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在继承、借鉴和吸纳古希腊悲剧文化传统的同时,奥尼尔又不断推陈出新,创新和发展悲剧艺术,多视角地揭示现代生活的悲剧性,从而赋予现代西方悲剧以新的内涵和审美意蕴。在悲剧人物方面,奥尼尔突破了古希腊悲剧人物中的神或王公贵族,而塑造了众多平凡普通小人物;在悲剧主题方面,突破了古希腊单一的宿命模式,而以人与自身本能情欲的悲剧冲突,人与机器、物质、金钱和清教上帝的悲剧冲突等为悲剧创作的主题系列;在题材方面,突破古希腊悲剧的局限,而选择日常生活中的各种题材,如航海、妇女问题、种族歧视等;在悲剧艺术手法方面,则采用音响效果、象征手法和表现主义手法等揭示现代人的心路历程和悲剧性。
While inheriting, drawing on and absorbing the ancient Greek tragedy and cultural tradition, O’Neill keeps on innovation, innovating and developing the tragedy art and exposes the tragedy of modern life from multiple perspectives, thus giving the modern western tragedy a new connotation and aesthetic connotation. In terms of tragedy, O’Neill broke through the gods or kings and nobilitys in the ancient Greek tragedies and created many ordinary ordinary people. On the theme of tragedy, breaking through the single fatalistic mode of ancient Greece, O’Neill broke the tragedy of the lust of man and himself Conflict, conflict between man and machine, material, money, and Puritan God, and so on. In terms of the subject matter, breaking through the limitations of the ancient Greek tragedy and choosing various subjects in daily life, such as navigation and women’s issues , Racial discrimination and so on. In terms of tragedy art techniques, modern man’s mentality and tragedy are revealed by acoustics, symbolism and expressionism.