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戏剧性是戏剧美学中一个古老而又重要的范畴。从发生机制上讲,它来自相互矛盾的话语力量在高度集中的戏剧时空之内“短兵相接”式的冲突;从文本意义结构的维度看,它则是一种加固文本意义结构的叙事策略,强化着戏剧冲突中对立话语力量的不对等性。因此可以说,戏剧性的实现是依赖于对立话语体系之不对等性的,是以终极实体和普世价值为依托的。在后现代主义消解终极实体和颠覆普世价值的浪潮中,戏剧性当然也成了被解构的“元叙事”模式之一。戏剧性能否跨越后现代的门槛,既保留激烈的话语冲突又实现话语的复调性和多元化,是一个值得探讨的话题。
Dramatic is an ancient and important category in drama aesthetics. From the perspective of the mechanism of occurrence, it comes from conflicting discourse forces within the highly concentrated theater time and space. It is a kind of narrative strategy to strengthen the structure of textual meaning from the perspective of textual meaning structure , Reinforcing the non-equivalence of the opposing discourse power in drama conflicts. Therefore, it can be said that the dramatic realization depends on the unequal nature of the oppositional discourse system and is based on the ultimate entity and universal values. In the tide of postmodernism digestion of the ultimate entity and the subversion of universal values, dramatic drama has certainly become one of the deconstructed “meta narratives.” It is worth discussing whether dramatic performance crosses the threshold of postmodernity. It not only retains the intense discourse conflict but also realizes the polyphony and pluralism of discourse.