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題名:馬梅特劇作《奧利安娜》的三重遊戲空間
書刊名:外國文學
作者:劉巖
出版日期:2018
卷期:2018(6)
頁次:119-127
主題關鍵詞:大衛.馬梅特奧利安娜遊戲意圖意義David MametOleannaSpielIntentionMeaning
原始連結:連回原系統網址new window
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人類的許多文化活動都具有游戲的特質,尤以戲劇最為典型。戲劇這一文類從人類文明進程中的儀式演變而來,也是進入"此在"的重要方式。在由對話構成的戲劇文本中,劇作家將其創作意圖符碼化為語言標記和表征策略;在劇院上演該劇時,導演和演員則在戲劇空間與觀眾的互動中完成意義的傳遞。閱讀和觀賞是重要的闡釋行為,也是決定文本最終意義的重要環節,在此過程中,讀者/觀眾不可避免地把自己的"前見"介入到了文本意義的重構,以"同戲"的方式與文本形成"共在",致使同一作品引發出不同的闡釋維度。美國劇作家大衛·馬梅特的三幕劇《奧利安娜》在主要人物的言語行為、戲劇文本的多重闡釋以及演出過程中與觀眾的互動等方面構建了前文勾勒的游戲空間,傳達出意圖與意義之間的張力。
Many cultural activities of human beings are originated from spiel, most outstandingly represented in drama, developed from rituals in the development of human civilization and remaining an essential part of Dasein. The playwright encodes his/her intentions in linguistic markers and representational strategies in the dramatic text composed mainly of dialogues; whereas in a performance, such intentions are carried out through the interactions between the director, the actor and the audience. In interpretative activities such as reading and watching, activities that decide the final meanings of a literary text, the reader/audience inevitably intervenes into the(re-)construction of meaning with his/her Vorurteil, constituting Mit-Dasein by way of mitspielen, thus leading to multiple interpretations. The three-act play, Oleanna, by American playwright David Mamet offers such spaces for spiel, with regards to the speech act of the characters, the multiple interpretations of the dramatic text and the interactions with the audience during the performance, thus creating a tension between intention and meaning.
 
 
 
 
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