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但是奈特关于莎剧的理论是唯心主义的,不仅脱离时代背景而且还有明显的象征主义和形式主义的倾向。他认为除个别作品外,莎士比亚的悲剧都有三个人物,分别代表着崇高的人类、神圣之爱以及仇恨人与人生的邪恶,因此他规定奥赛罗为卓越的(具有神秘素质的)人,苔丝德梦娜为圣洁的爱,而伊阿哥是妒恨人生的恶。此外,他强调由于意象和象征的作用。比如暴风雨及音乐象征冲突与和谐等等意象,莎士比亚全部作品是具有内在统一性和哲理性的。他把《奥》剧中的手帕就看成是神圣家庭关系的富有普遍意义的象征。这类见解当然基本上是不可取的,但是我们应该对它有所了解。此外,他几次指导和参加《奥赛罗》①的演出经验,如对舞台的运用,音响的效果,情节和细节的处理等等,对于我们的舞台实践,特别是《奥》剧演出,仍然是有参考价值的。
But Knight’s theory of Shakespearean is idealist, not only out of the background of the times but also has obvious tendency of symbolism and formalism. He considered Shakespeare’s tragedies, as well as individual works, to have three personalities, each representing the noble humanity, the divine love, and the hatred of human and human hate. Therefore, he prescribed that Othello be a prominent (mysterious person) or moss Siddhartha is holy love, and Ehiga is the jealousy of life. In addition, he emphasizes the role of images and symbols. Such as storms and the symbolic conflicts and harmony of music, etc., all the works of Shakespeare are inherently unified and philosophical. He saw the handkerchief in the “Austrian” drama as a symbol of the universal significance of sacred family relations. Of course, such opinions are basically not desirable, but we should know something about it. In addition, he guided and participated in the performance of Othello on several occasions, such as the use of the stage, the sound effects, the handling of the plot and details, etc. For our stage practice, especially the “Austrian” drama, Is a reference value.