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在爱德华时代,融社会批评、讨论技巧与讽刺喜剧为一体的“萧氏观念剧”代表了进步和时尚,是剧坛的正统主流。但从创作《伤心之家》起,萧伯纳逐渐颠覆了读者和观众对他戏剧的固有期待,积极探索新的戏剧形式。在《伤心之家》及其之后的作品中,他观察到资本主义文化深层的弊病,人性的无能、无助和无奈。通过变异和夸张等手法,编织了一个个亦真亦幻、怪异离奇的场景,揭示出20世纪初普遍存在的困惑和苦恼,呈现了处在精神荒原的人们的众生相。同时,他用象征、梦幻、独白等现代主义戏剧常用的形式将现代主义的不确定性和异域想象带进了自己的作品,为英国现代戏剧的发展探索新的出路。
In the Edwardian era, integrating social criticism, discussion skills and satirical comedy “Shaw’s Concept Drama ” represents progress and fashion and is the orthodox mainstream of the theater. However, from the creation of “Sad House”, Bernard Shaw gradually subverts the readers and spectators inherent expectations of his drama, and actively explore new forms of drama. In “Sad House” and later works, he observed the underlying shortcomings of capitalist culture, incompetence, helplessness and helplessness of human nature. By means of variation and exaggeration, we knit scenes that are both true and imaginative and bizarre, revealing the perplexity and distress that prevailed in the early 20th century and presenting the beings of people in spiritual wilderness. At the same time, he brought modernism’s uncertainty and exotic imagination into his own work in the forms commonly used in modernist plays such as symbolism, fantasy and monologue, and explored new ways for the development of modern British drama.