工学院社科基金项目（KYY19538） |
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| 中文摘要: |
| 后戏剧理念在当代法国解构主义大师雅克·德里达的影响之下诞生于德国，强调文本只是构成舞台创作的一个要素，而非中心所在。作品被归类于"后戏剧"范畴的当代著名德语导演法兰克·卡斯托夫作为一名先锋艺术家和左派知识分子，信奉实验性的解构主义美学原则，在结合自身人生经历的基础上，他对来自美国的经典文本《欲望号街车》进行了颠覆性的解构：通过人物重建、打乱情节、蒙太奇拼接等解构手段，实现了戏剧各个要素的平等共存，从而创造出舞台、音乐、演员、灯光与文本融为一体、相映生辉的精妙演出画面。 |
| 英文摘要: |
| The concept of "Post-Drama" was born in Germany under the influence of French deconstructionist master,Jacques Derrida,which emphasizes that script is only a necessary element for stage design,but is by no means its central component. The contemporary German theater director Frank Castorf,as a pioneer artist and left-wing intellect, whose art is categorized as "Post-Drama",has firmly expressed his belief in experimental deconstructionist aesthetic principles.Infusing his work with personal life experiences,he has deconstructed the classic American novel A Streetcar Named Desire in a highly subversive way. Through the deconstruction techniques such as character reconstruction,plot rearrangement,and montage editing,Castorf has produced a play where all of its elements,including the stage, the music,the actor,the lighting and the scrip, coexist with equal importance, bringing forth a truly integrative and splendid masterpiece. |
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